最近的若干趋势看起来导致了视觉艺术中社会因素的消失和文化理论的衰退。这篇论文首先通过援引学者们的观点来考察“图像力量”的争论,以此有充分的理由把焦点集中到图像以何种方式与它们的阐释相排斥。只有在这种力量看上去具有自身的自律性,以及当它在社会历史关系中的源起被忽略或遮蔽的时候,问题才会出现。同样的,最近针对社会和文化理论重要纠偏的批评在一种依靠经验的观念指导下,走得太远,这是一种未经语言、阅历和社会生活为中介调节的经验。具体而言,这篇论文谈到现象学的复兴迹象、情感理论、后人类和神经美学理论。所有这些理论确切记录了美感经验中的直觉,但是错误地下结论说这种“在场”实际上不是通过许多中介方式调节,瞬间的遭遇必定是不可见的。本文回顾了文化理论的历史性缺失,为它们的新的发展趋势寻找存在的理由,认同他们的研究的合理性,但最终还是拒绝接受他们对直觉观点的夸大论述。 Some recent trends seem to have led to the disappearance of social factors in visual arts and the decline of cultural theory. The paper first examines the debate about “image power” by invoking scholarship, for which reason there is good reason to focus on the ways in which images are excluded from their interpretation. It is only when this power appears to have its own self-discipline and when its origins in social-historical relations are neglected or shadowed. Similarly, recent criticisms of important corrections to social and cultural theories go too far under the guise of an empirical concept, an experience mediated without language, experience, and social life. Specifically, this essay addresses the signs of phenomenological revival, emotional theory, post-human and neuro-aesthetic theories. All of these theories accurately document the intuitions of aesthetic experience, but erroneously conclude that such “presences” are not actually mediated through many intermediaries and that momentous encounters must be invisible. This article reviews the historical absence of cultural theories, the reasons for their new developmental trends, the justification of their research, but ultimately refuses to accept their exaggeration of intuition.