This book consists of four chapters: "The Power of Image", "The World of Beauty", "The World of Expression" and "The Process of Expression". Through these four chapters, we will make sense of the special structure of human experience and the ways in which it is limited yet open-ended. So we're going to get into some theory. But we need to closely integrate the concepts that appear in these theories with our experience, that is, to explain these concepts in a way that constantly returns to our experience. This is our subject. Excellent theories can prompt us to reflect on concepts that are more outdated than our experience; excellent theories also have the power to lead us to a more open world. In order to understand this deeply, we interpret the text and transform it into language that can reach our experience. I will try to approach the text in plain language as much as possible. This is what we must try too. This is because when using the body to understand an excellent theory or to taste whether a theory is excellent, one must first assimilate one's own theory with that of others, or try to imitate (simulation). In fact, since we were young children, we have been imitating the words and actions of our parents and others to become what we are today. Whether consciously or unconsciously, we are exposed to various others and learn various manifestations of others. This is how we change or evolve. This situation is unchangeable no matter how old we get.
In this way, the basic point of this book is already clear, that is, "experience is constantly being updated based on the relationship with others." The reason why the last two chapters are devoted to "performance" is because we want to specifically examine how experience changes according to performance, as well as changes in performance media and performance technologies.
The first chapter is dedicated to "image". The scene of our experience is the world of images. To make sense of this, we must often return theory to the scene. From the moment of birth to the moment of death, we are always surrounded by tangible phenomena - images. Even if we close our eyes, "images" will still appear in our consciousness in the form of memories, dreams, or hallucinations. Following Heidegger (1889-1976 German), we are "beings within images." When you think about it, this is scary because we absolutely cannot escape the image. Therefore, the theory of image is not just a theory of "art", but a theory related to the totality of human experience, and it has to be such a theory.
However, in daily life, we do not pay much attention to the power of images on us and their reality. This may be because our relationship to the image is so clear that we don’t need to think about it so much. At the same time, generally we have no special awareness of images, and there are deeper reasons. That is "language" covering up the image. From the time we begin to memorize language after birth, we have learned how to convert images into language. Therefore, almost all images that appear before us have names. The so-called language, together with symbols, is a world composed of relatively stable systems. Almost all images are connected with this language symbol, and the direct effect of the image is deprived or forgotten. Therefore, even if we do not respond to the images that appear in our consciousness, we can still get by. Viewed in this way, the theory of "image" must include "language theory." The images we experience have been permeated with "language", that is to say, we must realize that in our experience, even if you think this is your direct experience, in fact language has already penetrated into it and is intertwined.
"Language symbol system" is a "special system of images" and a "relatively stable image system". This is what this book is about. Let us briefly explain this first.
Language symbols are a type of "image". They can only play a role in distinguishing the differences between shapes and sounds. "A" and "B" are both tangible phenomena, that is to say, they are structurally different as "images" and also different as sounds. Because we can recognize this difference in shape and sound - image, we can learn language. And because many people can recognize this difference, they can acquire a common language and discuss specific things together. Here, there is another issue that cannot be ignored, and that is the issue of "the universality of our cognitive images". In Chapter 2 "The World of Beauty", we take this issue as our theme.
"Beauty" is closely related to this issue of "universality of knowledge".
