东方审美意境在新媒体艺术与技术上的表达研究(硕士)(论文22000字)
摘 要
中国传统审美讲求意境，无论是中国书法、山水、文学亦或是园林都注重作者或内心的情感表达与抒发；古代没有尖端的技术与手段所以古人依靠记忆、想象以及对自然的感悟抒发创作出数不胜数的传世佳作，形成了世界独有的艺术风格与样式；而如今材料、加工、网络等技术手段的日趋成熟与发达已可以实现古人所想象和追求的意境，但过于成熟的形式与技术反而使带有东方传统审美意境的作品越来越少，因此本文将以此为出发点探讨东方审美意境在新媒体艺术与技术上的表达研究。
新媒体艺术最早出现在欧美，20世纪末21世纪初逐渐在中国出现并发展至今，其观念、形式和技术还大多受到欧美乃至日本的影响和启发；由于中国在近几十年的经济快速发展，国家和企业甚至个人的经济实力不断爬高，这也给了新媒体这个注重互动、体验、感受的艺术形式较为宽广的发展空间，商业上的应用使得新媒体艺术的技术语言不断丰富，但同时负面的因素也在不断放大，出于商业运作目的大部分新媒体作品为了夺人眼球，为了凸显其技术的强大甚至还要把以AR、VR的字样来吸引眼球；作为一种潜力巨大艺术表现手法，被不断低俗化，与国外新媒体艺术的距离也日渐拉大，随着普遍化大众化这种状态以技术来吸引人眼球的做法可以持续多久，是否应当做出一种改变使新媒介华丽的技术外表呈现下，更多的回归新媒体艺术本身，以其独特的呈现方式为亮点，而不是作为手段，体现作为媒介的最终目的传播思想、文化，做到不让用户察觉到媒介本身的新媒体作品，本文将研究当下利用新媒介并以独特视角呈现给用户的成功案例，并在该基础上结合笔者毕业设计做出分析。
本文将以新媒体艺术的形式与内容为研究对象，进行以下几点探讨：
一、近当代新媒体艺术设计的产生与形式以及主要人物的理论影响；当前新媒体艺术在国际上发展现状包括国内新媒体装置普遍风格状态及日本欧美新媒体装置普遍风格状态，并具体分析当前国内外新媒体艺术在优势及劣势，同时对未来新媒介艺术发展可能存在的问题进行探讨。
二、新媒介艺术回归艺术表达的必要性和发展方向，新媒体艺术设计当前以技术、新奇、冲击力为手段的方式是否有其他道路可循，中西思想文化的差异对媒介呈现方式的影响，东方思考方式与观赏方式在新媒介艺术上的缺失与忽视，东方意境在媒介应用上的优势与竞争力，带有东方美学的艺术装置发展方向探讨，西方文化思想在新媒体艺术中的应用与值得借鉴的方式，探讨以内敛的、带有有东方思考与观赏方式的新媒体呈现方式的可能性，东方美学的意境意象与新媒体艺术与技术的多维呈现手段的互补性。
关键词：新媒体艺术、 新媒体技术 、东方审美 、意境 、东方思维模式
Summary
Chinese traditional aesthetic stress mood, both Chinese calligraphy, landscape, literature or gardens are concerned with the author or inner emotional expression and expression; ancient without cutting-edge technology and means so the ancients rely on memory, imagination and perception of nature to express creation The numerous masterpieces of the world have formed the unique artistic style and style of the world. Nowadays, the maturing and development of the technical means such as materials, processing and network can realize the artistic conceptions imagined and pursued by the ancients. However, the over-mature forms and technologies instead So that with the oriental traditional aesthetic mood works less and less, so this article will use this as a starting point to explore the Oriental aesthetic mood in the new media art and technology expression research.
