上海大学学报(社会科学版) ›› 2023, Vol. 40 ›› Issue (6): 27-36.

• • 上一篇    

数码风景:媒介生成与审美重塑

  

  1. 中国人民大学 文学院
  • 收稿日期:2023-02-23 出版日期:2023-11-15 发布日期:2023-11-09
  • 通讯作者: 陈涛(1981- ),男,山东莱州人。中国人民大学文学院副院长、教授,数字人文研究院副院 长,哲学博士。研究方向:电影与新媒体艺术。
  • 基金资助:
    中国人民大学科研基金面上项目(22XNA031)

Digital Landscape: Media Generation and Aesthetic Reconstruction

  1. School of Liberal Arts, Renmin University
  • Received:2023-02-23 Online:2023-11-15 Published:2023-11-09

摘要: 对于视觉艺术史来说,从古典绘画到机械复制的图像,风景不仅是贯穿性的图像 主题,也以物质性和象征性的方式,界定了自身作为自然意识的观看模态。数码时代的风景 更多表现为一种跨媒介的图像或影像,并不断融合与改造现实,在媒体的介质和传播上超越 了一种“再现”或“造型”的功能与性质,成为一种新的视觉和空间形态。此外,奇观化的数码 风景侧重于追求“感觉真实”,破坏了机械复制时代的索引性,将真假的杂糅和拼贴以“感觉现 实主义”的样貌呈现,并不断重塑人们的认知与审美经验。

关键词: 数码, 风景, 媒介生成, 审美重塑

Abstract: In the history of visual art ranging from classical painting to mechanically copied images, landscape is a consistent theme. In addition, it defines itself as the visual mode of natural consciousness in both physical and symbolic way. Landscapes in the digital age, represented more as trans-media images, are constantly integrated into reality while transforming reality. Landscape has gone beyond the function of “representation”or“characterization”as a media in communication, thus creating a new visual and spatial form. Moreover, in pursuing“perceptual realism”“, spectacle”digital landscape has destroyed the“indexity”of mechanically reproduced photographs, and in presenting a“perceptual realism”by mixing what is true and what is false, it constantly reconstructs people’s cognitive and aesthetic experience.

Key words: digital, landscape, media generation, aesthetic reconstruction

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