年代学 Chronology

[2010/04/04 01:08 | 分类: Articles | by lizhenhua ]
年代学

年代学是一本小书,零散的记载着作者对艺术的解答,丹尼尔给出的时间线索和阐释机制非常的有趣,因为他在试图将年代学盖上现象学的烙印,这一作者认知上的解释也完全符合现象学所能提供的“現象學發現的偉大之處並不在於那些實際獲得的、可估價和可批判的結果,而是在於它就是對哲學中的研究可能性的發現。”-海德格爾在1925年的「現象學基本問題」。
从另外的方面,丹尼尔的研究和论述则来自对电影、录像这一系统认知的解释维度,其中涉及到来自本雅明、德勒兹的理论的认识方式和方法。年代学更加贴近的是来自60年代末期之后的对当代艺术发展的新发现,大量的涉及电影、录像及媒体艺术,这多少让我们开始认识到当代在媒介上的提示。我给很多人推荐此书,因为这本书很好的帮助我们跨越那些来自思想家、哲学家的大部头著作中的裂缝,汇集着如潺流的认知的精髓。
这一关于知识的问题,一直萦绕着我,因为我们很难在这一如此丰富的世界和知识之间找到某种逻辑和联系,往往是像丹尼尔、汪晖这样的人可以为我们提供一个如此庞杂却又如此精微的知识的线索,这解答了那些我所遇到的困窘,这些困窘来自将当代的现象与过去的知识体系的对应,来自将过去发生的强加给当代的某些时间上的传递关系,来自某些似是而非的对过去或者未来的猜度和影射。这本书在这个方面为我可以摆脱困窘和继续前行提供了某种可能,这一可能来自不拘泥于那些已存在的知识的体系,以及时间的关系。而是将这些知识的体系与时间重叠在同一的平面之下,这所能够帮助的是关于理解知识体系与时间的关系,恰逢其时的为我们提供了解读当代艺术和文化的特殊的多样性。
作者在这本书中优美的词句也是打动我的关键,这些对作品的详尽的描述和阐释,增加了艺术家作品与观者的亲密感,艺术作品和读者之间的意会。还有那些来自更加深层的针对作品中出现的场景的联想,艺术家对作品的复述,以及那些如诗的语句,都为文本提供了一种潜在的力量和温婉的学者风范,我们是否将通过这一如此艰涩、诗意、多样的小路,去探寻那些我们可能认知的,艺术家所能够提供的微妙的世界观?
当然作者并非来自科学、技术方面的经验,对我们从另外的线索认识艺术的可能有些许的障碍,但是这并不防碍我们继续探索认识的可能,这本书如同一个已经被开启的泉,喷涌而出的也需要我们去探索和发现。
让我用书中的一句话来结束这篇小文:“天空中闪烁着明灯,是眨眼的星星,还是放光的航船?不止一处,好多好多……有人(物)会来吗?”

李振华
2010年3月20日

Chronology

“Chronology” is a small little book, recording answers of the author to arts in dribs and drabs. The timeline Daniel offered and the mechanism of his interpretation is very interesting, because he’s trying to mark chronology with phenomenology. This explanation to the author’s cognition corresponds perfectly with what phenomenology could provide, “the greatness of the discovery of phenomenology doesn’t lie in those actual-attained, appraisable or criticizable achievements, but in that, it itself is the discovery about the possibilities of philosophic researches.”--- Heidegger, Fundamental Problems of Phenomenology, 1925.

From other aspects, Daniel’s research and exposition came from the cognitive dimensions of explanations to the film, video system, relating to the ways and methods of cognition according to the theories of Benjamin and Deleuze. Chronology is closer to those new discoveries of contemporary arts’ developments in the late 60s. With a large quantity ranging over films, videos and media arts, it more or less makes us begin to notice the hints of the contemporary era on media. I recommended this book to many people, because this book helps us favorably bridge the gab among most of the masterpieces from ideologists and philosophers, bringing the rippling streams of cognitive essence together.

This question about knowledge has been haunting me, since we could hardly find any logics or connections in such a lot of world and neither in such a fund of knowledge. More often than not, people like Daniel and Wang Hui can provide us with such a huge and complicated but rather elaborate knowledge line. This cleared up the embarrassment I encountered, that came from the correspondence of the contemporary phenomena and the bypast knowledge system; from the transitive relation of imposing the past on some certain time of the contemporary; from some specious conjectures and innuendos about the past or the future. In this respect, this book provides me with some certain possibility to get over the embarrassments and keep moving forward. This possibility breaks through those already existed knowledge systems and the relation of time, making them overlapping under the same plane. This is helpful for understanding the relation between knowledge system and time, providing us with the special diversity of contemporary arts and culture at the exact point.

The beauty and charm of the language in this book count as another key point that touches me. The detailed descriptions and interpretations of works make artistic masterpieces closer to the audience and enhance their ability to understand by insight.
Furthermore, those associations of the scenes in the works from deeper sense, those restatements of artists about their works and those poetic sentences have all provided the texts with a kind of potential power and the gentleness of true scholarliness. Will we thread our way through such an intricate and obscure, poetic and diverse path to search for a subtle worldview that we might cognize and the artists could offer?

Of course, the experience that doesn’t derive from science or technique might hinder us a bit from understanding art from other clues, but this does not lessen the possibilities for us to continue questing for cognition. This book is like an unsealed well, the spewed-out also awaits us to explore and discover.

To end this article, I’d like to quote one sentence from this book “bright lights twinkling in the sky, are they the winking stars or the shimmering boats? Not only one, there are plenty…Will someone (something) appear?”

Li Zhenhua
Mar. 20, 2010


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