复制非同一性、非书思维与在途中OACHSSCD
Non-Sameness of Replication,Non-book Thinking and Here-on the Way
借助界面生成性,数字美学表现其审美特质.本雅明认为机械复制导致艺术媒介的转变和艺术传播的增强,但是数字艺术并非基于复制同一性模式,而是以信息化为基础的层级系统构建其全球范围内传播力和艺术力的关联,实现其复制非同一性效果.界面技术的发展史使其具有"非书"的思维模式,打破理性的秩序化规制,释放出感性、直观和跳跃的艺术力量.数字媒介将既有媒介纳入其中,具有在途中的异质关联性,数字文艺强调个性自由的情感、奇观的交互性增殖和用户参与的过程性美学.数字媒介拥有潜在情欲的引诱力,让数字艺术满足每个人的创作欲求,使数字艺术具有多样个性的发展前景.
By leveraging interface generativity,digital aesthetics exhibits aesthetic characteristics.Benjamin believed that mechanical replication leads to a transformation of artistic paradigms and an enhancement of artistic communication,but digital art is not based on the sameness of replication,but on a hierarchical system built on information technology to establish the connection between its global communication and artistic power,made its effect of non-sameness of replication.The development history of interface technology has endowed it with a non-book thinking mode,breaking the rational order and regulations,and unleashing the artistic power of sensibility,intuition,and jumping thinking.Digital media incorporates Existing-media and exhibits heterogeneous correlations in the here-on the way.Digital art emphasizes the emotional freedom of individuality,the interactive reproduce of spectacular,and the procedural aesthetics of user participation.Digital media has the potential attractiveness of Eros,allowing digital art to satisfy everyone's creative desires while also having diverse development prospects.
刘亚斌
浙江外国语学院 中国语言文化学院,浙江 杭州 310023
社会科学
数字美学界面生成性复制非同一性非书思维在途中
Digital AestheticsInterface GenerativityNon-sameness of replicationNon-book ThinkingHere-on the way
《河北民族师范学院学报》 2026 (2)
20-27,8
2022年度国家社会科学基金后期资助项目"界面生产视域下新媒介文艺转型机理研究"(22FZWB085).
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