吉卜力的动画世界特展与数字化灵光

On Digital Aura and Exhibition of Ghibli's Animation

瓦尔特·本雅明曾提出著名的艺术原作灵光受到媒介复制科技侵蚀的命题,这一命题并非奠基于具体的案例分析上,而是基于一连串抽象化概念二元对立之论证逻辑上。通过对"吉卜力的动画世界特展"所生产出来的数字化文本网络及这一网络所投射出来的参展者心理状态进行分析可以发现,"灵光消逝"命题所预设的二元对立框架并无法成立。在数字化媒介复制科技的环境中,艺术灵光并未遭到消蚀,与此相反,多元化的数字副本反而将艺术原作打造为一个"神圣中心"并激起了艺术观赏者的"朝圣"心理。艺术原作灵光不只没有被数字化媒介副本的消蚀,反而受到副本的中介、建构与强化。

Walter Benjamin ever claimed that the withering of original artwork ’ s aura by media reproduction technologies. Nonetheless,this claim is not based on the concrete empirical research but rather an argumentative logic constituted by a set of binary opposition of abstract notions. Through a case analysis focusing on the digital inter-textual network produced in “Exhibition of Ghibli’ s Animation”,and the psychological state of the exhibition visitors projected from this textual netw^ ork, we can understand that the binary oppositional conceptual framework presupposed in the proposition of “withering of aura” does not hold much validity. The aura of artwork is not eclipsed by the reproduction capacity of digital media. On the contrary, the multiple digital copies have constructed the original artwork as their “sacred center” and stirred up the “ pilgrimage” mentality on the side of the exhibition visitors. In other words,digital copies do not eclipse the aura of original artworks,they tend to mediate, construct and amplify it.