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费歇尔父子做梦也不会相信,一直以来奉为至尊的精神活动,在一夜之间沦为数字世界的阶下囚徒——他们认为一件艺术作品的内容并不是它的物质性的题材,而是艺术家自己和他的精神生活,所以提出以情感的象征性作为分析艺术作品的方法——尽管“移情说”在很长一段时间内占据了艺术批评界的话语首席,但是凭借全息技术而获得的第三维度,甚至由虚拟现实发展而来的第四维度,都已经完全主宰了当代文化的生成空间,而且正不断地刷新着人类精神世界的可及范围,似乎艺术作品与人类精神之间已经没有必然的联系,或者说两者已不再存在有意义的区别了。虚拟现实技术的超速发展,第四维度走进人类日常生活
Fischer’s father and son never dreamed of believing that the spiritual activity that has been revered as a supreme spiritual activity overnight became the prisoner of the digital world - they did not consider the content of an artwork to be a matter of materiality, Is the artist’s own life and his spiritual life. Therefore, he put forward the method of analyzing the artwork with the symbolism of emotion. Although “Empathy” occupies the chief position of discourse of art criticism for a long time, The third dimension of technology and even the fourth dimension evolved from virtual reality have completely dominated the generation of contemporary culture and are constantly refreshing the reach of the human spiritual world as if the work of art and humanity There is no necessary relationship between the spirit, or there is no longer meaningful difference between the two. The rapid development of virtual reality technology, the fourth dimension into human daily life