Doubtsein

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存在、時間與當代藝術設計中「從感受出發」的連結

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I. 緒論：存在、藝術與情感交織的線索

哲學家馬丁·海德格爾以其在著作《存在與時間》中對「存在」問題的深刻探討而聞名於世 1。與此同時，當代藝術設計領域也經歷了一場從傳統形式向概念性和實驗性方法的重大轉變 4。在藝術創作的過程中，「從感受出發」的概念扮演著至關重要的角色，它涵蓋了直覺、情感和身體經驗等多個層面 8。本報告旨在探討海德格爾的哲學思想、當代藝術設計以及直覺情感驅動的創作方式之間錯綜複雜的關係與潛在的對話。透過深入分析這些看似不同的領域，我們可以更全面地理解當代藝術設計的本質及其與人類存在的基本問題的關聯。報告將首先解構海德格爾哲學的核心概念，隨後探討當代藝術設計的定義與特徵，進而考察「從感受出發」在藝術創作中的意義，最終分析三者之間可能的影響與連結，並透過案例研究加以闡明。

II. 解構存在：海德格爾《存在與時間》的核心概念

  • II.A. 此在：身處世界與在世界之中
    海德格爾在其哲學巨著中引入了「此在」（Dasein）這一術語，以此取代傳統哲學中關於「意識」或「主體」的觀念，強調人類個體獨特的生存方式 12。海德格爾認為，人類並非獨立於世界之外的觀察者，而是始終「在世界之中」（Being-in-the-world）的存有者。這種「在世界之中」的存在狀態是此在最基本的特徵，它強調個體與所處環境之間不可分割的聯繫，這種聯繫不僅限於物理層面，更涵蓋了實踐和社會的面向 1。此在的本質在於其積極地與世界互動，關注其自身的存在，並投入於各種事務和計畫之中 12。正如研究指出，「在世界之中」的概念與笛卡爾主體觀念截然相反，此在是存在的「那裡」或場所，是其他實體以及自身得以顯現之處 13。海德格爾強調，個體的存在本身就涉及與世界的連結 1。此外，此在並非僅僅是一個與客觀世界互動的主體，而是一種活動，一系列行動的可能性 15。有學者將此在詮釋為能夠理解自身以及周遭事物意義的存在者，透過對自身存在的立場來定義自身 20。
  • II.B. 時間性：存在的視域
    海德格爾認為，時間性（Temporality）是人類存在的基本意義，它並非一個線性的序列，而是理解存在的視域 2。時間性包含三個「時間的超越性」（ecstasies of time）：未來（投向各種可能性）、過去（被拋入世界）和現在（使之呈現）26。此在總是朝向未來投射，同時又承接著過去的「被拋」狀態，並在當下與世界發生關聯 30。海德格爾區分了本真和非本真的時間性。本真的時間性涉及面對自身的有限性，擁抱自身最本己的可能性，特別是面向死亡的存在 1。相反，非本真的時間性則表現為逃避對自身存在的追問，順從於「常人」（das Man）的規範和期望 1。時間被視為理解存在及其各種模式和特徵的基礎 23。事實上，此在本身就是時間，我們是具體化的時間，而對死亡的預期則是時間性意義的終極來源 24。

III. 當代藝術設計的樣貌

  • III.A. 當代藝術的定義
    廣義而言，「當代藝術」指的是由現今仍在世的藝術家所創作的藝術，通常涵蓋了從20世紀末至今的藝術實踐 4。當代藝術具有全球性、文化多元性和受科技影響的特點 5。與之前的藝術運動不同，當代藝術缺乏統一的組織原則或意識形態 7。它挑戰了藝術的傳統定義，並包含了廣泛的風格和方法 4。
  • III.B. 當代藝術設計的主要特徵
    當代藝術設計強調概念性的想法，並質疑藝術本身的本質 4。它具有實驗性，包括使用多樣的媒介、材料和技術 5。當代藝術常常挑戰傳統的美學價值和慣例，旨在激發觀者的思考或引發爭議 5。常見的主題包括身份、身體、科技、全球化、時間和記憶等 6。這種藝術形式不遵循單一固定的目標或觀點，而是擁抱多元、開放的詮釋和內在的矛盾 40。

