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伴随着人类新的技术景观与观念景观的不断发展或更迭,当下传媒艺术视觉符号的普遍性崛起,是一种世界性、人类性的生态。我们在认同与拥抱传媒艺术对人类艺术、人类视觉符号不断拓展、增容的同时,也需要对其进行及时而必要的文化批判反思。这种文化批判的维度,在如下四个方面显得尤为重要:一则,就文化生产而言,传媒艺术视觉符号在生产之初,就不可避免地受文化工业的标准化和均一化的深度影响;二则,就文化传播而言,激起人的物欲,使人卷入虚假共识,是传媒艺术视觉符号进行大众传播的基本机制;三则,就文化接受而言,传媒艺术视觉符号带给艺术接受者的,是一种普遍的去深度与去意义的接受期待与接受认知,这与人类后现代社会文化状态紧密互动;四则,就文化功能而言,传媒艺术视觉符号带给人的文化后果,便是造就了庸常化与空虚化的人,也即在人的精神高度与品级上负向拉扯。由此,在超越的意义上对传媒艺术视觉符号进行批判,也便有了更加深刻的意义。
With the constant development or change of new landscapes and concepts of mankind, the universal rise of visual symbols in the media art at the moment is a worldwide, humanity-based ecology. While recognizing and embracing the media art’s continuous expansion and enlargement of human art and human visual symbols, we also need to conduct timely and necessary cultural critical reflections on it. This dimension of cultural criticism is particularly important in the following four aspects: First, in terms of cultural production, visual symbols of media art are inevitably influenced by the standardization and homogenization of the cultural industry at the beginning of production; Second, as far as cultural communication is concerned, provoking people’s materialism and involving people in fake consensus is the basic mechanism for the mass media to spread the artistic visual symbols of the media. Third, in terms of cultural acceptance, the artistic visual symbols of the media art bring to the arts Recipient, is a universal to deepen and meaning to accept the expectations and acceptance of knowledge, which is closely linked with the cultural state of human postmodern society; four, in terms of cultural functions, the media art visual symbols to bring the culture Consequences, is to create a common and empty of people, that is, in the spirit of the human level and negative pull on the grade. Thus, in the transcendence of the visual arts media visual symbol criticism, it will have a more profound significance.