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本杰明、杰姆逊和后期海德格尔对雕刻的反思都审视了在后现代时期艺术和技术的亲缘关系。本杰明主张技术摧毁了艺术的氛围,这是对机械中介物替代艺术家来控制美学的一种模糊批判。杰姆逊批判了笛卡尔式的主体再现于后现代主义中,这意味着通过电影(现在通过广告),艺术氛围已经不是一个不可逆的过去的随意回想,而是被吸引的观众当下生活的共鸣。这一点现在普遍反映在消费主义之中。海德格尔对与雕刻相关的空间和处所的反思,说明艺术的角色应该是阐明一个关系性的世界。我们必须学会发现自己正身处这样的世界之中,而不是通过那种维持我们娱乐的机械方法来利用艺术品味。
Benjamin, Jameson, and later Heidegger’s reflections on sculptures both examined the kinship of art and technology in the postmodern period. Benjamin argued that technology destroys the atmosphere of art, a vague critique of the mechanics of intermediaries replacing artists to control aesthetics. Jameson’s critique of the Cartesian main body being reproduced in postmodernism means that through the cinema (now through advertising), the artistic atmosphere is no longer an irreversible retrospective of the past, but a resonance of the present life of the attracted audience . This is now generally reflected in the consumerism. Heidegger’s reflections on the carving-related spaces and places indicate that the role of art should be to clarify a relational world. We must learn to find ourselves in a world like this, rather than exploiting the artistic taste through the mechanical means of sustaining our amusement.