Materializing New Media: Embodiment in Information Aesthetics
Materializing New Media: Embodiment in Information Aesthetics
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新媒体物化：信息美学的体现
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发表时间：
2006
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通讯作者：
A. Munster
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作者：
A. Munster
在《物质化新媒体》一书中，安娜·蒙斯特为数字文化提供了另一种审美谱系。Munster避开了流行的笛卡尔美学，将数字与无实体、无形式和无地点联系在一起，通过展示其美学重新配置身体体验和重新认识物质，寻求“物质化”数字文化。她的主题范围从身体-电脑界面的艺术实验到身体互动和地缘政治环境对产生新媒体艺术和文化的影响。她认为，新媒体、物质性、感知和艺术实践现在共同构成了“信息美学”。信息美学关注的是感官参与的新模式，其中分布空间和时间变化起着至关重要的作用。在分析新媒体艺术对空间和时间的物质性所进行的实验中，明斯特展示了新媒体如何同样地改变了我们的身体和全球信息文化中其他人的身体。物质化新媒体要求我们重新审视身体和情感在虚拟和抽象信息编码中的角色。它为美学和艺术史提供了一种基于“折叠”概念的非线性方法，可以在时间的距离上辨别某些类型的接近和延续（特别是在巴洛克和数字之间）。最后，它通过差异逻辑而不是二元逻辑来分析数字文化。这让作者克服了一种未来主义的习惯，这种习惯一直困扰着新媒体艺术和文化的分析。现在，科技并没有超越人体，而是不断地重新配置它，构成它。
In Materializing New Media, Anna Munster offers an alternative aesthetic genealogy for digital culture. Eschewing the prevailing Cartesian aesthetic that aligns the digital with the disembodied, the formless, and the placeless, Munster seeks to "materialize" digital culture by demonstrating that its aesthetics have reconfigured bodily experience and reconceived materiality. Her topics range from artistic experiments in body-computer interfaces to the impact that corporeal interaction and geopolitical circumstances have on producing new media art and culture. She argues that new media, materiality, perception, and artistic practices now mutually constitute"information aesthetics." Information aesthetics is concerned with new modes of sensory engagement in which distributed spaces and temporal variation play crucial roles. In analyzing the experiments that new media art performs with the materiality of space and time, Munster demonstrates how new media has likewise changed our bodies and those of others in global information culture. Materializing New Media calls for a re-examination of the roles of both body and affect in their relation to the virtual and to abstract codes of information. It offers a nonlinear approach to aesthetics and art history based on a concept of"folding" that can discern certain kinds of proximities and continuations across distances in time (in particular between the Baroque and the digital). Finally, it analyzes digital culture through a logic of the differential rather than of the binary. This allows the author to overcome a habit of futurism, which until now has plagued analyses of new media art and culture. Technology is now not seen as surpassing the human body but continually reconfiguring it and constitutive of it.