何以“具身”——论博物馆中的身体与感官  

The Question of “Embodiment”:The Body and Senses in the Museum

作　　者：王思怡[1] WANG Si-yi(Institute of Cultural Heritage and Museology,Zhejiang University,Hangzhou,Zhejiang,310028)

机构地区：[1]浙江大学文化遗产与博物馆学研究所,浙江杭州310028

出　　处：《东南文化》2018年第5期115-120,共6页Southeast Culture

摘　　要："具身"的概念与内涵对博物馆的范式转变颇有启发意义。以马丁·海德格尔的存在主义与梅洛·庞蒂的知觉现象学为理论基础的具身认知理论反对身心二元论,走一条平衡的中道,强调认知对身体的依赖以及身体与环境的交互性,它们互动地共处于认知系统中。而博物馆要回到身体本身,注重意向、情感、感官、专注力、体验的重要作用;在营造博物馆环境的舒适性、情感性、情境性、体验性与互动性的同时,关注博物馆认知的系统性及内部的平衡与变构。若我们从"具身"的理论溯源出发,通过梳理身体与感官在博物馆中的塑造与延伸,那么博物馆与观众之间的关系也许会被创造出更多的可能性。The concept and connotation of ＂embodiment＂ is instructive for the paradigm shift of the museum. The embodied cognition theory based on Martin Heidegger＇ s existentialism and Merle Ponty＇ s perceptual phenomenology is against the dualism of mind and body, taking a balanced middle path, emphasizing the dependence of cognition on the body and the interaction between the body and the environment in a cognitive system. The museum should focus on the body, emphasizing the important role of intention, emotion, sense, concentration and experience. While creating a visiting environment of comfort, affection, situation, experience and interaction, the museum should also pay attention to the cognitive system and the balance and transformation within the system. If we go back to the theoretical basis of ＂embodiment＂, studying the body and senses and their beyond, we may create more possibilities for the museum-audience relationship.

关 键 词：博物馆 身体现象学 具身认知 多感官 空间感 

分 类 号：G260[历史地理—考古学及博物馆学]