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从福柯生命政治理论出发,同时结合本雅明的生命政治观考察《机械复制时代的艺术作品》在艺术、媒介与技术三个维度内蕴的生命政治机制对艺术可能带来的断裂与荣光。本雅明处于生命政治学论域,《机械复制时代的艺术作品》赋予艺术以生命、技术以政治的寓含,并以此呈现了艺术受政治铭刻的装置技术;技术如同手术刀般进入艺术的身体,切分与剜割艺术/非艺术并将其纳入一种权力机制进行重新配置;在艺术的权力装置中,艺术以复制和影像的方式被技术捕获、记录与重写,或以普遍性(常态)的例外裸露其存在的危险;艺术的生命政治能引发一种新美学,生成一种新机制。基于此,本雅明宣告技术引发了艺术理论的生命政治学转向。
Based on Foucault’s life-politics theory, Benjamin also explores the possible rupture and glory of art in the three dimensions of art, media and technology by means of Benjamin’s life politics. Benjamin is in the field of life politics theory. “The works of art in the era of mechanical reproduction” give the life and technique of art the political implicature, and thus present the installation technique of art inscribed by the government. The technology enters the art as a scalpel The body is divided and cut into art / non-art and incorporated into a power mechanism for rearrangement; in the power installation of art, art is captured, recorded and rewritten by means of copying and imaging, (Normal) exposes the danger of its existence; the politics of life in art can trigger a new aesthetics and create a new mechanism. Based on this, Benjamin proclaimed that technology has triggered the turn of life politics in art theory.