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逻辑为什么是比较无趣的,因为它基本上都是绝对的真话,是重言(tautology),也就是废话。这其实也是哲学家的一个烦恼:如果说出来的话总是真的,那么是废话;假如说的话确实有内容,又恐怕是靠不住的大话。艺术家要幸运得多,艺术家有正当的理由做一些与真假判断无关的事情。逻辑中的“可能世界”(1)(the possible worlds)理论经过不大合乎逻辑的解释发挥之后很适合用来谈论艺术。在这里我准备特别关注米丘的艺术意图。米丘被认为是“飘一代”的艺术总监(2),他似乎是刻意地想表达在各种可能世界之间飘来飘去的感觉,有点像是个shaman(3)。当然,“飘”的说法只是一种巧合,如果更哲学一些地说,他试图表达的是在各种可能世界之间神秘出没的感觉。艺术叙事(narrative)比知识描述(description)所准备表达的世界要丰富得多。对于知识描述来说,知识的对象是现实世界。现实世界是可能世界的其中一个,尽管很可能不是最好的那一个,但它具有着存在论上(ontologically)的明显性和直接性,就是说,它就在我们身边,在我们身上,它就是我们自己,而且这一点是明明白白的,因此它对于知识来说是个优势的对象,而其它可能世界包括所有存在于想象和虚拟中的或者
Why logic is boring because it’s basically absolute truth, tautology, and nonsense. In fact, this is also a philosopher’s troubles: if the words are always true, then it is nonsense; if there is indeed content, and I am afraid it is unreliable. The artist is much luckier, and the artist has legitimate reasons to do something irrelevant to true or false judgments. The “probable world” theory of logic is a good fit for talking about art after less logical explanations. Here I am going to pay special attention to the artistic intentions of Mitchell. MICHIGU is considered the artistic director of “Gone with the Wind” (2), who seems to deliberately want to express the feeling of wandering among all possible worlds, a bit like a shaman (3). Of course, the term “Gone with the Wind” is only a coincidence, if more philosophically some say he is trying to express the feeling of mystery among the various possible worlds. Narrative narrative is much richer than the world in which the description of knowledge is prepared. For knowledge description, the object of knowledge is the real world. The real world is one of the possible worlds, though probably not the best one, but it is ontologically explicit and straightforward, that is, it is with us and with us Is ourselves, and it is plainly clear that it is an object of advantage for knowledge, while the other possible worlds include all those that exist in the imagination and in the virtual