韦尔施论两种“审美化”

韦尔施的《重构美学》作为当代中国日常生活审美化论争的一个主要西方理论资源，其日常生活和认识论两个层面上的审美化思想，多为中国学者忽略。韦尔施以日常生活审美化为后现代消费社会的一种文化必然，视欲望快感和经济策略为其动因，只具有浮光掠影的肤浅价值。故公共空间中的艺术不应在先已被高度审美化的语境中锦上添花，反之可以表现叛逆和崇高。所谓认识论的审美化，是指美学公认的一些基本特征如直观形式、建构性、可操纵性、歧义性等，不仅是艺术的专利，而且变成了现实认知的基本范畴。韦尔施将这一传统上推到康德和尼采，应是显示了用以美学为代表的后现代文化来解构以科学为代表的现代性的苦心，它虽然或者多半只是后现代主义鼎盛时期的一种美学乌托邦，然从日常生活审美化到认识论审美化的区分、辨析和升华，对于日常生活审美化本身的认知，以及对于重构美学的思路，都可谓意味深长。

Welsch's Study of the Two Kinds of "Aesthetics"

Welsch＇s Undoing Aesthetics is a Chinese daily life aesthetics in western countires, main theoretical source of the discussion about the present but its aesthetic thinking on the two levels of daily life and cognition is often neglected by Chinese learners. Welsch took daily life aesthetics as a cutural necessity of the post-morden consuming society, taking desire, pleasure and ecnomic sratege as its motive. This is of superficial value. Therefore, arts in public space should not add more beauties to a context which had already had a high level of aesthetics, but express its rebellion and virtue. The so-called aesthetics of cognition refers to some basic characteristics generally aknowledged by aesthetics, such as, visual form, construction, manipulation and ambiguity,ect.h is ont only the patent of arts but the basic category of the realistic cognition. Welsch attributes this tradition back to Nietzsche and Kant, which shows the efforts to use the post-modern culture represented by aesthetics to undo the modernism represented by science.Though this is or almost is an aesthetic Utopia in the flourishing period of post-modernism, it is very meaningful in the distinction, analysis, and promotion of aesthetics from daily life level to cognition level as well as in the thinking of undoing aesthetics.