文化有根 創意是伴 Bridging Creativity
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APP Iconada: The Etymology of "Vocative", "Conative" and "Vocation"
The words "vocative," "conative," and "vocation" share a common etymological root, but they have diverged significantly in meaning and usage. Their shared origin is in the Latin verb "vocare," meaning "to call."
相关:呼唤型造物 evocative object
Etymological Sense
Vocative
Origin: From Latin *"vocativus,"* derived from *"vocare"* (to call).
Meaning: In grammar, the vocative case is used for directly addressing someone or something. For example, in the sentence "O Zeus, hear my prayer!" "Zeus" is in the vocative case.
Conative
Origin: From Latin *"conatus,"* the past participle of *"conari"* (to attempt, to try), which comes from *con-" (intensive prefix) + *"nare"* (to be born, to strive), not directly from "vocare." However, there's an indirect conceptual link in terms of effort or striving toward a goal, often implied in a "calling."
Meaning: "Conative" refers to the aspect of mental processes that involve striving, effort, or willful action. It is often contrasted with cognitive (related to knowing) and affective (related to feeling) processes.
Vocation
Origin: From Latin *"vocatio,"* meaning "a calling," derived from *"vocare"* (to call).
Meaning: "Vocation" refers to a person's occupation or profession, especially when it is seen as particularly suited to them or as a calling, often in a spiritual or moral sense.
Significant Differences Worth Academic Attention:
Linguistic Category
"Vocative" is a grammatical term, focused on sentence structure and syntax.
"Conative" is a psychological term, dealing with aspects of human behavior and motivation.
"Vocation" is more of a sociological or theological term, concerned with a person's role or calling in life.
Conceptual Framework
"Vocative" operates within the framework of linguistics and communication, dealing with how language functions in direct address.
"Conative" belongs to the domain of psychology, particularly in discussions of motivation, will, and intentionality.
"Vocation" is a term used in discussions of career, purpose, and sometimes spiritual or religious life.
Academic Relevance
The distinct disciplinary boundaries mean that each term has its own specialized context. While "vocative" might be discussed in studies of language and communication, "conative" is relevant in psychology or education, and "vocation" is important in discussions of sociology, theology, or career counseling.
While the terms share a common root, their divergence into different fields—linguistics, psychology, and sociology/theology—suggests that their meanings and uses have evolved in distinct ways. This divergence might be of academic interest when examining how language and concepts evolve and specialize over time within different disciplines.
Edward Sapir, a prominent figure in linguistics, emphasized the relationship between language, thought, and culture. He believed that language shapes our perception of reality and that cultural patterns influence language use. Sapir’s linguistic theory, particularly his ideas about the interconnection between language, culture, and social behavior, could indeed provide a framework for unifying the concepts of "vocative," "conative," and "vocation" in the context of social pragmatics in public life.
Unifying these Terms through Sapir’s Linguistic Theory
Vocative (Linguistic Interaction in Social Context):
Sapir’s Perspective: Sapir highlighted how language is deeply embedded in social interaction. The vocative case, which involves directly addressing someone, is a prime example of how language functions in social contexts. It reflects the social relationships and cultural norms within a community. For instance, the way someone is addressed (formally or informally) can indicate their social status, relationship to the speaker, or cultural context.
Application in Public Life: In daily interactions, the use of vocative forms (like calling someone by their name or title) demonstrates how language reflects and reinforces social norms and relationships. Understanding this can help in navigating social interactions more effectively.
Conative (Behavior and Intentionality in Communication):
Sapir’s Perspective: Sapir’s theory also touches on the idea that language is not just a medium of communication but also a tool for action and intention. The conative function of language, which deals with the speaker’s attempt to influence the listener, aligns with this view. It reflects how language is used to motivate, persuade, or express desires, which are crucial aspects of social interaction.
