美的機能の構造と賦活原理(日本映像学会第六回大会特集号)
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概要
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The text of visual image is an organic entity of multi-layered bundle of functions as a faculty of structure. Such entity becomes an art only when its aesthetic function takes on a dominant role and when the visual image manifests itself in the foreground as an object for seeing. In this respect, the aesthetic character of visual image is attained through self-realization. The content of such is diverse and not always semantic. Naturally there exists conventional aesthetic code. The aesthetic function can not escape from being institutional. Generally speaking, the institution serves to substantiate the connotation. The aesthetic consciousness is precisely its pattern and is subject to normalization historically and collectively. The problem here is the conservative binding character of such aesthetic normalization. As long at we are aware of the fact that this weakens the structural dynamism of art, the principle of creative activation of aesthetic functions must be sought by stepping out of the preceding dominant aesthetic norm and decodifying the operational circuit of the automatized aesthetic consciousness. In the very process of entropy increased by this and the negentropy of normalization working against each other and generating genuine surprises and newness in terms of visual experience, we must recognize the basic existence of esthetic function in the text of visual image. The importance lies not only in such "codified structure" but more precisely in a "structure to codify".
- 日本映像学会の論文
- 1981-05-30
日本映像学会 | 論文
- レヴュー アン・ウィルクス・タッカー、デーナ・フリース=ハンセン、金子隆一、竹葉丈編『The History of Japanese Photography』Ann Wilkes Tucker, Dana Friis-Hansen, Kaneko Ryuichi, Takeba Joe, eds
- レヴュー スラヴォイ・ジジェク編、鈴木晶+内田樹訳『ヒッチコック×ジジェク』
- レヴュー ドゥルーズ『シネマ』の英米圏における受容(2)新たな映画論の基礎付けに向けて バーバラ・M・ケネディ『Deleuze and Cinema』 グレゴリー・フラックスマン編『The Brain Is the Screen』
- レヴュー ドゥルーズ『シネマ』の英米圏における受容(1)哲学的理解から映画論の再考に向けて スティーヴン・シャヴィロ『The Cinematic Body』 D.N.ロドウィック『Gilles Deleuze's Time Machine』
- ドゥル-ズ『シネマ』にみるイメ-ジの分類学