论文部分内容阅读
西方数码诗学在20世纪50年代问世后就随着艺术实践的演变、现实观念的更新与学科交叉的渗透而发展。它不仅已取得令人瞩目的研究成果,而且形成了诸多范畴,包括“交互形式的诗学”、“超文本诗学”、“全息诗学”、“技术诗学”、“机器人诗学”、“数码音频编辑诗学”、“扩展领域的诗学”、“新媒体诗学”、“航行诗学”、“重组诗学”、“沉浸诗学”、“交互性诗学”、“增强空间的诗学”、“赛伯空间诗学”、“仿真诗学”、“系统诗学”、“细菌诗学”、“变幻诗学”、“赛伯诗学”等等。它的历史经验证明,要想在诗学领域实现理论创新,必须批判地继承传统艺术理论,正视艺术与技术的矛盾,拓宽理论视野,丰富数码素养。
After the advent of Western Digital Poetics in the 1950s, the development of artistic practice, the renewal of the concept of reality and the infiltration of different disciplines developed. Not only has it achieved remarkable research results, but also formed many categories, including “poetics in the form of interaction”, “hypertext poetics”, “holographic poetics”, “technical poetics ”, “ Robot poetics ”, “ digital audio editing poetics ”, “ field of expansion of poetics ”, “ new media poetics ”, “ navigation poetics ”“ Poetics of Reorganization ”,“ Immersed Poetics ”,“ Poetics of Interative Poetics ”,“ Poetics of Enhancing Space ”,“ Space and Space Poetics ”,“ , ”Systematic poetics“, ”bacterial poetics“, ”changing poetry“, ”cybercity" and so on. Its historical experience proves that in order to realize theoretical innovation in the field of poetics, we must critically inherit the traditional art theory, confront the contradiction between art and technology, broaden the theoretical horizon and enrich the digital literacy.