Technologies of Perception: Miyazaki in Theory and Practice
Technologies of Perception: Miyazaki in Theory and Practice
复制标题
感知技术：宫崎骏的理论与实践
DOI：
10.1177/1746847708099740
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发表时间：
2009
期刊：
影响因子：
0.4
通讯作者：
S. Bigelow
中科院分区：
文献类型：
--
作者：
S. Bigelow
当前西方对日本动画的迷恋可以通过文化生产中的数字化体验来理解，这种体验为理解自我主体开辟了新的途径。在交互式虚拟环境中与图像互动的可视化涉及放弃控制，以通过其关系（人类和非人类）的独特模式来识别个体。这一现实在东方哲学概念中的相互关联性和预反思性思维中得到了阐述，马歇尔·麦克卢汉称之为“全面意识”。日本动画师宫崎骏利用禅宗神道教的宗教想象来赋予个人放弃自我的力量。作为后现代时代道德混乱的另一种政治，他的实践表明沃尔特·本雅明与电影的赌博正在上演。
The current Western fascination with Japanese animation can be understood in relation to the experience of the digital in cultural production that opens new avenues of understanding about the self-as-subject. Visualization to engage with the image in interactive, virtual environments involves relinquishing control to recognize the individual as emerging through the unique pattern of their relationships, both human and non-human. This reality is articulated in Eastern philosophical notions of interrelatedness and pre-reflective thinking, what Marshall McLuhan called `comprehensive awareness'. The Japanese animator Miyazaki Hayao draws on a Zen-Shinto religious imaginary to empower the individual to relinquish the self. As an alternative politics to the moral confusion of the post-modern age, his practice demonstrates that Walter Benjamin's gamble with cinema is in play.