文化有根 創意是伴 Bridging Creativity
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The Relations between "Conation" & "Affects" within the Creativity Study
The relationship between conation and affects is particularly significant in the study of creativity, as both dimensions play crucial roles in the creative process. Creativity is not solely a cognitive function; it is deeply influenced by motivation (conation) and emotional states (affects), which shape how individuals approach problemsolving, idea generation, and artistic expression.
Conation in Creativity
Role of Motivation and Will: Conation drives the purposeful pursuit of creative activities. It involves the will to engage in creative work, persistence in the face of challenges, and the motivation to explore novel ideas. Conative factors such as intrinsic motivation, determination, and goal orientation are fundamental to sustaining creative efforts.
Impact on Creative Process: High conative drive enables individuals to move beyond mere idea generation to actively refine, develop, and implement creative concepts. This involves risktaking, exploring uncharted territories, and maintaining focus on creative goals despite setbacks.
Affects in Creativity
Emotional States as Catalysts: Affective states significantly influence creativity. Positive affects, such as joy, excitement, and curiosity, can enhance divergent thinking, allowing for more expansive and original ideas. Conversely, negative affects like frustration or anxiety might either hinder creativity or, in some cases, serve as catalysts for problemsolving when managed constructively.
Emotional Resonance and Artistic Expression: In artistic creativity, affects are not just influences but also the substance of creative work. Emotions drive the thematic and expressive elements of art, music, and writing, directly shaping the content and form of creative outputs.
Interaction Between Conation and Affects in Creativity
Synergistic Effects: Conation and affects often interact synergistically to facilitate creative endeavors. For example, the motivation (conation) to pursue a challenging artistic project can be fueled by emotional passion (affect), creating a dynamic interplay that propels creative action.
Regulation of Affects Through Conation: Conative abilities, such as selfregulation and goalsetting, help manage emotional states during the creative process. For instance, when an artist experiences creative block or emotional distress, strong conative skills can help redirect focus, maintain effort, and persevere, transforming emotional turbulence into creative output.
Adaptive Flexibility: Creative individuals often exhibit adaptive flexibility in navigating between affective states and conative goals. They can harness positive emotions to enhance creativity while using motivational strategies to overcome negative emotions, thus maintaining creative momentum.
Theoretical Insights
BroadenandBuild Theory: This theory suggests that positive emotions broaden cognitive and behavioral repertoires, enhancing creativity. When combined with conative factors like persistence, this broadening effect is amplified, enabling sustained creative engagement.
Dual Pathway Model of Creativity: This model posits that creativity can emerge through both cognitive flexibility (enhanced by positive affects) and persistence (driven by conation). It highlights how affective states and motivational drives operate in tandem to influence creative outcomes.
Practical Implications in Creativity Studies
Enhancing Creative Performance: Understanding the interplay between conation and affects can inform strategies to enhance creativity, such as fostering environments that boost intrinsic motivation and regulate emotional states.
Creative Education and Training: Educational programs can focus on developing conative skills (like perseverance and goalsetting) alongside emotional intelligence to better prepare individuals for creative challenges.
In the study of creativity, conation and affects are intertwined forces that shape the creative journey. Conation provides the motivational drive, while affects infuse the creative process with emotional depth and resonance. Together, they form a dynamic interplay that underpins the emergence of creative thought and action.
