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当代艺术哲学中的媒介之辩

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当代艺术哲学中关于媒介的本质与作用问题产生了不同争论."媒介特殊性"源于莱辛诗画界限之说,强调每一种艺术形式都有其特定媒介.当代美学家诺埃尔·卡罗尔对"媒介特殊性"进行了持续批判,提出要"忘掉媒介".他强调不同媒介之间是相互作用的,却只是把媒介看作物理材料."媒介特殊性"理论在当代艺术哲学中复苏,"媒介之巢"与"媒介轮廓"之说相继被提出,它们不再把媒介看作材料,而是把媒介视作技术、资源和符号的统一.从总体上讲,当代艺术哲学中的这一媒介之辩还是把媒介视作艺术表达的工具.只有超越媒介工具论,才能超越媒介之辩.媒介包括物质基础与语言符号两个层面,审美感知经由媒介之途抵达多元的艺术实践.
The Debate on Medium in Contemporary Philosophy of Art
Contemporary philosophy of art has generated different debates about the nature and role of the medium."Medium specificity"originated from Lessing's theory on the boundaries between poetry and painting,emphasizing that each art has its own specific medium.Noël Carroll continuously criticized medium-specificity,and proposed to"forget the medium",focusing on observing the move-ment of images and the process of cinema development.He emphasized that different mediums interact-ed with each other,but he considered the medium only as a physical material.The theory of"medium specificity"resurfaces in contemporary philosophy of art with the introduction of concepts such as"me-dia nest"and"media profile."These concepts no longer view media as mere materials but as technolo-gies and resources.They no longer see the media as material,but as a unity of technology,resources and symbols,thus criticizing Carroll's view of the medium.Overall,this media debate still regards the media as a tool for artistic expression,and we can go beyond the media debate only if we do not consid-er media solely as tool.The medium includes both the materials and symbols,and one's aesthetic per-ception is realized through media in the pluralistic artistic practice.

Noël CarrollDominic Lopesmedium specificitymedia nestaesthetic perception

周才庶

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南开大学新闻与传播学院(天津 300350)

卡罗尔 洛佩斯 媒介特殊性 媒介之巢 审美感知

国家社科基金重大项目

18ZDA282

2024

浙江社会科学
浙江省社会科学界联合会

浙江社会科学

CSTPCDCSSCICHSSCD北大核心
影响因子:0.677
ISSN:1004-2253
年,卷(期):2024.(9)