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在古老的部落社会,文字文化未发生以前,耳朵的作用要远远超过眼睛,但此时耳朵并未从其他感官中分离开来。文字发明之后,尤其是印刷术的到来,部落时代的听觉空间转向了二维的视觉空间。马歇尔·麦克声汉更是认为在印刷时代,眼睛的作用被大大强化了,使人类的视觉扶其他感官中分割出来,因此这是一个视觉空间占主导地位的时代;到了电子媒介直至当今的数字时代,在“地球村”的背景下,我们又看到了听觉空间的回归(一种跨越时空的“面对面”交流)。曾获得2010年北方艺术奖、2011年威尼斯双年展银狮奖的哈龙·米尔扎受到了麦克声汉这种观点的启发,认为听觉和视觉的意义是同等的。除此,他的作品还指涉了声音在当代文化中的重要性,他利用雕塑的元素来创作微妙的乐曲,探索如何将噪音转换成音乐的可能性。
In ancient tribal societies, the ear did far more than the eye before the writing culture had taken place, but the ears were not separated from the other senses at this time. After the invention of the text, especially the arrival of printing, the tribal era of the auditory space turned to two-dimensional visual space. Marshall McKee also thinks that in the printing age, the role of the eye has been greatly strengthened and human vision has been cut off from other senses. Therefore, this is an era dominated by the visual space. From the electronic media up to today’s figures In the era of “Global Village ”, we also saw the return of the auditory space (a “face-to-face” exchange across time and space). Halon Mirza, winner of the 2010 North Art Award and the Silver Lion of the Venice Biennale 2011, was inspired by the concept of Michae and Han as the equivalent of auditory and visual meanings. In addition to this, his work also refers to the importance of sound in contemporary culture. He uses the elements of sculpture to create subtle pieces of music and explore the possibility of converting the noise into music.