主体、文本、意义:跨媒介艺术的集体智慧——以B站《挚爱梵高》弹幕为例  

Subject,Text,and Meaning:The Collective Intelligence of Intermedia Art——Taking the Danmaku of Loving Vincent on Bilibili as an Example

作　　者：周计武 Zhou Jiwu

机构地区：[1]南京大学艺术学院

出　　处：《美术观察》2025年第4期16-19,共4页Art Observation

基　　金：国家社科基金艺术学重大项目“艺术学理论的跨媒介建构及其知识学研究”阶段性成果,项目编号:20ZD26。

摘　　要：《夜间咖啡馆》在B站“弹幕”电影《挚爱梵高》中的跨媒介实践,揭示了数字艺术阐释从静态解读向动态协商的转型。在数字时代,跨媒介艺术的集体智慧通过三个维度得以体现:创作主体的液态化、文本形态的拓扑化和意义生成的交互化。这重构了艺术生产的本体论基础:当弹幕数据流与梵高画作形成时空叠合时,传统艺术体制的权威阐释被解构为社会化审美经验的动态网络。这一现象既折射出数字技术对经典艺术的批判性回应,也映射了集体智慧重塑艺术感知范式的必然性。The intermedia practice of The Night Caféin bilibili's“danmaku”film Loving Vincent reveals the intermediality of digital art interpretation from static reading to dynamic negotiation.In the digital age,the collective intelligence of intermedia art manifests through three dimensions:the liquefaction of creative subjects,the topological restructuring of textual forms,and interactivity of meaning interpretation.This reconstructs the ontological foundation of artistic production:when danmaku data flow spatiotemporally converge with Van Gogh's paintings,the authoritative interpretations of traditional art institutions are deconstructed into dynamic networks of socialized aesthetic experience.This phenomenon not only reflects digital technology's critical response to canonical art but also demonstrates the inevitability of collective intelligence reshaping artistic perception paradigms.

关 键 词：《夜间咖啡馆》 B站弹幕 跨媒介艺术 集体智慧 数字艺术本体论 

分 类 号：J905[艺术—电影电视艺术]