渴望虚拟空间:1990年代媒体艺术的技术想象

发布时间：2018-09-12 16:00

【摘要】：20世纪90年代是数字计算带着它的互动性、图形用户界面、互联网与万维网在文化中爆发的时期。"虚拟空间"与"虚拟性"这两个概念是架构90年代媒体艺术理论与实践的基础。然而,"虚拟空间"的概念本身是有缺陷的,这一方面是由于其内涵包括了处于快速变化中的各种技术,其中包括"增强现实"与"混合现实"向当代的普适计算范式的迅速转型,还涉及"永远在线"的移动计算、GPS追踪以及物联网等。这种复杂性还因为第一代数字艺术家与数字文化研究者在技术领域知识上的欠缺而被放大。另一方面则是因为长期以来,西方社会一直对笛卡尔的二元论持有一种未经反思的普遍信念,这种精神-身体的二元论隐含在物质与信息(作为硬件与软件)的对立(修辞上的)中,使其在文化规范中得到强化。而艺术圈却一直持有一个不同的、"具身"的以及多样化的存在观,尽管极少诉诸文字或工程学上的方程式,这种存在观却以一种行动的、直接诉诸感官的艺术实践的方式得到了表达。这些复杂的文化力量共同造就了一个令人晕眩又困惑的话语混合体。在90年代的人机交互(HCI)领域,这些问题一直存在,并且作为哲学观念包袱的一部分参与了主流认知学范式的塑造,影响了技术发展及其相关的话语。而媒体艺术家们的独立研究由于兼具了传统"具身"式的艺术感知与计算式的抽象思维,正是厘清90年代的数字文化在理论与实践上的技术与话语发展及"虚拟性"相关的问题,并构想相应的解决方案的独一无二的切入口。一般说来,这些独立研究要远远早于学术机构与商业公司。
[Abstract]:The 1990s were when digital computing took off with its interactivity, graphical user interface, the Internet and the World wide Web. " The concepts of virtual space and virtual space are the basis of the theory and practice of media art in 1990's. However, the concept of "virtual space" is inherently flawed, partly because it encompasses technologies that are in rapid change. These include the rapid transformation of "augmented reality" and "mixed reality" to the modern universal computing paradigm, and the "forever online" mobile computing tracking, GPS tracking and the Internet of things. This complexity is magnified by the lack of technical knowledge of the first generation of digital artists and digital culture researchers. On the other hand, because for a long time, Western society has held a general belief in Descartes dualism without reflection. This spirit-body dualism is implicit in the opposites between material and information (as hardware and software) (rhetorical), reinforcing it in cultural norms. The art world, however, has always held a different, "physical" and diverse view of being, though rarely resorting to written or engineering equations, but this view of being is in one action. The artistic practice of direct recourse to the senses is expressed. These complex cultural forces together create a dizzying and confusing mix of words. In the field of human-computer interaction (HCI) in the 1990s, these problems existed all the time, and as part of the burden of philosophy, they participated in the shaping of the mainstream cognitive paradigm and affected the development of technology and its related discourse. The independent research of media artists, because of the combination of traditional "body" art perception and computational abstract thinking, It is precisely to clarify the technological and discourse development and "fictitious" related problems of digital culture in theory and practice in the 1990s, and to conceive the unique entrance to the corresponding solution. Generally speaking, these independent studies are much earlier than academic institutions and commercial companies.
【作者单位】：加利福尼亚大学欧文分校克莱尔·特雷弗艺术学院;上海大学上海电影学院;
【基金】：国家留学基金委联合培养资助项目(2015)
【分类号】：J0

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