【格罗伊斯】公开

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1、Themaintopicoftheessaysthatareincludedinthisbookisart.Intheperiodofmodernity—theperiodinwhichwestilllive—anydiscourseonartisalmostautomaticallysubsumedunderthegeneralnotionofaesthetics.SinceKant’sCritiqueofJudgments1790,itbecameextremelydifficultforany-onewritingabouta

2、rttoescapethegreattraditionofaestheticreflection—andescapebeingjudged10/168accordingtothecriteriaandexpectationsformedbythistradition.ThisispreciselythetaskthatIpursueintheseessays:towriteonartinanon-aestheticway.ThisdoesnotmeanthatIwanttodevelopsomethinglikean“anti-ae

3、sthetics,”becauseeveryanti-aestheticsisobviouslymerelyamorespecificformofaesthetics.Rather,myessaysavoidtheaestheticattitudealtogether,inallitsvariations.Instead,theyarewrittenfromanotherperspective:thatofpoetics.Butbeforetryingtocharacterizethisotherperspectiveinmored

4、etail,IwouldliketoexplainwhyItendtoavoidthetraditionalaestheticattitude.Theaestheticattitudeisthespectator’sattitude.Asaphilosophicaltraditionanduniversitydiscipline,aestheticsrelatestoartandreflectsonartfromtheperspectiveofthespectator,oftheconsumerofart—whodemandsfro

5、marttheso-calledaestheticexperience.AtleastsinceKant,Introduction:Poeticsvs.Aestheticsweknowthattheaestheticexperiencecanbeanexperienceofbeautyorofthesublime.Itcanbeanexperienceofsensualpleasure.Butitcanalsobean“anti-aesthetic”experienceofdispleasure,offrustrationprovo

6、kedbyanartworkthatlacksallthequalitiesthat“affirmative”aestheticsexpectsittohave.Itcanbeanexperienceofautopianvisionthatleadshumankindoutofitspresentconditiontoanewsocietyinwhichbeautyreigns;or,insomewhatBorisGroysdifferentterms,itcanredistributethesensibleinawaythatre

7、figuresthespectator’sfieldofvisionbyshowingcertainthingsandgivingaccesstocertainvoicesthatwereearlierconcealedorobscured.Butitcanalsodemonstratetheimpossibilityofprovidingpositiveaestheticexperiencesinthemidstofasocietybasedonoppressionandexploitation—onatotalcommercia

8、lizationandcommodificationofartthat,fromthebeginning,underminesthepossibilityofautopianperspective.Asweknow,bothofthe