相关:呼唤型造物 evocative object The Etymology of Vocative Linguistic Theory on Vocative Conation & Affects Vivo's aesthetics
爱垦APP: 语言、体验与象征的统一
朱莉娅·克里斯蒂瓦(Julia Kristeva)的诗性语言革命,尤其是她关于“符号态”(the semiotic)和“象征态”(the symbolic)理论,确实提供了一种可能性,将雅各布森的语言结构学与狄尔泰的认知体验,统一在一个更广泛的理论框架内。
通过她的符号态与象征态理论,克里斯蒂瓦展示了语言如何既是形式上的,又是深层次体验的载体,进而在诗性语言中实现了形式与体验的结合。这种理论综合为我们提供了一个更为复杂和全面的理解诗歌语言的框架,将语言的结构美感和情感体验视为不可分割的整体。
克里斯蒂瓦的诗性语言革命
克里斯蒂瓦的诗性语言革命,主要集中在她对语言的多重功能以及语言如何超越传统结构分析的理解。她借鉴了雅各布森的语言功能理论,尤其是诗性功能,但她进一步扩展了这一理论,将其置于符号学和精神分析的背景下。
符号界与象征界: 克里斯蒂瓦引入了“符号态”和“象征态”两个概念。符号态代表了前语言的、感性的、与身体和无意识相关的元素,而象征态则是有序的、理性的、与社会语言规则和文化法则相关的领域。她认为诗歌语言既在象征态中运作,也部分地突破了象征态的限制,通过符号态来表达深层的情感和无意识体验。
诗性语言的革命性: 克里斯蒂瓦主张,诗性语言的革命在于它能够打破象征界的规则,允许符号界的力量进入表达。这意味着,诗歌不仅仅是一种形式上的语言游戏,更是深层次情感和体验的表达,是对语言秩序的挑战和变革。
把雅各布森与狄尔泰统一起来
克里斯蒂瓦的理论可能将雅各布森与狄尔泰的思想统一在以下几个方面:
语言结构与体验的结合: 雅各布森强调语言的形式和结构,狄尔泰则关注个人的认知体验。克里斯蒂瓦通过符号态和象征态的互动,展示了语言如何既是结构性的,又是深刻体验的载体。她认为诗歌语言能够将无意识的体验(符号态)通过有意识的语言形式(象征态)表达出来。这一过程将语言的形式和个体的体验紧密结合起来,回应了雅各布森和狄尔泰的核心关切。
诗性语言中的体验维度: 克里斯蒂瓦扩展了雅各布森的诗性功能,认为诗性语言不仅关注语言的形式美感,更是体验的表达和生成。这与狄尔泰的思想产生共鸣,因为狄尔泰关注的正是体验如何通过艺术形式来表达。克里斯蒂瓦的诗性语言理论为理解这种表达提供了新的视角,将语言的形式和内容统一起来。
超越象征界的诗性功能: 在克里斯蒂瓦的理论中,诗性语言可以突破象征态的限制,触及更深层次的符号态体验。这种突破体现了语言在表达个人深层体验时的无限可能性。通过这种方式,克里斯蒂瓦的理论不仅关注语言的形式结构,还关注如何通过语言触及更深层的认知和情感体验,这在某种程度上整合了雅各布森的形式主义和狄尔泰的体验主义。
[爱垦APP情动转折 Affects-Percepts-Powers] 2025,愛墾網創立16載;陳明發博士在从事人力资源開發16年的基础上,轉入文創研究與推廣至今也已28年。浮生44个春秋,雖不算焦頭爛額也沒啥獎項可領,但自告奮勇的事還幹得不少。實踐多了,面對自己原創的或經手發佈出去的6萬筆左右內容,多少有些领悟。自信還有點前瞻的價值。現陸續整理出來,答謝這麼多年來默默支持著我們的國內外友好。有些事恐怕不是一代人能完成的,更不是一個人可能完成。現留點檔案,有緣並有能力的人若及時看到,對鄉土轉型或有參考價值。
APP Iconada:Semiotics:Julia Kristiva & Roman Jakobson
[A: Affects P: Percepts P: Powers]
Julia Kristeva and Roman Jakobson are both influential figures in the fields of linguistics, literary theory, and semiotics, and their philosophies intersect in several significant ways. Kristeva was influenced by Jakobson's work, particularly his theories of language and communication, but she extended and transformed his ideas within her own theoretical framework. Here’s a look at the relationship between their philosophies:
Shared Interest in Language and Semiotics
Jakobson’s Linguistic Model: Roman Jakobson is known for his work in structural linguistics and his development of a model of communication that identifies six functions of language (referential, emotive, conative, phatic, metalingual, and poetic). His work emphasizes the structural and functional aspects of language, focusing on how meaning is constructed and communicated within specific linguistic systems.
