论图像装置性元素的指意潜能

发布时间：2018-04-11 04:11

  本文选题：指意 + 物质手段　； 参考：《文艺研究》2017年07期

【摘要】：底面、边框和透视,常常被我们当成图像中透明的或想当然的成分,或者使图像—符号的意义生产得以可能的结构性元素,实际上它们是有价值的能指,参与作品整体意义的建构。与一般的非模仿性元素相比,它们具有明显不同的特征:首先,它们普遍存在,是所有绘画的基本要素;其次,它们是一种总体性构架,不可置换,在意义的生产过程中是一种支配性策略;再次,它们具有可操作性,通过摆弄不同的变体,产生不同的语义。作为艺术家最简单、最基本的物质手段,艺术家要苦心经营、充分挖掘其各自的指意效能,以面对每一项表意实践的紧迫性。图像对每一个表意难题的解决都蕴含着丝毫不亚于文字表意的智慧。图像会思考,它使我们面对图像,又超越图像,去把握那些不可言喻之物。
[Abstract]:The bottom, the border, the perspective, are often treated as transparent or taken for granted in images, or structural elements that make possible the production of image-symbol meaning, and they are in fact valuable signifiers.Participate in the construction of the overall meaning of the work.Compared with the general non-imitative elements, they have distinct characteristics: first, they are universal and are the basic elements of all paintings; secondly, they are a general framework that cannot be replaced.It is a dominant strategy in the process of meaning production. Thirdly, they are operable and produce different semantics by playing with different variants.As the simplest and most basic material means of artists, artists should work hard to fully tap their respective signifying efficacy in order to face the urgency of each ideographic practice.The resolution of every ideographic problem by images contains the same wisdom as that of words.Images think, they make us face images, and beyond images, to grasp the unspeakable.
【作者单位】： 南京大学艺术研究院;
【基金】：国家社科基金重大项目“当代西方前沿文论研究”(批准号:14ZDB087)成果
【分类号】：J0
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本文编号：1734366