【作者】 倪万；

【导师】 马龙潜；

【作者基本信息】 山东大学 ， 文艺学， 2009， 博士

【摘要】 从微观角度来看,数字化是指新技术条件下传媒的数字制式全面替代传统的模拟制式的转变过程;从宏观角度来看,数字化是数字技术的不断发展在传媒领域中引发的深刻变革,是数字技术从信息领域向人类生活各个领域的全面推进。随着数字化技术的不断发展,艺术也与“数字”联姻,并对社会、文化、经济的发展起着重要的促进作用,引起了国内外学界的重视和研究。目前,对于“DigitalArt”,各国学者从不同角度做出了许多定义,但对一种新兴的艺术形式拿出一个统一的界定还为时尚早,对其基本概念、存在状态、本质特征、发展规律、创作方法、艺术价值、艺术生产、传播与消费方式等方面的问题,学术界还需进一步的研究和考察。从目前的研究看,“Digital Art”是一个综合的概念,包含了艺术作品、艺术创作过程以及事物本身等多重所指,因此本文将其界定为“数字化艺术”。一般认为,艺术传播是指借助一定的物质媒介和传播方式,将艺术信息或作品传递给接受者的过程。长期以来,艺术传播的研究并未引起足够的重视,研究中更未考虑到“传播”一词所具有的“交流”的本意。直到接受美学开始将艺术研究的中心从艺术家、艺术作品转向艺术欣赏者,传播学也由传者中心论向受众中心论转移,艺术传播的研究才具备了一个基本完整的架构。二十世纪传播媒介的大发展,拓展了艺术传播的渠道和类型,变革了艺术传播的观念,使艺术传播研究在当代艺术活动领域显示出越来越重要的地位和作用。通常认为,形态指的是事物的形式与状态,既指事物在一定条件下的表现形式,也指在一定条件下事物存在的情形与态势。与“形式”、“方式”等概念相比,“形态”包含了在一定的条件或背景下,“事物的具体表现”、“各部分的组合状态”和“条理性的结构安排”等涵义。因此,数字化艺术传播的形态研究既要考虑传播的类型、模式、基本要素等层面的问题,更要考虑赛博空间与数字化场域中数字化艺术传播所表现出的性征与状态。论文的第一章略论了数字化艺术的界定、发展的脉络、研究的历程与现状,以及艺术传播研究的源起、媒介变革对艺术传播的影响、艺术传播研究的视角与路径,阐述了数字化艺术传播形态的概念及其研究的意义。论文的第二章论述了数字化艺术传播的形态及其类型与模式。目前的传播学理论普遍认为,传播包括内向传播、人际传播、组织与群体传播、大众传播等多种类型,数字化艺术传播有其特殊性,其类型也可以突破既有的标准而基于“面向对象的方法”考量。从当前艺术传播研究的著作中不难发现,其论述结构一般以拉斯韦尔的“5W模式”为基础,将艺术传播与其他传播类型的研究等同。但是,在数字化时代,媒介形式与艺术样式发生了巨大变化,“5W模式”的研究架构显然不能解释当前艺术传播的全部内涵。然而,作为传播学研究中必然涉及的一个基础理论,这一模式仍然是引导人们研究传播活动的一种便捷思路,主流传播学中在其之后提出的其他模式,都可看作是对“5W模式”的补充、修正、扬弃和发展。从微观的视角来考察一件数字化艺术作品的一次传播流程,更不可能回避“5W模式”的基本传播结构。学界也基于上述考虑,从个体和整体两个层面提出了“双向模式”、“基本总合模式”、“相对于一个节点的微观模式”、“泛传播模式”、“氩原子结构传播模式”等模式,借由多种角度来研究其传播问题。论文的第三章论述了媒介融合视域下数字化艺术传播的基本要素。在当前的媒介现实下,可以认为数字化艺术传播的基本形态由数字化艺术作品、数字化艺术传播媒介、传受关系等基本要素构成,其传播平台是不断发展与融合中的“网络”。“网络”这一概念,不能简单地理解为狭义的Internet,如果将其视为普遍意义上的“社会关系网络”,则概念又过于泛化。在当前的传播学研究中,“网络”指的是以各类物理性网络为基础的社会关系的存在形态,随着媒介间及媒介功能的不断融合,沟通着人类在信息社会中的方方面面。在媒介融合现实下的社会网络中,每一个与数字化艺术传播相关的人、群体、组织甚或大众均可以作为其中的一个节点,各个节点通过数字化的媒介链接,传播着数字化艺术作品。当然,也有观点认为,以“网络”这一名称来涵盖数字化艺术传播的媒介形态,显然不能凸显当前媒介现实的本质,不如直接用“数字化”这一称谓更为确切。因此,当我们运用“网络”这一名称时,已经将其所指确定为物质形态的各类数字化系统的集合及其相互连接的关系。此时,“网络”与“数字”不过是一个问题的两种表述罢了。从媒介角度看,数字化作为一种发展方向,数字技术作为一种新兴的传播技术,正全方位地进入传媒的各个领域,媒介形态也经历着翻天覆地的变化,马歇尔·麦克卢汉、杰克·富勒、罗杰·菲德勒等学者从各自的时代特征出发,以不同的视角深入研究了媒介形态变化的历程及其变化规则,这种变化也给传媒业注入了新的运行方式、发展轨迹和运作规则,特别是网络形态的出现以及当前技术条件下媒介间的交融与互动,使数字化艺术传播有了革命性的发展;从传受关系看,数字化艺术传播既包含了传统的传播与接受的关系,又蕴含着新技术条件下主体间性的交互关系,这不但改变了信息传播的方式和理念,无形中也推动了受众的分化和个体传播的发展;从数字化艺术传播内容看,将传统艺术的分类标准照搬到数字化艺术的分类中,显然仅能阐述数字化传统艺术的艺术样式,而不能涵盖数字化艺术本身的特性及其在数字化技术背景下兴起的新的艺术类型,数字化艺术的分类问题并非在传统艺术的类别中产生新的类别,而是以数字化艺术的特性为基础进行的重新设计,这也将促进创意产业核心——数字内容行业的整合与规划,并在实践中产生更多层面的技术和服务。但是,在数字化艺术的生成过程中,一方面,数字化技术对人的思想空间的拓展及对人的异化作用均显而易见,这需要不断挖掘数字化的人文内涵,并在科学技术发展的过程中把握现实关怀与终极关怀的统一;另一方面,数字化艺术的无限复制性导致了技术对艺术的进一步“祛魅”,以及市场化、大众化背景下艺术精神追求的缺失,这需要我们以人类的深厚文化积淀为基础、以时代精神价值为主线、以真切的人文关怀为内涵,合理利用数字化技术进行艺术的创作。论文的第四章论述数字化艺术传播的空间与场域问题,也即数字化艺术传播“形态”存在的条件与背景。从传播学的研究路径上看,二十世纪八十年代后,传播研究开始关注那些偏重于抽象且具有普适性的理论框架来涵盖具体的、历史的、呈现文化多样性的传播模式所导致的“以偏概全”的弊病,并将传播研究延伸到由“媒介、文化和社会”构成的“场”,呈现出传播研究的“场域性”,突破了主流传播学简单线性模式的操纵。在数字化艺术传播中,这一场域多被称为“虚拟空间”或“赛博空间”,场域便是对空间中各种位置之间存在的各种客观关系所形成的那个“网络”的宏观审视,数字化艺术传播形态研究显然要考虑数字化术传播在这个场域下的性征与状态。在这个场域中,这一研究同样交织着媒介、文化、社会等各个层面的宏观因素。就数字化艺术传播研究的现实情况来看,与理论界和批评界相比,政府管理部门以及传媒界、文化界、产业界和教育界更为关注数字化艺术传播的现实效益。因此,文化视野与市场策略成为当前数字化艺术传播研究的核心问题。一方面,数字化艺术传播的空间与场域显然存在于一个全球化的“地球村”之中,而“全球化”和“本土化”是彼此相伴的同一过程的两个方面。因此,数字化艺术传播的文化策略不可避免地要走全球化视野与本土化实践相结合的道路。另一方面,数字化艺术传播空间中所展现的信息和想象,在市场经济条件下逐渐转化为工业化的生产对象,这种产业形态也就是人们在论述当今产业化现实时所说的“信息产业”、“文化工业”、“媒介产业”等,并逐步形成了数字化艺术传播的产业结构和消费市场,同时社会的文化诉求也转化为大众的消费行为,数字化艺术的产业化成为其传播的最重要的形式。论文的第五章论述了后现代语境下数字化艺术传播的自由与管控问题。如果让我们从文化角度对当今数字化时代里的这一场域进行界定的话,恐怕没有比“后现代”更为合适的了。根据美国后现代理论大师詹姆逊的归纳,后现代表现出平面感/深度模式削平、断裂感/历史意识消失、零散化/主体消失、复制性/距离感消失等特征。后现代语境下的传播媒介为传播的自由提供了有力的思想基础,其产生的时代背景也为传播的自由提供了现实条件。数字化艺术传播的形态特别是其网络传播平台正具有这些典型的特征,这也与后现代理论所倡导的思想不谋而合。但是,后现代语境中数字化艺术传播的现实,也引发了诸多的社会思考。正是由于数字化艺术传播所具有的后现代特征,才使得对数字化艺术传播的“把关”成为难以实现管控的行为,甚至这可能使成为传播主体的那个或那些“人”拥有技术赋予的“无限”自由的权利,这种权利在传播主体多元化的时代有可能演化为一种媒介权力。可见,对这种媒介权力采取必要的管控措施,处理好自由与管控的关系,引导数字化艺术传播的健康发展,成为当前一项紧迫而重大的任务。更多还原

