数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件

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美学,-,特征,-,创作手法,数字媒体艺术数字媒体艺术,数字图像的重构美学,和传统艺术的创作方式不同，数字媒体艺术往往采用现成的数字媒材（照片、图片、绘画等）通过剪辑、结构、拼贴、重组的方法，来产生荒诞的、梦幻的、具有独特视觉冲击力的作品。这种创意思想可以界定为利用拼贴和同构等手法，将元素组合在一个相互异质的空间中，并使编织进作品中的符号和图像，在互文中自动产生意义。,数字重构美学特征是：通过对图像的解构、扭曲、重组或融合，来产生一种充满荒诞、无理、黑色幽默和诙谐搞笑的超现实主义艺术氛围。这类作品也反映了计算机在解构和重构传统摄影媒材方面的强大处理手段。,数字图像的重构美学和传统艺术的创作方式不同，数字媒体艺术往往,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,第,1,讲：毕加索与现代艺术的诞生,第1讲：毕加索与现代艺术的诞生,立体主义用物体的各个侧面取代所有的单一视,.,点。舍弃了画面特殊的三维视错觉绘画方式,而是通过图纹、光线、质感,在画面上的相互影响阐释作者的视角,在传递信息中激发观众的参与性。,马歇尔麦克卢汉评毕加索,立体主义绘画舍弃了远近法的视错觉,给予物体以全方位的感知,使观众能身临其境,充分把握作品传达的信息,显示了“媒体即信息”的理念。,立体主义出现的意义,立体主义用物体的各个侧面取代所有的单一视.点。舍弃了画面特殊,亚威农少女,是,20,世纪初艺术转型的代表作品,它被普遍视为立体主义和现代主义的雏形之作。从那时起,艺术的表达从二维的透视转向平面化。作品描绘了巴塞罗那妓院中五个裸体的妓女。毕加索在工维平面内对艺术原有的表达方式进行了改造。同时,放弃了透视法,彻底告别了传统的欧洲绘画模式。,亚威农少女, (,布上油画,) (,西,),巴勃罗毕加索,(1907),亚威农少女是20世纪初艺术转型的代表作品,它被普遍视为立,藤椅上的静物,(,毕加索，,1912,）油画史上拼贴艺术的开篇之作，也是现代西方艺术上第一个拼贴作品。画家将一块印有藤编坐垫的漆布粘在画了静物的椭圆形画布上以表现椅子座面，然后又以绳子做了整幅画的边框。,藤椅上的静物(毕加索，1912）油画史上拼贴艺术的开篇之,正如毕加索所言：“即使从美学角度来说人们也可以偏爱立体主义。但纸粘贴才是我们发现的真正核心。”,正如毕加索所言：“即使从美学角度来说人们也可以偏爱立体主义。,毕加索的拼贴风格的绘画、被载入绘画史册的杰作,格尔尼卡,1937,毕加索的拼贴风格的绘画、被载入绘画史册的杰作格尔尼卡19,第,2,讲：摄影与图像重构,第2讲：摄影与图像重构,如何理解摄影、图片重构与数字拼贴？,数字媒体艺术和摄影艺术在本质上有许多相通之处：二者都是需要借助机械设备或电子设备来创作艺术作品，即二者都先天带有“技术的美学”的特点，数字媒体艺术和摄影上比绘画或雕塑有更紧密的联系。二者最大的不同是，如果将摄影比作“眼镜”的话，数字媒体艺术则更接近“大脑”和“手”的功能。,“计算机是人的大脑和神经系统的延伸”,麦克卢汉,如何理解摄影、图片重构与数字拼贴？数字媒体艺术和摄影艺术在本,它们均可以被复制、印刷、广泛传播、修改、扭曲、变形；它们也都可以存储、删除、重现（重新洗印或数据恢复）。,图像的媒体化：摄影与数字的相似之处,1905,，摄影拼贴作品,意大利数字艺术家,Alessandro Bavari,的数字拼贴艺术作品（,2005,）,它们均可以被复制、印刷、广泛传播、修改、扭曲、变形；它们也都,1857,年瑞典摄影家雷兰德（,O.G. Rejlander,）在英国曼彻斯特举行的“重要美术作品展览会”上展出了一幅由,30,多张底片合成的题名为,人生之路（,Two Ways of Life,）,的照片。开创了“设计”集锦照片艺术的先河。