當代的立即性轉向：拉圖與哈曼

The Contemporary Turn to Immediacy: Latour and Harman

本文除了試圖導介拉圖；哈曼的學思精隨，更提議以兩人為例，討論當代思想；文化朝往立即性／無媒介性趨近的發展。哈曼在早期著述中，展現了對媒介性充分的敏銳度，使他的物導向本體論相對細膩；及至後期，尤其當他開始發展藝術理論，他對媒介概念顯然逐漸失去興趣，思辨似乎也碰上瓶頸。至於拉圖，曾展現豐富的媒介性思維，但他同時也是啟發當代後批判轉向的靈魂人物；立即性趨向與後批判風潮雖無法畫上等號，卻有共振的關係，換言之，媒介性的在與不在，同樣可作為追蹤拉圖思想；文化活動的有效方法。本文無意申論，兩位思想家乃立即性轉向之肇始，但冀望提出立即性命題，介入關於當代之時代特色的論辯，探問二十一世紀是否從思想領域到文化論述乃至文學；藝術創作，皆出現了同步的變化，而此一轉變背後的知識型遞嬗又有何意義。

This article takes a close look at the work of Bruno Latour and Graham Harman in light of what can be termed a“turn to immediacy”in the contemporary world. On the part of Harman, his earlier writing demonstrates a positive sensitivity to mediality, which has significantly enriched his object-oriented philosophy. He apparently loses sight of such sensitivity in his recent work, and coincidentally the sophistication of his thought starts to diminish. As for Latour, he is one of the rare contemporary thinkers attentive to the question of mediality, especially in his earlier years; at the same time, Latour has also inspired the current postcritical turn. While the turn to immediacy and the turn to postcritique are not identical, they share a lot of crucial features. The point of juxtaposing the two thinkers this way is to start pondering the epistemic significance of these turns in critical thought, cultural narratives, literary discourses, and art practices.