“物流艺术”的批评基础——从维利里奥的“后勤学”到“认知图绘美学”  

The Basis of the Criticism of “Logistics Art”: From Virilio's “Logistics” to “Cognitive Mapping Aesthetics”

作　　者：张墨研 Zhang Moyan

机构地区：[1]中国艺术研究院马克思主义文艺理论研究所

出　　处：《电影艺术》2023年第6期102-108,共7页Film Art

基　　金：中国艺术研究院基本科研业务费青年人才资助项目(项目编号:2022-4-19)阶段性成果。

摘　　要：在对军事问题的痴迷中,维利里奥发展出一种“知觉后勤学”。该理论作为其思想中关键概念的综合操演,产生出技术美学方面的洞见与盲视。而在另外两个方面,即一般的管理学意义上的物流领域,以及马克思主义政治经济学批判的“物流批判”领域,变化了所指的“logistics”都生发出了新的历史时期的主题性价值,将三者结合,托斯卡诺与金科在《“绝对”的制图学》中初步展示了物流艺术及其批评的潜能,作为一种对詹姆逊意义上“认知图绘美学”的回应。In the obsession with military issues, Virilio developed his “logistics of perception”, which is a comprehensive exercise of the key concepts of his thought and produces insights into technical aesthetics. In addition, in other two aspects, namely the logistics field in the sense of general management science, and the “logistics criticism” field of Marxian economics criticism, both proposed an analysis of the thematic value of the changed “logistics” in the new historical period. Combining the three, Toscano and Kinkle initially showed us the potential of logistics art and its criticism in their Cartographies of the Absolute, as a response to Jameson's “cognitive mapping aesthetics”.

关 键 词：物流艺术 后勤学 维利里奥 认知图绘 世界电影 

分 类 号：J905[艺术—电影电视艺术]