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从集合论的角度看,广义数码艺术诞生于文化与科技融而未分之时,围绕数字编码构思,有数形艺术、数义艺术、数序艺术、数比艺术、数算艺术、数辞艺术等分支。狭义数码艺术诞生于文化与科技分而再融之际,有两种不同取向:一是将传统艺术观念引入数码科技领域,体现数码科技境界;二是将数码科技引入艺术实践领域,运用数码科技创作。从逻辑学的角度看,数码艺术是以人的类特性的数码化为特征的艺术,特点是工具的可编程性、文本的非物质性、语言的联机性、意识的可计算性、规制的超中介性、身体的人机共生性。从发生学的角度看,狭义数码艺术是当代数码科技和传统艺术彼此结合的产物。它是继原始人的准艺术、古代的泛艺术和近现代美的艺术之后的发展阶段,拥有灵化、元化和虚化三重特征。
From the perspective of set theory, when generalized digital art came into being without integration of culture and science and technology, around the idea of digital coding, there were several forms of art, such as digital art, mathematical art, numerical art, digital art, digital art, Other branches. Narrow-sense digital art was born out of the separation of culture and science and technology. There are two different orientations: one is to introduce the concept of traditional art into the field of digital science and technology and embody the realm of digital science and technology; the other is to bring digital science and technology into the field of art practice and use digital technology creation. From a logic point of view, digital art is characterized by the digitization of humanoid features, characterized by the programmability of tools, the immateriality of texts, the connection of languages, the computability of consciousness, the regulated Super-mediated, the body’s human-machine symbiotic. From the perspective of genesis, narrow digital art is a product of the combination of contemporary digital technology and traditional art. It is the development stage after the primitive people’s quasi-art, ancient pan-art and modern-day beauty art. It has the triple characteristics of spiritualization, elementalization and virtualization.