IV. 感受的優先性：探索藝術中的「從感受出發」

  • IV.A. 情感在藝術創作中的角色
    情感的表達在藝術中具有悠久的歷史意義，尤其是在浪漫主義運動中 8。藝術家運用色彩、形狀和筆觸等多種元素來傳達情感 10。繪畫本身可以被視為情感的釋放或處理生活事件的方式 46。藝術作品不僅在創作過程中融入情感，也在觀看時激發情感。一些藝術家會預先計畫作品要引發觀者的特定反應，而另一些藝術家則允許觀眾產生多樣的感受 46。
  • IV.B. 直覺與潛意識在藝術中的作用
    直覺是藝術創作中重要的引導力量，它往往涉及自發性，並側重於創作過程而非預先設定的結果 8。藝術家有時會追隨他們的「直覺」，讓藝術作品隨著靈感的湧現而成長 8。潛意識被認為是創意和未經濾鏡表達的源泉，尤其是在超現實主義和抽象表現主義等運動中 64。超現實主義旨在將創作過程從理性思維中解放出來，挖掘潛意識的深層領域 68。
  • IV.C. 身體經驗與藝術表現
    身體感受與藝術的審美體驗之間存在聯繫，藝術可以喚起身體上的感覺和情感 11。裝置藝術尤其能調動觀者的身體和身體意識，使其成為藝術作品體驗的一部分 71。觀看藝術作品可以引發多種不同的感受和情緒，即使作品處理的是悲傷或恐怖的主題，人們體驗到的情緒也主要是積極的。身體感受在藝術喚起的情緒中扮演著重要的角色，對藝術作品的身體反應越強烈，觀者體驗到的情緒也越強烈 11。

V. 哲學的回響：海德格爾對當代藝術的影響

  • V.A. 海德格爾對美學的批判
    海德格爾認為，根植於現代主體性的傳統美學，遮蔽了藝術真正的歷史意義 73。他試圖透過現象學的藝術詮釋來超越美學，著重於藝術作品中所揭示的「存在之真理」73。海德格爾批判將藝術視為愉悅或審美對象的觀點，認為這種觀點無法觸及藝術更深層次的本質 73。他主張，偉大的藝術並非再現真理，而是創造真理，它將可能性和限制置於一起，從而產生「真理的澄明」（aletheia）76。
  • V.B. 對藝術理論與實踐的影響
    海德格爾的「此在」、「時間性」和「本真性」等概念，對藝術理論產生了深遠的影響，並啟發了許多當代藝術家 3。例如，約瑟夫·科恩的展覽「此在」便直接借用了海德格爾的哲學術語，旨在讓觀者沉浸在畫廊的物理環境中，從而拋棄對繪畫的先入為主的觀念 89。藝術家安塞姆·基弗的作品也與海德格爾的思想產生了智識上的共鳴，特別是在藝術揭示世界真理的能力方面 90。海德格爾的哲學被認為是現代西方藝術的意識形態根源之一，深刻影響了現代藝術的形成和發展 86。

VI. 藝術作為存在的探 inquiry：透過當代設計探索「存在」

  • VI.A. 當代藝術中存在的表現
    當代藝術家透過其作品探索存在、人類處境和現實的本質等主題 43。他們使用非傳統的材料和呈現方式，挑戰觀者對熟悉事物和概念的認知 91。當代藝術被視為日常生活的藝術，是當前現實的反映，它揭示了人們的日常生活經驗，並為了更大的自由而超越了美學規則 43。藝術家小林孝亘的作品以日常物品如器皿和枕頭為主題，透過細緻而樸實的筆觸，揭示了熟悉事物中潛藏的非凡特質，並邀請觀者反思存在本身的深刻奧秘 92。
  • VI.B. 當代藝術中的時間與時間性
    當代藝術家在其設計中融入了時間、時間性和存在流逝的主題 96。短暫藝術（Ephemeral art）透過其註定消失的狀態，突顯了存在的短暫性，這可能呼應了海德格爾的「向死而生」的概念 96。艾米·卡爾的互動藝術裝置《存在之谷的回聲》邀請參與者思考其生物和數位遺跡如何在時間和空間中迴盪，探討了生命的無常和生物數位來世的可能性 97。威尼斯建築雙年展的「時間、空間、存在」展覽，也持續探索建築如何塑造我們與時間流逝、所居住空間以及自身存在的關係 98。

