摘要
视觉中心主义在古希腊时期就获得了其传统,感官的等级序列以视觉优先,听觉次之,触觉压底。长久以来,以"圆形监狱"和"看见与被看"等为代表的对视觉特权的理论陈述已经相当充分,视觉霸权等危机的显现使理论关注和研究的对象向听觉转移。听觉是断裂的、瞬时的、消弭距离的,同时也具有表意的符号性特征。在数字技术时代,声音被编码和刻录,机械复制的听觉艺术作品为听觉感官带来可能被规训的危机。21世纪的全球艺术家创作了诸多通感的艺术作品,"抖音"及"鬼畜"等也在中国形成了独特的视听文化景观,这不仅是听觉在视觉中心主义范式下突围的实践,更是以敞开和流动迎接艺术新机遇的生成。不需要通过一层话语来展现力量,在感官内部进行对话,或可成为感觉理论和有关感知的艺术发展的一种可能的思路。
Visual centrism acquired its tradition in the ancient Greek period,where the hierarchy of the senses was sight,hearing,and touch.For a long time,the theoretical accounts privileging the visual(represented by"panopticon";"seeing and being seen")have been discussed but the emergence of crises in visual hegemony has shifted theoretical attention toward hearing.Hearing is disconnected,instantaneous,and dissipates distance,and also has symbolic meanings.In the age of digital technology,sound is encoded and inscribed,and mechanical reproduction of auditory artworks creates a crisis of possible discipline for the auditory senses.In the 21st century,artists around the globe have created many art works with synaesthesia.Tiktok and"autotune remix-themed content"have also formed a unique cultural landscape in China,in which hearing breaks out of the visual-centrist paradigm and also opens up a generation of new artistic opportunities.Without the need to demonstrate power through discourse,"dialogue"within the senses may offer a way of development for sensory and perception theory.
作者
苏展
Zhan SU(Peking University,China)
出处
《马克思主义美学研究》
2020年第1期113-130,739-740,共20页
Research on Marxist Aesthetics
