本文選題：碎微空間 + 分形��； 參考：《福建師范大學(xué)學(xué)報(bào)(哲學(xué)社會科學(xué)版)》2017年05期

【摘要】：在后現(xiàn)代語境中,空間的碎微化特質(zhì)成為空間形態(tài)的主導(dǎo)表征形式,影響到主體的生存方式與審美體驗(yàn),成為當(dāng)代美學(xué)和文化研究領(lǐng)域新的理論生長點(diǎn)。碎微空間的生成來自于新媒體的信息革命和社會化"微媒介"傳播手段的提升,呈現(xiàn)出"微敘事"的藝術(shù)文本審美特質(zhì),并以"仿像""瞬間失意"等方式促使后現(xiàn)代主體審美體驗(yàn)和存在觀念的變革。而其深層原因則是后現(xiàn)代社會和主體物質(zhì)生產(chǎn)方式的調(diào)整帶來新一輪的空間生產(chǎn)和空間壓縮。與空間碎微化進(jìn)程同時(shí)出現(xiàn)的,則是建立在"自相似"和"自生長"基礎(chǔ)上的分形空間,它以動態(tài)的交往原則和自由的信息流動,完成后現(xiàn)代空間形態(tài)的重構(gòu),并以審美共通感促使美學(xué)話語的再次釋放。從碎微空間到分形空間所表征出來的藝術(shù)實(shí)踐成為切入美學(xué)研究的重要視角,美學(xué)也呈現(xiàn)出流動性和"游牧性"的多元景觀。通過對主體感性能力的確證和對總體化權(quán)力的反思,美學(xué)本體走出一條從審美文化到美學(xué)意識形態(tài)的理論譜系。
[Abstract]:In the post-modern context, the particularity of space has become the dominant representation of the spatial form, which has affected the subject's living style and aesthetic experience, and has become a new theoretical growth point in the field of contemporary aesthetics and cultural research. The formation of broken micro-space comes from the information revolution of new media and the promotion of socialized "micro-media" communication means, showing the aesthetic characteristics of "micro-narrative" artistic text. It also promotes the change of aesthetic experience and existential concept of postmodern subject by means of "imitation" and "instant disappointment". The deep reason is that the adjustment of the post-modern society and the main material production mode brings a new round of space production and space compression. At the same time as the process of spatial fragmentation, fractal space is based on "self-similarity" and "self-growth". It reconstructs the post-modern spatial form with the principle of dynamic communication and free flow of information. And aesthetic common sense to promote the release of aesthetic discourse. The art practice represented by fractal space has become an important angle of view of aesthetic research. Aesthetics also presents a multi-landscape of mobility and "nomadic". Through the confirmation of the perceptual ability of the subject and the reflection on the power of collectivization, the aesthetic ontology goes out of a theoretical pedigree from aesthetic culture to aesthetic ideology.
【作者單位】： 河南大學(xué)文藝學(xué)研究中心;
【基金】：國家社科基金項(xiàng)目“文化現(xiàn)代性視域中的藝術(shù)自律問題研究”(項(xiàng)目批準(zhǔn)號:10BZW002) 河南省哲學(xué)社會科學(xué)規(guī)劃項(xiàng)目“空間轉(zhuǎn)向與文學(xué)研究方法論轉(zhuǎn)型”(項(xiàng)目批準(zhǔn)號:2016CWX027) 河南省教育廳人文社科研究項(xiàng)目“空間美學(xué)的建構(gòu)與后現(xiàn)代美學(xué)理論新變”(項(xiàng)目號批準(zhǔn)號:2016—qn—081) 中國博士后科學(xué)基金面上資助項(xiàng)目(項(xiàng)目批準(zhǔn)號:2016M592277) 中國博士后科學(xué)基金特別資助項(xiàng)目(項(xiàng)目批準(zhǔn)號:2017T100527)
【分類號】：I01

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1 董惠寧;;易學(xué)與“分形”——談藝術(shù)與美[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2006年04期

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