数字媒体艺术概论第三章科技与艺术的融合历史ppt课件

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level,Fourth level,Fifth level,*,*,数字媒体艺术,数字媒体艺术,第,3,章 科学,-,技术,-,艺术,-,新媒介,数字媒体艺术数字媒体艺术,数字媒体艺术的科技溯源,数字媒体艺术与生俱来就有向往和追求真理的天性。正是在追求真理的征途上,科学和艺术携手而行,科学探索物质世界,艺术追求美的感受。而近代科学证明: 科学和艺术是一个硬币的两面,是不可分割的整体。就像太阳光芒那样具有波和粒子的双重属性。,数字媒体艺术是建筑于科学技术基础上的新艺术形态,是名副其实的科学和艺术的结晶。为了追溯科学和艺术联姻的历史,探求作为文化价值观的数字艺术美学的思想传承历史,本章将从古希腊的美学开始,探索西方艺术史中蕴涵的科学观的形成和,20,世纪科技发展对艺术家、艺术流派和艺术观念的影响,探索西方现代艺术和技术的结合的历史,由此更清晰地梳理出数字媒体艺术的思想来源。,数字媒体艺术的科技溯源数字媒体艺术与生俱来就有向往和追求真理,第,1,讲:科学与艺术的同源性,第1讲:科学与艺术的同源性,德国动物学家和哲学家恩斯特,海因里希,菲利普,奥古斯特,海克尔(,1834,1919,)认为生物学在许多方面与艺术类似。自然界中的对称,比如单细胞生物中的放射虫对他的艺术天赋有很大的启发。海克尔擅长版画和插图,尤其著名的是他画的浮游生物和海母的画,这些图画生动地体现了生物世界的美。在其,1896,年发表的巨著,自然的艺术形式,中含有数百幅非常细腻的植物、花卉和放射虫的骨骼的插图。他的插图生动地体现出了大自然赋予生物的绝妙的对称结构。,简洁性、对称性与大自然美学,德国动物学家和哲学家恩斯特海因里希菲利普,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,科学史家乔治,萨顿曾将真、善、美所对应的科学、宗教与艺术比喻为一个三棱塔的三个面,他说:“当人们站在塔的不同侧面的底部时,他们之间相距很远,但当他们爬到塔的高处时,他们之间的距离就近多了。”,正如博物学家达尔文(,1809-1882,)和德国动物学家、哲学家恩斯特,海克尔(,1839-1919,),早期的自然科学家往往又是非常细致的画家和插图大师,和科学艺术巨匠达,芬奇一样,他们把对自然界的热爱和对宇宙万物的虔诚与细致的观察融于笔记和书籍中,成为后人不可多得的宝贵精神财富。,生物学家,博物学家,进化论创始人,查尔斯,罗伯特,达尔文,博物学家与插画大师的结合,科学史家乔治萨顿曾将真、善、美所对应的科学、宗教与艺术比喻,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,鹦鹉螺所蕴涵的奇妙数学,鹦鹉螺所蕴涵的奇妙数学,分形艺术图案体现了数学和“大自然美学”之间的联系。分形艺术图案与大自然的许多植物有着惊人的相似之处。通过计算机编程产生的这些令人目不暇接的精美分枝、螺旋状、羽叶状树叶不仅使数学家、物理学家为之迷恋,而且使许多艺术家趋之若鹜,他们认为在这些无穷放大或缩小的自我相似的螺旋形结构中蕴藏着宇宙的奥秘。,分形几何学与分形艺术图案,分形艺术图案体现了数学和“大自然美学”之间的联系。分形艺术图,1970,年代数学家曼德勃罗(,B. B. Mandelbrot) 1975,年出版了他的专著,分形、机遇和维数,,这是分形(,Fractal,)理论诞生的标志。,Z,n+1,=Z,2,n,+C,这个迭代公式中的变量都是复数,通过计算机进行反复迭代运算就可以产生出一个大千世界!,1970年代数学家曼德勃罗(B. B. Mandelbrot,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,第,2,讲:西方古典艺术中的科学观,第2讲:西方古典艺术中的科学观,亚里士多德说:“人是理性的动物。”,古希腊哲学家毕达哥拉斯,(,公元前,582,年一,507,年,),把一切自然现象都归结为数学的法则,从而建立了完整的理性主义思想体系,并为西方文化的发展奠定了理性主义的基调。,1.,古希腊哲学中的数学思想,古希腊艺术家根据数的规律,赋予艺术作品以比例、大小、结构和节奏等要素。而“美”就来源于比例的和谐。这种几何标准,(,包括金字塔构图、黄金分割比等,),成为西方古典主义美学的基石。,亚里士多德说:“人是理性的动物。”