【摘要】：產(chǎn)生于上世紀(jì)六十年代的錄像藝術(shù)以其獨(dú)特的視覺(jué)語(yǔ)言和復(fù)雜多元的表達(dá)體系在當(dāng)代藝術(shù)中占據(jù)著重要的地位,而時(shí)間和空間的介入更是豐富了錄像藝術(shù)表達(dá)的視覺(jué)語(yǔ)言。錄像藝術(shù)的語(yǔ)境表達(dá)作用于觀看者的個(gè)人意識(shí),而這種個(gè)人意識(shí)又從錄像藝術(shù)的時(shí)間性和空間性中產(chǎn)生。時(shí)空性不僅在錄像藝術(shù)作品的主題中反復(fù)出現(xiàn),而且還是錄像藝術(shù)的本質(zhì)特征。本文試圖以時(shí)間和空間為線索來(lái)探究錄像藝術(shù)的時(shí)空性特征,再通過(guò)具體的案例來(lái)分析論述其空間性的四個(gè)特征,即裝置空間構(gòu)成、空間的本體、虛擬空間和空間中的身體承載,以及錄像藝術(shù)時(shí)間性的兩個(gè)階段:真實(shí)的時(shí)間和非線性時(shí)間,文章最后還構(gòu)想了錄像藝術(shù)未來(lái)的時(shí)空性,以此來(lái)探索錄像藝術(shù)發(fā)展趨勢(shì)的更多可能。
[Abstract]:The video art, which is produced in the 1960s, occupies an important position in contemporary art with its unique visual language and complex and diverse expression system, and the intervention of time and space has enriched the visual language of the video art expression. The contextual expression of the video art acts on the individual consciousness of the viewer, which in turn is produced from the temporal and spatial nature of the video art. Spatio-temporal character is not only repeated in the subject of the video art, but also the essential characteristic of the video art. In this paper, the temporal and spatial characteristics of the video art are explored by time and space, and the four features of the spatial nature of the video are analyzed by the specific case, that is, the device space, the body of the space, the virtual space and the physical bearing in the space, And the two stages of the time nature of the video art: the real time and the non-linear time, the article finally conceived the space-time nature of the future of the video art, so as to explore the more possibility of the development trend of the video art.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J5

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本文編號(hào)：2412631