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艺术论文：情境理论

Arts Dissertation - Situationist Theory

情境主义是从Letterist运动中逐步形成,在上个世纪中叶,它设置本身反对两个其他政治动机组:Dadism和Surreallism。情境主义,然而只是顺便提一下政治,而不是颠覆艺术世界,只为了重新设计其语境,包括公众的态度,因此艺术可以成为任何人都可以做或享受的事情,并融入日常生活中。从历史上看,艺术的努力降低了资本主义的内部结构，这是非常不幸的。艺术家们发现自己被忽略,鄙视,压垮或许更糟的辅助程序去政治议程。艺术家和作家必须比以往更加努力地去想出反对或揭露资本主义的欺骗手段,但许多评论家似乎已经得出结论,这是几乎不值得打下去的战役。我们应当看到,让·鲍德里亚认为,对现状的批评可能不再是通过艺术和文学,唯一有效的方法是从不同资本主义社会进行自杀.

“现代艺术的愿望是消极的,关键的,创新和永恒的超越,以及立即(或几乎)同化、接受、综合的、消耗。一个必须交出的证据:艺术不再是竞赛，即使曾经它是。反抗是孤立的,诽谤是被消耗。”

因此欧洲先锋派运动使艺术家处于压力下，并表现出一定的个性,同时矛盾的是，作为一个制作人,思想是丰富的,政治且反动的制片人,“有很多说话,不是关于改革或迫使启蒙运动去达到自己的理想,而是批发否定革命,另一个新感性,现在自我肯定或自我创新,而不是普遍主义者或理性的内部其实涵蕴著丰富的批判能量。这反过来说明艺术家非常出色的角色，其想象力很可能创建或塑造出了文明的情感”。

When Situationism evolved from the Letterist movement, in the middle of the last century, it set itself up in opposition to two other politically motivated groups: Dadism and Surreallism. Situationism, however, was only incidentally political, and rather than subverting the art world, aimed only to redesign its context, including the attitudes of the public, so that art could become something anyone could do or enjoy- something integrated into everyday life. Historically, art's efforts to bring down capitalist structures from within have been very ill-fated, with artists finding themselves ignored, scorned, crushed or  perhaps worse- accessories to political agendas. Artists and writers must work harder than ever to devise means of opposing or exposing capitalism's deceptions, but many commentators appear to have reached the conclusion that the battle is barely worth fighting. As we shall see, Jean Baudrillard argues that criticism of the status quo is no longer possible through art or literature and that the only efficient way of dissenting from capitalist society is to commit suicide.

'Modern art wishes to be negative, critical, innovative and a perpetual surpassing, as well as imMediately (or almost) assimilated, accepted, integrated, consumed. One must surrender to the evidence: art no longer contests anything. If it ever did. Revolt is isolated, the malediction consumed.'

Thus the avant-garde movements in Europe put the artist under pressure to exhibit a certain individuality, while also rather contradictorily- being a producer, and as prolific, political and reactionary a producer as possible,'There is a lot of talk, not about reform or forcing the Enlightenment project to live up to its own ideals, but about wholesale negation, revolution, another new sensibility, now self- affirming or self-creating, rather than a universalist or rational self-legitimation. This in turn suggests a tremendously heightened role for the artist, the figure whose imagination supposedly creates or shapes the sensibilities of civilization'.

In a sense, the avant-garde has been socially commissioned to forecast the future, to scouting out new intellectual terrain,

'Aesthetic modernity is characterized by attitudes which find a common focus in a changed consciousness of time... The avant-garde understands itself as invading unknown territory, exposing itself to the dangers of sudden, shocking encounters, conquering an as yet unoccupied future. The avant-garde must find a direction in a landscape into which no one seems to have yet ventured'

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