图像性、视觉图式及其知觉潜能--论视知觉革命下弗林特·希尔的视觉识别观

Iconicity,Visual Schema,and Perception Potential——Flint Schier on Visual Perception under the Condition of Vision Revolution

古德曼的符号论之后,分析美学于图像再现方面的研究在二十世纪八九十年代有了较大逆转。与当代视觉研究中视觉科学的兴盛相一致,分析美学家开始将视知觉理解为兼具文化—自然维度的复合体。继沃尔海姆"看进"观所遗留的问题,弗林特·希尔把图像具有的"自然再生性"视为图像阐释能够进行的根本因素,因为它可以邀请观看者的视觉识别能力。希尔同时指出,因遵循不同的图像性约定惯例C,不同图像系统会触发多样的视觉识别能力。这进一步回应了看到再现对象与看到图画再现方式这两种视觉意识之间如何相互影响的问题。

There is a major shift in the studies on pictorial representation in analytic aesthetics since Nelson Goodman had put forward his symbol system theory of art. Consistent with the contemporary visual science research, analytic aesthetics began to regard the visual perception as a cultural-natural complex. Following Wollheim＇s ＂seeing-in＂ concept, Flint Schier thought that a picture has ＂natural generativity＂ as the fundamental factor for image interpretation, which can call upon our visual recognition capacities to interpret the picture. Moreover, different iconic systems are governed by different convention C, so a variety of visual recognition capacities are triggered. It helps to deliberate how the visual awareness of the represented object and the way it is represented work together.