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“Poiesis”意义，从根本上自由地从经典形而上学本体论认识论和美学的框架出发，这与“摹仿”作为经典美学的基本学说有着深刻的联系。我们这个时代的一个重要变化是，“Poiesis”的意义从作为一种美的存在的艺术作品的创作转向了对我们“世界”的某种看待方式的生产，也就是说，转向了对“世界”图景的创新。在这一视角下，古典形而上学美学的观点，即作为模仿的创作，作为创作目的的存在之美，艺术存在的秩序，几乎消失了。这样一来，艺术作品就从艺术存在转变为一种意义，即世界图景的转移者，而不是严格意义上的认识论意义上的，认识论意义上的认识论使接受的创造的观念成为可能，而这种观念乍看之下似乎是一个矛盾的概念。但对于现代美学来说，同样值得注意的是，作为转换者的新意义的各种创新被高估了。这些从“esse”或“ens”的色彩中解脱出来的含义似乎在第二层次的表面上混乱地漂浮着。在这个意义上，在我们的现代，各种各样的小艺术家们相互列举着世界图景的小创新的表现。我们的下一个问题是要认真考虑在当今时代成为“猿人”的原因或理由。

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.