靈活型生產關係與其自主性：以臺灣微型文化事業為例

Flexible Production of Relation and Its Autonomy: Case Study of Taiwan Micro Culture Business

陳萱白(Chen Hsuan-Pai)

指導教授 ： 林宏璋

國立臺北藝術大學/文化資源學院學術論文/藝術行政與管理研究所/碩士(2014年)

https://doi.org/10.6835/TNUA.2014.00008

摘要

臺灣近年出現了各類小規模、有彈性、靈活型的經濟活動形態。這些微型的經濟活動以創新的方式建立自己獨特的營運模式，並以商業行為的經營制度規則和現實社會作為連結，但以更具開創性的思維模式面對生活文化的本質問題，跳脫了僅以追求利潤最大化原則為最終目標的框架，發展出更有活力、更具創意的面向，促使創造力通過文化工業之後，其自主性依舊重新回到自身。

回顧阿多諾所提出的概念，通過文化工業的標準化與資本化，文化藝術僅存的發揮作用只有產生資本，因而退化了人們對於文化創新的能力與藝術的自主性，導致許多文化藝術成為一種輕而易舉、單一並普遍、附庸於資本主義架構下的消費性娛樂。阿多諾認為真正的藝術若要保有自主性，就必須永遠站在社會的對立面而不該通過社會現實；但同時阿多諾在美學理論也承認當藝術脫離原先正統卻狹義的目的而進入社會範圍之中，其實出乎預料的也能夠保持原來的純粹性，只是在當時古典馬克斯主義的時空背景之下，阿多諾沒有對此著墨太多而留下一個伏筆。

臺灣當前日益蓬勃具靈活型特徵的這些個體性傾向明顯的微型文化事業，除了結合其他非物質式的價值訴求，更運用經濟活動作為一種實踐方式，從反抗性與自主性來詮釋重構的生產關係，以持續應變中的實踐行動來抵抗臺灣的市場主流價值與反映當前消費式的創意文化經濟，以非同一性思維為思考邏輯，在自主性與現實社會的框架轉換之間，以不斷反思的自我正反辯證所開啟的一種往前行的動能，能將阿多諾當初未曾言明的那種既是美學現象又是社會事實的綜合體再度開啟討論。開放式的選擇權啟蒙了社會更多元的思維形式，而這些難以歸類為藝術事業抑或文創產業的微型文化領域，透過實際的行動經驗作為累積，並運用行動後的知識與理解進入生活，其開創性提供了令人期待的希望。

關鍵字

阿多諾 ； 非同一性 ； 美學自主性 ； 微型文化事業

並列摘要

In recent years, the small-scale flexible economic activities have become a trend in Taiwan. The micro-economic activities establish its unique business model with creativity as it applies the management style of commercial activities to fixing itself into the society. Meanwhile, it adopts a groundbreaking perspective to deal with the essence of life and culture and liberates itself from the framework in pursuit of maximum profit so as to develop a way of thinking which is more energetic and innovative. Therefore, even though the creativity has been culturally industrialized, it still maintains its autonomy.

According to the concept brought up by Theodor W. Adorno, through the standardization and capitalization, the only function of art and culture which still remains is to accumulate capital. The creativity of culture and the autonomy of art are degenerated. Culture and art thus become the homogeneous, effortless, and standardized consumer entertainment which is attached to a Capitalist system. They should stand opposite to the society instead of being defused by the social reality. Meanwhile, Adorno also acknowledges in his aesthetics theory that art, beyond expectation, can maintain its purity as it is removed from the orthodox but yet parochial purpose to be included in the social system. However, Adorno has never elaborated this idea since the academic climate was dominated by Classical Marxism at that time.

The thriving micro culture business in Taiwan, which features the characteristics of flexibility and individuality, not only appeals to the non-materialistic value but also transforms the economic activities into real practice to interpret and to reconstruct the relations of production through resistance and autonomy. The constantly varying practice is adopted to resist the market’s mainstream value in Taiwan and to reflect the consumerized creative/cultural economics. The dialectic and self-reflective ideology of non-identity offers a driving force to switch between the autonomy and the society, encouraging a further discussion on the complex unit which is both an aesthetic phenomenon and a social reality that Adorno has never mentioned explicitly. The open choices shed light on an alternative thinking about social multiplicity. The micro culture business, which can hardly be categorized as either art industry or creative industry, accumulates its practical experiences and carries out the knowledge into the practice of everyday life, showing us a spark of hope with its creativity.

並列關鍵字

Theodor W. Adorno ； non-identity ； aesthetic autonomy ； micro culture business

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