本文選題：看圖識字 + 視覺文化��； 參考：《大連工業(yè)大學(xué)》2014年碩士論文

【摘要】：“看圖識字”的視覺文化崛起，數(shù)以百計、千計、百萬計的視覺圖像通過傳統(tǒng)的或者新興的如微博、微信等各種介質(zhì)毫不間斷的沖擊著我們的大腦，“看圖識字”的視覺文化已經(jīng)逐漸超越單純的文字而成為我們?nèi)粘Ｉ畈豢苫蛉�，或者換句話說，也是躲避不了的了。從倉頡造字，文字的創(chuàng)造演變一度被認(rèn)為是文化進(jìn)步的有利證明，而我們的日常生活似乎從“看字識圖”一步步演變?yōu)椤翱磮D識字”了，難道是一種退步嗎？ 微時代大數(shù)據(jù)興起之后，社會化媒介被個體化，受當(dāng)代犬儒主義文化滲透的個體似乎找到一個表達(dá)的出口。傳播當(dāng)中的信息充滿真假難辨或真假混雜的情形，誰傳達(dá)了多少程度的真實，向誰傳達(dá)多少程度的真實，多少程度的真實被誰接收總之，信息傳播當(dāng)中的真實度已經(jīng)經(jīng)過多次的“加減乘除運算”了�！爸袊健爆F(xiàn)象的出現(xiàn)很大程度上是當(dāng)代犬儒主義文化意識影響衍生出的，我們變得對一切都“無所謂”，，任人擺布的“像狗一樣的活著”，對我們所處的日常生活和對所發(fā)生的事件的不滿,沒有實際的行動,僅僅利用虛擬的媒介來冷嘲熱諷、以謔泄怒的用玩世不恭態(tài)度傳達(dá)自己的不滿的信息，而這種僅有的表達(dá)，往往還不是個體真實的信息表達(dá)，混雜著虛假的成分。 毋庸諱言，細(xì)胞插畫與當(dāng)下事件的“無意識”，不是否定細(xì)胞插畫和當(dāng)下事件受到意識的影響，就是要將細(xì)胞插畫這一當(dāng)代插畫“無意識”的介入到當(dāng)下事件，從而“無意識”的再現(xiàn)當(dāng)下事件。也就是“無意識”痕跡的將當(dāng)下事件與細(xì)胞插畫這一當(dāng)代插畫中某一特定片段交織在一起，將兩者看似“無意識”的相互介入，這也可以說是一種理智與情感、理性與感性相互“無意識”的介入。當(dāng)代插畫創(chuàng)作者試圖以自身微小的視角來窺視當(dāng)下事件，“無意識”的將細(xì)胞插畫和當(dāng)下事件結(jié)合，再不給觀者帶來負(fù)擔(dān)的情況下，反映當(dāng)下事件以及對其的個人情感。 在當(dāng)今時代背景下，社會環(huán)境發(fā)生著翻天覆地的變化，細(xì)胞插畫之所以有存在的意義，就是在于這一視覺文化形式能夠剝離“當(dāng)下”，重塑“當(dāng)下”，從而反映“當(dāng)下”。視覺文化的崛起很大程度上是對我們當(dāng)今日常生活的解構(gòu)，細(xì)胞插畫是剝離“當(dāng)下”，重塑“當(dāng)下”，是一個對當(dāng)下事件或者現(xiàn)象的解構(gòu)，剝離當(dāng)下事件或現(xiàn)象，從而以一種視覺化方式將其重塑，繼而呈現(xiàn)出來。
[Abstract]:With the rise of visual culture, hundreds, thousands, and millions of visual images, through traditional or emerging media such as Weibo, WeChat, etc., are constantly impacting our brains. The visual culture of "picture literacy" has gradually gone beyond mere words to become an indispensable part of our daily life, or, in other words, cannot be avoided. From Cangjie to create characters, the creation and evolution of characters was once regarded as a good proof of cultural progress, but it seems that our daily life has evolved from "reading words and pictures" to "reading pictures" step by step. Is it a retrograde step by step? After the rise of big data, social media was individualized, and the individual who was infiltrated by contemporary cynicism seemed to find an outlet for expression. The information in the process of communication is full of situations where truth and falsehood are difficult to distinguish or are mixed up, who conveys how much truth, to whom, to how much truth, how much truth is received by who, in short, The truthfulness of information dissemination has gone through many "addition, subtraction, multiplication and division operations." The emergence of the phenomenon of "Chinese style" is to a large extent derived from the influence of contemporary cynicism cultural consciousness. We have become "indifferent" to everything, "living like a dog" at the mercy of others. There is no real action against the daily life we live in and the events that take place, only the use of virtual media to ridicule, to use cynicism to convey a message of discontent in a playful and cynical manner, and this only expression, Often is not the individual real information expression, mixed with false elements. Needless to say, the "unconsciousness" of cell illustrations and current events is either to deny that cell illustrations and current events are influenced by consciousness, or to involve the "unconscious" of cell illustrations into current events. Thus the unconscious reproduces the present event. That is, the "unconscious" trace interweaves the current event with the cell illustration, a particular segment of the contemporary illustration, and interacts the two seemingly "unconscious", which can be said to be a kind of reason and emotion. The intervention of "unconscious" between reason and sensibility. Contemporary illustrator tries to peek at the present event from his own tiny angle of view. "unconsciously" combines the cell illustration with the present event, and then reflects the current event and its personal feelings without putting a burden on the viewer. Under the background of the present era, the social environment is changing dramatically. The reason why cell illustrations exist is that this visual cultural form can peel off the "present", reshape the "present", and thus reflect the "present". The rise of visual culture is to a large extent the deconstruction of our daily life today. Cell illustration is to peel off the "present", to reshape the "present", to deconstruct the current event or phenomenon, to peel off the current event or phenomenon. It is then reshaped and presented in a visual way.
【學(xué)位授予單位】：大連工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J218.5

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 黃奕佳;劉蘇;;從深澤直人設(shè)計風(fēng)格解讀極簡主義新內(nèi)涵[J];藝術(shù)與設(shè)計(理論);2009年07期

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