影像宇宙中的尘埃:数字时代的影像民粹主义  

Dust in the Image Universe:Icono-populism in the Digital Age of Images

作　　者：赵千帆[1] Zhao Qianfan

机构地区：[1]同济大学人文学院

出　　处：《艺术当代》2024年第4期14-19,共6页Art China

摘　　要：本文试图从影像哲学的角度对当代影像的“民粹化”现象进行诊断。当代技术影像可以追溯到借助于机算机图像生成(GPI)技术在火星与地球之间传输相片的技术方案,结合维兰•傅拉瑟的理论,可以认为技术影像一开始就是以宇宙为尺度的对宇宙间粒子的重新整合与传输,因此影像本身构成了一个“宇宙”。以流通与交往为重心的技术影像摧毁了传统的观看体制,导致了观者面对影像的失重和信息的“熵增”。由此导致当代技术影像装置内在的“民粹主义”倾向。成为影像之生产工具的大众却并未拥有对影像的主权,反而在人工智能出现之后日益沦为“影像无产阶级”,其个体性的实存如同宇宙的尘埃一般飘荡在可见性的阈值之外。This paper attempts to diagnose the"populist"phenomenon of contemporary imagery from the perspective of image philosophy.Contemporary technological images can be traced back to the technical scheme of transmitting photographs between Mars and Earth using Computer-Generated Imagery(CGI)technology.Combining this with Vflem Flusser's theory,it can be argued that technological images were initially a reorganization and transmission of cosmic particles at a cosmic scale,thus constituting an"image universe"in itself.Technological images centered on circulation and communication have destroyed traditional viewing systems,leading to a weightlessness of viewers facing images and an"entropy increase"of information.This has resulted in an inherent"populism"tendency within contemporary technological image apparatuses.The masses,who have become the production tools of images,have not gained sovereignty over images,instead,after the advent of artificial intelligence,they are increasingly relegated to the"image proletariat."Their individual existence drifts like cosmic dust beyond the threshold of visibility.

关 键 词：技术影像 民粹主义 可见性 

分 类 号：G63[文化科学—教育学]