摘要
艺术生产义务是一个典型的艺术法哲学命题。随着以人工智能为表征的数字技术的广泛应用,艺术生态规模、格局与秩序已经发生了重大嬗变,数字艺术成为当代艺术的主流。从表面上看,从原子艺术到数字艺术所发生的是艺术形态、种类和规模的显著扩增,但这些变化的本质则是数字艺术生产权利与义务的同步扩大化。数字艺术生产义务与原子艺术生产义务在本质与内涵上都是一致的,都包括积极义务(德性义务)和消极义务(法性义务)两大范畴,但两种义务的量与质已经发生变异:以德性义务为主导的原子艺术生产机制在当代数字艺术格局中已经难以调整和有效规范生产行为;而在原子艺术生产机制中长期处于潜隐状态的法性义务,随着数字艺术生产中致瘾化、低俗化和盗版化等高碳现象的日趋猖獗,正迅速上升为数字艺术安全生产的必然和紧迫要求。阐明数字艺术生产义务的量变与质变,不仅是数字艺术法哲学研究的重要课题,更是数字艺术立法实践的基础和前提。
Arts production obligation is a typical philosophical proposition of the law of arts. With the wide application of digital technology characterized with artificial intelligence and the changes of ecologic dimensions, pattern, and order of arts, digital arts have become the main trend of the current arts. Superficially, the obvious expansion of form, classification and scope of arts happened in the course of development from atomic arts to digital arts, and the essence of changes is the expansion of digital arts production rights and obligation. The essence and connotation of digital arts production obligation and atomic arts production obligation are the same, including two categories： positive obligation and passive obligation. However, qualitative and quantitative changes of two obligations have occurred, positive obligation-dominated atomic arts production mechanism is hard to adjust and regulate production behavior. Passive obligation of atomic arts production mechanism is rapidly becoming the necessity and demand of digital arts production with the rampant vulgarization and piracy of digital arts production. Explorations on qualitative and quantitative changes of digital arts production obligation is not only the important philosophical proposition of the law of arts, but also the basis and prerequisite of the digital arts legislation.
出处
《上海师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2017年第4期117-129,共13页
Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)
基金
国家社科基金艺术学项目"数字艺术伦理学研究"(13BA010)的阶段性成果
教育部人文社科规划项目"数字艺术德性研究"(13YJAZH063)
关键词
数字艺术
艺术生产义务
原子艺术
digital arts, arts production obligation, atomic arts