The universality of image recognition gives us the hope of "communicating" with others. Nowadays, various disputes arise due to differences in religious beliefs and political ideas. This means that religious ideologies and political ideologies—specific linguistic symbol systems—are deeply rooted in human experience, so all kinds of conflicts and oppositions are no longer just a matter of thought; Emotional and emotional issues. Because even what are considered to be the most direct reactions - disgust and affection - are permeated by language, those disputes cannot be resolved through political or religious dialogue. However, the communication structure in our image cognition opens up the possibility of "communication" for us that cannot be solved through verbal dialogue. As long as this is the case, a new situation will emerge: individuals who are freed from the control of the central control tower can have equal dialogue and interaction with others without instructions and slogans from above. In fact, on a personal level, people with completely different political creeds and religious beliefs have already begun rich conversations and exchanged experiences with each other. This kind of dialogue and exchange will continue in the future. In this sense, the "border" and "demarcation line" areas are more important than the "central control tower". It is a place where fierce hatred can break out, and it can also be a place where people with different creeds actually interact and develop friendships. Thinking about it this way, although the universality of human cognitive structure that transcends ideology cannot be easily expressed, it can still be "imagined". To this end, in Chapter 2 we analyze Kant’s “Critique of Judgment” and examine the universal validity of “beauty”. I try to raise this hope to a more concrete theoretical level. I'm afraid this will be criticized by many people: I am too optimistic. But I am actually very pessimistic. Because I don’t think the possibility of this dialogue will ever fully become a reality. However, I believe that we should trust the universality of cognitive structures, carry out practical dialogue with others, and constantly transform our experiences. This is not only a great principle for each of us, but a practical issue. Therefore, my thinking is neither conservative nor radical in terms of tendency. Because the problem lies in personal experience, thinking and cognitive practice, "perceptual theory" cannot become a certain organization or the kind of "strong idea" that can support a certain organizational morality from the beginning. Our "Theory of Perception" values ??personal experience and explores the possibility of relationships with others. In this sense, this thought might be called "irresponsible thought." That's true. No one can take responsibility for this world in which even personal experience and understanding have lost their functions; in a world like this, I do not want this theory to be generally understood. I mean, running away from that "reality" is the best policy. This book does not deal with this issue. My topic is to explore the internal relationship between previous experiences.
However, we are accustomed to being close to language and symbol systems, which strengthens another preconception, which makes us forget the "image" issue. This preconception is the belief in the reality of "things". What we have always learned is language as a transparent tool for indicating "things", rather than images. This habit turns "things" into beliefs that always exist before language. For us, it becomes a belief that works permanently and continuously. For perception, things always exist. No matter where you go, this belief will never disappear. It can be said that almost all sciences share this belief. But, do “things” really exist? We will revisit this issue again and again in Chapter 1. When we know that the concept of "object" is based on a certain preconception - and only then - can we understand the meaning of "image" and its problems for experience. Therefore, in Chapter 1 we will study Hegel's Phenomenology of Spirit. In Hegel, the contradictions of the concept of "thing" are well explained.
Language symbols are also "images". To say this means that linguistic symbols also have "materiality". Even scientific research papers, which are supposed to convey their content most transparently, rely on the opaque materiality of language. They should boldface or underline the areas that should be emphasized. When I wrote this article, I also had to consider these issues.
In my article, I did not use the "ます", "です" style, nor the "である" style, but the "だ" expression. That's because when I showed these articles to several young students, they said that the "だ" body style has a strong rhythm and makes them comfortable to read. To those who are well-educated, this style of writing may seem frivolous. I wholeheartedly accept this criticism. Because I just wanted young students to read this book, I deliberately chose this style.
The role of "linguistic symbols" in human experience and its relationship with the image world are the main threads throughout this book. Perhaps it can be said that the original intention of pursuing this question in a way that is not divorced from experience at all times, and trying to be fair, reasonable and impartial in the relationship between images and language symbols, is what made this book possible.
The title of this book is aesthetic, which has always been called "aesthetics". The original meaning of this word is "aisthesis" theory. I adopted its original meaning and named it "The Theory of Perception". The reason is as mentioned above, because image cannot be completely summarized in the world of "beauty" and "art". It is a problem related to experience as a whole.
When this book uses the word "art", it is also limited. I only use this term when talking about traditional "art" after modern times and when talking about "art" and "Kunst" in the theory that inherits this tradition. In other cases, this book uses art. I think that in addition to so-called art, there are also various behaviors related to images, and there is no reason to distinguish or even separate these behaviors from "art". For example, daily activities such as cleaning the room, arranging clothing and makeup, cooking and loading dishes, etc., are all behaviors that structure images in some form. As behaviors that are closely related to human understanding, they should also be called art. We will discuss this in detail in Chapters 3 and 4, especially Chapter 4.
This book mainly examines the theories of so-called modern German thinkers such as Kant, Hegel, the Hegelian school, Nietzsche and Federer. At this point, the book may seem biased. First, aren’t French and Anglo-American ideas, ancient medieval ideas, and Eastern ideas all missing? Secondly, haven’t modern thoughts—so-called structures, deconstructive thoughts, modern psychoanalysis, pragmatism, analytic philosophy, and cultural studies that are also popular in aesthetics and art history—been ignored? The main reason for this result is that my main research object is modern German aesthetics and philosophy after Kant.
