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研究生:蔡承助
研究生(外文):TSAI CHENG-CHU
論文名稱:科技藝術中的再現機制-失神
論文名稱(外文):Representation of the technology arts— Absence
指導教授:顧世勇顧世勇引用關係
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:科技藝術研究所
學門:藝術學門
學類:應用藝術學類
論文種類:學術論文
論文出版年:2004
畢業學年度:93
語文別:中文
論文頁數:34
中文關鍵詞:失神
外文關鍵詞:representation
相關次數:
  • 被引用被引用:1
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  • 收藏至我的研究室書目清單書目收藏:5
再現這個概念,其意思的英文是representation,《牛津最新英語詞典》的界定是:再現什麽就是描繪或刻劃什麽,借助描繪或刻劃或想象在心中喚起該物;就是將某物的相似性呈現在我們心中和感官;比如這句話:“這幅畫再現了凱因謀殺了阿貝爾。”柏拉圖在《理想國》中就談到再現,他認爲一幅畫就是就是一種再現,因爲畫重現了一個物件形象的外觀。
比較地說,從模仿論到再現論,反映了美學思考的深化。有的美學家指出,模仿說總是通過把作品同作品之外的現實相比較而得出優劣判斷,因而它所證明的不是藝術品自身的屬性,而是某種外在的標準和規範。這樣一來,模仿說便全忽略了藝術品自身的審美屬性和特徵,它的惟一參照系就是被模仿的物件本身。而再現論的提出有其合理性,它關注的是藝術描畫現實事物的特性和能力,是藝術品自身的美學特質,其重心在藝術而非被模仿的外在事物。這麽來看,再現論更符合美學思考的要求,因爲它更多地是關心作爲再現形式的藝術是如何來表徵外在世界的,以及其內在的美學規律何在。於是,再現論將藝術品的判斷轉化爲一個審美判斷,而不是一種簡單的相似或相像關係的評價。
然而在科技時代中,我們已經全部神奇地變為,可符碼化的制碼能動者,我們置身于這種解讀和論述的多樣性之中,這些多樣性上製造出自我意識和反省性的新形式。因此,作為上述多樣性擴張的結果,當文化生產與消費的形態均已質素地、神奇地改變了之後,這並不意味著再現本身已經瓦解。再現是已變成一種較不確定的過程,這並非意味著再現的終結。同樣的,正是"後現代主義"這個名詞本身,帶領你脫離必須去認知什麼是新的,以及去獲致這些新事物如何被生產出來的一些歷史性瞭解的緊張壓力。後現代主義藉由宣稱歷史已經終結來封鎖過去,因此毋需回溯過去,此刻只有"現在",而所能作的只是與它同在,沉浸到"現在"去。
「再現」從傳統藝術「模仿」的意涵,到近代科技藝術已有所不同,對布希亞而言,新時代的特點就是仿真,也就是經由仿真的過程,原先以物質生產做為社會動力,現在已經被符號的生產與擴散所取代,符號便藉由這些過程無限度的擬仿,生產出無數個「擬像」,在擬像的世界裡,「再現」本身也可能是虛無的、不牽涉任何本體真實,因為擬像使得真實缺席並進而取代了真實,「再現」在科技藝術中的意涵是「不在場」、「超真實」、
猶如程式在背後所操控的符碼。
我分為三個部分第一章忙,第二章盲,第三章茫,以己身作品為出發點去探討再現在科技藝術中的機制和意義。
Representation this notion, English of its senses is a representation, the define of the oxford latest English is: Representation is a description or depicts that. Ask for help the description or depict or think that elephant is in mind to arouse the said resist to present the similarity of the certain rest in our core neutralizing sense; For example this words:" This painting of arm reappeared because the murdered the abele." The Plato is in 《 Utopia 》 speak of the emersion, does he recognize? The painting of arm is to is a kind to reappear, because of? The painting re-appeared a superficies of article image. Say comparatively, talk about the emersion to talk about from the imitation, reflect the deeply turning of the aesthetics cerebration. Some estheticians point out, impersonating to say that always pass the realistic vies - a - vies of the expensive of the work concurrency article and have to judge out the good and bad, as a result what it authenticate is not the attribute of the art object self, but certain grow the extrinsic standard and specifications. By so doing, the imitation says that neglected the art object self to appreciate beauty the attribute and habits then and all, its only one reference train the article per se that impersonate. And address of emersion theory contain its rationality, what it pay attention to is the characteristic and capabilities that the art copies to draw the realistic rest, is the aesthetics quality of the art object self, its center of gravity at art rather than outside rest that impersonate. To look, reappear to talk about to even meet the request that aesthetics consider, because of? Does it is the concern merely to make? Reappear the outside world in token of how modal art is come of, and its inherent aesthetics law is where. Hereupon, does the emersion theory convert the verdict of the art object? An appraisal that appreciate beauty judge, not a simple similarity in kind or resemble relate to.
However in the technical time, we already completely the mysterious diastrophism was, but the symbol system code can moving, we place oneself to this kind and in the elaboration multiplicity, in these multiplicities makes the self-awareness and the introspection new form. Therefore, took the above multiplicity expands result; after cultural production and the expense shape innate nature, mysteriously changed, this certainly did not mean reappeared itself already disintegrates. The reappearance was turned one kind of indefinite process, this meant the reappearance end by no means. Same, after is precisely "modernism" this noun itself, leads you to be separated from must go to cognition any is new, as well as how obtains these new things some historical understandings tense pressures which produces. The latter modernism affiliation by declared the history already ended blocks the past, therefore did have to recall the past, this moment only has "now", but could do only was with it with in.
" Representation " from traditional art "imitation" Italy contains, had differently to the modern science and technology art, speaking of the Bush Asia, the new times characteristic is a simulation, also is by way of the simulation process, originally does take the physical production as the social power, now already substituted by the mark production and the proliferation, the mark then affiliation planned by these process non- limits to imitate, produces innumerable "to draw up the picture", in drew up the picture in the world, "the reappearance" itself also possibly was the nihility, does not involve any main body really, because drew up the picture to cause the real absence and then substitutes has been real, "The representation" contains in technical art Italy is "in the field", "ultra is not real", just like the symbol which the formula holds controls.
I divides into three parts first chapter of busy to", the second chapter of blindness, third chapter of vast, discussed the reappearance take the oneself body work as the starting point in the technical art mechanism and the significance.
中文摘要………………………………………………………………I
英文摘要………………………………………………………………III
目次……………………………………………………………………V
第一章 忙 …………………………………………… 1
第二章 盲……………………………………………8
第三章 茫…………………………………………13
第四章 作品表現型式及裝置說明……………………………………17
第五章 結語……………………………………………………………28
注釋…………………………………………………………………… 32
參考文獻……………………………………………………………… 33
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Michael Rush,《New Media in Late 20th-Century Art》,Thames&Hudson world
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Jean Baudrillard,《擬仿物與擬像》,洪淩譯,時報出版
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