ABSTRACT

The aim of this paper is to draw important parallels between the way in which configured pictorial practices of early Cubism interpreted the idea of tactile space and the phenomenological concept of existential spatiality. It is argued that in dispensing with the “illusion of perspectival space” and deconstructing geometrical perspective, several Cubist artists developed a position of multi-perspectival realism with respect to what remains ungraspable in the three-dimensional visual rendering of space. Tactile space is the main theme of early Cubist painting. Tactility remains concealed by linear perspective and three-dimensional space, and existentially primordial tactile space turns out to be the ungraspable which Cubist experiments has to disclose. At the same time, these artists succeeded in avoiding any kind of a reification of space as something that statically embraces what is situated in it. The paper is also preoccupied with Cubist “geometrical experimentation”. The claim is defended that it is precisely this experimentation that most essentially anticipates Heidegger’s analyses of the spatiality of the ready-to-hand and the spatiality of being-in-the-world. Parallels are also drawn with Merleau-Ponty’s spatiality of the perceiving-tactile body which was chiefly focused on the presupposition that the visibility attained through visual perception is imbued with invisibility stemming from the immediate tactility relating the perceiving body and the perceived entities – a presupposition shared by the early Cubists and the French phenomenologist.

摘要

本文的目的是在早期立体主义的配置图画实践解释触觉空间的方式与存在空间性的现象学概念之间建立重要的相似之处。有人认为，在摒弃“透视空间的幻觉”和解构几何透视的过程中，几位立体派艺术家对空间三维视觉渲染中仍然无法把握的东西形成了多透视现实主义的立场。触觉空间是早期立体派绘画的主题。触觉仍然被线性透视和三维空间所掩盖，而存在主义的原始触觉空间却成为立体主义实验必须揭示的不可捉摸的东西。同时，这些艺术家成功地避免了将空间具体化为静态地包含位于其中的事物的任何形式。这篇论文还专注于立体主义的“几何实验”。声称正是这种实验最本质地预见了海德格尔对上手的空间性和在世的空间性的分析。梅洛-庞蒂 (Merleau-Ponty) 的感知-触觉体的空间性也有相似之处，该空间性主要集中在这样一个假设上，即通过视觉感知获得的可见性充满了不可见性，这种不可见性源自与感知体和被感知实体相关的直接触觉——这是一个共同的预设由早期立体派和法国现象学家提出。这篇论文还专注于立体主义的“几何实验”。声称正是这种实验最本质地预见了海德格尔对上手的空间性和在世的空间性的分析。梅洛-庞蒂 (Merleau-Ponty) 的感知-触觉体的空间性也有相似之处，该空间性主要集中在这样一个假设上，即通过视觉感知获得的可见性充满了不可见性，这种不可见性源自与感知体和被感知实体相关的直接触觉——这是一个共同的预设由早期立体派和法国现象学家提出。这篇论文还专注于立体主义的“几何实验”。声称正是这种实验最本质地预见了海德格尔对上手的空间性和在世的空间性的分析。梅洛-庞蒂 (Merleau-Ponty) 的感知-触觉体的空间性也有相似之处，该空间性主要集中在这样一个假设上，即通过视觉感知获得的可见性充满了不可见性，这种不可见性源自与感知体和被感知实体相关的直接触觉——这是一个共同的预设由早期立体派和法国现象学家提出。声称正是这种实验最本质地预见了海德格尔对上手的空间性和在世的空间性的分析。梅洛-庞蒂 (Merleau-Ponty) 的感知-触觉体的空间性也有相似之处，该空间性主要集中在这样一个假设上，即通过视觉感知获得的可见性充满了不可见性，这种不可见性源自与感知体和被感知实体相关的直接触觉——这是一个共同的预设由早期立体派和法国现象学家提出。声称正是这种实验最本质地预见了海德格尔对上手的空间性和在世的空间性的分析。梅洛-庞蒂 (Merleau-Ponty) 的感知-触觉体的空间性也有相似之处，该空间性主要集中在这样一个假设上，即通过视觉感知获得的可见性充满了不可见性，这种不可见性源自与感知体和被感知实体相关的直接触觉——这是一个共同的预设由早期立体派和法国现象学家提出。