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題名:「不做藝術」之術: 後歷史藝術之內在性平面的提問機器
作者:趙世琛 引用關係
作者(外文):Chao, Shih-Chen
校院名稱:國立臺南藝術大學
系所名稱:藝術創作理論研究所博士班
指導教授:陳瑞文
龔卓軍
學位類別:博士
出版日期:2016
主題關鍵詞:不做藝術後歷史藝術藝術終結內在性平面提問機器永恆回返not doing artpost-historical artthe end of artplane of immanencequestioning machineeternal return
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西元二○○○年後謝德慶宣稱「不再做藝術」的狀態,是此研究的起點;本論文從此切入,企圖探討藝術於當代的複雜性。
這些複雜的課題,一定程度的顯露出丹托所言,「後歷史藝術」的諸多徵兆。因此,本論文以一九六四年丹托與沃荷作品《布瑞洛箱》之相遇,作為一象徵性的起點。並以相關文本與事件為基礎,探討「後歷史藝術」的相關問題。方法論上,將以德勒茲與瓜達里在《何謂哲學?》中對「內在平面」與「概念」交互關係之闡釋,作為研究的主要策略,以此組裝所謂的「提問機器」(questioning machine)。
藝術於當代,從「做什麼藝術」這問題出發,似乎已無法掌握其複雜性。因此,本論文計劃試圖從「不做藝術」這一反面表述著手。希冀重新展開藝術於當代之相關問題。所有問題,事實上都導向「不做藝術」這「終極沉默之術」的「內在平面」究竟為何?沒有這張「內在平面」,「沉默」就無法說話,而「不做藝術」也就不可能。
簡而言之,本論文最核心的問題是:在怎樣的「內在平面」上,我們能「不做藝術」?以及,「不做藝術」與我們在生命和藝術的「實際性」又是什麼?
In 2000, Teching Hsieh announced that ‘I will not do art any more’. This situation is the origin of my study. Based on this statement, my dissertation attempts to discuss the complexity of contemporary arts.
This contemporary complexity significantly displays the symptoms of what Arthur Danto termed as ‘post-historical arts’. For this reason, this dissertation uses the encountering of Danto and Andy Warhol’s ‘Brillo Box’ (1964) as the starting point; I will study the contemporary arts events and documents to discuss the questions of ‘post-historical art’. The methodology of this dissertation will be the ‘plane of immanence’ and the ‘concepts,’ which Gilles Deleuze and Pierre-Félix Guattari interpreted in What is Philosophy? The relation between the unfolding of the ‘plane of immanence’ and the creating of the ‘concepts’ will be the main tactics of my study, and by this method, I will constitute my ‘questioning machine’.
To grasp the complexity of arts in present time from the question of ‘doing art’ seems no longer possible. Thus, this dissertation will try to undertake from the reversed side—‘not doing art’, and attempt to re-explore the questions of contemporary arts. All the questions point to the ‘extreme silence technique’ of ‘plane of immanence’ and the tactic of ‘not doing art’. Without this ‘plane of immanence’, silence does not make statements, and ‘not doing art’ is impossible.
Briefly, the main question of this dissertation is: on what ‘plane of immanence’ are we capable of ‘not doing art’? And what is the authenticity of our life and the arts of ‘not doing art’?
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Danto, Arthur C., The Journal of Philosophy Volume 61,The Artworld , American Philosophy Association Eastern Division Sixty-First Annual Meeting(Oct. 15, 1964).
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Deleuze , Gilles., Francis Bacon: the logic of sensation, trans. by Smith, Daniel W., London: Continuum, 2003.
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Heathfield, Adrian. & Hsieh, Tehching., Out of Now: the lifeworks of Tehching Hsieh, Cambridge: MITpress , 2009.
Kant, Immanuel., Critique of Pure Reason, trans. by J.M.D. Meiklejohn, New York: Dover, 2003
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Kant, Immanuel., Critique of Judgment, , trans. by J.H. Bernard, New York: Dover, 2005
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Nietzsche, Friedrich., The will to Power, trans. by Walter Kaufmann and R. J. Hollingdake, New York: Random House, 1967
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Shakepeare, William., Hamlet: Prince of Denmark, New York: Cambridge University, 1999.
Saiot-Exupery, Antoine de., The Little Prince, trans. by Testot-Ferry, Irene., Hertfordshire: Wordsworth Editions, 1995.
Shelley, Percy Bysshe., Shelley: Selected Poetry and Prose, edited by Macrae, Alasdair D.F., London: Routledge, 1991.
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Warhol, Andy., I'll Be Your Mirror: The Selected Andy Warhol Interview 1962-1978, Edited by Kenneth Goldsmith, New York: Garroll & Graf Publishers, 2004.
Wittgenstein, Ludwig., Philosophical Investigation, trans. by G. E. M. Anscombe, Malden: Blackwell, 2001.



