计算机艺术中的观看、时空与跨文化——以上海艺术家杨泳梁的《夜游记Ⅱ》为例

Watching, Time-Space & Transculturalism in Computing Art:Journey to the Dark Ⅱ As an Example

科技与生活、艺术、文化的关联度在数字时代日益凸显。厘清这一新时代人文景观所包含的复杂机制,将有助于理解当下人类的生存语境和美感思维。现有的对计算机艺术的研究多从技术角度入手,较少探讨“艺术”本身。本文从“观看”切入,结合艺术家生命创作感受,补充当前数字艺术研究中的艺术理论,梳理观看计算机艺术时的诸种特征和审美感受,并以上海艺术家杨泳梁的3频4K影像装置作品《夜游记Ⅱ》(Journey to the Dark II)为例,研究计算机艺术的现代性逻辑,分析观看时的“张力”,搭建计算机艺术不同于其他媒介艺术的特征性。其中,涉及多维的时间点、错层次的空间域与跨文化的内容。这些促成了观看《夜游记Ⅱ》时的熟悉/陌生感,也是一种眩晕之感。

The connection between technology and life, art, and culture has become increasingly prominent in the digital age. Clarifying the complex mechanisms contained in the human landscape of this new era will help to understand the current human survival context and aesthetic thinking. Recent research on computing art mostly starts from a technical view, and rarely discusses “art” itself. Starting from the perspective of “watching”, combining with the artist’s creative experience in life, it supplements art theory in the current digital art research, and sorts out various characteristics and aesthetic feelings. Taking Shanghai artist Yang Yongliang’s Tri-band 4K video installation Journey to the Dark Ⅱ as an example is the way to find the modernity logic of computing art, to analyze the “tension” of watching, and to build up the characteristics of computing art that is different from art made from other medias. Among them, it involves multi-dimensional points of time, multi-level spatial domains and transcultural contents. It is the feeling of uncanny that contributes to watching Journey to the Dark Ⅱ.