THE AESTHETICS OF AFFECT: Thinking art beyond representation
THE AESTHETICS OF AFFECT: Thinking art beyond representation
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情感美学：超越再现的艺术思考
DOI：
10.1080/09697250120087987
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发表时间：
2001
期刊：
影响因子：
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通讯作者：
Simon D. O'Sullivan
中科院分区：
文献类型：
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作者：
Simon D. O'Sullivan
可能会引起任何论述，其中人类学数据一般借给自己。我们可以研究它的历史、社会学或政治经济学，这只是其中的几个。我们可以很容易地看出，从人类学的角度来看，它的目的地经历了相当大的变化，这取决于艺术品ÒbelongsÓ是否属于部落文化、帝国文化、共和文化、君主制文化、神权文化、商业文化、专制文化、资本主义文化等等。当代作品的一个决定性特征是，它显然是注定要被博物馆（收藏、保存、展览）和博物馆观众所接受的。这种方法隐含在任何ÒtheoryÓ艺术中，因为理论只是由对象构成的，以便确定它们。但作品不仅仅是一件文化物品，尽管它也是。在它里面有一种过剩，一种狂喜，一种潜在的联想，它溢出了ÒreceptionÓ和Òproduction的所有决定。Ó让-弗朗索瓦·利奥塔，ÒCritical ReflectionsÓ
may give rise to any of the discourses to which anthropological data in general lend themselves. One could do a history, sociology, or political economy of it, to mention just those few. One can easily show that its destination, anthropologically speaking, undergoes considerable modification depending on whether the artwork ÒbelongsÓ to a culture that is tribal, imperial, republican, monarchical, theocratic, mercantile, autocratic, capitalist, and so on, and that it is a determining feature of the contemporary work that it is obviously destined for the museum (collection, conservation, exhibition) and for the museum audience. This approach is implied in any ÒtheoryÓ of art, for the theory is made only of objects, in order to determine them. But the work is not merely a cultural object, although it is that too. It harbours within it an excess, a rapture, a potential of associations that overflows all the determinations of its ÒreceptionÓ and Òproduction.Ó Jean-Franois Lyotard, ÒCritical ReflectionsÓ 93