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艺术传播的古代原型是作为神与人中介(Hermes)的双向传达。古今传播侧重方向不同。古代传播向上维度的精英垄断、神圣孤独与深度时间性被现代传播向下维度的大众化、感性娱乐与空间化的群体无意识取代。艺术品的技术复制、同步传播与集体接受成为艺术关系的现代模式,个体生命的艺术品及其传播被迫异化为天价收藏。艺术传播的现代性机制及其特性均根源于现代性处境,其中严重的问题是对艺术传播与国家公权关系限制之阙如。现代性祛魅及其功能分化性造成现代公共领域形式化,艺术审美魅力遂成为现代公共精神的特殊替代品。商业消费与时尚明星文化,以及意识形态政治对艺术公共能量的汲取,成为艺术传播畸形扩张基础。
The ancient archetype of art communication is a two-way communication as a Hermes. The distribution of ancient and modern emphasis on different directions. The ancient monopoly of the upward dimension of ancient communication, the divine solitude and the deep temporal nature are replaced by the unconsciousness of the popular, sentimental and spatialized groups in the downward dimensions of modern communication. Art duplication, simultaneous dissemination and collective acceptance became the modern mode of artistic relationship. The artwork of individual life and its dissemination were forced to be dissimilated into astronomical collection. The modernity mechanism and its characteristics of art communication are all rooted in the situation of modernity. The serious problem is the lack of restriction on the relationship between the spread of arts and state power. Disenchantment of modernity and its functional differentiation have led to the formalization of the modern public domain and the aesthetic appeal of the art thus becoming a special substitute for modern public spirits. Commercial consumption and fashion celebrity culture, as well as the ideological and political art of public energy to absorb, become the basis for the spread of art deformity deformity.