However, this book was written keeping in mind these ideas outside modern Germany and the modern ideas that are also widely concerned in modern Japan. In this ideological situation, when I re-read the theories of the above-mentioned thinkers, what attitude will those philosophers take in front of me? I'm aware of this all the time. As for whether you can realize this, you can only read it. I am looking forward to constructing a theory by allowing the high-quality (I think) thinking of modern times to collide with modern ideas. Let modern thinkers and modern thinkers compete on the same stage. This is what I'm going to try. I don’t think there is a clear distinction between modern and postmodern. Postmodern thinking inherits the high-quality modern thinking and further develops it. Is it more productive to understand it this way? I have this belief right now. However, I am not advocating that what modern thought says has already existed in classical thought. There is no point in doing such a thing. No, what I am trying to do is to re-examine the classics from the perspective of modern thought. So how should we re-read the classics? In other words, can classics be revived? Can modern ideological texts that have become classics be reinterpreted? As an experiment, I will try to explain this in the light of our experience as much as possible. It is my aim to construct a theory out of this dialogue between the modern and the modern. At this time, the "three principles of human common sense (common sense)" required by the modern philosopher Kant are still a guideline to promote our in-depth thinking: 1. "The principle of self-thinking", 2. "Standing on all others" "The principle of thinking from a standpoint", 3. "The principle of always thinking consistent with oneself". These three principles respectively call for "a way of thinking that is liberated from preconceptions", "an expanded way of thinking", and "a consistent way of thinking". Of course, it is impossible to completely liberate ourselves from “preconceptions”, nor to expand our limited thinking to “all others”.
However, in order to be able to think together, we can only regard these three principles as the goal of our efforts, and infiltrate these three principles into our thinking step by step and as seriously as possible. There is no other way. As for how far I have achieved this - this judgment can only be left to the readers.
October 17, 2002
Preface to the Chinese version
This time this humble book has been translated into Chinese, which gives me the opportunity to explore a world beyond Japanese. It is an unexpected joy for the author to gain readers.
What I am trying to do in this book is to examine as concretely as possible the structure of experience of each of us - which is always open and renewed towards the future - and that is what I want to examine. The structure of experience opened up.
This kind of experience of us humans is always closely related to "language" and "image". "Language" alone cannot make experience valid. The experience that can be established without contradiction in the world of "language" will end up in the world of simple "concepts" and "hypotheses" as long as it is confirmed in the world of "images". For example, the legitimacy of the "idea (hypothesis)" (= "linguistic world") about "universe space" can only be verified when it is experienced by us as a world visible to the eyes. . The experience that is established in the world of language is simply "(ideas) painted in our minds." Of course, we cannot say that it is completely consistent with the world of experience. Therefore, no one can impose this simple concept on experience, no one can interpret experience in this way, and no one can induce experience in this way. If that were the case, it would be a suppression of experience, a violence done to experience.
At the same time, we must also realize that human experience cannot be established solely by relying on "image". "Image" constantly surrounds everyone. It is a flowing world that is inseparable from everyone. What can save us from this flow state and open up the world of experience ("society") that we "can have" is "language". Therefore, we must fairly understand the differences and relationships between "language" and "image". This is a key to examining the structure of our experience.
From this point of view, this book is undoubtedly an attempt to bring the overall experience into the specific scope of investigation. For this reason, this book has to go beyond the traditional scope of "aesthetics", return to the original meaning of this word (aesthetics), and write it as a "theory of aesthesis = theory of sensibility".
During the Meiji period, Japan studied Western ideas and translated them into Eastern languages. At this time, it was the Chinese language and Chinese characters that the Japanese had learned from ancient times that helped Japan modernize - with the help of Chinese characters, these Chinese characters were then recombined. Only through these methods can the Japanese understand and translate Western culture. The new Chinese character combinations translated by the Japanese were brought to China by Chinese thinkers who studied modern Japanese thought at that time. It is in this sense that Japanese thought at that time was called the "Japanese Bridge" as a link between Western thought and Chinese thought. Wang Guowei, the representative of modern Chinese thought, said this. He became proficient in Western ideas through modern Japanese thought and imported them into China. Wang Guowei accepted Western ideas through the "Japanese Bridge" and actively accepted things that were useful to China at that time, which was very important for China's modernization.
