新媒體藝術之“新”的藝術向度

"New" Artistic Dimension of New Media Art

林志明(Chi-Ming Lin)

《哲學與文化》 32卷12期 (2005/12) Pp. 125-136

https://doi.org/10.7065/MRPC.200512.0125

摘要

新媒體藝術為何有此名稱？新媒體藝術，究竟「新」在什麼地方？在這個略顯空洞的命名中，暗含的的意圖或許是回應著一個高速變動的科技發展狀態。本文討論了近期學界對於此一問題討論的初步成果，並加入個人的批評。它首先提出，新媒體藝術之「新」的探討，和新媒體之「新」有緊密的關聯。然而，新、舊媒體之間，維持著持續的辯證關係，回顧過去才能使得我們真正暸解數位科技在實際體驗中所受到的解碼和理解。透過媒體理論家Lev Manovich對新媒體之新的「軟體理論」解說，本文提出理解新媒體藝術之新的幾個主軸，「語言－介面－文化」、「工具－媒介－轉碼」。最後，新媒體作為一種「新環境」，亦提示出新藝術論述空間和新藝術生活及社群建構之必要。

關鍵字

新媒體藝術 ； 新媒體 ； 再媒介 ； 互動性 ； Lev Manovich ； 介面 ； 轉碼

並列摘要

Why does the new media art get such a name? What defines the newness of the new media art? The reason of this somehow void naming comes perhaps from the intension to respond to a fast changing landscape of technological development. The present article discusses several recent publications on this subject by adding personal comments on the issue. Firstly, we affirm that the newness of the new media art is closely connected with the newness of the new media. Nevertheless, the new media and the older media relate each other in a constant dialectic. We can understand the fully lived meaning of the new media only by looking back. Borrowing the ”software theory” of the language of the new media by Lev Manovich, we propose that the new media art should be investigated through two axis: the axis of language-interface-culture and that tool-media-transcoding. Finally, the new media as a ”new environment” makes also necessary the construction of a new discursive space and a new way of living art and art community.

並列關鍵字

New Media Art ； New Media ； Remediation ； Interactivity ； Lev Manovich ； Interface ； Transcoding