论坛 | 北京大学“黉门对话”专家主题论坛——媒介考古:艺术、媒介与感知

原标题:论坛 | 北京大学“黉门对话”专家主题论坛——媒介考古:艺术、媒介与感知

论坛缘起

近几十年来,媒介在社会现实和理论思辨两个层面日益成为核心问题。从麦克卢汉、英尼斯,到基特勒、弗鲁塞尔,乃至更多在哲学、艺术和影像研究领域侧重于媒介与技术问题的理论思考,媒介哲学(media philosophy)/媒介思想(media thinking)/媒介学(mediology)在当代理论在人文主义之后偏于物质、技术和后人文的取向中日益成为中心议题。而媒介考古学是其中的重要内容,在对媒介物质性的强调、打破传统历史叙述、新旧共时想象、变体、深层时间、媒介艺术、技术视听、媒介感知等方面,提供了极具启发意义的思考。在媒介考古学的视野中,大量历史上沉默的、边缘的、存在于想象中的媒介被重新打捞和组织,媒介不死,旧媒介不过是被转化、附着、再媒介化(remediation)为新的媒介。仿佛考古学发现的地层,媒介考古将媒介文化视为沉积的、层累的,视其为时间与物质的交叠空间,通过重新理解媒介之间的关系和位置,进而对媒介自身产生新的认识,更进一步对内在包含着技术性/媒介性/物性的人物统一体产生新的理解。在这样的媒介思潮中,艺术也许比文学更居于中心地位。当代的哲学理论对以电影和造型艺术为代表的视觉媒介艺术的关注日益增强,最前沿哲学思想从视觉艺术媒介中不断提炼关于影像、媒介、运动、感知、时间和记忆等人类经验的核心问题。哲学美学、艺术理论、电影研究、图像学、媒介研究诸领域逐渐汇聚,形成艺术-媒介-感知的前沿议题。

在媒介哲学、媒介考古与艺术研究的领域中,中国学术理当发出强有力的声音。这一方面自然来自当下中国发达的网络媒介技术现实,而另一方面则源自中国丰富的、长时的、异质的、杂多的深层媒介历史,在光学、印刷、声音、传递、中介等各种媒介领域有极为丰富的经验。这自然不该是西方理论加中国案例的初级结合,作为非西方的学者,我们有责任在自身的历史与现实经验中进行抽象化和理论化,提炼结晶,与西方思想进行对话,扩大和重组关于媒介、技术、艺术、现代、历史等等的既有理解。

论坛流程介绍

时 间:12月2-3日

地 点:北京大学英杰交流中心月光厅、第二会议室

主办方:北京大学艺术学院

召集人:唐宏峰(北京大学艺术学院研究员)

12月2日

地点:北京大学英杰交流中心月光厅

主持:唐宏峰

开幕式(8:40-9:00)

1. 会议召集人介绍缘起

2. 彭锋院长致欢迎辞

主题演讲(9:00-12:00)

1. 齐林斯基(Siegfried Zielinski,柏林艺术大学媒体理论教授,瑞士欧洲研究院米歇尔·福柯讲席教授)(9:00-10:30)

未来考古学:在媒介的深层时间中旅行

Prospective Archaeologies - Travelling through DEEP TIME OF THE MEDIA - from the Past into the Future

齐林斯基

2. 茶歇(10:30-10:45)

3. 放映(10:45-11:45)

《西格弗里德·齐林斯基:回到未来》(Siegfried Zielinski: Back to the Future)

《一百:20部视听考古短片》(One Hundred — Twenty Short Films on the Archaeology of Audiovision)

4. 现场提问与讨论(11:45-12:15)

引言人:杨北辰

主题演讲(13:30-15:10)

1. 埃尔塞瑟(Thomas Elsaesser,荷兰阿姆斯特丹大学荣休教授、英国科学院通讯院士)(13:30-15:00)

电影史作为媒介考古学

Film History as Media Archaeology

埃尔塞瑟

2. 茶歇(15:00-15:10)

主题对话(15:10-17:40

1. 齐林斯基与埃尔塞瑟对话(15:10-16:10)

2. 中国学者讨论与回应(16:10-17:10)

彭锋、金惠敏、陈卫星、李洋、董冰峰(中国美术学院跨媒体艺术学院研究员)、王洪喆、施畅、徐亚萍(上海师范大学副教授)

3. 现场提问与讨论(17:10-17:40)

12月3日:

地点:北京大学英杰交流中心第二会议室

主持:唐宏峰

一、专题报告:媒介理论(8:30-12:15)

