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声音作为感知的媒介既是一种载体,也是内容。从声音的发出到被聆听之间是一个感知的过程,对这个过程的理解和建构也是对感知美学的探讨。我们的立论,在于将这个感知的美学建构本身视为一种政治过程——声音/聆听是政治的——就如朗西埃所说的美学政体(regime)的“感知分配”(partage du sensible),简言之·谁能决定谁可以发声,谁可以被听见、如何被听见,谁不能被听见或无法被听见。关于声音的政治,其实是一个抽象的大题目,这次的讲座里,我们想把它缩小到比较具体的,从台湾的文本案例来谈声音的政治如何在一个社会空间里面运作,它牵涉到我们如何谈论关于国家的、意识形态的、或甚至当下消费时代中的文化治理。先简单说明“社会空间”的概念,比如在现在这个演讲场域里,讲者在讲台上,听者在台下,我们之间存在一种关系,演讲厅可以只是一个空间、物理的形式,但在这讲者与听者的关系中,当下这个空间里面隐藏着社会性的文本,和历史过程的复杂建构,足以让我们在此时此刻认同/不认同这个空间的政治,或接受/不接受这样的关系与形式。
As a medium of perception, sound is both a carrier and a content. It is a perceptual process from the sending of the sound to being listened to. The understanding and construction of this process is also a discussion of perceived aesthetics. Our argument is that this perceptual aesthetics is itself construed as a political process - sound / listening is political - as Lancey calls the partage of the aesthetic regime (partage) du sensible, in short, who can decide who can say something, who can be heard, how to be heard, who can not be heard or can not be heard. The politics of sound are actually an abstract big topic. In this talk, we want to narrow it down to a more concrete one. From the Taiwanese text case, we discuss how the politics of sound operates in a social space. It involves How do we talk about cultural governance in the national, ideological, or even current consumer age. First, the concept of “social space” will be briefly described. For example, in the present speech field, the speaker is on the podium, the listener is under the stage, and there is a relationship between us. The lecture hall can be just a space and a physical However, in this relationship between the speaker and the listener, the hidden social text and the complicated construction of the historical process in the present space are enough for us to agree or disagree with the politics of this space at this moment or to accept / Do not accept such relations and forms.