外文中譯書目
Adorno,Theodor W. (阿多諾)。《美學理論》。林宏濤、王華君 譯。臺北:美學書房,2000。
Adorno,Theodor W. (阿多諾)。《否定的辯證法》。峰 譯。重慶:重慶出版社,1993。
Adorno,Theodor W. & Horkheimer, Max.(阿多諾與霍克海默)。《啟蒙辯證法》。林宏濤 譯。臺北:商周出版,2008。
Bürger, Peter.(布爾格)。《前衛藝術理論》。蔡佩君、徐明松 譯。臺北:時報,1998。
Benjamin, Walter.。《發達資本主義時代的抒情詩人:論波特萊爾》。張旭東、魏文生 譯。臺北:城邦,2010。
Danto, Arthur C.(丹托)。《在藝術終結之後:當代藝術與歷史藩籬》。林雅琪、鄭惠雯譯。臺北:麥田,2005。
Danto, Arthur C.(丹托)。《敘述與認識》。周建漳 譯。上海:上海譯文,2007。
Danto, Arthur C.(丹托)。《尋常事物的嬗變:藝術的哲學》。陳岸瑛 譯。南京:江蘇人民出版,2012。
Danto, Arthur C.(丹托)。《美的濫用:美學與藝術的概念》。鄧伯宸 譯。臺北:立緒出版,2008。
Deleuze , Gilles.(德勒茲)。《弗蘭西斯.培根—感覺的邏輯》。董強譯。廣西:廣西師範,2007。
Deleuze , Gilles.(德勒茲)。《法蘭西斯‧培根:感官感覺的邏輯》。陳蕉 譯。苗栗:桂冠,2009。
Deleuze , Gilles.& Guattari , Pierre-Félix.(德勒茲 與 瓜達里)。《何謂哲學》。林長杰譯。臺北:臺灣商務印書館,2004。
Deleuze , Gilles.(德勒茲)。《德勒茲論傅柯》。楊凱麟 譯,臺北:麥田,2000。
Deleuze , Gilles.& Guattari , Pierre-Félix.(德勒茲 與 瓜達里)。《資本主義與精神分裂(卷2):千高原》。姜宇輝 譯。上海:上海書店,2010。
Foucault, Michel.(傅柯)。《古典時代瘋狂史》。林志明 譯。臺北:時報,1998。
Foucault, Michel.(傅柯)。《詞與物》。莫偉民 譯。上海:上海三聯書店,2001。
Frank, Manfred.(法蘭克)。《浪漫派的將來之神:新神話學講稿》。李雙志 譯。上海:華東師範大學,2011。
Greenberg, Glement.(葛林柏格)。《藝術與文化》。張心龍 譯。臺北:遠流,1993。Greenberg, Glement.(葛林柏格)。《藝術與文化》。沈語冰 譯。桂林:廣西師範,2009。
Heathfield, Adrian. & Hsieh, Tehching.(亞德里安.希斯菲爾德 與 謝德慶)。 《現在之外:謝德慶生命作品》。龔卓軍 譯。臺北:典藏,2012。
Nietzsche, Friedrich.(尼采)。《悲劇的誕生》。楊恆達 譯。上海:鳳凰出版,2007。
Nietzsche, Friedrich.(尼采)。《查拉圖斯特拉如是說》。林建國 譯。臺北:遠流,1989。
Nietzsche, Friedrich.(尼采)。《查拉圖斯特拉如是說 看哪,這人》。楚圖南 譯:北京:時代,2013。
Nietzsche, Friedrich.(尼采)。《瓦格納事件/尼采反瓦格納》。衛茂平 譯。上海:華東師範大學,2007。
Nietzsche, Friedrich.(尼采)。《權力意志(上)》。孫周興 譯。北京:商務印書館,2008。
Nietzsche, Friedrich.(尼采)。《權力意志(下)》。孫周興 譯。北京:商務印書館,2008。
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Nietzsche, Friedrich.(尼采)。《重估一切價值(下)》。林笳 譯。上海:華東師範,2013。
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Sylvester, David.(席爾維斯特)。《培根訪談錄》。陳品秀 譯。臺北:遠流,1995。
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Warhol, Andy.(沃荷)。《安迪‧沃荷的普普人生》。盧慈穎 譯。臺北:三言社,2006。
三島由紀夫。《金閣寺》。唐月梅 譯。臺北:木馬,2003。
大江健三郎。《給新新人類》。賴明珠 譯。臺北:時報,2005。


中文著作書目
張彥遠 。《歷代名畫記》。臺北:臺灣商務印書館,1975。
黃建宏。《一種獨立論述》。臺北:田園城市,2010。new window
陳瑞文。《阿多諾美學:雙重的政治作品》。臺北:五南,2010。new window
陳瑞文。《美學革命與當代徵候》。臺北:臺北市立美術館,2002。new window
陳愷璜。《疲憊與等待之屋》。臺北:國立臺北藝術大學,2006
曾曬淑 著,《思考=塑造:Joseph Beuys的藝術理論與人智學》,臺北:南天,1999。new window
楊小濱。《否定的美學:法蘭克福學派的文藝理論和文化批評》。臺北:麥田,1995。new window
龔卓軍。《身體部署──梅洛龐蒂與現象學之後》,臺北:心靈工坊,2006。new window
龔卓軍。《我們是否工作過量I:工作手冊》。台北:誠品,2013。
龔卓軍。《我們是否工作過量II:田野敘說》。台北:誠品,2013。















 
 
 
 
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