Application in Public Life: Recognizing the conative aspect of communication can be vital in public speaking, marketing, and everyday persuasion. It emphasizes how people use language not just to convey information but to achieve specific outcomes, such as convincing others or motivating them to act.
Vocation (Cultural Values and Identity through Language):
Sapir’s Perspective: Sapir argued that language is a key element of cultural identity and that it reflects the values and beliefs of a society. The concept of vocation, which involves one’s calling or professional identity, is deeply rooted in cultural values and societal expectations. Language around vocation can reveal how cultures value certain professions or life paths.
Application in Public Life: In terms of vocation, language plays a role in shaping and expressing one’s identity and societal role. For example, the way people talk about their jobs or careers reflects not only personal identity but also societal norms and values around work and purpose. Understanding this can be crucial in career counseling, education, and personal development.
Social Pragmatics and Public Life
Integration in Social Pragmatics: By applying Sapir’s theory, we can see that these terms—vocative, conative, and vocation—are interconnected through the broader framework of how language functions in society. Vocative forms reveal social relationships, conative language reflects intentions and motivations, and discussions of vocation express cultural values and identities.
Practical Implications: In public life, understanding these aspects can enhance communication strategies, improve social interactions, and help individuals navigate societal expectations. For instance, a deeper awareness of how language shapes perceptions of vocation can inform career guidance practices, while an understanding of the conative function can improve persuasion and leadership skills.
Academic Significance
The unification of these concepts through Sapir’s theory could be of academic interest, particularly in fields like sociolinguistics, anthropology, and communication studies. It offers a holistic view of how language functions not just as a tool for communication but as a central element in the social fabric, influencing identity, behavior, and societal roles.
By connecting these terms through the lens of Sapir’s theory, we can gain a deeper understanding of the role of language in shaping human experience and social life, making this a potentially fruitful area for academic exploration.
APP Iconada:Philosophy of the Global Cultural and Creative Economy today
[A: Affects P: Percepts P: Powers]
The mainstream philosophy of the global cultural and creative economy today is shaped by several key principles and trends that reflect broader economic, technological, and social changes. Here are some of the dominant philosophies:
Cultural Diversity and Inclusion
Emphasis on Diversity: There is a growing recognition of the importance of cultural diversity in the creative economy. This involves supporting a wide range of voices, perspectives, and cultural expressions, particularly those from marginalized or underrepresented communities.
Global vs. Local: The global creative economy balances the tension between globalization (which often promotes homogenization) and the preservation of local cultures and identities. This is reflected in efforts to protect and promote local cultural heritage while engaging in global markets.
Sustainability and Ethical Practices
Sustainable Development Goals (SDGs): The creative economy is increasingly aligning with the United Nations' SDGs, particularly in promoting sustainable production and consumption patterns. This includes reducing environmental impact and promoting social equity in the production and distribution of cultural goods.
Ethical Consumption: Consumers are more conscious of the ethical implications of their purchases, leading to a demand for transparency, fair trade, and environmentally friendly products.
Digitalization and Innovation
Digital Transformation: The rapid advancement of digital technologies has transformed the creative economy, enabling new forms of creation, distribution, and consumption. This includes the rise of digital platforms, streaming services, and the use of AI in creative processes.
Innovation and Entrepreneurship: There is a strong emphasis on innovation within the creative industries. This involves not only technological innovation but also new business models, such as the gig economy, crowdfunding, and subscription services.
Creative Entrepreneurship and Freelancing
Gig Economy: The rise of freelancing and the gig economy is a significant trend in the creative industries. Creative professionals increasingly work independently, relying on digital platforms to find work and market their products.
Entrepreneurial Mindset: There is a strong focus on entrepreneurship, with many creatives starting their own businesses or pursuing hybrid careers that combine multiple streams of income.
Cultural Capital and Soft Power
Cultural Capital: The creative economy is seen as a key driver of cultural capital, where creativity and cultural products are leveraged for economic growth and social influence.
