遭遇先验:德勒兹与设计本体论  

Encountering the Transcendental:Deleuze and Design Ontology

作　　者：许宏香 XU Hongxiang(College of Humanities and Communication,Zhejiang University of Finance and Economics,Hangzhou 310018,China)

机构地区：[1]浙江财经大学人文与传播学院,浙江杭州310018

出　　处：《美育学刊》2025年第2期75-80,共6页Journal of Aesthetic Education

基　　金：中国博士后科学基金资助项目“拟像理论研究”(2019M651516)的阶段性成果。

摘　　要：对“设计是什么”的回答存在传统与现代之争,无论哪一种进路都不可避免地关涉设计发生学,即设计从哪里开始?德勒兹的先验概念实质性地开启了本体论追问的真实视域。区别于一般哲学、美学和文化批判的方案,也区别于泛设计论或系统设计论,先验意味着遭遇和内在性。设计主体和客体如何能从一个不事先假定它们的领域中产生?重新提问的结果预示着设计师和设计对象的关系及受众身份乃至整个设计过程的理解都可能被重置。“设计是什么”向“设计能做什么”的本体论转向,显现设计“感”其所是的偶然性情调和非主体化风格,由于遭遇的爱恨悲喜,普遍的设计经验差异化为不断生成的本体论,这属于设计的伦理学和未来性。The question of“what is design”has long been a subject of debate between traditional and modern approaches,with each inevitably engaging with the phenomenology of design—where does design begin?Deleuze's concept of the transcendental substantially opens the true domain of ontological inquiry.Unlike typical philosophical,aesthetic,and cultural critique models,as well as pan-design or system design theories,the transcendental signifies encounter and immanence.How can design subjects and objects emerge from a realm that does not presuppose them?This rephrased question suggests that the relationship between designers and design objects,the identity of the audience,and even the entire design process might be reconfigured.The shift from“what is design”to the ontological question of“what can design do”reveals the contingent mood and non-subjective style inherent in design's own sense of what it is.Through encounters filled with love,hate,joy,and sorrow,the universal experience of design is differentiated into an ever-emerging ontology,contributing to design's ethics,futurity.

关 键 词：设计 本体 先验 遭遇 德勒兹 

分 类 号：J50-02[艺术—艺术设计]