本文選題：傳媒藝術(shù) + 傳統(tǒng)藝術(shù)��； 參考：《現(xiàn)代傳播-中國傳媒大學學報》2009年01期

【摘要】：傳媒對藝術(shù)的影響是劃時代的。電子科技使傳媒形成了與以往任何的藝術(shù)樣式都不可同日而語的藝術(shù)形態(tài)。當代美學與日常生活有著不解之緣,"日常生活審美化"雖然體現(xiàn)了美學的轉(zhuǎn)向,卻不足以建構(gòu)當代美學的內(nèi)在機理,藝術(shù)作為人的審美之維還是當仁不讓地應(yīng)該成為美學研究的主要角色。傳媒藝術(shù)作為當代藝術(shù)的整合性概念,是在與傳統(tǒng)藝術(shù)相對舉意義上提出來的,它為當下的審美活動提供了最主要的對象和審美經(jīng)驗。傳媒藝術(shù)固然包括了傳統(tǒng)藝術(shù)的內(nèi)容,但是傳媒藝術(shù)的時代性特征,又是我們探討新的審美方式的邏輯起點。在傳統(tǒng)藝術(shù)中,藝術(shù)家的形式創(chuàng)造特征是顯性的,欣賞者在面對藝術(shù)品的時候,所感悟到和鑒賞的首當其沖是藝術(shù)家的形式創(chuàng)造能力和獨特的藝術(shù)風格,"形似"并非藝術(shù)家的首要追求。而傳媒藝術(shù)供我們觀賞的圖像在運動著的時空中被攝錄,又在運動著的時空中被播放,因此,就顯得異常真實。與傳統(tǒng)藝術(shù)相比,主體的形式創(chuàng)造因素在欣賞者面前淡化退居其后。距離感的消解,審美主體對于對象的融入,在傳媒藝術(shù)的審美過程中是普遍的。傳統(tǒng)美學主張"無利害"的審美,也就是遠離欲望,傳媒藝術(shù)的審美則是和欲望密切相關(guān)的。在傳統(tǒng)藝術(shù)中,娛樂的功能只是諸多功能之一,而且決不會占有首要的位置;而在傳媒藝術(shù)中,快感成為人們最主要的審美需要,娛樂提供了最為普遍、廣受歡迎的快感資源。傳媒與生活密切相關(guān),但傳媒不能等同于日常生活,審美在日常生活的呈現(xiàn)不能取代美學研究。
[Abstract]:The influence of the media on art is epoch-making. Electronic technology has made the media form an art form which can not be compared with any other art style in the past. There is an inextricable relationship between contemporary aesthetics and daily life. Although "Aesthetic of Daily Life" embodies the turn of aesthetics, it is not enough to construct the internal mechanism of contemporary aesthetics. Art, as the aesthetic dimension of human beings, should be the main role of aesthetic research. As the concept of integration of contemporary art, media art is put forward in the sense of contrast with traditional art. It provides the most important object and aesthetic experience for the current aesthetic activities. Media art includes the content of traditional art, but the characteristics of media art are the logical starting point for us to explore new aesthetic methods. In traditional art, the artist's form-creation features are dominant, and the viewer is faced with the art. The feeling and appreciation are the artist's ability of form creation and unique artistic style, and "likeness" is not the artist's first pursuit. The media art for us to watch the image in the moving time and space is recorded, and in the moving time and space is played, therefore, it appears to be very real. Compared with the traditional art, the form creation factor of the subject is desalinated and retreated in front of the appreciator. The resolution of distance and the integration of aesthetic subjects into objects are common in the aesthetic process of media art. Traditional aesthetics advocates the "no-interest" aesthetics, that is, far from desire, while the aesthetics of media art is closely related to desire. In traditional art, the function of entertainment is only one of many functions, and it will never occupy the primary position; in the media art, pleasure becomes the most important aesthetic need of people, and entertainment provides the most popular and popular pleasure resources. Media is closely related to life, but media cannot be equated with daily life, and aesthetic representation in daily life cannot replace aesthetic research.
【作者單位】： 中國傳媒大學;中國傳媒大學文學院;中國傳媒大學審美文化研究所;
【分類號】：G206;J01

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本文編號：1974046