Constellation as the term in art

星座作为艺术术语

基本信息

批准号：
12610058
负责人：
MAEDA Fujio
金额：
$ 2.05万
依托单位：
Keio University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2000
资助国家：
日本
起止时间：
2000 至 2001
项目状态：
已结题

项目摘要

Although "constellation" is the concept which is not examined neither in science of arts nor in the history of fine arts, we cannot but regard it as the important device which supports a modern artwork and a making theory(poietique) with the concepts of "composition" and "construction". This concept did gain special positioning in the psychology involving the memory from the end of the 19th century, and Jung's psychoanalysis study of the 1910s, but late in the 1920s it will be recognized as the concept on important paradigm, and critic Benjamin will also use this concept as methodology, and Hans Arp and the artists of Bauhaus will add it to the battleline of contemporary making theory. In this article, the work activities about 1930 of Paul Klee are taken up with Hans Arp, and the meaning of constellation concept is clarified.Constellation as making arrangement is a procedure which limitizes in self-reference with the level of the artistic intention and activity which bring about aspectual conversion and aspectual formation, switches the process of the work till then to an another kind of process, and carries out "re-starting" to the new poietic work. It is not negation of work although such re-starting is a self-reference-act unlike composition or construction. It is exactly the emergence, arrangement conversion, called "metamorphosis" with the morphological level rather. We explicates the psychological memory theories of Fr.Lotmar, Klee's friend, and O.Selz, the Jung psychology, and the plastic experiments by the Bauhaus artists.

虽然“星座”这个概念在艺术科学和美术史中都没有被考察过，但我们不能不把它视为支撑现代艺术作品和创作理论（poietique）的重要手段。组成”和“构造”。这个概念从19世纪末开始，在涉及记忆的心理学和1910年代荣格的精神分析研究中确实获得了特殊的地位，但到了20年代后期，它才被认为是重要范式上的概念，批评家本雅明也将使用这个概念作为方法论，汉斯·阿尔普和包豪斯的艺术家们将把它加入到当代制作理论的战线中。本文以汉斯·阿尔普和保罗·克利1930年左右的作品活动为切入点，阐明了星座概念的含义。星座作为一种安排，是一个以艺术意图和活动水平限制自我参照的过程。从而带来了形态的转换和形态的形成，将此前的作品进程切换到另一种进程，对新的诗歌作品进行“重新出发”。这并不是对工作的否定，尽管这种重新开始是一种自我参照行为，与组合或构造不同。它正是这种出现、排列的转换，与形态层面上的“变形”相当。我们阐述了克利的朋友洛特马神父和奥塞尔兹的心理记忆理论、荣格心理学以及包豪斯艺术家的造型实验。