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视像(图像、影像)是大众传媒时代最为普遍的审美元素,也是视觉文化的基本元素。人们对视像的关注,是与后现代主义的文化批评密切联系在一起的。人们对后现代文化的特征的认定是平面化、去中心和无深度的,而又把这些特征和视像的普泛化联系起来。本文通过对现象学哲学中最核心的范畴“本质直观”及相关概念的阐发,揭示了视像是可以蕴含深度的。文中从“本质直观”和“明见性”这些现象学观念的视觉性质出发,勾勒出现象学中从感性直观到范畴直观的途径。杜夫海纳关于审美对象的深度问题的论述,也为本文提供了有说服力的借鉴。笔者主张对后现代主义的视像理论不能只是描述,而是要进行建构和批判。如此,以现象学的本质直观的方法论,开启对视觉文化的深度研究的道路。
Video (image, video) is the most common aesthetic element in the mass media era and the basic element of visual culture. People’s attention to the video is closely linked with post-modern cultural criticism. People identify the characteristics of postmodern culture as being plane, decentralized and non-penetrating, while linking these features to the generalization of the visualization. Through the analysis of the most central category of phenomenological philosophy, “Intuitionistic Intuition,” and related concepts, this paper reveals that video can contain depth. This article starts from the visual nature of phenomenological concepts such as “Intuitive Intuition ” and “Visibility ”, and sketches the way of phenomenology from intuitionistic intuition to category intuition. Dufrenne’s discourse on the depth of aesthetic objects also provides a convincing reference for this article. The author argues that the visual theory of postmodernism can not be described but constructed and criticized. In this way, the methodology of in-depth and intuitive research on visual culture is opened up with the intrinsically intuitive methodology of phenomenology.