【Abstract】 Generally, from a microscopic point of view, being digital is a process that digital media replace the traditional analog media under the conditions of new technology progress progressively, and from a macroscopic point of view, it is that the digital technology reforms profoundly in the media field and spreads from the media field to all the field in the human society. With the development of the digital technology, the art begin to link up with the digital technology and influence the society, culture and economy more and more. Today, the digital art has a lot of definitions from different points of view in the academia At home and abroad. But, it is early that defining the new art style as a united definition. The definition, state, characteristic, regular pattern, creation method, art value, production style, communication and the consumption style of the new art form should be researched and explored further. This article gives the digital art a comprehensive definition in order to cover several parts of the concept, and divides the field into three aspects, the one is digital traditional art, the second is the creation based the digital technology and system, the last is the works created by the broadband multimedia interactive system.Normally, art communication is a process that using the media and some communication styles to transmit the art information or works to the receivers. Over a long period of time the issue of art communication is not be attached importance to until the acceptation aesthetic moved the research center from the artist and works to the receivers, and at the same time, the communication subject also moved the research center from the transmitters to the audiences. Therefore, the art communication has a whole structure. In the twentieth century Nineties, the communication media developed fast, and it enlarged the channels and types of the communication, and then the art communication have more and more important influence and status in the modern art field.In Chinese, the form (or shape) means the formation and the status under some condition. So it means both the formation and the status. Contract to the name formation or pattern, the form (or shape) has more contents including the representation, the status and the structure of something. Therefore, if we will research Digital Art Communication, we should consider both the base factors in the process of the communication, and the status under the digital condition.The chapterⅠof this article discusses curtly the definition of the Digital Art, the development of the Digital Art and the condition of the Digital Art research. The content of chapter one also includes the origin of the art communication, the influence of the media innovation, the method of art communication research.The chapterⅡof this article discusses the types and the models of the Digital Art communication.Today in