Kristeva’s Semiotic Theory: Julia Kristeva, influenced by semiotics, particularly that of Jakobson and Ferdinand de Saussure, developed her own theory of the semiotic and the symbolic. The semiotic refers to the pre-linguistic, bodily, and affective dimensions of language, while the symbolic refers to the structured, social aspects of language. Kristeva’s semiotic theory builds on Jakobson’s structural insights but introduces a psychoanalytic dimension, focusing on how meaning is generated through the interaction between the unconscious (semiotic) and the conscious, socially regulated (symbolic) aspects of language.
The Poetic Function and Kristeva’s Revolution in Poetic Language
Jakobson’s Poetic Function: One of Jakobson’s key contributions to linguistics is his concept of the *poetic function* of language, which emphasizes the self-referential aspect of language where the focus is on the message for its own sake, rather than its referential meaning. This idea was central to his analysis of literary texts and the role of language in poetry.
Kristeva’s Extension of the Poetic: Kristeva extends Jakobson’s idea of the poetic function by arguing that poetic language disrupts the symbolic order and allows the semiotic to emerge. In Revolution in Poetic Language, Kristeva explores how avant-garde literary works, particularly those by poets like Stéphane Mallarmé and Lautréamont, break down the conventional structures of language (the symbolic) and allow for a revolutionary expression of the semiotic drives. While Jakobson focused on the formal properties of poetic language, Kristeva introduces a psychoanalytic perspective, considering how poetic language can be a site of transgression and transformation.
Structuralism vs. Post-Structuralism
Jakobson’s Structuralism: Jakobson was a central figure in the development of structuralism, which emphasizes the underlying structures that govern language and culture. His work is grounded in the idea that language is a system of signs, and meaning is derived from the relationships between these signs within the structure.
Kristeva’s Post-Structuralism: Kristeva, while influenced by structuralism, is often associated with post-structuralism, which critiques and extends structuralist ideas. She argues that meaning is not fixed but is always in process, influenced by the interplay between the semiotic and symbolic. Her work challenges the stability of linguistic structures, emphasizing the fluidity and multiplicity of meaning. This post-structuralist approach marks a departure from Jakobson’s more rigid structuralist framework.
Intertextuality and Communication
Jakobson’s Communication Model: Jakobson’s model of communication is highly influential in understanding how messages are transmitted and interpreted within a linguistic framework. His emphasis on the different functions of language has been foundational in semiotics and communication theory.
Kristeva’s Intertextuality: Kristeva introduced the concept of *intertextuality,* which posits that texts are not isolated entities but are always in dialogue with other texts. This idea resonates with Jakobson’s focus on the communicative functions of language, but Kristeva extends it by emphasizing the dynamic, intertextual nature of meaning-making. For Kristeva, meaning arises not just from the structure of a single text but from the interconnections between multiple texts and cultural contexts.
Influence of Psychoanalysis
Jakobson’s Structural Approach: Jakobson’s approach to language and semiotics is primarily structural, focusing on the formal aspects of language and its communicative functions. He does not delve into the psychological dimensions of language in the way Kristeva does.
Kristeva’s Psychoanalytic Turn: Kristeva, influenced by psychoanalysis, particularly the work of Sigmund Freud and Jacques Lacan, integrates a psychoanalytic dimension into her theory of language. She explores how the unconscious influences language and how the semiotic dimension (associated with drives, rhythms, and pre-linguistic expressions) interacts with the symbolic. This psychoanalytic perspective adds depth to her critique of structuralism and expands the scope of Jakobson’s ideas.
Summary of the Relationship
The relationship between Julia Kristeva’s philosophy and that of Roman Jakobson is one of both influence and transformation. Kristeva builds on Jakobson’s insights into the structural and functional aspects of language but extends them into new territories by introducing psychoanalysis and the concept of the semiotic. While Jakobson provided a foundational model for understanding language’s structure and functions, Kristeva challenged the limitations of structuralism by exploring how language is also a site of unconscious drives, fluid identities, and constant transformation.
