新艺术,还是新技术?——论伯纳姆对马尔库塞的误读  

NewArt,or New Technology?—On Burnham,s Misreading of Marcuse

作　　者：王宇阔 Yukuo WANG(East China Normal University)

机构地区：[1]华东师范大学国际汉语文化学院

出　　处：《马克思主义美学研究》2024年第2期188-200,401,共14页Research on Marxist Aesthetics

基　　金：中国文学艺术基金会、中国文学艺术发展专项基金资助;国家社科基金重大项目“中国新媒介文艺研究”(18ZDA282)阶段性成果

摘　　要：马尔库塞所提倡的新艺术能够抵制工业社会中的技术合理性对人的压制,将技术现实导向审美化,艺术形式在此过程中作为政治实践与个体需求的中介,可以引发个体参与社会变革的感性力量。伯纳姆在借鉴技术审美化这一思想的同时,却有意将马尔库塞对新艺术的期待改写为自己对新技术的期待,他认为由新技术所引发的艺术变革有其自身的合理性,并由此肯定了情境艺术对“形式”和“实物”的突破。尽管伯纳姆的理论具备一定的当代解释力,但他消解了马尔库塞激进的政治思想,并预设了一种技术主义的乌托邦愿景,这一点在当代科学话语与人文话语的对话关系中需要警惕。Marcuse's advocated new art could resist the technical rationality of industrial soci⁃ety from suppressing human beings,directing technological reality towards aestheticization,and art forms serving as intermediaries between political practices and individual needs,thus triggering the aesthetic power of individual participation in social revolution.Burnham,while borrowing the idea of technology aestheticization,deliberately rewrote Marcuse's expectations for new art into his expectations for new technology,arguing that the artistic transformation triggered by new technology has its own rationality,thereby affirming the breakthrough of situ⁃ational art in terms of“form”and“material”.Although Burnham's theory possesses certain contemporary explanatory power,he diluted Marcuse's radical political thought and presup⁃posed a technocratic utopian vision,which needs to be cautioned in the dialogue between sci⁃entific discourse and humanistic discourse in contemporary times.

关 键 词：伯纳姆 马尔库塞 技术审美化 系统美学 科学与人文 

分 类 号：B83-0[哲学宗教—美学] J01[艺术—艺术理论]