手机艺术引论  

A Study of the Mobile-Based Art

作　　者：马立新[1] 

机构地区：[1]山东师范大学传媒学院,山东济南250014

出　　处：《上海师范大学学报（哲学社会科学版）》2013年第2期121-127,共7页Journal of Shanghai Normal University(Philosophy & Social Sciences Edition)

基　　金：国家社科基金资助项目"数字艺术哲学研究"(09BZX060)

摘　　要：从纯粹作为移动通讯工具的模拟机器到集真善美三大功能于一身的数字移动实体,手机在不到20年的时间内发展成为一种集成性、综合性的移动艺术,实现了从实用到审美的功能转换,消弭了艺术与生活之间的原子鸿沟,创造出了"全艺术"这一新型艺术形态,具有重大的历史意义和现实意义。全艺术既不同于传统的原子艺术,也不同于数字艺术系统中的电脑艺术、数字电影、数字电视和数字动画艺术,甚至还不同于寄生于其中的种种亚数字艺术。它的本体特征是传受上的互动机制、运行上的全天候伺服机制、文本上的万花筒机制、艺术主体上的身份兼容机制、消费上的全民机制和负载上的随身移动性机制等多种艺术机制的集成和综合。全艺术大大拓展了人类社会现实建构的内容、模式和选择权利,改变了艺术唯审美为圭臬的现代文化伦理,同时实现了人类对真善美三大价值的协同追求。The mobile phones, purely as simulation-technology-based communication tools, have been developed into an integrated and comprehensive art with nearly all-around functions in less than 20 years. The functional transformation of the mo- bile phones from practical use to aesthetic medium closes the gap between art and life, and creates an absolutely new species of art, the so-called all-around-art. The all-around-art is different from traditional atommed art, the general popular digital arts such as personal computer art, digital film, digital TV art and digital animation art, and those digital sub-arts. The all-around- art shows characteristics of the interactive system between the sender and the receiver, the all-time-standby service, the kaleido- scopic text structures, the diversificational status with the same one subject, the all-people-aimed consumption as well as its mobility. The all-around-art has largely developed the contents, mode and choice rights in the construction of social reality and changed the traditional artistic ethics which only takes aesthetics as the major value in art review and criticism.

关 键 词：数字艺术 手机艺术 全艺术 社会现实建构 

分 类 号：J02[艺术—艺术理论]