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2016年2月11日,激光干涉引力波天文台(LIGO)宣布人类首次直接探测到了引力波。这一新闻在社交媒体上迅速被转发。这个由爱因斯坦于100年前所做的预言,在今天被证实之后,所引起的大众反应,比那微乎其微的引力波要剧烈的多。各种有关引力波的科普节目,视频,讲解图不停地的被推送到大众的移动终端和电脑上,这使得人们普遍参与到这一发现之中,似乎一瞬间所有人都懂得了广义相对论的概念,并产生了新的科学热潮。其实类似的这种情况在21世纪是一种常态。iphone的发布,google的自动驾驶汽车,特斯拉的电动汽车,就连《阿凡达》的上映,都能让大众欢欣鼓舞,并掀起潮流。反观传统架上艺术,似乎已经淡出了人们的日常生活。但是艺术家及艺术评论家还在延续过去的思维看待艺术,不同的是整个世界的工业和科技发展速度远远超过了绘画的创新速度。在这种环境下,我想试着从一个新的角度来解释绘画。
On February 11, 2016, LIGO announced the first direct human-induced detection of gravitational waves. The news was quickly forwarded on social media. This prophecy made 100 years ago by Einstein, confirmed today, produced a much larger public reaction than the slightest gravitational wave. Various kinds of popular programs, videos and explanations of gravitational waves are continuously pushed to mass mobile terminals and computers, which makes people participate in this discovery. It seems that for an instant everyone knows the general theory of relativity The concept, and produced a new science craze. In fact, a similar situation in the 21st century is a normal one. iphone release, Google’s auto-driving car, Tesla’s electric car, and even the “Avatar” release, can make the public happy and set off the trend. In contrast, the traditional art-setting seems to have faded out of people’s daily life. But artists and art critics are still continuing to think of art in the past, except that the rate of industrial and technological development in the entire world far exceeds that of painting. In this environment, I want to try to explain the painting from a new perspective.