【摘要】： 20世紀以來,無論是哲學還是生活的方方面面,都體現了逃離在場的特征,全球化帶來的同質性造成了環(huán)境場所時間維度的斷裂,我們的生活環(huán)境及其意義越來越多的被忽視或冷漠。如何擺脫這種“不在場性”,重回在場,“在場”審美經驗下的場所營造方式是本文的主要內容。本文從日常生活美學、環(huán)境美學提出的“介入式”審美經驗、現象學回到原初經驗狀態(tài)的看待事物的方式、中國傳統(tǒng)審美經驗中的“象思維”幾個角度討論“在場”審美經驗的獲得。試圖建立起一種面對自然的“在場”邏輯,總結“在場”審美經驗下的場所特征,從日常生活經驗的累積及藝術生活化角度,提出“在場”審美經驗下,場所需呈現合理因果關系的、具有連續(xù)性的、并關注生活本身的本然狀態(tài)的場所特征;從環(huán)境美學及自然美學的自然觀入手,探討場所中自然形態(tài)與人工形態(tài)的關系,提出消解人工物在藝術審美經驗中的客體性、消融自然形態(tài)與人工形態(tài)的的界限以營造“在場”的環(huán)境感知;最后從現象學以及中國“象思維”的角度,討論在面對具體創(chuàng)造時,需要投入我們的精神領域,用心體悟事物的“象”,在時間維度上使得對“現在”的意識時間得以延長。本文從以上三個角度探討了“在場”審美經驗下的場所營造方式。
[Abstract]:Since the 20th century, both philosophy and all aspects of life have reflected the characteristics of escaping from the presence. The homogeneity brought about by globalization has resulted in the rupture of the time dimension of the environment. Our living environment and its significance are increasingly ignored or indifferent. How to get rid of this kind of "alibi" and return to the presence, the main content of this paper is how to create the place under the "presence" aesthetic experience. From the aesthetics of daily life and the aesthetics of environment, this paper puts forward the "interventional" aesthetic experience, and the way in which phenomenology returns to the original state of experience. This paper discusses the acquisition of "presence" aesthetic experience from the perspective of "image thinking" in Chinese traditional aesthetic experience. This paper tries to establish a kind of "presence" logic in the face of nature, summarizes the place characteristics of "presence" aesthetic experience, and puts forward the "presence" aesthetic experience from the perspective of accumulation of daily life experience and artistic life. The place needs to present the reasonable causality, has the continuity, and pays close attention to the life itself original state place characteristic; Starting with the natural view of environmental aesthetics and natural aesthetics, this paper probes into the relationship between the natural form and artificial form in the place, and puts forward the idea of eliminating the objectiveness of artificial objects in the aesthetic experience of art. Melt the boundary between natural form and artificial form to create "presence" of environmental perception; Finally, from the perspective of phenomenology and Chinese "image thinking", it is discussed that in the face of concrete creation, we need to invest in our spiritual field, realize the "image" of things with our heart, and extend the time of consciousness of "present" in time dimension. From the above three angles, this paper probes into the mode of place construction under the aesthetic experience of "presence".
【學位授予單位】：中國美術學院
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：B83

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