约•德•穆尔：《论（生物）技术崇高》，雷礼锡译, 载范明华、黄有柱主编：《美学与艺术研究》第5辑，武汉：武汉大学出版社，2014年，第175～185页。

Jos de Mul, "Lun (Sheng Wu) Ji Shu Chong Gao" (The (Bio)technological Sublime), trans. by Lei Li-xi, in Research of Aesthetics and Art (Mei Xue Yu Yi Shu Yan Jiu), Vol. 5, edited by Fan Ming-hua & Huang You-zhu, Wuhan: Wuhan University Press, 2014, 175-185. 

论（生物）技术崇高 [荷]约·德·穆尔 著 雷礼锡 译

如果说崇高概念以前习惯用于表明人类主体感到努力代表自然所体现的不足，那么后现代境遇——其中自然本身已被淡忘——业已产生一种崇高感，人类发现自身与自己的造物相对立 戴尔·查普曼 引言

自从18世纪中叶美学作为哲学的一门特殊学科出现[①]，其历史就体现了两个明显趋向，体现了（后）现代艺术与文化作为一个整体的独特发展。一种趋向是，美学的发展表现为审美范畴的显著分化和增加。早期的美学主要集中在美的范畴，19世纪初至今宽泛的新的审美概念已经出现，如崇高、讽刺、滑稽、荒诞、平庸。毫无疑问，这一发展反映了现代艺术自身的发展，它不停地扩大审美经验和表达的领域。美的艺术成了“永不再美的艺术”。

约斯·德·穆尔, 数据库美学与全球化世界，雷礼锡译，载范明华主编：《美学与艺术研究》，第2辑，武汉：武汉大学出版社，2010: 421-424  [Jos de Mul, Database aesthetics and globalizing worlds, in Research on Art and Aesthetics, Vol. 2 (edited by Fan Minghua). Wuhan University Press, 2010,  421-424]

数据库美学与全球化世界

约斯·德·穆尔¹ 撰      雷礼锡² 译

（1伊拉斯谟大学 哲学系 荷兰 鹿特丹；2 襄樊学院 美术学院 湖北 襄樊 441053）

按：约斯·德·穆尔的这篇文章旨在强调全球化背景中计算机与数字信息技术对当今艺术与美学的发展具有重大影响。他使用“数据库美学”概念来讨论这一话题，认为世界已变成巨大的数据库，艺术与美学也要基于这种数据库来谋求自身的变化与创新。作为前任国际美学学会秘书与现任国际美学学会主席，约斯·德·穆尔正努力将这一话题变成艺术与美学领域的全球性话题。在征得约斯·德·穆尔本人授权后，译者译出此文，希望对艺术与美学界的同仁有所启迪。

心理学家亚伯拉罕·马斯洛曾说过，若有人只有一把锤子，会把一切看作钉子。由于文化全球化，计算机迅速变成主要工具，世界变成巨大的数据库。

当信息技术在遗传控制领域得到展开应用时，我们知道数据库本体在运作。地球上的生命基因库不再主要构想成偶然的和实际的进化集群，而是看作无数虚拟生命形式的数据库，并能按意愿得到实现。换言之，艺术拼贴已成为逼真的创造技术。生物学家能利用计算机程序来模拟非主流的进化，以便创造适于现实的特殊替代品。过去的生命形式的新生，不仅能通过信息技术处理得到实现，而且能通过偶然的或有意的突变来实现；甚至将来的生命形式也能成为信息技术的操控对象（如一种特殊形式，A·吉登斯称作“未来殖民地化”）。虽然尚无斯皮尔伯格的《侏罗纪公园》或如《铁甲威龙》之类的科幻电影里的壮观方式，但是，我们的世界越来越多地移居着新的、转基因的生命形式（并因此伴随着后自然美与丑的新形式），它们因生物信息技术的援助而创生。

序言 约斯·德·穆尔. In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art. Volume One. Shanghai: Sanlian, 2017, xiv-xvi, xvii-xx.

序言约斯·德·穆尔（鹿特丹伊拉斯谟大学）

    2006年，我来中国参加学术讲座，访问了不同的城市。这些城市各具千秋，例如乌鲁木齐和上海。我也参加了国际美学协会在成都举办的会议。会上，我第一次见到查常平先生。介绍我们认识的是一位共同的朋友：上海的历史学者陈新。在成都逗留期间，常平和我有几次对话。我还记得六月一个炎热的夜晚，我们和雕塑家朱成以及我妻子格里（Gerry）一起坐在府河边的露台上，讨论中国和欧洲的当代艺术、宗教和政治的状况，一面享受着四川美食和冰啤，一面看着露台上小孩快乐地玩耍。真是一个美好之夜，让我难以忘怀。

    一晃十多年过去了。此间，常平和我保持着联系。他的出版物我都拜读过（可惜只能读翻译成英文的那些作品，因为我不懂中文）。他产出之多、涉猎之广，令我钦佩，从艺术批评和艺术史——如丰富多彩的《向上成都，身体美学与场景凸现》（2013）——到历史逻辑、日本历史、新约研究和一系列翻译作品。更令我印象深刻的是：他深谙西方艺术理论并且能够灵活应用于汉语语境中。常平确实是一位全面的人文学者，善于运用启发性的跨文化研究方法。

Jos de Mul. [荷兰]约斯·德·穆尔：《数字化操控时代的艺术作品》，吕和应译，《学术研究》（广州），2008年第10期，第132－140页 (The work of art in the age of digital recombination", translated by Lü Heying, Academic Research Journal (Guang Zhou), 2008, No.10, p. 132-140.

