為“合目的的無目的性”一辯：從藝術哲學看當今藝術產業

趙毅衡^[1]

摘要 康德提出藝術的本質是“無目的的合目的性”，這是藝術哲學史上的經典論述。對當代勃興的藝術產業，阿道爾諾諷刺地稱之為“合目的的無目的性”。今日藝術產業已經成為當今文化與經濟不可或缺的部分，我們不得不重新回顧幾個世紀以來藝術哲學這個最關鍵的爭論。從批判學派對藝術產業的強烈譴責，到馬克思與部分馬克思主義者對藝術商品化的冷靜分析，都提醒我們應當更全面地對待藝術產業。本文分析了當代藝術產業化的五個方面，指出阿道爾諾的嘲弄語“合目的的無目的性”，可以是藝術產業的一個比較準確的描述。只是也必須看到，在當代藝術產業中也存在大量過于目的化的惡俗。

關鍵詞 藝術產業 文化工業 藝術哲學 無目的 合目的

Abstract According to Immanuel Kant’s classical definition，art is，by nature，of “purposeless purposiveness”. When Theodor Adorno examined the art industry appearing in the States in the 1950’s，he described it sarcastically as “purposeful purposelessness”. Today，art industry has become an indispensable part of culture and economy，we have no choice but to review the crucial argument in the history of art in the last few centuries. The cultural criticism condemned art industry，whereas Karl Marx and some other Marxists offered a more clear-headed analysis. We are reminded to handle it with a better perspective. The present paper，after examining the five aspects of art industry today，realizes that Adorno’s sarcasm could be regarded as a more or less accurate description，though it should be seen that there is a huge amount of kitsch which are simply too purposeful.

Key words art industry cultural industry philosophy of art purposeless purposeful