摘要
科技与艺术在当代的融合催生了“沉浸艺术”,而利用声光类数字技术制作的、具有“数字光晕”的“沉浸展览”也由此逐渐火爆。立足于本雅明的“光晕”概念与鲍德里亚“消费社会”的批判视野,结合半结构化的访谈方法,可以探究“沉浸技术”对艺术接受的影响:首先,“寻奇”“敬仰”与“疗愈”三种情感需求模式共同构成了受众的艺术期待视野。其次,受众的沉浸体验主要分为“五感联动”和“符号内爆”两种。最后,对不同的受众群体来说,艺术接受的效果不同:对普通群众而言,展览空间中人与物的场景勾连能够提升他们的艺术接受品质,但也存在一些干扰因素,如嘈杂的人声;对艺术专业人士而言,由于深谙“沉浸艺术”符号背后的“超真实”逻辑,因此不一定会被技术促进艺术接受。在技术日新月异的今天,我们要正视技术的各类影响,并对技术可能产生的反面效果有所预防。
The fusion of technology and art has led to the emergence of immersive art.Immersive exhibitions using digital replication technologies of light,shadow,sound and so on to create unique digital aura are gaining popularity nowadays.Based upon the critical perspectives in Walter Benjamin's most influential essay,especially his notion of"aura"and Jean Baudrillard's"The Consumer Society",this study uses a semi-structured interview method to explore the impact of immersive technology on audience art reception.Research findings indicate that the realm of expectation for audience's acceptance towards art is based on three emotional needs models:"curiosity","admiration"and"healing".And the audience's immersive experience can be categorized primarily into two types:"synesthesia"and"symbolic implosion".Lastly,the degree of art reception impacted varies among different audience groups.For the general public,the connection between people and objects in the exhibition space can enhance their acceptance of the art,but there are also some interfering factors,such as noisy voices.For the art elites who are well-versed in the"hyperreality"logic behind immersive art symbols,technology does not necessarily promote their art reception.In today's rapidly evolving technological environment,it is crucial to address the impact of technology and take precautions against possible negative effects it may have on us.
出处
《艺术传播研究》
CSSCI
2023年第2期115-128,共14页
Journal of Art Communication
关键词
沉浸技术
艺术展览
艺术接受
光晕
immersive technology
art exhibition
art reception
aura
作者简介
吴恩楠,四川大学文学与新闻学院2022级博士研究生;毛妮莎,英国伦敦大学学院2020级硕士研究生。