1. 金惠敏(四川大学文学与新闻学院二级研究员、长江学者)

麦克卢汉的语言延伸论与后结构主义的语言断裂论

Extension VS Representation: To Linguistically Place McLuhan Against Poststructuralism

2. 陈卫星(中国传媒大学中国传媒大学传播研究院教授,国际传播研究中心主任)

媒介学的艺术向度

The Artistic Dimension of Mediology

3. 李 洋(北京大学艺术学院副院长、教授)

德里达与幽灵影像

Jacques Derrida and Spectral Image

4. 蓝 江(南京大学哲学系教授)

5G、数字在场与万物互联

5G,Digital Present and Internet of Everything:Philosophical Effect of Revolution of Informational Technology

5. 唐宏峰(北京大学艺术学院研究员)

论“图像-媒介”

On the Concept of Image-Media

6. 施 畅(暨南大学新闻与传播学院讲师)

视旧如新:媒介考古学的兴起及其问题意识

Yesterday Once More: The Rise of Media Archaeology and Its Problematique

7. 李昕揆(中国人民大学文学院讲师)

麦克卢汉媒介第一原理“媒介即讯息”重读

Re-interpretation of Marshall McLuhan’s “The medium is the Message”

二、专题报告:跨媒介艺术史、艺术媒介研究与中国媒介考古(14:00-17:15)

1. 李 军(中央美术学院人文学院院长、教授)

跨文化与跨媒介:以中古形式系统的生成为例

Origin of A Formal System in Medieval China: A Transcultural and Transmediary Study

2. 吴雪杉(中央美术学院人文学院教授)

透过媒介:建构“万里长城”的现代形象

Through Media: Construction of Modern Image of “Long Wall of Ten Thousand Li”

3. 张 颖(中国艺术研究院副研究员、《文艺研究》副主编)

贾科梅蒂的萨特时刻

The "Sartre Moment" of Alberto Giacometti

4. 杨北辰(中央戏剧学院文学系讲师)

尺度的考古学

The Archaeology of Scales

5. 王洪喆(北京大学新闻与传播学院研究员)

宇宙考古学、海洋文明与克苏鲁世的媒介问题

Paleo-SETI, Atlantis, and Media Archaeology in the Chthulucene

6. 陈 翔(清华大学科技史系博士)

近代石版印刷术在图像复制中的特点及影响

A Research on the Image Printing of Lithography in Modern China

三、闭幕(17:15-17:30)

李洋副院长总结致辞

四、放映(19:00-20:30)

地点:理科五号楼438

1.《太阳岛》(The Sun Island)纪录片放映

2. 现场交流

埃尔塞瑟、徐亚萍

学术期刊支持:

《文艺研究》

《探索与争鸣》

《电影艺术》

《学术研究》

影片简介

《一百——20部视听考古学短片》

《一百——20部视听考古学短片》(One Hundred — Twenty Short Films on the Archaeology of Audiovision)完成于1991年,是萨尔茨堡大学教学与研究项目“视听”的一部分,这一项目由齐格弗雷德·齐林斯基于1990年至1993年在该校创办并主持。持续几个学期的研讨会和系列讲座是这一项目的基础。这一项目的作品,是通过与视听实验室主任阿洛伊斯·普拉斯科维茨(Alois Pluschkowitz)的密切合作完成的。

1994年至1995年期间,西方世界正在纪念电影的百年诞辰。这一项目的基本理念,就是创造一个将电影与电视整合的另类历史书写,与常见的技术、创作者、明星与制片为主的经典历史书写相区分。戈达尔与福柯是这个项目的最主要灵感来源。在1988年的《电影史》中,戈达尔建构了一部影片与电影的历史,利用转瞬即逝的影像作为其美学工具,以反思电影自身。与《电影史》一样,《一百》同样是在电子录像这一媒介上完成的。福柯的知识与权力的考古学则成为最重要的理论和哲学来源。项目最终完成的这20部短片应被看作是视听话语的诗意缩影。

参与这一项目的25位学生成为了影片的创作者。他们用了一年时间,从电影与电视史的一百年中提取出个人化的100分钟。他们的创作条件颇受限制:只有一台电子设备,每一个阶段只能使用三天三夜。有些学生也使用了他们自己的超8摄影机。而关于剪辑和后期制作方面,也只有一个剪辑室和三台机器,每个阶段也只对学生开放几天时间,因为项目需要快速推进。大部分特效都是在摄影机前手动制造的。还有一个重要的规定,是不能使用音乐,因为会产生版权费用。因此影片的音轨几乎都是学生们自己创作的。这些影片早在明确讨论媒介考古学的书籍出版多年之前就已经被创作出来,在媒介考古学成为讨论焦点的当下,这些视听作品尤为值得一看。

