伴随着流行文化的发展,从文学期刊到电视节目再到网络博客,我们的文化正实现着由传统的语言形式向新的影像文化的转变。许多的艺术家们也开始了对影像文化的视觉接受方式和生活方式的思考。同时,数码相机、DV摄像机和电脑的普及,高科技的影像艺术渐渐成为当代艺术和视觉文化的新形式。现在,我们获得一种更广阔的摄影观,图片的力量有可能是来自影像的内部或是外部的。实验摄影、行为艺术、摆拍、拼贴、摄影之后的摄影等等这些作为图像生成手段的一部分或是一种,现在的图片已经没有明确的划分。作品的再生产、再消费几乎成为一个不可避免的过程。到达终端消费者眼前的是经过复杂的再处理之后的东西。然而,作品与作品的交互性却大大的增强了。波依斯认为每个人都具有艺术的能力,人们思想和行为的出现都是“艺术”的过程。文化与艺术的社会功能要求我们对这种图像的阅读做出回应。而这种回应我认为:一种是视觉和技术上的开拓与提高,另一种则是运用我们自身的艺术审美理论和文化背景对图像阅读的时代特征进行思考。并将这种思考以符合这个时代的视觉接受方式表达出来。 Accompanied by the development of popular culture, from literary journals to television shows to web blogs, our culture is transforming from a traditional language form to a new one. Many artists also started thinking about the way of visual acceptance and lifestyle of image culture. At the same time, the popularity of digital cameras, DV cameras and computers, high-tech video art has gradually become a new form of contemporary art and visual culture. Now we have a broader view of photography, the power of the picture may come from inside or outside the image. Experimental photography, performance art, posing, collage, photography after photography and so on as part of the image generation means or a, the current picture has not been clearly divided. Reproduction of works, re-consumption has almost become an inevitable process. What reaches the end consumer is something after complicated reprocessing. However, the interaction between the work and the work is greatly enhanced. Boisses believes that everyone has the ability to art, the emergence of people’s thoughts and behavior are “art ” process. The social function of culture and the arts requires that we respond to the reading of such images. And this response I think: one is the visual and technical development and improvement, the other is the use of our own artistic aesthetic theory and cultural background of image reading characteristics of the time thinking. And express this thinking in line with the visual acceptance of this era.