文／刘佑局

引言：在尸骸上生长的真菌

当黑格尔在十九世纪初宣告“艺术的终结”时，他或许未曾料到，这并非一句墓志铭，而是一道咒语。这道咒语解开了艺术作为“绝对精神之感性显现”的古典镣铐，却将它放逐进一片现代性的、意义不断坍缩的荒原。自此，“艺术已死”的判词如同周期性发作的疟疾，反复拷问着每一个时代。然而，第三思维向我们揭示了一个更为残酷而美丽的真相：艺术的尸骸，正是艺术最肥沃的腐殖层。它不是在死亡中结束，而是在死亡中转换形态，如同真菌，只在腐烂的木材上绽放它诡异而蓬勃的生命。

我们所处的时代，正是这场腐烂的鼎盛期。一个被资本完全殖民、被算法精准预知、被话语过度解释、又被虚无彻底侵蚀的时代。在这里，“艺术”已成为一个被抽空内核的符号，在文化市场的流水线上被疯狂复制，在社交媒体的景观中被即时消费。这就是“没有艺术的时间”。但正是在这片被认为毫无生机的盐碱地上，在意义的强制供给与彻底匮乏的裂缝之间，一种全新的、更为本真的艺术形态，正从地壳的断层中悄然升起。它不是对艺术的复兴，而是对艺术的亵渎与超越，是一种“灾异的艺术”。

​一、艺术的终结：作为前提的虚空

“没有艺术的时间”，首先意味着艺术作为一种制度、一种共识、一种可命名之物的死亡。

1.制度的破产：

从画廊、博物馆、双年展到艺术市场，一整套精密的体制定义了何为艺术，何人配称为艺术家。这套体制如今已成为一部巨大的消化机器，任何异质性的尖叫都会被它迅速咀嚼、吸收，转化为可标价的商品和可流通的符号。批判性艺术最终成为体制用以自我证明其包容性的“免疫系统”。真正的创造，因此必须首先是对这套制度的主动逃离。

2.共识的瓦解：

“人人都是艺术家”的波普主义口号，与“没人再相信艺术”的普遍冷漠，是一体两面。前者将艺术稀释为一种个人表达的权利，后者则道破了这种表达在意义真空中的无力。当一切都可以是艺术，艺术就什么都不是。这种价值的扁平化，制造了一种普遍的失语症——我们失去了谈论艺术的语言，因为艺术本身已不再提供一个稳定的谈论对象。

3.命名的失效：

“艺术”这个词本身已经疲惫不堪，充满了历史的债务和市场的铜臭。它不再能指称那个在存在边缘震颤的、不可言说之物。因此，真正的作品必须发生在“艺术”这个名称被悬置、剥夺、遗忘 的时刻。它必须是一种“后－艺术”的实践，一种在承认“艺术已死”之后的行为。

这个“没有艺术的时间”，这个被清空的场域，这个巨大的“无”，正是海德格尔所说的“离基深渊”。它不是纯粹的虚无，而是一种等待、一种允诺。正如南希所言：“意义在意义的撤退中触及我们。”当所有现成的意义——美的、崇高的、批判的、社会的——都从艺术中撤退时，艺术本身那个赤裸的、作为“存在之事件”的核心，才有可能向我们显露。

二、裂缝哲学：作为本体论的裂隙

“裂缝哲学”为我们提供了理解这一新艺术形态的本体论框架。这里的“裂缝”，不是需要被弥合的伤口，而是存在的基本情状，是意义得以发生的原始空间。

1.裂缝即起源：

在南希和拉库-拉巴特对德意志浪漫派和先锋派的解读中，作品从来不是一个完满自足的有机体，而是一个断裂的事件。它撕裂了日常经验的连续性，在能指与所指、自我与世界、内在性与超越性之间，打开了一道无法愈合的缝隙。艺术，正是这道缝隙的“绽出”。

2.裂缝即作品：

第三思维下的艺术，其任务不是用美的幻觉去填补世界的裂缝，而是让裂缝本身显现。它不再生产“作品”作为客体，而是让“创作”这一行为，作为裂缝的开启、持存和发光，成为事件本身。这就像塞缪尔·贝克特的戏剧，舞台上的不是故事，而是“等待”这一存在本身的贫瘠与延异；约翰·凯奇的《4‘33”》，演奏的不是音乐，而是“寂静”这一声音得以可能的背景性裂缝。