《太阳岛》

《太阳岛》(The Sun Island)是一部关于巧合、碎片生活及身后声名的散文电影。它讲述了两个相互交织的故事,一个关于德国现代主义建筑师马丁·埃尔塞瑟(托马斯的祖父)的生涯,另一个则同样关于马丁与建筑,但以另一种完全不同的方式讲述,是一个高度个人化的故事。它是一部关于爱与激情、友谊与悲伤的家庭影片,其采用的拾得影像(found footage)主要来自于马丁的儿子汉斯·彼得·埃尔塞瑟所拍摄的超8毫米家庭电影,记录了从两次世界大战之间、二战期间直至当下的法兰克福与柏林。影片涵盖了马丁所设计的法兰克福大市场大厅(Großmarkhalle)——国际风格(International Style)建筑的标志性作品——被欧洲中央银行接手之前及之后的历史,它现在是欧洲中央银行总部的一部分。《太阳岛》同样也是一部关于绿色环保运动之起源的电影:它论及——早在这些概念被准确发明之前就出现的——循环利用、可持续性、和与世隔绝的生活。

English

英文介绍

“Hongmen Conversation” Forum, Peking University

Media Archaeology: Art, Media and Perception

In past decades, media has become central concern in both social reality and theoretical reflection. From McLuhan and Innis to Kittler and Flusser, even as to the theoretical reflection of media and technology on the plane of philosophy, art and image studies, media philosophy, media thinking and even mediology are widely acknowledged as major issues after the turn from humanism to (new) materialism, technology and thus “post-”humanism in contemporary theory. Media archaeology is one of critical topics among them. It raises inspiring thoughts on the materiality of media, the breakdown of conventional historical narrative, the imagination of synchony, variations, deep time, media arts, audiovisual technology, media perception, etc. Within the horizon of media archaeology, a large amount of media which were silent, marginal, existent only in imagination have been excavated and re-organized. Media never dies, the old media does nothing but transforms into and attaches to new media, under the process of remediation. Just as archaeology and geology discover the strata of the earth, media archaeology sees the media culture as depositive, accumulative, and a folded space of material and time. With the reconsideration of relationship between media, media archaeology produces new perspectives on the media themselves, and further understandings on human as the unity of technology, media and materiality. Art might be more relevant in this regard than literature, due to the increasing attention that has been given to the visual media arts (eg. cinema and plastic arts) by the recent philosophical theories, whose main focus are central issues of human experience such as image, media, perception, time and memory. The cutting-edge debate of art-media-perception can be seen as the convergence of aesthetics, art theory, film studies, iconology and media studies.

Chinese scholars should have their voices heard and recognized within the realm of media philosophy, media archaeology and art studies. On the one hand, this results from the advanced network technology in present China, on the other hand, it is justified by the long, heterogeneous, complex and deep history of media, ranging from optical, printing and audio, to transmission and mediation. It is by no means a simple combination of Western theory and Chinese reality, instead, as non-Occidental scholars, Chinese academics have the responsibility to theorize and abstract their own experience and history, in order to have conversation with Occidental thoughts, expanding and re-organizing the understandings on media, history, art, modernity and history.

Agenda

Dec. 2, 2019

Venue: Moonlight Hall, Yingjie Overseas Exchange Center

Host: Hongfeng Tang

I. Opening Ceremony (8:40-9:00)

1. Hongfeng Tang:

Introduction of Conference Theme

2. Feng Peng (Professor and Dean of School of Arts, Peking University)

Welcome Speech

II. Keynote Speech (9:00-12:00)

1. Siegfried Zielinski (Professor for Archaeology & Variantology of the Arts & Media at Berlin University of Arts (i.r.) Michel-Foucault-Professor at EGS Saas Fee (CH))(9:00-10:30)

Prospective Archaeologies - Travelling through DEEP TIME OF THE MEDIA - from the Past into the Future

2. Screening (10:45-11:45)

Siegfried Zielinski: Back to the Future

One Hundred — Twenty Short Films on the Archaeology of Audiovision

3. Q & A

III. Keynote Speech (13:30-15:00)

Thomas Elsaesser (Professor Emeritus, University of Amsterdam) (13:30-15:00)

