何为今日之摄影? -摄影的政治本体论及一种现象学解读

陈国森; CHEN Guosen

doi:10.48014/aas.20250519001

何为今日之摄影? -摄影的政治本体论及一种现象学解读

What Is Photography Today? -The Political Ontology of Photography and a Phenomenological Interpretation

艺术学研究进展 2025年第2卷第2期页码[218-230] 下载全文[3.3MB]

摘要

阿祖莱的摄影理论从“摄影是什么”这个根本问题出发, 注意到了摄影在作用于生活一事上与摄影大规模普及之前的极大不同。这一角度在国际学界已广为接受, 但在倾向于以形式主义方法考察摄影的国内学界还尚鲜为人知。通过对阿祖莱的核心作品进行阐释, 并将之导向一种现象学解读的方式, 可以揭示如此一个问题: 摄影为何之于当代现实经验如此重要?阿祖莱的摄影政治本体论以“公民”概念为锚点, 一面指向作为压迫的“政权制造的灾难”, 另一面则指向作为解放的摄影的公民契约。其观点核心在于围绕政治认同和多元性展开的对一个可欲世界的“公民想象”, 因此其摄影界定也走出了单极化的主体哲学范式。通过转向对他者 (被摄者) 的主体身份的伸张, 阿祖莱在其“摄影的全体公民”内勾勒出了摄影所带来的一种去主权的多元对话的可能性。由于“摄影事件”的发生, 摄影的全体公民都已经成为经由了摄影媒介的关系性存在, 分享着彼此基于个别的特殊兴趣世界所构成的视域, 这种分享本身就是一种现象学意义上的对指引的中断, 而由此去设想一种新的共同体生活也具备了可能性。

Abstract

Azoulay' s photography theory starts from the fundamental question of “hat is photography?” and notes that photography' s effect on life is very different from that before the mass popularity of photography. This perspective has been widely accepted in the international academic community, but it is still relatively unknown in the domestic academic community, which tends to investigate photography using a formalist approach. This article interprets Azoulay' s core works and guides them towards a phenomenological interpretation, to reveal a question: why is photography so important for contemporary real-life experience? The political ontology of Azoulay' s photography is anchored in the concept of “citizenship, ” pointing to the “regime-made disaster” as oppression on the one hand, and the civil contract of photography as liberation on the other. The core of his view lies in the “civil imagination” of a desirable world centered around political identity and diversity, and therefore his definition of photography also moves away from the unipolar subject philosophy paradigm. By turning to the assertion of the subject identity of the other (the photographed) , Azoulay outlines within his “all citizens of photography” a possibility for a pluralistic dialogue without sovereignty brought about by photography. As a result of the “photographic event”, all citizens of photography have become relational beings through the medium of photography, sharing each other' s horizons based on individual, particular interests. This sharing itself is a phenomenological interruption of guidance, and it is thus possible to conceive of a new kind of communal life.

DOI

10.48014/aas.20250519001

文章类型

研究性论文

收稿日期

2025-05-19

接收日期

2025-06-24

出版日期

2025-06-28

关键词

公民契约, 摄影的全体公民, 摄影本体论, 公民想象力

Keywords

Civil contract, all citizens of photography, ontology of photography, civil imagination

作者

陈国森

Author

CHEN Guosen

所在单位

复旦大学哲学学院, 上海 200433

Company

School of Philosophy, Fudan University, Shanghai 200433, China

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参考文献

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引用本文

陈国森. 何为今日之摄影? —摄影的政治本体论及一种现象学解读[J]. 艺术学研究进展, 2025, 2(2): 218-230.

Citation

CHEN Guosen. What is photography today? ———the political ontology of photography and a phenomenological interpretation[J]. Advances in Art Science, 2025, 2(2): 218-230.