In summary, Kristeva’s work can be seen as both a continuation and a critique of Jakobson’s, pushing his ideas into the realm of post-structuralism and psychoanalysis to explore the complexities of language, meaning, and subjectivity.
爱垦網评注·身體的感覺能力 (affective capacity)
"身體的感覺能力 (affective capacity) 是時快時慢、如輕如重…等感覺關係下的作用 (acted)。"
此话强调了德勒兹概念中的“身体”(Body)在感知过程中表现出的动态性和变化性。"感觉能力"指的是身体对外界刺激、情感或情境的反应能力,也可以理解为身体如何感受、吸收并回应外在的影响。德勒兹和瓜塔里在讨论“感知”、“情感”或“情动”(Affect)概念时,强调身体的这种能力是多样的、流动的,并且会根据不同的环境、情境或刺激产生不同的反应。
时快时慢、如轻如重
这部分描述了身体感知过程中的变化与流动。感知并不是恒定的,而是会随着外界刺激的强弱或不同类型的影响,表现出不同的速度和强度:
时快时慢:身体在不同情境下的反应速度不同。有时候,某些外界的刺激可能引发快速的反应(如痛苦、突然的惊吓),而有时候,身体的反应则会更慢、更细腻(如沉思、缓慢感受某种情绪)。
如轻如重:感知能力不仅仅体现在速度上,还体现在感知的强度上。某些刺激可能很轻微(如轻风拂面),而某些刺激可能非常强烈(如震耳欲聋的声音或强烈的情绪冲击)。身体对这些轻重不一的感知信息作出相应的反应。
作用(acted)
“作用”指的是身体在感知这些变化时的表现或反应。也就是说,身体在面对不同的速度和强度的感知时,会作出不同的反应。这种反应是动态的,体现了身体的能动性和对环境的适应性。
整句话的含义
这句话强调了身体感知能力的变化性和能动性。身体的感知不是固定的,它会根据外界刺激的不同,表现出时快时慢、时轻时重的变化。这种变化表明了身体如何在不断变化的环境中进行调整,并作出相应的反应。身体并非被动接受外界的影响,而是主动参与到感知和反应的过程中,展现出它的活力与能动性。
因此,这句话可以被理解为:身体的感知能力是一种动态的、不断变化的过程,随着感知对象的速度与强度不同,身体会作出相应的反应,展现出其灵活而多样的能动性。
爱垦網·高阶创造力挑战机械人系列:“差异”的局限性
在一个多元种族、宗教信仰和文化背景交织的区域,如东南亚,单纯强调“差异”而忽略“生成”有可能成为冲突的根源。这是因为差异本身并不必然导致和谐或共存,而是可能激化矛盾,特别是在差异被用来区分“自我”和“他者”、强化族群或文化界限的情况下。相反,加入“生成”的视角可以引导人们认识到差异是动态的、可变的,并且通过不断的互动、对话和融合可以实现共同的成长与繁荣。生成提供了一种开放的路径,帮助不同的文化和信仰群体在彼此差异的基础上找到共存的可能性,从而避免因差异固化而产生的冲突。
“差异”本身的局限性
差异强调的是个体、群体或文化之间的不同之处,但这种强调如果缺乏动态的生成视角,可能会导致以下几种问题:
固化身份:当差异被视为固定的、不变的,这种对身份的僵化认同可能加剧分裂和对抗。例如,在东南亚的多元社会中,若某个民族或宗教群体固守自身的文化或宗教差异,而不愿意开放接纳其他群体的特质,差异就可能变成划分界线的工具,强化彼此的排斥感。
“自我”和“他者”的二元对立:差异如果被过度强调,容易导致将世界简化为“自我”和“他者”的对立。在这种情况下,不同文化、信仰和族群的互动可能成为冲突的导火索,特别是当某些群体试图捍卫自己的身份认同,而将他者视为威胁或竞争者时。
