Seeing from Above: The Aerial View in Visual Culture
Seeing from Above: The Aerial View in Visual Culture
复制标题
从高处看：视觉文化中的鸟瞰图
DOI：
10.1080/10331867.2014.901143
复制
发表时间：
2014
期刊：
影响因子：
--
通讯作者：
Sarah Treadwell
中科院分区：
文献类型：
--
作者：
Sarah Treadwell
也许是因为我一直在阅读马克·多里安和弗雷德里克·普桑的精彩作品集《从上面看：视觉文化中的鸟瞰》，索契冬奥会开幕式似乎都是从上面看的。在介绍奥运会的壮观场面中，鸟瞰图无疑是非常明显的。往下看，人们和物品游行的灯光地面变成了一个可变的表面，在上面展示选择性的国家故事。水平面有一个妥协的鸟瞰图，通过垂直倾斜的家庭电视过滤，但尽管如此，它仍然声称一个难以捉摸的愿望，要求地面视觉。有时，体育场表面被铸造成普通的轴承地面;在其他时候，它是缺席的地面，一个黑色的虚空，数百万观众盯着。从上面看是有限的内部空间的事件，尽管其吞噬黑暗，有一个固定的尺寸。鸟瞰图所暗示的空间扩展被包含在内，就像在索契可以讲述的故事一样。地面在某个时刻是演员居住的建筑计划，在其他时候是液体或冻结的床单。所有地面的复制品都随着向下的凝视而变得突出。展览中的地面既不单一，也不稳定;抽象的几何形状被迫成为漂浮的三维空间，漂浮和分散的圣巴西尔大教堂。地面随着鸟儿的飞舞而消失。Mark Dorrian的文章“On Google Earth”，从上面看，仔细研究了Google Earth作为Google更广泛的历史及其文化影响的一部分。他将该计划中的图像与宇航员拍摄的地球照片所产生的效果一起设置，这些照片塑造了生态运动，将地球塑造成脆弱，美丽和小巧的星球。Dorrian指出，谷歌地球虽然没有昼夜循环，但分辨率不同。高分辨率的“视图”遵循经济利益，数字覆盖或自然灾害，而缺乏分辨率则是出于政治目的和军事机密。Dorrian指出，地面平面被用作招牌;就像开幕式上的地面建筑被远处的观众看到一样，迪拜“棕榈”开发项目的地面图案在地面上刻下了一个品牌和一个幻想。从上面看提供了一个累积的讨论复杂的文化历史的空中想象，一个领域，直到最近，收到相对较少的学术关注。该卷的特别重点是通过对图像的分析来追溯历史，这些图像承载了重叠时期的关注，对空气和海拔，距离和亮度的世界做出了正式的回应。特殊的和移动的性质的空中看到，反映在图像中，检查，每一章都认为图像想象，绘制或拍摄的浮力在其他地方。这本书关注由快乐、美学、飞行或军事驱动的技术，集体证明了鸟瞰图是现代想象力的核心。这本书的编辑们写道，他们的历史版本是一种“长期的”，关注缓慢演变和转变的历史结构模式。也许他们的
Maybe it was because I had been reading Seeing from Above: The Aerial View in Visual Culture, Mark Dorrian and Frédéric Pousin’s wonderful collection of writings, that the Sochi Winter Olympics opening ceremony seemed to be all about seeing from above. The aerial view was certainly much in evidence in the spectacle that introduced the Olympics. Looking down, the illuminated ground across which people and objects paraded became a mutable surface on which to demonstrate selective national stories. The horizontal surface had a compromised aerial view, filtered through the vertically inclined home television, but nevertheless it asserted an elusive desire to claim ground visually. At times, the stadium surface was cast as ordinary bearing ground; at other times, it was absent ground, a black void into which the millions of viewers stared. Looking from above was limited by the interior space of the event which, despite its engulfing darkness, had a fixed dimension. The expansion of space that aerial views imply was contained, as were the stories that could be told at Sochi. The ground was at one moment an architectural plan that actors inhabited, at others a liquid or frozen sheet. All the facsimiles of ground became prominent with the downward gaze. Ground in the show was not singular, nor stable; abstract geometry was forced into floating three dimensions with levitating and dispersing St Basil Cathedrals. Ground dematerialised with the fluttering of the bird dancers. Mark Dorrian’s essay “On Google Earth”, in Seeing from Above, takes a close look at Google Earth as part of the wider history of Google and its cultural influence. He sets images from the program alongside the effects produced by the photographs taken of Earth by astronauts, which shaped the ecological movement, casting the planet as fragile, beautiful and small. Google Earth, Dorrian points out, while lacking the cycles of night and day, varies in terms of resolution. High-res “views” follow economic interest, digital coverage or natural disaster, whereas a lack of resolution is negotiated for political purposes and military secrecy. Dorrian points to the use of the ground plane as signboard; like the opening ceremony’s constructions of the ground to be seen by distant viewers, the ground patterns of the “Palm” developments in Dubai inscribe both a brand and a fantasy on the ground. Seeing from Above offers a cumulative discussion of the complex cultural history of the aerial imagination, a field that has, until recently, received relatively little scholarly attention. The particular focus of the volume is on tracing the history through analyses of images that carry the concerns of overlapping periods, laying out formal responses to a world of air and elevation, distance and lightness. The particular and mobile nature of aerial seeing, reflected in the images, is examined; each chapter considers images imagined, drawn or photographed from a buoyant elsewhere. Attending to technologies driven by pleasure, by aesthetics, by flight or by the military, the book collectively demonstrates that the aerial view is central to the modern imagination. The editors of the volume write that their version of history is one of “longue durée”, paying attention to slowly evolving and shifting patterns of historical structures (1). Perhaps their