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相比具有固定视觉样式的艺术门类来说,声音艺术是一个很难被明确界定的门类,与其他艺术形式不可避免的穿插呈现,也时常让声音艺术面临着难以“独立支撑”的现实困境。抽象的声音如何在现实空间中得预期中的呈现效果?用“声音艺术”、“实验音乐”和“摇滚乐”等名词来区分对于声音的感知是否有效?或者它们本就是天生一体的不同侧面,而无需刻意区分?独立收藏机构是否完善等等?这些问题所形成的盲区,在对李振华的访谈中或许并未得到完整的答案,但他关于声音艺术的思考和反诘,却可以给读者提供更多认识声音艺术的角度和思路。而也如他所言,艺术都是通过转化来完成的,在去除掉文本中理解的框架之后,去感知艺术才是最重要的,不论你面对的是一件可视的实物还是一段看不见的声音。
Compared with the fixed visual style art category, sound art is a category that is difficult to be clearly defined, inevitably interspersed with other art forms, and often causes sound art to face the difficulty of “independent support.” Dilemma. How abstract sounds are expected to appear in the real world? Is the perception of sound effective in terms such as “sound art”, “experimental music”, and “rock music”? Or are they The different sides of nature and unity, without the need to be deliberately differentiated? Whether the perfect collection of independent institutions, etc.? The blind spots formed by these problems may not be fully answered in the interview with Li Zhenhua, but his thinking and contradictions about the art of sound, But can give readers more understanding of sound art perspective and ideas. And as he said, art is done through transformation. After removing the frame of understanding in the text, perception of art is paramount, whether you’re facing a visible object or a look Missing voice.