权力不平衡和差异的政治化:当差异与历史上的权力不平衡结合在一起,差异很容易被政治化或工具化,成为某些群体谋取利益或控制他者的手段。在东南亚一些国家,族群差异或宗教差异被利用来制造紧张局势,造成族群冲突或宗教冲突,并非鲜事。
“生成”带来的动态解决方案
德勒兹的“生成”(becoming)强调的是变化、过程和转化,意味着差异并不是固定不变的,而是处于不断生成、互动和重塑之中。这一概念在多元社会中具有重要意义,因为它提供了一种开放的视角,帮助人们理解差异不仅仅是分裂的来源,还是创造新关系、融合和共同成长的机会。
差异中的生成:强调生成意味着承认差异的流动性和变动性。文化、宗教和民族身份并非不可改变,而是通过历史、互动和体验在不断演变。东南亚的多元文化背景正是这种“生成”的典型范例,不同文化、宗教信仰和语言在相互交融中,形成了丰富多样的社会形态。
共生成与共存:生成的视角为多元社会中的差异提供了一个动态的、开放的解决方式。通过生成,差异不再被看作是冲突的根源,而是一种不断发展的过程。不同的文化和信仰群体可以在相互影响中共同成长,并创造出新的混合形式。东南亚的许多国家历史上便是这种差异共存、文化交汇的产物。
对话与协商的过程:生成强调过程和变化,也意味着通过对话和协商来处理差异。在东南亚的多元社会中,如果各群体能够通过持续的对话来认识差异,并在此基础上相互理解与合作,生成的过程将带来更和谐的共存。
以“生成”缓解冲突的可能性
强调“生成”可以有效避免因固守差异而导致的对立。通过生成的视角,不同的文化、宗教或族群能够在差异的基础上发现共通点,建立合作与融合的可能性:
文化混合性:东南亚有丰富的文化混合历史,如马来文化与印度教、佛教、伊斯兰教的长期互动,产生了新的文化形式和宗教实践。这种文化混合体现了生成的力量,表明即便在差异的背景下,通过互动可以创造新的、多元的社会形态。
包容性民族认同:通过生成的视角,可以重新构建包容性的民族认同,而非基于差异的排他性认同。东南亚国家中,成功处理多元族群和文化关系的往往是那些能在生成中找到共同点的国家,如马来西亚和新加坡,它们通过包容性的国家意识形态来缓和不同族群间的差异。
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爱垦網·高阶创造力挑战机械人系列:德勒兹经营地方感
德勒兹关于感觉者(sentant)与被感觉物(senti)之间的不可逆性及其生成性概念,为经营“地方感”和“感性地理学”的文创体验提供者带来新生命。这些概念适合地方文化的发掘和传承,因为它们能够激发一种更加深层次的感知体验,并且强调时间、空间和情感的独特性;为文创提供者带来了全新的视角,帮助他们在地方文化与感性体验的结合中发掘出新的创作可能性,激发地方文化的持续活力。
地方感的动态构建:德勒兹的生成性思想提醒文创提供者,地方感并非静态的、固定的传统,而是随着时间、空间和体验不断生成的。在经营地方文化时,不应仅仅将其当作“遗产”进行展示,而要将其看作是一个活生生的体验场域,通过多感官的体验(视觉、听觉、嗅觉等)让参与者感受到地方的多重层次。
地方感的构建应当结合具体的历史、地理、文化元素,同时关注到个体的情感体验,使参与者能够通过与地方的互动,生成自己独特的地方记忆。德勒兹的不可逆性观点意味着每一次体验都是独一无二的,因此文创提供者可以通过设计多样的互动活动,鼓励参与者每次都有不同的感知。
感性地理学中的时间和不可逆性:感性地理学涉及将人们的情感与地方联系在一起,德勒兹的不可逆性理论为这一领域提供了强大的支持。地方不仅仅是一个地理位置,它也是感知体验的时间性与空间性的交织。文创体验提供者可以利用这一点,通过设计体验活动来呈现地方的历史变迁、当下的情境以及未来的可能性,创造一种具有时间感和延续性的感性地理学体验。