VII. 直覺的體現：「從感受出發」在當代藝術的物質性與形式中

  • VII.A. 物質性與情感共鳴
    當代藝術中材料的選擇和運用，往往反映了一種直覺性的、基於感受的方法，從而喚起特定的情感或感覺 10。藝術家有時會使用非傳統的或看似「無用」的材料，以挑戰傳統的美學期望，並傳達更深層次的意義 39。例如，畫家會使用報紙碎片作為畫布的背景，雕塑家則會利用廢棄物創作「垃圾藝術」39。安塞姆·基弗的作品中，對材料的操控（例如使用火焰噴射器和熔融金屬）成為其藝術實踐的關鍵部分，直接涉及作品的物質性 90。
  • VII.B. 形式、空間與具身經驗
    當代藝術，尤其是裝置藝術中的形式和空間佈局，往往受到直覺的驅動，旨在為觀者創造特定的具身經驗 5。建築和設計領域的現象學方法，強調感官體驗，並創造能與人類情感產生共鳴的空間 109。例如，裝置藝術透過其沉浸式和參與性的特點，被認為需要運用和意識到身體，這可能構成藝術作品體驗和欣賞的關鍵部分 71。建築現象學則強調個人如何感知和與周圍的建築環境互動的感官和體驗方面，旨在設計出能與人類經驗產生共鳴並調動感官以引發深刻情感反應的空間 109。

VIII. 反思與直覺的對話：連結海德格爾與創作衝動

  • VIII.A. 海德格爾與思維的本質
    海德格爾區分了計算性思維和沉思性思維。他認為，沉思性思維與神秘相連，並允許開放性，這可能更符合直覺性的創作過程 3。沉思性思維要求我們不要片面地執著於單一的想法，也不要沿著單一的思路前進，而是要與乍看之下毫不相關的事物互動 116。這種思維方式需要持續的、勇敢的思考才能發展 116。
  • VIII.B. 直覺作為一種揭蔽的方式
    藝術中直覺性的「從感受出發」的方法，可能是一種揭示存在或真理的方式，這與海德格爾的「真理的澄明」（aletheia）的概念相符 3。藝術，特別是偉大的藝術，並非再現「真理」，而是創造真理，它將可能性和限制置於一起，從而產生真理的澄明 76。直覺在藝術創作中扮演著重要的角色，它可能引導藝術家以一種超越有意識反思的方式，觸及對存在的更深層次的理解。

IX. 案例研究：交匯點上的藝術家與藝術作品

  • 案例研究一：約瑟夫·科恩（Joseph Cohen）的「此在」
    約瑟夫·科恩的系列作品「命題」主要以單色畫板為主，是對當代世界繪畫物理性的深思熟慮。他的展覽「此在」直接借用了海德格爾的哲學術語，表達了藝術家希望觀者沉浸在畫廊的物理環境中，從而拋棄對繪畫的先入為主的觀念的願望 89。科恩的作品透過其獨特的創作過程，在藝術家、作品和觀者之間建立了一種親密的關係，試圖在快節奏的當代生活中重新獲得一種常常失去的親密感和反思性 89。
  • 案例研究二：菲利克斯·岡薩雷斯-托雷斯（Félix González-Torres）的糖果裝置
    岡薩雷斯-托雷斯以日常材料創作了一系列感人的裝置作品，探索愛、失落和記憶等深刻的主題。他的作品《無題》（洛杉磯的羅斯肖像）由一堆單獨包裝的糖果組成，直接放置在畫廊的地板上。糖果最初的重量對應於他因愛滋病相關併發症去世的伴侶羅斯的健康體重。觀者被邀請拿走裝置中的糖果，隨著糖果堆的減少，它像徵性地代表了羅斯因疾病而導致的身體衰弱和體重減輕 96。這件作品以其短暫性和對死亡的直接指涉，與海德格爾關於時間性和面向死亡的存在的概念產生了深刻的共鳴。
  • 案例研究三：阿爾瓦·阿爾托（Alvar Aalto）的建築設計
    芬蘭建築師阿爾瓦·阿爾托的設計理念與海德格爾關於「居住」的哲學思想產生了共鳴。海德格爾認為，真正的居住不僅僅是物理上的棲息，更是一種與場所和存在的深刻連結 115。阿爾托的建築設計強調與自然環境的融合，以及對居住者身心福祉的關懷，這與海德格爾強調人與環境之間本真關係的觀點相呼應。阿爾托對材料的運用和對空間氛圍的營造，也體現了一種直覺性的、基於感受的設計方法，旨在創造出能引發情感共鳴並提升居住體驗的空間 118。