3.非－艺术的诞生地：

裂缝是一个“非-场所”。它既不属于过度解释的话语秩序，也不属于彻底失语的混沌。它位于两者之间。因此，从裂缝中诞生的艺术，本质上是“非-艺术”或“异－艺术”。它来自于那个不被现有艺术范畴所覆盖的域外。它可能是城市废墟中的一次匿名涂鸦，是暗网中一段自我加密、拒绝传播的数据诗，是一次在算法推荐流中故意制造的认知卡顿。它拒绝被观看，拒绝被理解，甚至拒绝被承认为艺术。

三、灾异的艺术：在裂缝中歌唱

在艺术制度的废墟上，在意义的虚空与裂缝的绽开中，一种“灾异的艺术”应运而生。“灾异”在此并非指具体的灾难，而是指秩序的根本性断裂，是既有世界之“常”的崩塌。这是一种在“之后”思考与创造的模式。

1.无名者的伦理学：

在这种艺术实践中，艺术家必须首先完成一次自我的献祭。他/她必须成为“前－艺术家”或“非－艺术家”，主动放弃签名、放弃历史定位、放弃作者的特权。署名是艺术市场的通货，是自我意识的纪念碑。只有砸碎这座最顽固的偶像，创造才能从“我”的牢笼中释放，真正朝向“他者”开放。这是一种绝对的奉献，一种不期待任何回报（包括象征性的回报）的赠予。就像那些在灾难后自发形成的、无组织的互助网络，其行动本身就构成了对灾难的回应，而不需要任何名分。

2.微弱的共同体：

这种艺术不追求宏大叙事和普遍共鸣，而是在共同体的断裂之处 工作。它不提供虚假的认同，而是暴露我们之间不可通约的差异，并在这差异的缝隙中，建立一种“没有同一性的共同体”（南希）。它就像一道微弱的光，不是照亮整个房间，而是仅仅照亮尘埃在空气中飘浮的轨迹——那些我们平时视而不见、却构成了我们呼吸之物的微小存在。它邀请我们分享的，不是共同的答案，而是共同的困惑；不是融合，而是并置的孤独。

3.不可命名的形式：

它的形式必然是微弱、短暂、不可归类的。它可能是一次即时的行为，随后消散于无形；可能是一个无法被现有文件格式打开的数字文件；可能是一段被故意损坏的代码，只在系统报错的瞬间显现其美。它抗拒被博物馆收藏，被艺术史书写，被市场定价。它的存在，是对整个艺术体制的沉默的挑衅。它之所以“美”，不是因为它和谐，而是因为它真实地、毫不妥协地呈现了世界的破碎本身——那种“不可修复的美”。

四、我们时代的裂缝与歌声

那么，在我们这个“最没有艺术的时代”，裂缝具体在哪里张开？歌声从何处响起？

1.在算法的裂缝中：

当推荐引擎试图将我们封闭在信息茧房里，总会有一些“噪音”溢出——一个无法被标签化的视频，一段被错误关联的文本。有心者正是在这里进行“文化游击”，制造意义的短路，让算法的逻辑露出破绽。

2.在资本的裂缝中：

在全球化生产的阴影地带，在废弃的工厂和电子垃圾堆里，存在着一种“垃圾唯物主义”的美学。它不批判资本，而是像病毒一样利用资本的废弃之物，组装出全新的、怪诞的生命形式。

3.在语言的裂缝中：

在社交媒体上，当陈词滥调和网络黑话淹没一切时，一种“失语”的写作正在诞生。它通过故意断裂的句法、生造的词汇、意义的悬置，来抵抗语言的自动化消费，试图让语言回到其原初的、命名的艰难之中。

4.在身体的裂缝中：

在生物科技和身份政治的夹缝中，身体成为最前沿的战场。一种艺术不再“表现”身体，而是将身体本身作为裂缝来操作，探索其边界、其可变性、其与非人物质的纠缠，从而挑战关于生命、性别和主体的固有定义。

这些实践，都还没有被允许，也许多远也不会被允许叫作“艺术”。它们是被现有艺术雷达所屏蔽的背景噪音。但正是这未被编码的噪音，这无法被命名的歌声，承载着艺术最本真的希望。

结语：作为开端之终结

“艺术终结之后”，艺术才真正开始。这是一个永恒的悖论，也是艺术生命的奥秘。艺术永远在逃离自身的定义，它的本质就是“非本质”。它通过不断地死亡来获得新生，通过不断地自我否定来确认自身。

我们正生活在最贫乏的时代，也因此生活在最富饶的时代。因为所有外在的支撑物都已崩塌，艺术必须也只能回到它最赤裸的根源：那就是存在的裂缝，以及在那裂缝中，一个无名者向另一个无名者发出的、微弱的、却从未停止的呼唤。