不可逆性意味着参与者每次的体验都是不同的,文创提供者可以设计活动,使得每个体验者在不同的时间和空间背景下,感受到不同的情感与文化联系。这种体验不仅让人感受到地方的深度,还让他们在与地方互动中产生独特的情感连接。
从“观察者”到“生成者”:德勒兹的理论强调感知者与被感知物之间的交互作用,文创体验提供者可以借此推动参与者从单纯的“观察者”角色,转变为“生成者”。在地方感和感性地理学的文创体验中,参与者不仅是观看和接收地方文化的内容,还可以通过参与活动创造新的感知与体验。
例如,通过互动式的文化工作坊、社区活动、艺术创作,参与者成为地方文化的一部分,在与地方的互动中生成新的感知和记忆。这种生成性的体验过程能够使地方文化不断焕发新的活力,同时也使得参与者对地方感有更深的情感连接,成为地方文化的传播者和创新者。
感知的深度体验与多感官互动:德勒兹的感性理论启示文创提供者,可以设计出更多层次的、多感官的互动体验。地方感不仅仅是视觉上的感受,它还涉及到听觉、嗅觉、触觉等感官的多重参与。通过这种多感官的互动体验,参与者能够深刻地感受到地方的丰富性和独特性。
例如,一个关于地方传统手工艺的文创体验项目,不仅可以展示手工艺品,还可以通过触摸材料、聆听制作声音、闻到工艺品的气味等方式,让体验者感受到完整的制作过程。这种多感官的体验不仅能够带来更深层的感知,还能够帮助参与者更好地记住和理解地方文化。
感性地理学中的共情与地方记忆:德勒兹的感性块理论也启发文创提供者如何构建共情和地方记忆。通过创造感性块,文创体验者可以将地方的历史、文化和当下的生活打包成一个完整的体验,让参与者在短暂的体验过程中,感受到地方的“脉动”。
这种方式可以通过故事化的叙事、电影、戏剧表演等多种艺术形式来实现,让参与者沉浸其中,感受到地方文化的情感深度。例如,一个地方的历史故事可以通过戏剧演绎、配合实地场景的互动体验,让参与者在情感上与地方发生共鸣,进而生成深刻的地方记忆。
持续创新与地方文化的更新:德勒兹强调变化和变异的必要性,文创体验提供者应当时刻保持创新的灵感,不要固守单一的地方文化表现形式。地方文化本身是不断变动和发展的,文创提供者可以利用现代科技、当代艺术等方式,与地方文化传统进行创新性的结合。
例如,通过数字科技,将地方文化转化为虚拟现实体验或沉浸式互动,或者通过跨领域合作,将地方文化与时尚、设计、音乐等其他创意领域结合,创造出全新的地方感体验。这不仅能吸引更多年轻的受众,还能让地方文化在全球化和现代化的浪潮中保持活力。
地方感与集体情感的共创:德勒兹的“感性块”理论可以帮助文创提供者构建集体记忆与共创空间。地方感不仅是个体的体验,也是集体情感的共鸣。通过设计能够激发集体情感的体验活动,文创提供者可以在地方感和感性地理学中引入更多共创元素,邀请当地居民、游客或外界创作者共同参与。
这种共创体验可以通过集体艺术创作、社区活动、地方节庆等形式进行,让每一个参与者都成为地方感生成的一部分。在这种过程中,地方感不再只是静态的传统文化,而是不断被重新创造和更新的文化生态。
德勒兹的情动哲学,特别是关于感觉者与被感觉物之间的生成性和不可逆性的理论,为文创工作者提供了重新发掘地方感和感性地理学的有力工具。通过将这些概念运用于文创体验的设计中,文创工作者可以:
打破静态的地方文化展示,转而构建动态生成的地方感。
强调体验的独特性与不可逆性,创造个性化、深度化的感知体验。
将体验者从“观察者”转变为“生成者”,通过共创激发地方文化的创新活力。
设计多感官的互动,创造具有层次感的地方感性体验。
通过感性块和多维情感体验,构建地方的集体记忆与情感共鸣。
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