摘要
数字时代艺术生产要求回到社会政治,既有对政治观念的摹仿,尤其是乌托邦的向往,表现了审美政治性;又能通过对传统政治的解构,在行走中创制新空间,具有试验性和生成性的实践特征。体制性艺术生产可以追溯到古希腊时期的伦理与共和秩序,但都是反民主和不平等的。朗西埃主张艺术要改变现有框架、规模和节奏,立足于感性重置,发挥虚构劳动的作用,产生异质性关联,让可能的风景呈现出来。由于计算机算法、程序和生物技术相结合的数字治理成了当代影像生产的结构性管控力量,渗透到社会现实,甚至切入肉身生命和主体意识,成为其实现自身生产和再生产的手段,真正的艺术应当实现“虚无”化,使自身自由自在,展现主体性及其生命的未来。
In the digital age,art production requires to return to social politics,including the imitation of political ideas,especially the longing for utopia,to show its aesthetic politics;and through the deconstruction of traditional politics,it can create a new space in practicing,which has the characteristics of experimental and generative practice.Institutional art production can be traced back to the ethical and republican order in ancient Greece,but they are anti-democratic and unequal.J.Rancière proposed that art should change the existing framework,scale and pace,based on sensible reset,play the role of fictional labor,produce heterogeneous correlation,and present the possible landscape.Because the digital governance combined with computer algorithms,programs and biotechnology has become the structural and regulatory force of contemporary image production,penetrated into social reality,even cut into physical life and subject consciousness,and become its means to realize its own production and reproduction.The real art should realize “nothingness” and make itself free,Show subjectivity and the future of life.
作者
刘亚斌
LIU Ya-bin(School of Chinese Language and Culture,Zhejiang International Studies University,Hangzhou,Zhejiang 310023,China)
出处
《河北民族师范学院学报》
2022年第3期38-44,共7页
Journal of Hebei Normal University For Nationalities
基金
2019年度浙江省哲学社会科学规划项目“界面阅读的发展及其审美政治性”(编号:19NDJC27OYB)阶段性成果。
关键词
数字时代
艺术生产
审美政治
朗西埃
Digital Age
Art Production
Aesthetic Politics
J.Rancière
