气氛—作为一种新美学的核心概念

发布时间：2018-04-03 21:03

本文选题：气氛　切入点：新美学　出处：《艺术设计研究》2014年01期

【摘要】："气氛"美学是当代德国众多新美学流派中的突出代表。鲍曼试图建立一种新美学。他认为,以往的美学侧重于判断,为评价艺术品提供理论依据;从而忽略了感受,也忽略了自然;新美学则要恢复这两点。同时,当代美学日益趋向于符号学,新美学则要恢复审美经验的当下在场特性。最后,更重要的,新美学要为以往被贬称为"工艺美术"的日常生活审美作品正名,提倡:审美需求是每个人的正常需求,不是精英的特权。这种新美学的建立,全靠"气氛"概念的确立。"气氛"并非新鲜事物,在无论对艺术作品的评价,还是日常生活、工作中,该词都被广泛运用。学术领域,本雅明曾提出"灵气"概念,但局限于艺术品;史密茨基于身体哲学讨论了"气氛"的身体性,但过于强调主体。作为新美学核心概念的"气氛",则要摆脱主客体二元论,还原审美现象的开放性、模糊性,介于主客体之间的居间状态。它是一种"物的迷狂",突破事物的物理界限和规定性,突出它们共同的时空当下的在场性;另一方面也突破了意识的主观性,营造出一种"气氛"。因此,气氛是可以被制造出来的,园林设计就是典型的气氛制造者,诸如舞台美术、商品设计等都是气氛制造者。"气氛"概念因此也就具有了批判功能,希特勒、斯大林的极权统治曾广泛运用各种艺术形式制造气氛,加强权力控制。但利用气氛控制大众并非极权统治的特权,在商业社会同样广泛存在。批判的前提是首先尊重大众的日常审美需求,而众多在精英文化中被贬为"工艺品"的审美制品则应该受到更多重视。
[Abstract]:"atmosphere" aesthetics is a prominent representative of many new aesthetic schools in contemporary Germany.Bowman tried to build a new aesthetics.He believes that the former aesthetics focuses on judgment and provides a theoretical basis for the evaluation of works of art; thus neglecting feelings and also ignoring nature; new aesthetics should restore these two points.Meanwhile, contemporary aesthetics tends to semiotics, while new aesthetics restores the present presence of aesthetic experience.Finally, more importantly, the new aesthetics should correct the name of the aesthetic works of daily life, which were demoted as "arts and crafts" in the past, and advocate that the aesthetic demand is the normal demand of everyone, not the privilege of the elite.The establishment of this new aesthetics depends entirely on the establishment of the concept of "atmosphere". "The term "atmosphere" is not new and is widely used in the evaluation of works of art and in daily life and work.In the academic field, Benjamin once proposed the concept of "Reiki", but it was limited to art; Smiths discussed the physical nature of "atmosphere" based on body philosophy, but placed too much emphasis on the subject.As the core concept of new aesthetics, "atmosphere" should get rid of the dualism of subject and object, restore the openness and fuzziness of aesthetic phenomenon, and be intermediate between subject and object.It is a kind of "obsessive of things", breaking through the physical boundaries and prescriptions of things, highlighting the presence of their common space-time and temporal-spatial present; on the other hand, it also breaks through the subjectivity of consciousness and creates a kind of "atmosphere".Therefore, the atmosphere can be created, garden design is a typical atmosphere maker, such as stage art, commodity design and so on are atmosphere makers. "Therefore, the concept of "atmosphere" has a critical function. The totalitarian rule of Hitler and Stalin used various artistic forms to create atmosphere and strengthen power control.But the use of atmosphere to control the public is not the prerogative of totalitarian rule, it is also widespread in the commercial society.The premise of criticism is to first respect the daily aesthetic needs of the masses, while many aesthetic products which are demoted as "handicrafts" in elite culture should be paid more attention to.
【作者单位】：卡塞尔大学;北京社科院;
【分类号】：B83

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