,1857年瑞典摄影家雷兰德（O.G. Rejlander）,2024/9/6,17,英国摄影家罗宾森,(H,P,Robinson),于,1858,年在伦敦水晶宫展出了一幅题为,弥留（,Fading Away,）,的摆拍合成照片,2023/7/3117 英国摄影家罗宾森(HPRobin,2024/9/6,18,2023/7/3118,本世纪初在加拿大发行的“理想主义风格的合成照片”明信片,本世纪初在加拿大发行的“理想主义风格的合成照片”明信片,摄影：大众文化和娱乐文化的雏形,摄影：大众文化和娱乐文化的雏形,达达派的著名摄影家拉茨罗,摩荷利,纳吉,1923,年利用照片拼贴方法创作的,世界的结构,（左）和达达派摄影师,Hannah Hoch,在,1919,年创作的拼贴画,达达派的著名摄影家拉茨罗摩荷利纳吉1923年利用照片拼贴,俄国摄影家,Alexander Rodchenko,利用照片拼贴方法创作的的,蒙太奇,，,1923,年（左）和,CE Ceci1923,年,俄国摄影家Alexander Rodchenko利用照片拼贴,“绘画已死，艺术家应同时具备画家、设计家和工程师的三重任务。” “相机是社会主义之社会与人民的理想眼睛。只有摄影能回应所有未来艺术的标准。”,亚历山大,罗钦可,（,AIexander Rdchenko,，,1891-1956,）,案例：维尔托夫著名电影,带摄影机的人,“绘画已死，艺术家应同时具备画家、设计家和工程师的三重任务。,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,数字媒体艺术概论第二章数字媒体艺术起源及美学ppt课件,亚历山大,罗钦可不仅是苏俄有史以来最重要的摄影家，也是苏俄十月革命中的重要艺术导师。还是构成主义的三位创始者之一；是苏维埃“新艺术博物馆”,(Museum of Fine Arts),的馆长，并且在应用艺术学校,(School of Applied Art VKHUTEMAS),教了,11,年书,(1921-31),，且是该校技术学院的院长，同时也是前卫杂志,(LEF),的创办者。,罗钦可在一九二三年又发表了惊人的学说，声称“绘画已死，艺术家应同时具备画家、设计家和工程师的三重任务。”然后就从此搁下画笔、油彩，而拿起相机。他认为： “相机是社会主义之社会与人民的理想眼睛。” “只有摄影能回应所有未来艺术的标准。”罗钦可自觉以摄影为武器，抛弃传统绘画的视角和审美，并以摄影剪辑、拼贴来形成更具视觉冲击力的图像。罗钦可对摄影媒材的处理与新媒体的美学如出一辙。,媒介的革命：绘画已死,亚历山大罗钦可不仅是苏俄有史以来最重要的摄影家，也,赫伯特,拜尔：一位由包豪斯制造,又在包豪斯任教的现代平面设计的先驱。,Herbert Bayer. (1900-1985),赫伯特拜尔：一位由包豪斯制造,又在包豪斯任教的现代平面设计,第,3,讲：拼贴与电影蒙太奇,第3讲：拼贴与电影蒙太奇,苏俄时期著名电影导演，电影艺术理论家谢尔盖,爱森斯坦（,Eisenstein,，,18981948,）和电影导演普多夫金（,Pudovkin,，,18931953,）通过对电影镜头的分析，挖掘出电影艺术的蒙太奇（,Montage,）理论。,爱森斯坦不仅仅把蒙太奇看作是一种拼贴，而且看作是一个富有动力的新的概念。所以，他认为蒙太奇不论在镜头内或各个镜头之间，都必须和冲突结合起来。由此，拼贴艺术由基于静态画面的“图像拼贴”转化成了动态媒介的“时间剪辑”，由此更丰富了拼贴的内涵和艺术表现力。,电影与早期镜头视听语言,苏俄时期著名电影导演，电影艺术理论家谢尔盖爱森斯坦（Eis,The first public performance to a large audience of moving animated projected images at Reynauds Theatre Optique in Paris 1892.,埃米尔,雷诺,1892,年在巴黎的葛莱蜡像馆开设了“光学剧场”并公开放映动画片，现场伴有音乐与音效，曾造成相当大的轰动。,The first public performance t,摄影师爱德华,穆布里奇,(Eadweard Muybridge,，,1830,1904),拍摄的的奔马和人体连续动作照片,(,1873).,而这项技术被发明出来不久，便开始推动电影和动画产业急速发展。,穆布里奇与电影的诞生,摄影师爱德华 穆布里奇(Eadweard Muybrid,Muybrigde,的奔马摄影，拍摄于,1870s,，用,12,架电子控制快门的照相机拍摄到了奔马的分解图。 并且用,zoopraxiscope,（魔术灯和,Praxinoscope,的组合装置）进行了回放。,Muybrigde的奔马摄影，拍摄于1870s，用12架电子,“,电影机”,( Cinematographe),，一种可移动的摄影机与放映机的组合体，,1895,年，卢米埃尔,(Lois Lumiere 1862-1948),兄弟发明。一群人能在同一时间看到一组事先拍好的活动影像。利用他们发明的，放映了著名的,火车进站,、,海水浴,等片，将电影带入了新的纪元。,“电影机”( Cinematogr