Identity and Difference of Poiesis

我们的研究目的是从不同的角度来看待艺术的意义，从根本上自由地从古典形而上学的本体论认识论和美学的框架中看待艺术的意义，这与作为古典美学的基本学说的模仿密切相关。我们这个时代的一个重要变化就是，“创造”的意义从作为一种美的存在的艺术作品的创造，转向了一种看待我们的“世界”的某种方式的产生，也就是对一幅“世界”图景的创新。在这一视角下，古典形而上学美学的“创造即模仿”、“存在之美”即“创造的目的”、“艺术存在的秩序”等观念几乎消失了。这样，艺术作品就从艺术存在变成了作为世界图景的移动者的意义，而不是严格的认识论意义，这使得乍一看似乎是一个矛盾的概念的接受的产生成为可能。但对于现代美学来说，作为变形者的各种新意义的创新被高估了，这无疑也是值得注意的。这些从‘esse’或‘ens’的yol中解放出来的意思似乎在第二级的表面上混乱地漂浮着。在这个意义上，在我们的现代，各种小迪米奥吉(艺术家)相互列举了世界画面的小创新的表现。这是我们下一个要认真考虑的问题，那就是在当今这个时代，“人类鸦片癖”的原因或理由是什么。

It is the aim of our research to view the meaning of the art as 'Poiesis' from various angles, fundamentally freely from a framevork of the classic metaphysical ontological epistemology and aesthetics, which is deeply associated with 'mimesis' as a fundamental doctrine to the classic aesthetics. It is an important change in our times that the meaning of 'Poiesis' turns from the creation of the work of art as an ens which is a beautiful being to the production of a certain way of looking at our 'world', that is to say, to the innovation of a picture of the 'world'. In this perspective the ideas of classic metaphysical aesthetics, i.e.,poiesis as mimesis, the beauty of the being as the purpose of poiesis, the order of the art-being have almost disappeared. In this way the art-work has changed from the art-being to the one meaning as a shifter of the world picture, not in the strict sense of the epistemology, which makes the idea of poiesis of reception possible, which appears at the first glance a contradictory concept. But it is also without doubt remarkable to the modern aesthetics, that the various innovations of the new meanings as shifters are too much overestimated. These meanings freed from the yol of 'esse' or 'ens' seem to float in confusion on the surface of the second degree. In this meaning, in our modern times, various little demiourgi(artists) enumerate each other the performance of the little innovation of the world picture. It is our next problem to consider with attention the reason or justification for being of 'homo opifex' in the present age.