(不）令人讚賞的靈光對象：數位獨體化時代的藝術研究

Abstract

本論文旨在探討在現今的這個獨體跨個體且集體地透過智慧型手機或平板電腦等行動數位裝置的數位使用將自己與其他獨體區辨開來的這個數位獨體化時代所具有的狀態和命運，及其所具有的可能性。我們可發現獨體對智慧型手機或平板電腦等行動數位裝置進行數位使用，並開展數位獨體化時的使用者經驗與席蒙東和黑格爾所談論的意識經驗邏輯間的呼應性。透過席蒙東所謂的「轉導」的方法論操作和梅洛—龐蒂的知覺概念的中介，在獨體透過行動數位裝置的前端、應用程式和後端解決在世存有問題，或進行數位獨體化的過程中，我們進一步發現的是某種從主觀精神、客觀精神，到絕對精神的這個黑格爾式的邏輯，以及獨體所賦予數位技術物件和自身的「表面—軀體」、「小工具—強迫者」和「場所—轉化者」的這三組位相。因此，在這個獨體跨個體且集體進行著數位獨體化的時代中，藝術和藝術作品（在數位獨體眼中）基本上是不同於班雅明所說的「沒有靈光的物件」，也並非葛羅伊斯所說的「沒有物件的靈光」，而基本上是以某種「令人讚賞的靈光對象」的姿態進行顯現的。正是面對藝術和藝術作品在今天早已成了某種「令人讚賞的靈光對象」的狀況，包括托瑞爾、劉和讓、陳界仁和高重黎這四位藝術家才會各自透過他們的藝術創作使某種真正的藝術靈光得以在其中出現。但因為使藝術和藝術作品以「令人讚賞的靈光對象」的姿態出現的可能性條件乃是獨體在今天跨個體和集體進行的數位獨體化，所以托瑞爾、劉和讓、陳界仁和高重黎這四位藝術家使真正的藝術靈光出現的實踐基本上還是無法對獨體帶來真正的影響和轉化的可能的。就此，我們所需要的乃是某種以「不令人讚賞的靈光物件」為大方向，以與「間歇性」對抗的「內歇性」為方法，以及以「機靈論」或「靈機論」為實踐策略的某種未來的藝術和美學實踐。

This thesis aims to explore the state, the destiny, and the possibility of art and art work in the age of digital individuation in which the individuated individuals transindividually and collectively differ themselves from the other individuated individuals by digitally operating the mobile digital devices such as the smartphone and the tablet. We discover the correspondence between the user experience the individuated individuals have when they make digital individuation possible by digitally operating the mobile digital devices and the logic of the experience of consciousness the philosopher Gilbert Simondon and G.W.F. Hegel provided. By applying the method of “transduction” Simondon provided and the mediation of the concept “perception” Maurice Merleau-Ponty presented, we can see the Hegelian logic which is composed of the spiritual movement from subjective logic to the absolute idea or absolute logic (via objective logic) and the system of phase and phase-shift which is constructed by three couples of phases such as “body-surface”, “forcer-gadget”, and “changer-place” the individuated individuals give to the digital technical object and themselves. Owing to this, art and art work are not only not considered as the “object without aura” Walter Benjamin mentioned, but also not considered as the “aura without object” Boris Groys presented. Art and art work are considered as the “admirable auratic ob-ject” in the age of digital individuation. What the contemporary artists such as James Terrell, Liu Ho-jang, Chen Chieh-jen, and Kao Chung-li face is exactly the situation of the “admirable auratic ob-ject”; they have created the real artistic aura in this situation. However, due to the fact that the condition of possibility of the birth of art and art work as the “admirable auratic ob-ject” is the digital individuation the individuated individuals transindividually and collectively undergo, the artistic creation James Terrell, Liu Ho-jang, Chen Chieh-jen, and Kao Chung-li presented are no use for the real becoming and transformation of the digitally individuated individuals. Henceforth, what we need is the artistic and aesthetic practices-to-come that takes the “unadmirable auratic ob-ject” as the goal, the against-the-intermittence “enmittence” as the method, and the “animachinism” or the “machanimism” as the strategy of practice.