純真美學　代現、全球，無所從來

Aesthetics of Innocence Representation and Globalization ex nihilo

本文從理論的角度，探討西方代現機制（representation）與全球化所牽涉的「存有•知識•美學」這三位一體的關係，目的在釐清歐洲代現文化的基礎與限制，以及全球化在取消這個限制後所陷入的困境。猶太大屠殺一直以來被認為是西方代現的界限，是不可代現（the unrepresentable）的同義詞，但這個不可代現的事件卻在歐洲與美國有著完全不同的發展：歐洲自戰後一直被此事件纏繞著，但美國則似乎完全取消任何不可代現的存在。這個差異除了表現在後現代對生命與歷史等一切事物的全面影像化之外，也反應在歐洲與美國所拍攝的猶太大屠殺電影上。本文回到存有的層面，將此差異連結上罪與純真之間的關係，並據此將討論延伸到無意識機制、全球化知識運作以及相關的美學議題。本文探討拉岡（Jacques Lacan）與佛洛依德（Sigmund Freud）的理論，以說明代現模式與無意識機制之間的同源性，並據此分析古典官能症與當代憂鬱症之間的差異、欠缺與剩餘之間的連結式斷裂、以及罪和超越臨在（Presence）之間的共生關係。此外，本文援引拉岡、儂希（Jean-Luc Nancy）與洪希耶赫（Jacques Rancière）的理論，以解釋全球化的知識結構以及全球化時代的平面介面美學，並說明全球化純真美學與純真影像的意義。本文最後訴諸儂希的「無所從來」（ex nihilo）以及阿甘本（Giorgio Agamben）的「忘知」（a-knowledge）和「雙斷」（suspension of suspension）等概念，嘗試越過代現制與全球化的困境，提出一種建立在「無所從來」上的純真美學。

This essay explores how the trinity of being-knowledge-aesthetics founds the Western culture qua a structure of representation and how globalization bears on the vicissitudes of this trinity. The purpose is to clarify the limitation of this representational structure and to conceptualize the predicament in which globalization finds itself caught up when it desperately attempts to disavow this limitation. The Holocaust has been haunting Europe since the end of WWII and has been taken by critics as embodying the limit of representation. But this unrepresentable event does not seem to affect America, for its total spectacularizaton of life and history amounts to the cancelation of everything unrepresentable. By way of an analysis of this difference as it is revealed in several films on the Holocaust, this essay resorts to the ontological concepts of sin and innocence and looks into the unconscious structure, global knowledge, and related aesthetic issues. Freud and Lacan are brought into discussion in order to explain the homology between representation and the unconscious and to furthermore explicate the difference between classical neurosis and contemporary depression, the binding rupture between lack and excess, and the codependence between sin and transcendent Presence. With regard to globalization, this essay draws on the theories of Lacan, Jean-Luc Nancy, and Jacques Rancière to elucidate the characteristics of global knowledge, the planarity of global interface aesthetics, and the implications of global aesthetic innocence. The last part of this essay turns to Nancy's elaboration of ”ex nihilo” and Giorgio Agamben's concepts of ”a-knowledge” and double suspension in order to untangle the aporia of representation and globalization and to arrive at an aesthetics of true innocence which comes ex nihilo ontologically.