摘要
人工智能(AI)和人类艺术家或许将会创作出“两种看上去难以分辨的东西”,此种新的“难以分辨性”为艺术哲学反思带来了契机。不同的理论就AI能否创作艺术持不同见解。笔者将艺术理论区分为艺术家导向型与作品导向型两种。作品导向型理论更倾向于赋予AI作品以与人类艺术同等的地位,认为诉诸作品本身就足证其艺术身份。与之不同,艺术家导向型理论将与艺术家相关的要素,比如情感表达、艺术意图与申明等视为艺术性的必要条件,作品只有被置于艺术家的生命叙事中才能获得恰当的辨识与欣赏。笔者尝试论证,无论是文人精神主导的中国传统艺术思想、还是深受当代艺术经验启发的丹托的艺术哲学,都是艺术家导向型的。艺术家导向型的艺术实践或可从进化论美学中获得阐释,艺术行为源自进化机制塑造于人类物种的对于他人的天然兴趣。在艺术活动中,我们可以表达和体验相似的人类奋争与渴求。只要艺术家导向型理论继续主导艺术理解,只要AI尚未被接纳为“我们”的一分子,那么AI作品将无法真正替代人类艺术家的创作,蓬勃发展的AI“艺术”只会让人类艺术更加珍贵可爱。
Artificial intelligence and human artists in the future may provide us with“two outwardly indiscernible things”for evaluation.This“indiscernibility”gives rise to new questions in the philosophy of art.Regarding the“art-hood”of AI works,distinct answers are justifiable according to different definitions of art.I propose a distinction between the artist-oriented and work-oriented theories.For work-oriented theories,engaging with the work itself is sufficient to determine its“art-hood”.They seem better positioned to accept as well as justify AI work as possessing the same art status.Artist-oriented theories regard artist-related factors such as expressional behaviour and artistic intention and statement as necessary for being art.For artist-oriented theories,an artwork can be properly understood only when it is appreciated against the artist’s character and life story.Based on my observation of Chinese music,literati painting and calligraphy,I argue that artist-oriented views dominate Chinese art and aesthetics.Rather than clinging to an isolated statement of a particular work,Chinese critics tend to approach an artist’s work in light of the backdrop of his or her life story.The focus of artistic evaluation is always the integrated whole,which includes the context of its creation and the crucial role of its creator,not merely the detached work itself.I contend that Danto’s theory of art is also artist-oriented.Being art for Danto essentially relies on the artist’s statement and the art world in which the artistic behaviours make sense.In light of evolutionary aesthetics,I hypothesise that artist-oriented art practice comes from our innate interest in other humans shaped by evolutionary adaptation.Caring about and caring for other people is a human natural propensity.In art,we encounter familiar human struggles and witness shared aspirations.An artist-oriented understanding of art embodies and also cultivates our innate interest in other humans.It endorses the premise that an artwork’s creator is one of us.The recognition of being one of us requires an attachment that is often emotional and visceral.As long as artist-oriented theories dominate our conception of art and AI is not fully recognized as being one of us,AI works cannot truly threaten human art practice or redefine the way of being art.In fact,the flourishing of AI“art”can make human art more precious and desirable.
出处
《艺术设计研究》
北大核心
2026年第1期99-104,66,141,142,共9页
Art & Design Research
基金
国家社科基金青年项目“风格的哲学美学研究”(项目编号:19CZX062)的阶段性成果。
关键词
人工智能
艺术界定
难以分辨性
中国艺术传统
进化论美学
Artificial Intelligence
Definition of Art
Indiscernibility
Chinese Tradition of Art
Evolutionary Aesthetics
