摘要
阿多诺的现代美学思想中内蕴着一个技术感知美学的批判之维。该维度长期以来隐而不彰。细读相关文本可以发现,围绕沉默、震惊、麻木、愉悦等关键概念,阿多诺揭示出现代艺术所营造的"震惊"式审美感知具有对冲大众媒介技术的"震惊"感知、"唤醒"由文化工业制造的麻木愉悦的"大众"这一重要功能。其针对大众技术媒介、现代艺术与大众"感知"之关系提出的诸多洞见,既不同于麦克卢汉式的媒介美学理论,也扬弃了本雅明的技术感知美学思想,形成了西方马克思主义视野下更为系统和成熟的现代媒介美学批判理论。
Theodor W. Adorno＇ s modern aesthetics contains a critique of the technical perception which has long been overlooked. By discarding Walter Benjamin＇ s aesthetic perception of technology and focusing on such key concepts as silence, shock, numbness and pleasure, Adorno believes that the aesthetic perception of the ＂ shocking＂ created by modern art can hedge the ＂ shock＂ perception of mass media technology, awakening the numbness of the ＂ masses＂ created by the cultural industry. Many of his insights on the relationship between the mass media, the modern art and ＂perception＂ are different from Marshall McLuhan＇ s medium aesthetics and also reflect on the limitations of Benjamin＇ s aesthetic perception of technology. Adorno provided a more systematic and mature critical theory of aesthetics of media in light of Western Marxism.
作者
杨光
YANG Guang(College of Liberal Arts Shandong Normal University, Jinan, Shandong 250014)
出处
《首都师范大学学报（社会科学版）》
CSSCI
北大核心
2018年第3期91-99,共9页
Journal of Capital Normal University：Social Science Edition
基金
国家社会科学规划研究青年项目"媒介化时代的美学问题研究"(项目编号:11CZW014)结项成果
关键词
阿多诺
媒介美学
感知批判
震惊
麻木
Theodor W. Adorno
aesthetics of media
perceptual criticism
shock
numbness
