图像及其“基底”——从“艺术×环境”到媒介生态学转向  

Images and Their“Grounds”:From“Art×Environment”to the Media Ecology Turn

作　　者：鲁明军 Lu Mingjun(School of Philosophy,Fudan University;Institute of Humanities and Social Sciences,Peking University)

机构地区：[1]复旦大学哲学学院 [2]北京大学人文社会科学研究院

出　　处：《美术》2024年第10期120-131,共12页Art Magazine

摘　　要：沃尔夫冈·乌尔里希以图像为媒介,编织了一幅多维交织的20世纪全球化的图景。在他的笔下,图像媒介作为“病毒”或“以太”,不仅是全球化的产物和见证,同时也是促进全球化的一种力量和动能。与之相应,W.J.T.米歇尔进一步将图像媒介区分为“形”与“底”。基于这一切分,特别是透过“基底”,图像被拓展为一种更广阔视野的生态型实践。同样诉诸生态型实践的约翰·彼得斯也对媒介做了“figure”与“ground”的切分,不过他眼中的“基底”是一种“元素型媒介”。于是,从作为“以太”的媒介到媒介之“基底”,直至“元素型媒介”的还原,媒介化身为一种“超图像媒介”,不仅构成了一个反思媒介化世界的新视角,同时也提示我们这即是人类存在本身。Wolfgang Ullrich employs images as media to create a multidimensional and interwoven depiction of 20th century globalization.In his work,the media of images,likened to a“virus”or“ether”,serves not only as a product and witness to globalization but also as a force and catalyst for its progression.Building on this,W.J.T.Mitchell further delineates the media of images into“Figures”and“Grounds”.Utilizing these distinctions,particularly through the concept of“Grounds”,images are expanded into an ecological practice with a more expansive vision.John D.Peters,who also adopts an ecological approach,makes a similar division of media but perceives“Grounds”as“elemental media”.Thus,from the media as“Ether”to“Grounds”of the media,and then to the restoration of the“elemental media”,the media evolves into“the super-image media”.This evolution not only offers a new perspective for contemplating the mediated world but also introduces a novel way of thinking about the world.It not only provides a new angle to reflect on the mediatized world but also reminds us that this is the essence of human existence.

关 键 词：基底 艺术×环境 元素型媒介 媒介生态学 

分 类 号：J05[艺术—艺术理论] G206[文化科学—传播学]