Soft Power: Nations and cities are increasingly using cultural and creative industries as tools of soft power, promoting their culture abroad to enhance their global influence and attractiveness.
Cross-Sector Collaboration and Ecosystem Development
Interdisciplinary Collaboration: There is a growing trend towards collaboration between different sectors, such as technology, education, and the arts. This interdisciplinary approach is seen as essential for fostering innovation and addressing complex global challenges.
Ecosystem Building: The creative economy is viewed as an ecosystem, where governments, businesses, and cultural institutions work together to create supportive environments for creativity and cultural production.
Access and Participation
Democratization of Culture: There is a push towards making culture and creativity accessible to a wider audience, breaking down barriers to participation. This includes efforts to increase access to cultural education and reduce the digital divide.
Co-creation and Participation: The rise of participatory culture, where audiences are not just consumers but also creators, is a significant trend. This is facilitated by social media and other digital platforms that enable user-generated content.
Value Beyond Economics
Social and Cultural Impact: The creative economy is increasingly recognized for its broader social and cultural impact, beyond mere economic value. This includes its role in community building, identity formation, and contributing to overall well-being.
These philosophies reflect the complex and evolving nature of the global cultural and creative economy, which is deeply interconnected with broader global trends and challenges.
爱垦网评注·
在《电影1》(Cinema 1)中,德勒兹关于“情感素(affect)”的概念提出了一种独特的视角,尤其是将情感素定义为一种“实质”,即力量或质性,并将其描述为“被表达的东西”(exprimé; expressed)。这对于文化创意产业有深远的启示,特别是在创意过程和内容生产中的情感表现与传达。
德勒兹关于情感素的理论在文化创意产业中具有重要意义。情感素作为一种力量和被表达的东西,驱动着创意的生成过程,使文化创意产品不仅仅是功能性或叙事性的作品,更成为情感体验的核心载体。通过这种情感素的传递,文化创意产业能够与观众、消费者建立深层次的情感联系,增强文化产品的附加值和市场影响力。同时,情感素的生成性和跨文化特性为文化创意产业在全球化语境中提供了新的发展空间和创意动力。
情感作为创作的核心动力
德勒兹将情感素(affect)视为一种力量,这意味着情感不是被动的体验或附属的状态,而是一种驱动创作的能动性因素。在文化创意产业中,情感素不仅仅是作品中的内容或主题,而是推动创作过程的核心动力。
创意驱动:情感素是文化创意中的核心能量。无论是电影、音乐、设计、广告等,创意的表达往往通过情感传递给观众。这种情感素是创作者与观众之间的桥梁,使创意内容能够产生强烈的情感共鸣,从而提升作品的影响力。
情感的塑造:在创作过程中,创意工作者可以有意识地通过情感素来塑造作品的情感体验。例如,电影导演通过视觉、声音、节奏等元素来激发观众的情感反应;设计师通过颜色、材质、布局传递情感信息。这些情感素通过其“力量或质性”作用于观众,引发深刻的情感反应。
情感素作为内容的表达与体验
德勒兹认为情感素是被表达的东西,它不仅仅是隐含在作品之中的情感,而且是通过作品所传递的、可以感知到的情感。在文化创意产业中,这意味着作品不只是表达一个思想或讲述一个故事,而是直接传递一种感受或体验。
情感体验的设计:文化创意产品,尤其是电影、广告、游戏等,已经从单纯的叙事转向更加注重情感体验的设计。创作者通过各种形式的媒介(影像、音乐、互动设计等),让观众或用户不仅仅理解作品的内容,更直接感受到作品传递的情感质性。
即时情感的传递:情感素作为被表达的东西,意味着它具有一种直接性和即时性。在文化创意作品中,观众可以迅速地感知到这些情感,并在观看、使用或参与的过程中被这些情感素触动。这增强了作品的情感张力和互动性。
情感素作为文化产品的附加价值
文化创意产业中的产品(如电影、音乐、品牌等)越来越注重情感的附加值,而情感素的概念正好提供了理论基础。情感素不仅是一种附加的感受,而是文化产品的核心价值之一。
品牌情感附加值:在品牌营销中,产品或服务的情感素通过广告、设计、品牌故事等方式被传递给消费者。这种情感素不仅仅影响消费者的购买决策,还建立了更深层次的情感联结,使品牌具有长期的忠诚度和市场竞争力。例如,奢侈品牌通过创造独特的情感氛围来强化其在消费者心中的象征意义。
作品的情感共鸣:情感素使得文化创意产品超越了功能性,成为情感体验的载体。例如,一部电影的情感素可能让观众感到共鸣、兴奋、悲伤或激动,这些情感体验超越了电影的叙事结构,成为观众与电影之间的深层连接。
情感素与文化内容的普遍性与独特性
德勒兹认为情感素具有一种独特的“力量或质性”,这意味着每个作品的情感素都有其独特的表达方式,但同时它又是一种可以在不同文化和语境中共鸣的普遍力量。对文化创意产业来说,情感素的这种特性是全球化背景下文化传播的关键。
情感的跨文化传播:情感素作为一种力量,它的作用在于即使在不同的文化背景下,依然能够引发共鸣。这对文化创意产品的国际传播和多样化消费市场至关重要。例如,电影中的某些情感场景或音乐中的情感表达,往往能超越语言和文化的障碍,直接引发全球观众的情感共振。
情感的独特表达:虽然情感具有普遍性,但每个创意作品的情感素都带有其独特的文化烙印。创作者通过对情感素的精妙处理,使得作品在全球化的文化市场中依然保有独特性和文化辨识度。