约斯·德·穆尔 （荷兰 鹿特丹 伊拉斯谟大学，国际美学会主席）
吕和应 译 （复旦大学历史系 200433）

1. 导论

艺术家总是在利用媒体（media），不管是那些创作壁画的史前绘画者，还是那些依靠计算机技术工作的新媒体艺术家。在此处作广义使用的媒体，意即“传达信息的方式”[1]，它们决不是可有可无的手段而已。从康德的哥白尼革命起，我们知道了，经验是由感性的诸形式和人类知性的诸范畴组成和构造的，而在哲学界所谓“语言学和媒体转向”之后，人们普遍认为，媒体对塑造人类的心灵和经验起着关键作用。媒体是各种界面，不仅是我们与世界（命名）、还是我们与同伴（交流）以及我们与自身（自我理解）的中介。审美经验也不例外：艺术媒体也是不仅构造艺术家的想象力、也是构造艺术品和审美接受的界面。[2]

Tragedy and repetition. XPONIKA AIΣΘHTIKHΣ / Annales d'esthetique / Annals for Aesthetics, Vol.46. Volume B (2011), 191-202.

Abstract  According to writers such as Nietzsche, Steiner, and Oudemans and Lardinois the tragic culture of the Greeks has become entirely alien to us. They argue that within the Christian and modern worldview there is no place for tragedy anymore. In this article it is claimed that this does not entail in any shape or form that tragic events cannot take place anymore within Christian and modern culture. In modern culture this particularly happens, with no lack of tragic irony, precisely in the domain in which we believed tragedy had been eliminated: (our interaction with) technology.

Although technological tragedies differ in many respects from classical tragedies, they also show deep continuities. Just as in the case of their classical models, the behavior of the tragic heroes of our time is characterized by miscalculation (hamartia), blindness (atè) with regard to the tragic reality and foolhardiness (hybris).Now, tragic events do not automatically raise tragic awareness. Tragedies are characterized by the fact that the tragic heroes – unlike the spectators – are unaware of the fate that is befalling them, and coming about because of them. But most tragedies also have a reversal of circumstances (peripéteia), a moment at which hopeful expectation crumbles and the hero suddenly becomes aware of his tragic position. Postmodernity is another way of saying that modern culture recognizes itself as tragic.

Jos de Mul. The Work of Art in the Age of Digital Reproduction. Some Remarks on the Transformation of the Avant-garde. In: Byung-Nam Oh (red.), Art, Life and Culture, Seoul 2000: Seoul National University & Korean Society of Aesthetics, 59-80.

Jos de Mul. The work of art in the age of digital recombination. In J. Raessens, M. Schäfer, M. v. d. Boomen, Lehmann and S. A.-S. & Lammes (eds.), Digital Material: Anchoring New Media in Daily Life and Technology. Amsterdam: Amsterdam University Press, May 2009, 95-106.

Artists, from the prehistoric painters who engraved and painted figures on cave walls to new media artists whose work depends on computer technologies, have always used media. Media, used here in the broad sense as ‘means for presenting information’[1], are not innocent means. Ever since Kant’s Copernican revolution, we know that experience is constituted and structured by the forms of sensibility and the categories of human understanding, and after the so-called linguistic and mediatic turns in philosophy, it is generally assumed that media play a crucial role in the configuration of the human mind and experience. Media are interfaces that mediate not only between us and our world (designation), but also between us and our fellow man (communication), and between us and ourselves (self-understanding). Aesthetic experience is no exception: artistic media are interfaces that not only structure the imagination of the artist, but the work of art and the aesthetic reception as well.[2]

In this paper I aim to contribute to this reflection by analyzing the way the computer interface constitutes and structures aesthetic experience. My point of departure will be Walter Benjamin‘s ‘The work of art in the age of mechanical reproduction‘,  first published in the Zeitschrift  für Sozialforschung  in 1936. In this epochal essay Benjamin investigates how mechanical reproduction  transforms the work of art, claiming that in this ontological transformation  the cult value, which once characterized the classical work of art, has been replaced by exhibition value. The thesis I will defend in this paper is, firstly, that in the age of digital recombination, the database constitutes the ontological model of the work of art and, secondly, that in this transformation the exhibition value is being replaced by what we might call manipulation value.

Jos de Mul. The biotechnological sublime. From nature to technology and back. Princeton Institute for Advanced Study. The Institute Letter. Spring 2013, 17.

Many things are awesome, but none more awesome than man.

Sophocles

Every once in a while we experience something extraordinary. Such ‘awesome’ experiences might happen in our research, when we unexpectedly discover something really amazing, or when we come across a magnificent landscape, hear a piece of music that really moves us, or when we fall deeply in love. Traditionally these kinds of extraordinary experiences are called “sublime”. In the following I will present some reflections on one particular kind of sublimity: the technological sublime.

Jos de Mul. Romanticism. Discussion between Jörg Heider and Jos de Mul. In C. Vesters (Ed.), Now is the Time: Art & Theory in the 21st Century.. Rotterdam: NAI Publishers, 2009, 186-187.

Jos de Mul. Romantic Desire in (Post)Modern Art and Philosophy. Albany: State University of New York Press, 1999, 316 p.

Translation of Het romantische verlangen in (post)moderne kunst en filosofie, Rotterdam: Rotterdamse Filosofische Studies (Dutch)
ISBN 0-7914-4217-9 (hard cover)
ISBN 0-7914-4218-7 (paperback)
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An erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy.
In this erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy, Jos de Mul sheds a fascinating light on the ambivalent character of our present culture, which oscillates between modern enthusiasm and postmodern irony. Along the way, he engages the work of such thinkers as Nietzsche, Freud, Heidegger, Habermas, Lacan, Barthes, and Derrida; visual artists Magritte and Stella; poets George and Coleridge; and composers Schonberg, Cage, and Reich, among others, providing a sort of intellectual history of Romantic, Modernist, and Postmodernist "tempers."

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