山脉、地层与矿物:实验影像中的地质转向

Mountains, Strata and Minerals:The Geological Turn in the Experimental Moving Image Art

人类世是一个人类作为主要地质力量塑造地球基本面貌的阶段。在一个充满生态危机与末世情结的历史阶段,影像如何建立起与地球深层时间的关系?地质与影像之间貌似毫无关联性可言,然而透过实验电影人与艺术家的创作,一种基于去人类中心主义立场之上的美学获得了确立。走向了海德格尔所强调的“世界图像时代”的反面:不再追求将世界作为整体的图像从外部把握,而是在地质化与行星化的影像本体论框架中获得重塑地球生态的契机。

The Anthropocene is a special geological period in which the humanity, as a major geological force, is shaping the fundamental face of the Earth. In such a historical period full of ecological crises and apocalyptic mood, how to establish a relationship between moving images and the earth’s deep time? There seems to be no correlation between geology and moving image, but through the works of experimental filmmakers and artists, an aesthetics based on a de-anthropocentric position is established. This aesthetics is the opposite of “The Age of the World Picture” emphasized by Heidegger: it no longer seeks to grasp the world as a whole image from the outside, but to realize a geologized and planetary ontological framework of moving image.