New media art first appeared in Europe and the United States. At the end of the 20th century and the beginning of the 21st century, it gradually appeared and developed in China so far. Its concepts, forms and technologies are mostly influenced and inspired by Europe, the United States and Japan. Due to the rapid economic development of China in recent decades, The ever-increasing economic power of countries, enterprises and even individuals has also given new media a broader space for interaction in terms of interaction, experience and feelings. Commercial applications have enabled the new language of the media to continuously enrich its technical language, Negative factors are constantly being magnified. For the sake of commercial operation, most of the new media works have to attract eyeballs in order to highlight their technical strength. They even have to use the words AR and VR to attract attention. As a great potential artistic expression The technique has been kept unceasingly vulgarized and the distance from new media art in foreign countries has also been gradually widening. As the status of universalization popularized by technology to attract people's attention can last long, whether to make a change to make the new media gorgeous The technical appearance of the show, more return to the new media art itself, with its unique presentation Instead of acting as a means to embody the ultimate goal of media to spread ideas and culture and to prevent users from perceiving the new media works of the media itself, this article will study the current success of using new media and presenting it to users with unique perspectives Case, and on the basis of the author's graduation project to make an analysis.
This article will take the new media art form and content as the research object, the following discussion:
First, the contemporary contemporary new media art design and the form and the main characters of the theoretical impact; the current development of new media art in the international status quo including the general style of new media devices in Japan and Japan and Europe and the United States new media devices universal style and specific analysis of the current The new media art at home and abroad has its strengths and weaknesses, and at the same time discusses the possible problems in the future development of new media art.
Second, the necessity and direction of returning the art of the new media to art, whether there is any other way for the new media art design to adopt the means of technology, novelty and impact at present, the influence of the difference between Chinese and Western ideology and culture on the mode of media presentation, The Lack and Ignorance of Eastern Thinking Mode and Viewing Style in New Media Art, The Superiority and Competitiveness of Eastern Artistic Conception in Media Application, The Development Orientation of Art Devices with Oriental Aesthetics, The Application of Western Cultural Thought in New Media Art and It is worth learning from the possibility of intrinsically presenting a new way of presenting media with oriental thinking and appreciation. The aesthetic image of oriental aesthetics and the multidimensional presentation of new media art and technology complement each other.
Keywords: new media art、new media technology、 oriental、 aesthetic mood 、oriental thinking mode
目 录
中文摘要 ......................................................... I
英文摘要 ......................................................... II
图表目录.......................................................... V
第一章 绪 论 ..................................................... 1
1.1 研究背景.................................................... 1
1.2 研究的目的及现实意义 ....................................... 2
1.3 研究现状.................................................... 2
1.4 论文研究法.................................................. 2
第二章 近当代视角下新媒体艺术与技术概况及存在问题................. 3
2.1 近当代新媒体艺术设计的概念与产生............................ 3
2.1.1 本文所述新媒体艺术的范围及概念.......................... 5
2.1.2 近当代新媒体艺术设计的产生与形式........................ 5
2.2 当前新媒体艺术的发展现状.................................... 6
2.2.1 国内新媒体装置普遍风格状态.............................. 8
2.2.2 日韩欧美新媒体装置普遍风格状态.......................... 10
2.3 本章小结................................................... 10
第三章 发展带有东方审美意境的新媒体艺术的可能性................ 11
3.1 中国新媒体艺术设计当前存在的问题.......................... 12
3.2 探讨东方审美思考的中国新媒体本土化呈现方式的可能性........ 13
3.3 东方审美意境的解释与理解.................................. 15
3.3.1 东方美学中中形式、內容、意境的分析................... 15
3.3.2 东方美学中形式美感分析研究........................... 16
3.3.3 东方美学中内容性分析研究.............................17.
3.3.4 东方美学中意境的表达分析研究.........................18
3.4东方思考方式与观赏方式在新媒介艺术上的缺失与忽视........... 18
3.5本章小结................................................... 18
第四章 东方审美意境在新媒体艺术与技术上的表达与应用方法......... 19
4.1 新媒体艺术与东方美学中形式美感的结合研究.................. 19
4.2 新媒体艺术与东方美学中内容性的结合研究.................... 19
4.3 新媒体艺术与东方美学中意境的结合研究...................... 19
4.3.1东方审美意境中“自然造化”...............
4.3.2东方审美意境中的神秘性...............
4.3.3东方审美意境中的生命美学..............
4.4 应用于笔者毕业作品的东方美学思想与新媒体艺术手段说明...... 20
4.5本章小结.................................................. 21
第五章 结论.................................................... 21 |