1. 古希腊哲学中的数学思,Raphael,School of Athens, c.1510,雅典学院,壁画,1510-1511,年,意大利画家,文艺复兴时期艺坛三杰之一的拉斐尔,(Raphael Santi,,,1483-1520),,以古希腊哲学家柏拉图所建的雅典学院为题,以古代七种自由艺术,即语法、修辞、逻辑、数学、几何、音乐、天文为 基础,以表彰人类对智慧和真理的追求。,Raphael, School of Athens, c.1,古希腊人建立的理性主义艺术观念在文艺复兴时期的艺术家那里则体现为对光影、透视学和人体解剖学等科学原理和写实技法的钻研和运用。由此,经过数百年中无数艺术家的不断探索,西方人建立了一套完整的写实绘画体系。这种绘画能在二维的平面上再现出三维空间中的立体形象,造成一种逼肖客观自然的“幻象”。,2.,文艺复兴时期的科学与艺术,德国画家、理论家奥伯特,丢勒(,Albrecht Durer 14711528,)的版画,古希腊人建立的理性主义艺术观念在文艺复兴时期的艺术家那里则体,达,芬奇(,1452-1519,),莱昂纳多,达,芬奇是意大利文艺复兴时期第一位画家,也是整个欧洲文艺复兴时期最杰出的代表人物之一。他是一位思想深邃、学识渊博、多才多艺的艺术大师、科学巨匠、文艺理论家、大哲学家、诗人、音乐家、工程师和发明家。他在几乎每个领域都做出了巨大的贡献。后代的学者称他是“文艺复兴时代最完美的代表”,是“第一流的学者”,是一位“旷世奇才”。最重要的是,他是第一位将科学与艺术完美结合的科学艺术巨匠。,达芬奇(1452-1519),数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,数字媒体艺术概论第三章科技与艺术的融合历史ppt课件,达,芬奇的“科学研究”涉及到动植物学、物理学、天文学、空气动力学、鸟类飞行原理、建筑学、解剖学、生理学、流体力学、地图学等领域,.,达芬奇的“科学研究”涉及到动植物学、物理学、天文学、空气动,第,3,讲:,20,世纪科学与现代艺术,第3讲: 20世纪科学与现代艺术,瓦尔特,本雅明(,Walter Benjamin 18921940,),著名理论:机械复制时代的艺术美学,瓦尔特本雅明(Walter Benjamin 18921,1.,物理学进步改变了人们对时空的认识,1916,年,现代物理学奠基人阿尔伯特,爱因斯坦(,Albert Einstein,18791955,)完成了,广义相对论的基础,,提出了由于有物质的存在,空间和时间会发生弯曲的假说。广义相对论指出:时间、空间是相对的,即在惯性系统内,空间长度、时间快慢和质量大小都将随物体的运动速度而变化由此,牛顿的时空恒定的观点受到了质疑和挑战。,1. 物理学进步改变了人们对时空的认识1916年,现代物理学,工业革命:机械、速度与未来主义艺术,工业革命:机械、速度与未来主义艺术,爱因斯坦相对论动摇了关于固定空间与连续时间的概念,而车轮则使人们真正感到了这种变化的力量和一种现代意识。这种现代性也就是表明了一种新的艺术态度,即: 现代艺术就是要对生活环境中发生的一切变化做出适当的记载,它包括接受人类的无意识与非理性的因素。,此外,速度、技术感与革命性,:,对机器、速度与技术的崇拜也成为现代文艺美学革命性的根源。而来自于现代工业的代表性产物,汽车与火车的速度,从另一个角度改变人与世界的关系,也就是时间的角度。这些引起了前卫艺术家们的极大兴趣。,未来主义艺术运动(,1910-1945,)是,20,世纪起源于意大利的艺术和社会运动。它强调的未来,包括速度,技术,青年和暴力,和物体,如汽车,飞机和工业城市的现代概念与荣耀的主题。,2.,工业革命、机器与速度的讴歌:未来主义,爱因斯坦相对论动摇了关于固定空间与连续时间的概念,而车轮则使,波丘尼(左)和马里内蒂(,Filippo Marinetti,,,18781944,),右),1912,年在未来主义沙龙的合影,俄罗斯未来主义画家纳塔利娅,宫察洛娃(,Natalia Goncharova,),骑自行车的人,1913,年,波丘尼(左)和马里内蒂(Filippo Marinetti,安贝尔多,波丘尼(,Umberto Boccioni,),在空间里连续的独特形式,青铜雕塑(,1913,年),安贝尔多 波丘尼(Umberto Boccioni)在,未来主义画家贾科莫,巴拉,
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