Imagined Memories

Most discussions of popular music on the Internet focus on the utopian potential of new file-sharing technologies, yet applications that reproduce existing inequalities also deserve attention. Webcasting is the streaming (transmission) of digital video to multiple recipients in cyberspace. Paul McCartney's Webcast from the Cavern was a landmark case. It was a digital package staged for reproduction, and yet it felt live; in this article I explore why and offer a two-part explanation. The first part is that "live'-ness is based on an increasingly false opposition to recording, but, because that opposition still remains, Little Big Gig could seem live by adopting some trappings associated with it. The second part is that Internet use is mediated by daily life and computer users brought their own desire to the Webcast, in particular desires to see a Beatle play in the Cavern. Webcasting is an unanticipated use of the Internet that is being used to support corporate interests. With its widespread publicity, Little Big Gig helped naturalize that process.     

现代性进程中的北京视觉文化形象

本文基于视觉文化在城市文化建设中的重要性,以城市视觉文化形象的城市建筑为主要问题,首先阐述北京城市视觉文化的历史“余韵”与现代性“崇高”在城市现代化发展过程中所经历的重要转变,在此基础上论述二者之间的紧张关系,然后从视觉文化理论的角度提出自己的看法。     

从"韵味"到"震惊"——再论本雅明的艺术现代性理论

作为现代性的理论家,本雅明对于现代性有自己独特的看法。就其艺术现代性而言,传统艺术使人们体验出来的是韵味。而韵味作为艺术的本真性,让人体验的是美,呈现给人们的是膜拜价值。而现代艺术带给人们的体验则是震惊,而不再是作为审美的韵味,呈现给人们的是展示价值。在本雅明那里,这种震惊体验主要表现在电影和现代都市之中。     

Reading Walter Benjamin and Donna Haraway in the age of digital reproduction

Walter Benjamin's 'The Work of Art in the Age of Mechanical Reproduction' has much to offer contemporary analyses of the 'Information Age'. This article rereads this famous essay in light of a later intervention by Donna Haraway, 'A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s'. There are strong parallels and overlaps between these two groundbreaking pieces, despite their many differences. Both deal with how their respective generations of 'new' information and communication technologies (ICTs) are intertwined with broader sociocultural and political economic change. Both apply controversial, Marxian, theoretical insights to changes in the mode of (re)production in their analyses of techno-economic change that herald both negative and positive political possibilities. This article takes Benjamin and Haraway in turn, their lives and their work in general and these two essays in particular. It concludes with a brief discussion on how Benjamin's and Haraway's optimistic takes on technological change - as political opportunity, despite less than optimal tendencies in the political economic and technical apparatus of their respective ages - can contribute to fleshing out theory and research on ICTs. And to do so without lurching between the positions of extreme pessimism or optimism that characterize the debates to date.     

朦胧的“语像”与飘浮的“影像”——论异质媒介语境中艺术及艺术观念的转换

科技推动艺术媒介的变革,从而使艺术符号发生根本性的变化.本文从宏观的视角来考察在异质媒介语境中艺术符号及其特点的嬗变,并由此带来的艺术审美存在的深刻变化.     

对建筑文化之灵气与神韵的透视

置于人文社会的大背景下审视,建筑以其灵气和神韵形成文化。建筑文化以其历史性与凝固性、时代性与变革性、地域性与民族性、实用性与艺术性的有机统一反映出丰富的人文内涵。只有坚持对中国古代建筑与外国建筑的理念、审美、艺术与风格的批判、继承、创新和发展,才能不断提高我们民族建筑的文化含量与文化品位。     

“得意忘言”与魏晋六朝艺术观的建构

魏晋玄学以“本末有无之辩”为哲学主题,以“得意忘言”为哲学方法,塑造了清峻通脱的魏晋风度。在这种玄风影响之下,形成了魏晋独特的绘画艺术理论,表现在艺术方法注重“得意忘言”,艺术创作强调“以形写神”,鉴赏批评崇尚“气韵生动”。     

"克隆"时代的艺术"真迹"

在艺术品可以复制、生命可以“克隆”的时代,艺术“真迹”的必要性何在?艺术品的“生命”可否“拷贝”?     

论跨语际专业论文定义的英文写作

科技论文定义是整篇论文的窗口。在跨语际交际中定义表达准确与否涉及到能否给译入语读者一个相关整篇论文准确无误的总体信息 ,故它涉及到正确的选词 ,科学喻义的表述 ,定义的一般模式及变异模式以及常用的动词和时态诸问题。就此试图提出一个行之有效的写作模式