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当代视觉文化的盛行与20世纪后半期人文社会科学领域中的“空间转向”之间有着极为密切的联系,然而以往的视觉文化研究却没有对此给予足够的重视。后现代空间意识优位的典型文化样态是视觉文化,而印刷文化则遵循线性时间逻辑,这看似与莱辛的诗画异质论无甚区别,但其中有着实质的差异:后现代空间完全不同于莱辛所讨论的欧几里德式空间,它是无距离、无深度、无秩序的超空间。视觉文化中渗透着后现代空间逻辑,这一逻辑又经由视觉文化得到了强化。其中,三种深度的削平是视觉文化中最为明显的后现代空间逻辑,直接表现为当代视觉文化的平面化特征。
The prevalence of contemporary visual culture is closely related to “spatial shift ” in the humanities and social sciences in the latter half of the 20th century. However, previous studies in visual culture did not pay enough attention to it. The typical cultural pattern of postmodern spatial consciousness superiority is visual culture, while the printing culture follows the linear time logic. This seems to be no different from Lessing’s poetic heterogeneity theory, but there is a substantial difference among them: the postmodern space It is completely different from the Euclidean space discussed by Lessing. It is a distanceless, depthless and disorderly hyperspace. Visual culture is permeated with the logic of post-modern space, and this logic has been strengthened through visual culture. Among them, the three kinds of depth shavings are the most obvious post-modern space logic in visual culture, which is directly manifested as the planarized feature of contemporary visual culture.