情感素与生成中的文化创意
德勒兹的“生成”概念强调的是一种不断变化和生成的动态过程,而情感素作为一种力量和质性,正是生成过程中不可或缺的要素。对文化创意产业来说,情感素的生成意味着创意的不断更新与发展。
创意的生成性:情感素作为被表达的东西,它并非固定不变的,而是在不同的创作过程中不断生成新的情感质地。文化创意产品在创作过程中不断吸收新的情感素,并在不同的媒介形式中生成独特的情感体验。例如,一部电影的情感素在编剧、导演、演员的多重参与下,生成了不同层次的情感质地,最终呈现给观众的感受是多重生成的结果。
动态的情感表达:文化创意产业需要不断适应市场和观众的变化,情感素作为生成的元素,帮助创意产品在不断变化的情境中保持活力和吸引力。创作者可以通过更新情感表达的方式,创造出具有持续吸引力的文化产品。
爱垦網·高阶创造力挑战机械人系列:
德勒兹的情感素可被视为一种肯定的力量(puissance d'affirmation),强调生命的流动性和创造性,与弗洛伊德集中于冲突、压抑以及个体潜意识的心理分析,存在一些根本性的差异。德勒兹更关注情感素的生成性和非个人性,超越了弗洛伊德对潜意识的压抑性解读。唯通过互补的视角来理解情感素与潜意识的关系,特别是在理解个体生命中的生成和流动时,是值得关注的议题。
情感素作为肯定的力量:德勒兹认为,情感素是一种能动的、创造性的生命力量,它强调的是生命中的正面生成(affirmation)而非负面排斥。情感素不是通过对抗或压抑来塑造生命,而是通过不断生成新的关系和可能性来表达生命的流动。德勒兹与尼采的思想相契合,尼采提倡一种“强力意志”的肯定性态度,反对对生命的否定。
情感素是一种不受个人控制的力量,它通过情感和感官体验在个体和世界之间流动,超越了个人主体性,创造了一种生命的延续和扩展。这种肯定的力量具有极大的创造性和自由,不被传统的社会规范或心理压抑所束缚。
佛洛伊德的心理分析与压抑:弗洛伊德的理论则主要围绕压抑(repression)和潜意识(unconscious)。他认为,个体的心理结构中存在深层的冲突,这些冲突通常通过压抑作用来维持个体的心理平衡。潜意识中的欲望和冲动由于不符合社会规范,会被压抑到意识之外,形成内在的紧张和矛盾。这种压抑力量更多表现为否定性,通过否定或压制某些不被允许的欲望来构建个体的心理结构。
在弗洛伊德的理论中,个体的潜意识充满了未解决的冲突,这些冲突通过梦、无意识行为、症状等形式表现出来。心理分析的任务是揭示这些潜意识冲突,以帮助个体理解自己的压抑过程。
德勒兹与弗洛伊德的差异与冲突
肯定与否定:德勒兹的情感素强调的是肯定的生成和流动,而弗洛伊德的理论更关注个体内部的冲突与压抑。德勒兹批评弗洛伊德的心理分析过于依赖于个体的病态分析,过分关注压抑和负面情感,而忽视了生命本质中的积极力量和创造性。
个人与非个人:弗洛伊德的心理分析集中于个体的潜意识,它强调个人的内在心理结构及其冲突。而德勒兹的情感素则是非人称的力量,它不仅仅属于个人,而是超越个体、社会的,更接近于一种普遍的生命动力。这使得情感素不仅在个人身上起作用,也作用于人与环境、人与世界的关系中。
生成与分析:德勒兹关注生成、变化与可能性,而弗洛伊德的分析模式更倾向于解构和分析个体的内心冲突。德勒兹希望突破主体性和固定的身份认同,推崇一种不受压抑的生命能量,而弗洛伊德则将主体性和自我视为精神分析的重要课题。
潜意识的不同理解:虽然德勒兹与弗洛伊德都谈及潜意识,但他们对潜意识的看法有所不同。弗洛伊德的潜意识更多的是个体被压抑的欲望和冲动的存放处,而德勒兹与瓜塔里在《千高原》及《反俄狄浦斯》一书中重新定义了潜意识,认为潜意识是生产性的,而非压抑性的。他们提出潜意识不是个体内在冲突的产物,而是一种广泛的社会和集体力量的创造性场域,涉及多种生命流动的交织与变动。
