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奇幻世界│2014國際科技藝術展
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始自於十九世紀，視覺經驗技術化 technologicalization of visual experience 的浪潮不僅拓展了人們的視覺領域 visual horizon ，更將視覺經驗變成了商品，這些新的視覺文化非但重塑了人們的記憶與經驗，連同日常生活都被社會的影像增值給改變了。 德國哲學家馬丁 海德格 Martin Heidegger 在 世界圖像的時代 The Age of the World Picture 中便曾指出，從本質上看來，世界圖像並非只涉及一幅關於世界的圖像，而是指借助於技術，世界被掌握成圖像，因而被視覺化了。 註1] 爾後，居伊 德波 Guy Debord 以 景觀社會 the society of spectacle 的論點，訴說著 真實世界已變成實際形象、純粹的形象以轉換成實際的存在 且 在現代生產條件蔓延的社會中，其整個生活都表現成為一種巨大的奇觀積聚，曾經直接地存在著的所有一切，現代都變成了純粹的表徵。 具體而言，影像在數位時代裡並非 一個 one 影像，這意味著它並不存在著一個可以與它自身相對應的存在。 這樣的影像敘事呼應著布希亞 Jean Baudrillard ...
WONDER OF FANTASY│2014 INTERNATIONAL TECHNO ART EXHIBITION
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The Transformation of Contemporary Image-scape. The Post-Digital Society of the Spectacle. The Transformation of Contemporary Image-scape. By Chih-Yung Aaron CHIU (curator). The spectacle is not a collection of images, but a social relation among people, mediated by images.". Guy Debord, 1983, The Society of the Spectacle. All that once was directly lived has become mere representation."[2] In other words, spectacles transformed people's material life into a static world. 9(12), pp.65-70. 5] Jay, Martin,...
奇幻世界│2014國際科技藝術展
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Lev Manovich is a professor at The Graduate Center, City University of New York and founder and director of Software Studies Initiativewhich works on the analysis and visualization of big cultural data. Manovich is the author of. Bloomsbury Academic, 2013),. Soft Cinema: Navigating the Database. The MIT Press, 2005), and. The Language of New Media. The MIT Press, 2001) which was described as "the most suggestive and broad ranging media history since Marshall McLuhan.". Illusions in Motion: Media Archaeol...
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