This book is also written with the help of Chinese characters based on the modern Western aesthetics, art, and philosophical thoughts that I have learned over the years. Whether this book can become the "Japanese Bridge" mentioned by Wang Guowei still needs to be judged by Chinese readers. The author takes this opportunity of translation to sincerely hope that the way our experience exists will expand the space for cultural exchange and exchange of opinions among young people, thereby deepening mutual understanding.
The Chinese translation of this book was only possible due to the enthusiastic support of many Chinese friends. From March to early May 2001, at the invitation of Mr. Jiang Shuzhuo, Vice President of Jinan University and professor of the Chinese Department, I gave aesthetics lectures for graduate students and young teachers in the Chinese Department of the school, twice a week, 15 times in total. I used this opportunity to write handouts based on parts of Chapter 4 and Chapter 3 of this book. Before leaving Japan, I completed the proofreading of this book and submitted the manuscript to the publisher.
While I was in China, the Japanese version of this book came out. In this sense, the publication of the Chinese version of this book is even more touching.
The person who translated for me when I was giving lectures in China was the translator of this book, Professor Wang Zhuo. He was an associate professor at Hainan University and was studying for a doctorate at Jinan University. Wang Zhuo is well-versed in Japanese literature and literature and has excellent Japanese skills. This makes my lectures at Jinan University more fulfilling, and I can even have more extensive exchanges with graduate students and young faculty members after each class. During this trip to China, I also had the opportunity to give a lecture once at Huizhou University and twice at Guangxi Normal University, both of which were translated by Mr. Wang Zhuo; Professor Li Xinfeng of the Beijing Academy of Arts, who recommended me to Mr. Jiang Shuzhuo, also invited me I gave a lecture at the Art Institute, and the translator was Mr. Wang Zhisong, an associate professor at the School of Foreign Languages ??of Beijing Normal University who studies Japanese literature.
An opportunity arose during a lecture at Jinan University, and Mr. Wang Zhuo proposed to translate the book into Chinese. In order to make new progress in his personal research, we applied for funding from the Japan Society for the Promotion of Science. Mr. Wang Taku came to Japan as a special foreign researcher of the Japan Society for the Promotion of Science for two years of postdoctoral research; Kyoto University Graduate School of Literature Research Ke also accepted him as a foreign researcher and came to my Aesthetics and Art History Research Laboratory for research. During this period, Mr. Wang Zhuo was conducting research on his own topic while exchanging opinions with me on language issues in the translation process of this book. This is how the Chinese translation of this book was completed. In this sense, this book can be said to be the "Japanese Bridge" that we jointly produced.
This "bridge-building" work has also received strong assistance from many Chinese friends. Professor Jiang Shuzhuo and professors from the Chinese Department of Jinan University, Professor Li Xinfeng, who have already been mentioned before, have been in contact with each other since they gave lectures at Jinan University, and have become friends of Guangzhou Art Institute who express their opinions freely. They also put forward many opinions on the translation of this book. Professor Shao Hong of the college, Professor Yang Xiaoqing and Mr. Wu Shizhao of Huizhou University, Mr. Yan Zhongming, the planner of the Chinese Hakka Group of Huizhou Hakka Cultural Festival, Mr. Li Jie, the calligrapher, Professor Wang Jie and Professor Zhang Liqun of Guangxi Normal University, Associate Professor Wang Zhisong of Beijing Normal University (at that time) …Also, Ms. Luo Xiaohong from the Foreign Affairs Office of Jinan University at that time, and so many students and young teachers who listened enthusiastically to the lectures and actively participated in the discussions...Also, there were so many Chinese friends who gave me a lot of care when I was lecturing in China—yes. Your enthusiasm and sincerity support this "bridge" from all directions, and I would like to express my heartfelt thanks.
The author is honored that the Chinese version of this book can be published by the world-renowned Commercial Press. In this "bridging" operation, Mr. Wang Zhongtao and Mr. Xu Yichun of the translation editing office also made corrections, and I would like to express my heartfelt thanks to them.
Author
January 2005
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