两者之间的互补性:尽管德勒兹的情感素与弗洛伊德的心理分析存在哲学上的分歧,但两者也可以在某种程度上互补理解。弗洛伊德揭示了个体潜意识中的压抑力量和社会规范对个人欲望的影响,而德勒兹则扩展了对生命力量的理解,强调了潜意识作为一种积极的、生成性的力量。因此,情感素在弗洛伊德的框架中可以被视为个体突破压抑结构后所释放的力量,而在德勒兹的哲学中,它则是生命本质的一部分,随时都在流动和转化。
感觉者和被感觉物
情动地方志
情感素:非人稱力量
德勒兹时间观
弗洛姆 To Have or To Be
德勒兹经营地方感
感觉建构非肉身公式
爱垦網·高阶创造力挑战机械人系列:情动地方志
德勒兹在《感觉的逻辑》的核心思想为地方志和乡贤生命史作者提供了丰富启示。感性体验的多层次性、感觉者与被感觉物的生成性关系、时间的非线性结构以及感性体验的不可逆性,这些思想都可以帮助作者更深入地挖掘地方和人物的感性与情感维度。结合这些理论,地方志与生命史的书写可以从单纯的事实记录,转向一种更加丰富、动态和深层的感知体验,从而使作品更加生动和具有深刻的生命力。
感性体验的多层次性:《感觉的逻辑》讨论了感性(sensation)如何打破传统的二元对立,并展现出多层次的复杂性。对于地方志和乡贤生命史的作者,这意味着书写地方历史和人物传记时,不应仅仅着眼于外在的事实和历史事件,而是要深入挖掘感官与情感层面的经验。
启示:地方志的书写应当不仅描述地理、历史和风俗,更要关注地方生活的情感质感,包括声音、气味、触感等。乡贤生命史可以通过深入刻画人物的情感体验,传递出他们与环境、时代的互动,展现出生命的复杂性和感性层面的深度。
感性块与人物形象的塑造:德勒兹提出的“感性块”(bloc of sensation)是艺术中情感和知觉的统一体,它不依赖于线性的时间,而是一种超越时间的感知凝聚体。这为地方志和乡贤生命史的作者提供了新的书写方式:通过打破传统的叙事结构,直接呈现人物在某一时刻的情感体验或与地方的深刻联结。
启示:乡贤生命史的作者可以将某些关键性瞬间塑造成感性块,通过描绘人物在这些瞬间的情感、感觉和思想,把人物形象转化为一种感知体验。例如,一个乡贤在某一场景中的沉思,或他与家乡土地的深情对话,都可以成为感性块,超越时间与历史,成为读者情感体验的载体。
感觉者与被感觉物的生成性关系:在德勒兹的理论中,感觉者(sentant)与被感觉物(senti)并不是分离的,而是在感性互动中生成的。这种思想提醒地方志和生命史的作者,地方与人物并非彼此孤立,而是通过互动形成了他们的独特性。
启示:地方志的作者应当注重地方与人物之间的相互生成。地方文化、地理、历史并不是背景板,而是与人物的情感、行动共同塑造了一个独特的地方感。这要求作者不仅描述地方的地理特征或人物的事迹,还要关注人物如何与地方共同演绎出独特的生命故事。每个乡贤的生命史都嵌入在特定的地方脉络中,与地方的自然、历史和社会密切相关。
时间的非线性与生命史的编织:德勒兹的感性哲学强调时间的非线性,感性体验往往是跨越时间的瞬间凝固。对于乡贤生命史的作者,这种时间观念带来了新的叙事启发。生命史不必拘泥于线性的时间顺序,而可以通过感性体验的闪回、超时态的叙述来展现人物的精神历程。
启示:生命史的书写可以通过打破时间的线性结构,让人物的某些感性体验穿插在不同的时间节点中。例如,可以通过一段乡贤晚年对童年故土的回忆,将他的一生与家乡的变化紧密联系起来,使时间成为一种情感的桥梁。这样,生命史不再是简单的年表式叙事,而是充满了感性与时间的交织,体现出人物生命体验的多层次感知。
地方志中的情感地理学:德勒兹的感性理论同样对情感地理学有所启发,地方不仅仅是物理空间,更是人们情感、记忆和感知的汇聚。对于地方志的书写,这意味着地方志不应仅仅作为记录地方历史与地理的文本,还应当捕捉地方如何通过感官体验和情感记忆塑造了居民的生命与身份。
启示:地方志作者可以通过感性地图描绘地方的历史与文化。例如,描写一条老街,不仅写它的建筑和历史变迁,还可以通过当地居民的记忆、对其气味的描述、或他们的情感反应,捕捉这条街在不同历史时刻中的感知变化。情感与感知成为地方文化的核心,不仅让读者看到地方的“物理面貌”,还让他们体验到地方的“情感脉络”。