the communication, communication includes several types including selfhood communication, interpersonal communication, group commun ication, organization communication, mass communication. Digital art communication is a special research field, and we may explore it based on the Object Oriented Analysis. But we can find easily that today the research about the art communication based on Hardd Lasswell’s 5W model, and take them in the same manner. But, in the digital time, the media and art style have changed profoundly; using Hardd Lasswell’s 5W model can’t enplane all the content of the current art communication. Of course, Hardd Lasswell’s 5W model is a foundational theory in the communication, and it is a convenient way to explore the activity of the human communication. Furthermore, the other models are generally considered as the addition and correction for the Hardd Lasswell’s 5W model. From a microscopic point of view, it is impossible that we engage in communication research but avoid that basic model. In the academia, there are a lot of models describes the digital art communication process from individuality and integral points of view.The chapterⅢof this article discusses the main factors of the Digital Art communication. we may consider that the art communication is the network structured by the digital works, digital media and the communication relationship. The concept of the network is not simple Internet. If we consider the network as the general social relationship, the concept is too universal. Hence the network is the form structured by all networks that can be defined as the network. They link all the livelihood areas in the information time. Every person, every group, every organization, even the multitude is a point in the network. They link with the digital media and they share the digital works .Of course, there are other opinions that it is imposable using the name network to embrace the form of digital art communication and it can’t explain the innate character of the digital media. So we may use the word digital to represent the all reality. And we can easily conclude that the digital form and the network are the two expresses for same thing. From the media point of view, digitalization is the direction of our time, and digital technology influences all the media’s aspects, especially include the media forms. Marshall Mcluhan, Jack Fuller, Roger Fiedler explore the regulations of the mediamorphosis from different points. And the mediamorphosis influence the media profoundly; especially the network is a universal and revolutionary event in our time. The art communication includes the traditional subjective-objective relationship and the intersubjectivity relationship. They are changing the style and the idea of the information communication, and they have large effects on the audience dissension and personal communication. The traditional art categories can’t fit the digital art, especially it can only explain the style of digital traditional art, but it can’t describe the new style aroused by the development of new digital technology. The new categories of digital art are re-structural design for the special art form though comprehensive thinking including digital content property that is the core of the originality property. During