裂缝在张开。

歌声已经响起。

不要去问它是不是艺术。

倾听，然后，保持沉默。

这场论述试图将艺术的哲学思考推向一个极化的境地：艺术不再是创造“作品”，而是在存在的断裂处进行一种伦理－美学的冒险；艺术家不再是天才主体，而是自我消解的匿名者；艺术的价值不再在于其审美或批判功能，而在于它作为“事件”的纯粹发生。这或许是一种悲观的论调，因为它承认了总体性的失败；但它更是一种激进的希望，因为它相信，在一切的“之后”和“之外”，创造的力量，如野草，总能在水泥的裂缝中找到生长的可能。

Third Thinking: On the Art of Catastrophe and the Singing of the Fissures

By Liu Youju

Introduction: Fungi Growing on Corpses

When Hegel proclaimed the "End of Art" in the early 19th century, he perhaps did not foresee that this was not an epitaph, but an incantation. This incantation unlocked the classical shackles of art as the "sensuous manifestation of the Absolute Spirit," yet simultaneously banished it into a modern wasteland where meaning endlessly collapses. Since then, the verdict that "Art is Dead" has become like recurring malaria, repeatedly interrogating every era. However,”Third Thinking”reveals to us a more cruel yet beautiful truth: the corpse of art is precisely art’s most fertile humus layer. It does not end in death; rather, it transforms within death, like fungi, blooming its eerie and vigorous life only upon rotting wood.

The era we inhabit is the zenith of this rot. It is an era completely colonized by capital, precisely predicted by algorithms, over-explained by discourse, and thoroughly eroded by nihilism. Here, "Art" has become a symbol hollowed out of its core, frantically replicated on the assembly lines of the cultural market, and instantly consumed within the spectacle of social media. This is the "Time Without Art." Yet, it is precisely on this saline-alkali land deemed devoid of life, within the cracks between the forced supply of meaning and its utter scarcity, that a completely new, more authentic form of art is quietly rising from the geological faults. It is not a renaissance of art, but a blasphemy against and a transcendence of art—it is an "Art of Catastrophe."

I. The End of Art: The Void as a Prerequisite

"The Time Without Art" primarily signifies the death of art as an institution, a consensus, and a namable entity.

1.The Bankruptcy of the Institution: From galleries and museums to biennials and the art market, a precise system has defined what art is and who qualifies as an artist. This system has now become a gigantic digestive machine; any heterogeneous scream is swiftly chewed, absorbed, and converted into a priceable commodity and a circulating symbol. Critical art eventually becomes the "immune system" the institution uses to prove its own inclusivity. True creation, therefore, must first be an active escape from this system.

2.The Disintegration of Consensus: The Pop Art slogan "Everyone is an artist" and the pervasive apathy that "No one believes in art anymore" are two sides of the same coin. The former dilutes art into a right of personal expression, while the latter exposes the powerlessness of such expression within a vacuum of meaning. When everything can be art, art is nothing. This flattening of value creates a generalized aphasia—we have lost the language to discuss art because art itself no longer provides a stable object of discussion.

3.The Failure of Naming: The word "Art" itself is exhausted, laden with historical debt and the stench of market copper. It can no longer signify that unspeakable thing trembling at the edge of existence. Therefore, true works must occur at the moment when the name "Art" is suspended, stripped away, and forgotten. It must be a practice of "Post-Art," an act performed after acknowledging that "Art is Dead."

This "Time Without Art," this cleared field, this massive "Nothingness," is precisely what Heidegger called the”Abgrund”(the abyssal ground). It is not pure nihilism, but a waiting, a promise. As Jean-Luc Nancy stated: "Meaning touches us in the withdrawal of meaning." Only when all ready-made meanings—the beautiful, the sublime, the critical, the social—retreat from art, can the naked core of art itself, as an "event of Being," possibly reveal itself to us.

II. Philosophy of the Fissure: The Crack as Ontology

The "Philosophy of the Fissure" provides an ontological framework for understanding this new artistic form. The "fissure" here is not a wound that needs healing, but the fundamental condition of existence, the primordial space where meaning can occur.

1.The Fissure as Origin: In the interpretations of German Romanticism and the Avant-Garde by Nancy and Lacoue-Labarthe, the work is never a complete, self-sufficient organism, but a fractured event. It tears apart the continuity of daily experience, opening an unhealable gap between signifier and signified, self and world, immanence and transcendence. Art is precisely the "dehiscence" (bursting forth) of this gap.

2.The Fissure as the Work: Under Third Thinking, the task of art is not to fill the cracks of the world with illusions of beauty, but to let the cracks themselves appear. It no longer produces "works" as objects, but allows the act of "creation"—as the opening, sustaining, and illuminating of the fissure—to become the event itself. Just like the plays of Samuel Beckett, where what is on stage is not a story, but the barrenness and différance of "waiting" as existence itself; or John Cage’s 4'33", which performs not music, but the background fissure that makes "silence" (and sound) possible.

