中空的巨石:斯坦利·库布里克的《2001太空漫游》中的古未来主义和地球艺术

Q3 Arts and Humanities
Jacob Wamberg
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引用次数: 0

摘要

本文从古未来主义的角度分析了2001年。这个循环的图形融合了深刻的未来和深刻的过去,将理性的机器智能与各种被压抑的时间层调和起来:古代文化、个体的萌芽状态、过去的生物和地质时代。2001年,古未来主义得到了尼采关于未来的超人的滋养,他像一个孩子一样重生,还有荣格的个体化思想,与集体无意识的阴影和解,导致了黑暗的宇宙本身。在科幻小说、投机科学和伪科学的所谓“古代宇航员论文”中,进一步探讨了2001年的古未来主义背景。最后,在20世纪60年代末的极简主义和大地艺术中,我们遇到了一种结构上的平行,与2001年对有机人体的绕过,一种连接无机熵现实的桥梁,即深刻的未来和深刻的过去。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
MONOLITH IN A HOLLOW: PALEOFUTURISM AND EARTH ART IN STANLEY KUBRICK’S 2001: A SPACE ODYSSEY
This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Ubermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist contexts for 2001 are explored in the so-called “ancient astronaut thesis” of science fiction, speculative science, and pseudo-science. Finally, in minimalism and earth art of the late 1960s we meet a structural parallel to 2001’s bypassing of the organic human body, one that bridges the inorganic entropic realities of deep future and deep past.
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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