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Constellation as the term in art

星座作为艺术术语

基本信息

批准号：
12610058
负责人：
MAEDA Fujio
金额：
$ 2.05万
依托单位：
Keio University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2000
资助国家：
日本
起止时间：
2000 至 2001
项目状态：
已结题

项目摘要

Although "constellation" is the concept which is not examined neither in science of arts nor in the history of fine arts, we cannot but regard it as the important device which supports a modern artwork and a making theory(poietique) with the concepts of "composition" and "construction". This concept did gain special positioning in the psychology involving the memory from the end of the 19th century, and Jung's psychoanalysis study of the 1910s, but late in the 1920s it will be recognized as the concept on important paradigm, and critic Benjamin will also use this concept as methodology, and Hans Arp and the artists of Bauhaus will add it to the battleline of contemporary making theory. In this article, the work activities about 1930 of Paul Klee are taken up with Hans Arp, and the meaning of constellation concept is clarified.Constellation as making arrangement is a procedure which limitizes in self-reference with the level of the artistic intention and activity which bring about aspectual conversion and aspectual formation, switches the process of the work till then to an another kind of process, and carries out "re-starting" to the new poietic work. It is not negation of work although such re-starting is a self-reference-act unlike composition or construction. It is exactly the emergence, arrangement conversion, called "metamorphosis" with the morphological level rather. We explicates the psychological memory theories of Fr.Lotmar, Klee's friend, and O.Selz, the Jung psychology, and the plastic experiments by the Bauhaus artists.

尽管“星座”是艺术学和美术史上都没有考察过的概念，但我们不能不将其视为支撑现代艺术和以“构成”和“建构”概念为核心的创作理论（诗意）的重要装置。这一概念从世纪末开始在涉及记忆的心理学和10年代荣格的精神分析研究中获得了特殊的定位，但在20年代后期，它将被确认为重要范式上的概念，批评家本雅明也将这一概念作为方法论，汉斯阿普和包豪斯的艺术家将其加入到当代制造理论的战线上。本文以保罗·克利1930年前后的创作活动为例，结合汉斯·阿普的创作实践，阐明了星座概念的含义，指出星座作为一种安排，是一种在艺术意图和活动的层面上限定自我参照的过程，它导致体的转换和体的形成，使作品的过程转换到另一种过程，对新的创编工作进行“再出发”。它不是对作品的否定，尽管这种重新开始是一种自我参照行为，不同于构图或建构。正是这种涌现、排列转换，与形态层面的称之为“变态”相当。阐述了克利的朋友洛特玛神父和塞尔茨的心理记忆理论、荣格的心理学以及包豪斯艺术家的可塑性实验。