X. 結論：邁向對存在、藝術與創造性自我的更深理解

總而言之，海德格爾的存在現象學為理解當代藝術設計的概念性和體驗性維度提供了一個寶貴的框架。他的核心概念，如「此在」、「時間性」和「本真性」，與當代藝術對存在、時間和人類處境的探索產生了深刻的共鳴。同時，「從感受出發」的創作方式，強調了直覺、情感和身體經驗在藝術創作中的重要性，這與海德格爾對「情緒性」（disposedness）和前理論理解的強調不謀而合。透過案例研究可以看出，當代藝術家有意識或無意識地與海德格爾的哲學思想進行對話，透過其作品探索存在的根本問題，並運用直覺性的方法來塑造藝術的物質性和形式，從而創造出能引發觀者深刻體驗和反思的作品。哲學與藝術之間的持續對話，以及對這些交織領域的進一步探索，將有助於我們更深入地理解人類存在、藝術的本質以及創造性自我的奧秘。

表 1：海德格爾的核心概念及其與當代藝術的潛在關聯

海德格爾核心概念 概念簡述 與當代藝術及「從感受出發」的潛在關聯
此在（Dasein） 人類個體獨特的生存方式，強調「在世界之中」的存在狀態以及與環境的積極互動。 當代藝術挑戰傳統主客體二分，藝術家與作品的關係更趨整合；強調藝術創作和欣賞與個體的存在和關注相關。
在世界之中（Being-in-the-world） 此在最基本的特徵，強調個體與所處環境之間不可分割的聯繫。 當代藝術探索個體在世界中的位置和經驗；裝置藝術創造沉浸式體驗，強調身體在藝術感知中的作用。
時間性（Temporality） 人類存在的基本意義，理解存在的視域，包含未來、過去和現在三個時間的超越性。 當代藝術探索時間、流逝和死亡的主題；短暫藝術直接表現存在的短暫性；藝術創作的過程性與時間性相關。
本真性（Authenticity） 面對自身的有限性，擁抱自身最本己的可能性，特別是面向死亡的存在。 當代藝術中真誠的表達和對基本問題的探 inquiry；藝術家挑戰社會規範，追求獨特的創作道路。
非本真性（Inauthenticity） 逃避對自身存在的追問，順從於「常人」的規範和期望。 當代藝術中對主流趨勢和商業壓力的反思；質疑藝術的商品化和形式化。
向死而生（Being-towards-Death） 面對自身終有一死的有限性，以此來理解和珍惜當下的存在。 當代藝術探索死亡、脆弱和生命的意義；短暫藝術以其消逝性提醒人們珍惜當下。
情緒性（Disposedness/Befindlichkeit） 此在發現自身處於特定情緒或感受狀態的方式，是存在於世界的基本方式。 藝術作品的情感表達與觀者產生的情感共鳴；藝術家透過情感來理解和表現世界。
前理論理解（Pre-theoretical understanding） 在有意識的反思之前對存在和世界的直接、非概念性的理解。 藝術直覺可能是一種前理論的、直接的與存在的連結；藝術創作中直覺的引導作用。
真理的澄明（Aletheia） 真理作為一種揭蔽的過程，使存在者得以顯現。 藝術作為一種揭示真理的方式，透過作品呈現對存在的不同理解；直覺性的創作可能是一種揭示真理的方式。

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