感性体验的不可逆性与地方传承:德勒兹提出感性体验的不可逆性,即每一次体验都是独一无二的,这对地方志和生命史的书写有重要启发。地方文化和乡贤的生命故事每一次都在特定情境中生成,无法完全复制或重复。
启示:地方志作者可以通过捕捉地方独特的感性体验,展示地方的不可替代性。例如,某一特定的地方节日不仅是一种传统,它同时也是居民集体情感的生成场所。作者可以通过具体的感性描写(气味、声音、光影等),传递出地方文化的不可逆性和唯一性,强调每一次地方文化的再现都是一次新的生成体验。
爱垦網·高阶创造力挑战机械人系列:德勒兹与塞尚的画
德勒兹在讨论艺术,特别是塞尚的画作时,受到梅洛庞蒂的现象学理论的影响,尤其是梅洛庞蒂关于感知、身体经验和世界之间关系的观点。这些影响体现在以下几个关键方面,帮助德勒兹理解画作中的情感的真切描绘以及某种感觉的永久保存:
感知的身体性:梅洛庞蒂在《知觉现象学》中强调身体是感知世界的中心,它不仅是感知的工具,更是世界的一个部分。塞尚的绘画通过描绘物体的存在状态,强调了我们通过身体经验感知世界的独特性。梅洛庞蒂认为塞尚通过画布使“我们看到世界如同第一次见到它”,即在绘画中捕捉到了物体和世界的初次呈现。
德勒兹从梅洛庞蒂这里汲取了身体在感知中的根本作用。在德勒兹的讨论中,他强调塞尚的作品并非只是表面的视觉呈现,而是通过绘画再现了世界的深层感知。德勒兹认为,艺术家通过独特的感知体验,将感觉以独特的形式保存下来,而这种感知本质上是身体性的,类似梅洛庞蒂的观点。
感觉的真切与生成:梅洛庞蒂提出,塞尚的画作展现了“可感性”或“可见性”的生成,而非固化的现实。这意味着,艺术作品并非静止地再现一个固定的世界,而是让我们感受到世界如何在感知中不断生成和转化。梅洛庞蒂认为塞尚通过颜色、光影和形态捕捉了物体与空间之间的互动,传达了世界的动态生成。
德勒兹在《感觉的逻辑》中也承接了这一思想,他强调艺术不是再现已存在的对象,而是在生成新的感觉与知觉。这种生成性使得情感和感觉能够在艺术中被捕捉并永远保存下来。德勒兹借用了梅洛庞蒂对塞尚的感知分析,认为艺术家通过感知生成了“感性块”(blocs of sensation),这些感性块能够超越时间,在不同的观者中不断被重新感知和体验。
存在与世界的嵌入性:梅洛庞蒂强调,塞尚的绘画不仅描绘了物体,还传达了物体与周围世界的关系。物体并不是孤立的,而是嵌入到一个具体的感知场域中。塞尚的画作展现了这种关系,捕捉了物体、空间和光之间的复杂交织。
德勒兹借鉴了这种存在的嵌入性,在他的艺术理论中,强调艺术家通过感知和感觉的表达,揭示了事物与世界之间的深层联系。塞尚的绘画不只是描绘风景,而是通过色彩、形状、线条等形式捕捉了事物在时间和空间中的存在状态。德勒兹将这种现象学的嵌入性视为艺术永恒力量的来源——艺术保存了感知和存在的深层结构,而不仅仅是某一时刻的表面再现。
感觉的持续性与永恒性:梅洛庞蒂认为,塞尚的绘画让感觉本身得以保存和延续。通过绘画,某种感知体验被固定下来,使得观众可以在未来的时刻重新体验这种感觉。艺术通过捕捉这种“感知的肉”(flesh of perception),使感觉在时间中延续。
德勒兹在《感觉的逻辑》中借鉴了这种观点,提出艺术的力量在于它能保存感觉的强度和真切性,并通过不断生成的感知结构使这些感觉具有持久的生命力。德勒兹认为,塞尚的画作通过色彩与构图的特殊方式,使感觉本身被固定并在未来的每一次观看中重新激活。这种对感觉的捕捉和延续与梅洛庞蒂的思想有深刻的共鸣。
德勒兹从梅洛庞蒂的理论中汲取了感知的身体性、感性生成、存在的嵌入性和感觉的持续性这些核心思想,尤其在探讨塞尚的画作时,德勒兹受到梅洛庞蒂的影响,强调艺术通过捕捉感知和感觉的动态过程,使其得以超越物理的局限,在时间中持存并不断生成新的体验。这种感觉的保存并非是静止的再现,而是通过不断的感知生成,赋予艺术持久的生命力。
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