《莊子》的童心遊戲、視點轉化、倫理呼喚

When Chuan-tzu Encounters The Human Scenes of Rubber Duck: Game, Childishness and Call of Ethics

本文一方面從《莊子》的遊戲角度，嘗試解釋當代公共藝術展示（例如黃色小鴨Rubber Duck），經常運用的視覺藝術與童玩心理，例如「小大辯證」、「無用之用」，等等涉及視覺轉換與主體轉換的變形遊戲。另一方面更為核心的課題在於揭露：《莊子》逍遙之存有論內涵，其超越小／大、有用／無用、主體／客體的「遊戲主體」，經常以一種天真無為的童真、赤子意象來隱喻，本文將分析其中同時隱含著一種「與人相友」、「相物為春」的倫理召喚。換言之，從成人的權力主體到赤子的遊戲主體之轉換，一種人和世界的原初倫理情境正悄悄地顯露出來。

This paper will attempt to analyze contemporary public art exhibitions (such as the “Rubber Duck” exhibition), doing so from an analytical perspective derived from the problematic of the “game” (Youxi) as it appears in the Chuan-tzu. Such exhibitions often make use of visual art as well as a children’s psychology to create games whose sense of the visual as well as sense of the subjective are in perpetual transformation. In conducting such an analysis, this paper will elucidate the nature of Chuang-tzu’s theory of being, and in particular the way the “wandering subject” of the Chuangtzu transcends such categorical differentiations as small/large, useful/useless, and objective/subjective. Images of children marked by an unvarnished sense of innocence are often used as metaphors for such a subject. This paper will reveal how such a subject implies an ethical call grounded in the notions of “being friends with others” and “mutual sense of purity among things.” In other words, within the transformation from a power-laden adult subject to the childlike wandering subject, a primitive ethics between humans and the world is steadily disclosed.