the process of the digital art creation, we should explore the humanity spirit under the condition of the digital time, and create digital art works by using digital technology reasonably under the situation of disenchantment and lack of artistry because it can be duplicated limitlessly.The chapterⅣof this article discusses the cyberspace and the digital field. After 1980s, the scholars of communication noticed that it is unreasonable to use common and abstract communication model to explain concrete, historic, culture-various communication phenomena, and then they lead the research to the field constructed by the media, culture and society in order to break the control of the main simple linear communication model. In the digital art communication, this field exists in the space generally named virtual space or cyberspace. The field is a macroscopic view of the network who links all the palaces in the complicated objective relationship, and in this field, the macroscopic factors of media, culture and society are interlacing. Today, in the research of digital art communication, the government, culture field, property field and the education field invest more attention to the digital art communication than the scholars and the criticizes, so the market, culture and the education are the core of this research. The first, the information and the imagination in that space progressively transform to the objects of the industrialization in the market-oriented economy, and today we name them information property, culture industry, media property including hardware works and software works who formed the property structure and the consumption market, and at the same time the society aspiration for culture turned to the mass consumption behaviors, and the digital art property is the most important style of his communication. The second, the space and the field of the digital art communication exist in the global village, and the globalization and the localization is two aspects of the same process, so the culture tactic of the digital art communication is combined with the globalization and the localization.The chapter V of this article discusses the freedom and the control of the Digital Art communication. Perhaps it is reasonable that taking postmodern to define the digital field from culture point of view. American famous postmodern theory scholar, Fredric Jameson has an idea that the postmodern has lots of characteristics, for example in-depth, clastic, subinterval, scattered. The freedom in the postmodern context is provided by the digital media, and the network is a profit sample that has that representative characteristic. It fits the thought of postmodern theory, and the multimedia showed by the network has huge advantage that can attract the audiences, and it represents the culture style of the postmodern. But the reality of the digital art communication under the postmodern causes a lot of thinking about present culture. It is not easy that control the behaviors in the digital art communication because of his characteristics. The men who become the information transmitter share limitlessly the communication right granted by the digital technology, so it is necessary to control and manage the media right and lead the digital art communication regularly.更多还原