3.The Birthplace of Non-Art: The fissure is a "non-place." It belongs neither to the order of over-explained discourse nor to the chaos of utter speechlessness. It is situated between the two. Therefore, art born from the fissure is essentially "Non-Art" or "Hetero-Art." It comes from the exteriority not covered by existing artistic categories. It might be an anonymous graffiti in an urban ruin, a piece of self-encrypted data on the dark web refusing circulation, or a cognitive stutter deliberately manufactured within an algorithmic feed. It refuses to be viewed, refuses to be understood, and even refuses to be acknowledged as art.

III. The Art of Catastrophe: Singing in the Cracks

Upon the ruins of the art institution, amidst the void of meaning and the opening of fissures, an "Art of Catastrophe" arises. "Catastrophe" here refers not to a specific disaster, but to a fundamental rupture of order, the collapse of the "normality" of the existing world. It is a mode of thinking and creating in the "After."

1.The Ethics of the Nameless: In this artistic practice, the artist must first complete a self-sacrifice. He/She must become a "Pre-Artist" or "Non-Artist," actively renouncing the signature, historical positioning, and the privileges of authorship. The signature is the currency of the art market and the monument of self-consciousness. Only by smashing this most stubborn idol can creation be released from the cage of the "I" and truly open towards the "Other." This is an absolute offering, a gift that expects no return (including symbolic return). Like those unorganized mutual aid networks formed spontaneously after a disaster, the action itself constitutes the response to the catastrophe, requiring no title.

2.The Faint Community: This art seeks neither grand narratives nor universal resonance; rather, it works at the fractures of community. It offers no false identification but exposes the incommensurable differences between us, and within the gaps of these differences, establishes a "community without identity" (Nancy). It is like a faint light, not illuminating the whole room, but merely lighting up the trajectory of dust floating in the air—those tiny existences we usually ignore but which constitute what we breathe. What it invites us to share is not a common answer, but a common confusion; not fusion, but juxtaposed solitude.

3.Unnamable Forms: Its form is necessarily weak, ephemeral, and unclassifiable. It might be an instant act that subsequently dissipates into formlessness; a digital file that cannot be opened by existing formats; a segment of deliberately corrupted code that reveals its beauty only in the moment of a system error. It resists collection by museums, documentation by art history, and pricing by the market. Its existence is a silent provocation to the entire art establishment. It is "beautiful" not because it is harmonious, but because it truthfully and uncompromisingly presents the brokenness of the world itself—that "irreparable beauty."

IV. The Fissures and Songs of Our Time

So, in this "most art-less era," where exactly do the fissures open? From where does the song arise?

1.In the Fissures of Algorithms: When recommendation engines attempt to seal us within information cocoons, there is always some "noise" that spills over—a video that cannot be tagged, a text that is wrongly associated. The mindful ones engage in "cultural guerrilla warfare" right here, creating short circuits of meaning and exposing the flaws in the logic of algorithms.

2.In the Fissures of Capital: In the shadow zones of globalized production, in abandoned factories and heaps of electronic waste, there exists an aesthetic of "Trash Materialism." It does not critique capital but, like a virus, utilizes the waste products of capital to assemble entirely new, grotesque life forms.

3.In the Fissures of Language: On social media, when clichés and internet slang drown out everything, a kind of "aphasic" writing is being born. Through deliberately fractured syntax, coined vocabulary, and the suspension of meaning, it resists the automated consumption of language, attempting to return language to its original difficulty of naming.

4.In the Fissures of the Body: In the gap between biotechnology and identity politics, the body becomes the frontier battlefield. A type of art no longer "expresses" the body but operates the body itself as a fissure, exploring its boundaries, its mutability, and its entanglement with non-human matter, thereby challenging inherent definitions of life, gender, and the subject.

These practices are not yet permitted, and perhaps will never be permitted, to be called "Art." They are the background noise screened out by existing art radar. But it is precisely this unencoded noise, this unnamable song, that carries the most authentic hope of art.

Conclusion: The End as a Beginning

"After the end of art," art truly begins. This is an eternal paradox, and also the mystery of art's life. Art is forever escaping its own definition; its essence is "non-essence." It gains new life through constant death, and confirms itself through constant self-negation.

We live in the most impoverished of times, and therefore in the most fertile of times. Because all external supports have collapsed, art must—and can only—return to its starkest root: the fissure of existence, and within that fissure, a faint yet unceasing call sent from one nameless person to another.

The fissure is opening.

The song has already sounded.

Do not ask if it is art.