作为后电影的Sora影像

Soraas Post Cinema

Sora究竟是艺术创作的利器,还是探索世界的科学模型,这个张力乃至矛盾有待深思。从艺术的角度看,它颇为契合后电影的发展阶段,进而亦呼应着马诺维奇对后媒介的原初界定。而从科学的角度看,它的连贯性原理看似能够缓解后电影的新巴洛克式症结,实际上却更深地陷入其中。由此,从哲学的角度深思双重递归的运动,尤其是第二种递归所蕴含的否定性潜能,不仅能够给出第三种可能,更得以敞开Sora作为弱影像的深刻含义。

Is Sora a tool for artistic creation or a scientific model for exploring the world?This tension and even contradiction needs to be pondered.From an artistic point of view,it is quite consistent with the development stage of post-cinema,and in turn echoes Manovich's original definition of postmedia.And from a scientific perspective,its principle of coherence seems to alleviate the neo-baroque symptom of post-cinema,but in fact it sinks deeper into it.Therefore,thinking deeply about the movement of double recursion from a philosophical perspective,especially the negative potential inherent in the second recursion,can not only provide a third possibility,but also open up the profound meaning of Sora as a poor image.