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  • 學位論文

科技介入藝術:數位時代中的攝影本質及其當代社會應用

Technological Intervention in the Arts:The Essence of Photography and Its Applications in the Digital Era.

指導教授 : 邱誌勇

摘要


攝影的誕生促使複製時代來臨,也讓數位相關之議題不斷被提出新的觀點。本研究試圖藉以歷史層面的剖析來看待影像的進展,由此可知,人類的文明總是伴隨在歷史的演變下,配合藝術與科技的躍進影響每個時代人類的思維。有鑑於此,研究中透過傳統攝影至數位攝影的解析,提呈出三要點: 第一、藉由檢視「攝影是否為藝術」的議題中可得知,藝術發展的過程裡,所產生的意識形態均代表每個歷史階段的社會思潮,並且反映出社會與各個階層、集團的觀點訴求,甚至是思想與觀念。 第二、在後現代主義的藝術呈現中,數位影像的多元化運用試圖將主客體的二元關係打破,「人」的主體性因伴隨歷史的進展產生轉變,這使得觀者與作品之間的「體現」行為更就造出作品本身新的獨特性。 第三、當攝影與網路技術結合運用後,部落格的興起創造出比傳統攝影時期更強大的經濟效益,這意味當攝影脫離實體疆界的限制後,其本身已開始因應社會型態的轉換而逐漸改變其新價值認定的方式。 綜合上述發現,人類意向性的促使及感知萬物的方式,因而讓科技與藝術終將在新形式中繼續演進下去。因為攝影在技術與思維的轉折過程裡,總是伴隨傳統與創新的混合,進而讓當代的人類可在新科技發展中找到舊時代的思維作為整體的脈絡。所以可見,藉由攝影在「光」與「電」的整合運用,似乎又將把先前哲學所分支而成的藝術與科技於數位時代中回歸為一。

並列摘要


The birth of photography simulates the coming of reproduction age, and pushes humankind to advance new points of view for digital related issues constantly. This thesis attempts to examine the development of image culture through socio-historical approach. The civilization of human beings always companies with historical evolvement, and influences humankind’s thoughts in every generation with the progress of art and technology. Therefore, three points are given as below through the analysis from traditional photography to digital photography: 1. By examining the question “whether photography is an art form or not?” The ideology that arises in the process of art development represents social trend in every historical period and reflects the viewpoint of society and each class or group. 2. In the post-modernist art representation, the multiple applications of digital images attempt to break the relationship of subject and object. The subjective “human beings” face the transformation of historical progresses. This makes the embodied relationship between viewers and artworks in order to create the artwork’s own uniqueness. 3. While photography combines with network technology, the rise of Blog creates stronger economic benefits than those in traditional photography era. This means after photography departed from the limitation, it starts to change the cognitive method of its new values according to the transformation of social mode. To sum up, humankind’s intentionality and the sensitive way of perceiving on the earth makes technology and art keep progressing with new forms. Since photography in the turning point of technical and thinking always accompanies with the integration of tradition and creation, it allows contemporary humankind to discover the thought in traditional period which could be the thread of thought in the development of new technology. Therefore, the integration and application of “light” and “electricity” seems to draw art and technology which divided in previous philosophy back together in digital era.

參考文獻


漢寶德 等著《科技與人文的對話》(台北:雄獅,1999)。
鄔昆如 著,《希臘哲學》(台北:五南,2001)。
孫振青 著,《笛卡兒》(台北:東大,1990)。
Shiff, Richard. “Digitized Analogies.” Mapping Benjamin: The Work of Art in the Digital Age. Ed. Hans Ulrich Gumbrecht & Michael Marrinan. CA: Stanford University Press, 2003.
Bauderlaire, Charlrs. “The Salon of 1859.” Photography in Print: Writing form 1816 to the Present. Trans. Jonathan Mayne. Ed. Vicki Goldberg. New York, Touchstone, 1981.

被引用紀錄


徐凡(2009)。立體影像即時投影研究〔碩士論文,崑山科技大學〕。華藝線上圖書館。https://doi.org/10.6828/KSU.2009.00006
劉宇妍(2008)。數位攝影中擬像特質之研究與運用-以時報廣告金像獎公益類暨個人平面廣告設計創作為例〔碩士論文,崑山科技大學〕。華藝線上圖書館。https://doi.org/10.6828/KSU.2008.00010
阮琇璟(2008)。廣告影像與文案意象訴求分析探討-以2006年安麗發行之刊物為例〔碩士論文,崑山科技大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0025-2907200812243500
施耘心(2008)。2003年至2007年台灣新媒體藝術於拍賣市場成交成功關鍵要素之研究〔碩士論文,國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-0804200910251544
朱碧霙(2010)。數位攝影圖像視覺化之海報設計創作研究〔碩士論文,國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-1610201315192297

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