پديد آورندگان :
صبوري، نگار دانشگاه علامه طباطبائي - دانشكده ادبيات فارسي و زبان هاي خارجي - گروه فلسفه، تهران، ايران , نصري، امير دانشگاه علامه طباطبائي - دانشكده ادبيات فارسي و زبان هاي خارجي - گروه فلسفه، تهران، ايران
كليدواژه :
معماري , بي صورت , باتاي , نفي , قرباني
چكيده فارسي :
«بي‌صورتِ» باتاي اگرچه در نگاه نخست با معماري در تضاد است اما چندان كه آشكار خواهد شد ريشه معماري است. در آراي باتاي بي‌صورت «ضرورت امكان» هنر است و معماري براي آنكه هنر باشد از اين قاعده مستثنا نيست. هدف اين مقاله بررسي نسبت معماري و بي‌صورت در دستگاه باتاي است. اين مسير با عرضه تفسيري از بي‌صورت به تأمل در ملزومات فلسفي معماري‌اي مي‌رسد كه انسان را از استبداد منظر كنوني برهاند. اين پژوهش پرسش‌محور معناي بي‌صورت را در آثار باتاي دنبال مي‌كند و با تكيه بر نظريه «اقتصاد عام» به نظريه‌اي درباره معماري مي‌رسد. اين مقاله آراي باتاي را جايي ميانه هگل و نيچه مي‌بيند و به نسبتي كه اين نظرات با پروست برقرار كرده مي‌رسد. بي‌صورت شالوده معماري يا «ضرورت امكان» معماري است. معماري بي‌صورت به اندازه «شعر سكوت» باتاي تناقض‌آميز است: شعري كه براي هنر بودن زبان را «قرباني» مي‌كند. در آثار باتاي قرباني كردن معنا شرط هنر است. اما در معماري كه از نظر باتاي مرجع بازنمايي انسان و بنياد صورت انساني است قرباني به معناي بي‌صورت كردن آدمي است. و اين بي‌صورت اگر انسان را از جنس نيروي نفي بدانيم چيزي جز باز گذاشتن راه انسان براي گذار از انسان هنوز محقق‌ناشده و خويشاوندي با طبيعت نفي‌شده نيست. بي‌صورت چرخشي كوپرنيكي از منظرِ محدود به منظرِ عام در معماري است.
چكيده لاتين :
Regarding the concept of formless “l’informe” in Georges Bataille's philosophy, it has been discussed that the very notion of formless is the opposite of architecture. Thus the formless architecture, if the adjective could ever be applicable
to architecture, must be somehow symbolic or metaphoric. On the other hand, in Bataille’s philosophy, formless is
the “condition of possibility” of art. If we assume architecture as an art, how can we bring formless and architecture
together? What can “formless architecture” mean to us? This paper is a reflection on the relationship between architecture
and formless. The main purposes would be to give an interpretation of Bataille's “l’informe”; to find the “condition of
possibility” of architecture based on Bataille’s formless; and to study philosophical implications of a possible formless
architecture that can set free human from its current rigid point of view. This question-based research meditates on
the paradoxical concept (formless architecture) with a philosophical approach. In this regard, the possible meanings of
formlessness in architecture are discussed. The paradox of formless architecture resembles the paradox of “poetry of
silence” in Bataille's ideas; a poetry that sacrifices the language in order to be an art and blooms in the ruins of language.
In Bataille's works, this sacrificing of representation and meaning is the necessary condition of art. But in architecture,
which in Bataille's world is the reference of human representation and the base on the human form, sacrificing is to make
human formless. Bataille’s historical quest for formless human had led him to Lascaux cave galleries, where human are
represented unclothed, animalesque, and faceless. Bataille interprets these figures as human desire to negate himself.
He defines formless human as the nonstop negating force or nonstop negativity. This is the ideal picture of human in the
“General economy” because by negating himself man can be the best representative of extravagancy and can replace a
limited view with a general one. Thus formless creates a Copernican turn from a limited viewpoint to a general one. As
we will see, in this rotation, the world of form starts to float on the excess of forces that have directed our deeds, and
formless defines the foundation and the condition of form. A condition that has directed architecture like other human
deeds: just as architecture, which prima facie seems to be a shelter from death, is rather an excess which does not fear
ruining vital forces and in its highest forms plays with the fear of death and makes fun of it. In Bataille's opinion in the
shadow of pyramids, the fear of death is rendered pointless. But what is the most basic wealth to spoil in architecture? This
Copernican turn engages architects with this consistent question: what makes architecture architecture? What makes a
place a place? Formless will present itself as the foundation of architecture or the “condition of possibility” of architecture.
This Copernican turn paves the way that takes Bataille from Hegel’s “negativity” to Nietzche’s “extravagancy” and ultimately to Proust’s “quest”.
