摘要
居伊·德波(Guy Debord)在20世纪60年代提出“景观社会”的时候已经预告了审美化社会的来临。当代社会中艺术嵌入社会的方式和形态相对于传统社会已经有了结构性差异。要讨论美学经验在高等教育系统和社会生活中位置,不仅是美学教育的起点之一,也是社会文化建构的重要支点。如果将“艺术的位置”这一元问题作为思考的起点,我们必须要展开对美学经验在当代社会的特殊存在形态的追问。艺术过程在历史长河中留下了一路的经验形态,在如今泛审美化的社会条件下,以根茎盘杂的形态(configuration)组合着社会,生产着社会。这样的根茎盘杂的形态,一方面让艺术成为链接个体和组织以及社会的通道,一方面又对艺术本身的及身感与临场性提出了要求。
When Guy Debord proposed the concept of“landscape society”in the 1960s,he had already predicted the arrival of an aesthetic society.The ways and forms in which art is embedded in the contemporary society have undergone structural differences compared to the traditional society.Discussing the position of aesthetic experience in the higher education system and social life is not only one of the starting points of aesthetic education,but also an important pivot for social and cultural construction.If we take the question of the position of art as the starting point of our thinking,we should delve into the special form of aesthetic experience in the contemporary society.The artistic process has left a trail of experiential forms in the long river of history.In today s society of extensive aesthetic appreciation,it combines and produces society in a complex configuration.Such a tangled shape of roots and stems not only makes art a channel connecting individuals,organizations,and society,but also demands the tangible sense and presence of art itself.
作者
刘佳
LIU Jia(Department of Asian Studies,The University of Texas at Austin,USA)
出处
《美育学刊》
2024年第2期41-44,共4页
Journal of Aesthetic Education
关键词
美学经验
艺术的位置
及身感
临场性
aesthetic experience
position of art
tangible sense
presence
