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本文从麦克卢汉坚实的人文修养角度进入他的媒体研究。早在1930年代末,麦克卢汉在剑桥大学做博士期间便已经进入传统的语法、逻辑、修辞三文科课程,同时也注意到了一战后最为前卫的先锋派艺术的成就。几年后,麦克卢汉成为多伦多大学年轻的英文教授,开始将“艺术分析的方法”运用到“对社会的批评性评估”上,希望能在“集体的公共心智中”激发出“光”而非“热”。在文化与社会急速变化的当时,他回应新旧技术环境的独创方法引起了许多艺术家和学者的关注。不久,他自己的方法对艺术家来说要么是一种个案研究,要么就是一种理论范式,就像昆延·菲里奥和索若·埃特劳格之间的差异那样。本文试图追溯麦克卢汉的理论原点,探讨它在1960—1970年代一些独创性的艺术实验中的作用,并进而讨论人文思想在复杂的媒体现实中所能起到的作用。
This article enters his media research from McLuhan’s solid humane accomplishment. As early as the late 1930s, McLuhan had entered traditional grammar, logic and rhetorical courses during his Ph.D. work at Cambridge University. He also noticed the achievements of the most avant-garde avant-garde art after the First World War. A few years later, McLuhan became a young English professor at the University of Toronto and began to apply the “method of artistic analysis” to the “critical assessment of society” in the hope that he could “ Stimulate ”Light “ instead of ”Heat ". At the time of the rapidly changing culture and society, his original method of responding to old and new technological environments aroused the concern of many artists and scholars. Soon, his own approach to the artist is either a case study or a theoretical paradigm, as does the difference between Kunyen Ferio and Soro Etrog. This paper attempts to trace out the theoretical origin of McLuhan, discuss its role in some original artistic experiments in the 1960-1970s, and then discuss the role that humanistic ideas can play in the complex media reality.