Film History as Media Archaeology

IV. Conversation (15:10-17:40)

1. Convesation between Prof. Zielinski and Prof. Elsaesser (15:10-16:10)

2. Discussions and Responses (16:10-17:10)

Feng Peng, Huimin Jin, Weixng Chen, Yang Li, Bingfeng Dong (Researcher, School of Intermedia Art, China Academy of Art), Hongzhe Wang, Chang Shi, Yaping Xu (Associate Professor, Shanghai Normal University)

3. Q & A (17:10-17:40)

Dec. 3, 2019

Venue: The Second Meeting Room, Yingjie Overseas Exchange Center

Host: Hongfeng Tang

Panel I: Media Theory (8:30-12:15)

1. Huimin Jin (Prof. Dr. of Philosophy and Cultural Theory, School of Literature and Journalism, Sichuan University)

Extension VS Representation: To Linguistically Place McLuhan Against Post-structuralism

2. Weixing Chen (Professor, Institute of Communication Studies, Communication University of China)

The Artistic Dimension of Mediology

3. Yang Li (Professor, School of Arts, Peking University)

Jacques Derrida and Spectral Image

4. Jiang Lan (Professor, Dept. of Philosophy, Nanking University)

5G,Digital Present and Internet of Everything:Philosophical Effect of Revolution of Informational Technology

5. Hongfeng Tang (Researcher, School of Arts, Peking University)

On the Concept of Image-Media

6. Chang Shi (Assistant Professor, School of Journalism and Communication, Jinan University)

Yesterday Once More: The Rise of Media Archaeology and Its Problematique

7. Xinkui Li (Assistant Professor, School of Chinese Language and Literature, Renmin University of China)

Re-interpretation of Marshall McLuhan’s “The medium is the Message”

Panel II: Transmedia Art History, Art Media Studies and Media Archaeology in China (14:00-17:15)

1. Jun Li (Professor, China Central Academy of Fine Arts)

Origin of A Formal System in Medieval China: A Transcultural and Transmediary Study

2. Xueshan Wu (Professor, China Central Academy of Fine Arts)

Through Media: Construction of Modern Image of “Long Wall of Ten Thousand Li”

3. Ying Zhang (Associate Researcher, Chinese Academy of Arts)

The "Sartre Moment" of Alberto Giacometti

4. Beichen Yang (Assistant Professor, The Central Academy of Drama)

The Archaeology of Scales

5. Hongzhe Wang (School of Journalism and Communication, Peking University)

Paleo-SETI, Atlantis, and Media Archaeology in the Chthulucene

6. Xiang Chen(Ph.D., Dept. of History of Science and Technology)

A Research on the Image Printing of Lithography in Modern China

III. Closing Ceremony (17:15-17:30)

Yang Li: Closing Remarks

IV. Screening (19:00-20:30)

Venue: Room 438, Science Building

Documentary Film The Sun Island

Director: Thomas Elsaesser

Discussant: Yaping Xu

Introduction of the Films

One Hundred — Twenty Short Films on the Archaeology of Audiovision

One Hundred — Twenty Short Films on the Archaeology of Audiovision were made in 1991 at the University of Salzburg, Austria, as part of the teaching and research project Audiovisions, which Siegfried Zielinski set up in 1990 and directed until 1993. Seminars and a lecture series on the archaeology of the media, which continued over several semesters, provided the basis. Work on the project was realised in close collaboration with the director of the audiovisual laboratory, Alois Pluschkowitz.

A forthcoming anniversary represented the springboard for the project — the certain knowledge that in 1994/95, the Western world would be celebrating the centenary of cinema. The basic idea was to create an integrated history of film and television as an alternative to the usual chronologies of cinema technology, film-makers, stars, and producers that are always offered on such occasions.

Jean-Luc Godard and Michel Foucault provided the most important inspiration. With Histoire(s) du cinéma, in 1988 Godard had begun to construct a history of film and cinema that reflected upon itself using the aesthetic tools of its own transitory images. Like the Histoire(s), One Hundred was also made on electronic video. Foucault’s archaeologies of knowledge and power were the most important theoretical and philosophical inspiration. The twenty shorts that resulted from the project should be understood as poetic miniatures of the audovisual discourse.

Twenty-five students from the project became film-makers. They worked for a year to make their highly individual one hundred minutes of audiovision from one hundred years of film and television history. Working conditions were very constrained: there was only one set of electronic equipment, which each section of the project could use for three days and three nights. Some of the students also used their own Super-8 cameras. For cutting and post-production, there was one editing suite with three machines, which was also only available to the students for a few days as each section of the project had to finish its part quickly after the others. Most of the special effects were produced manually in front of the camera. An important stipulation was that no music be used for which royalty payments would have to be paid. The sound tracks of the films were nearly all composed by the students themselves.

This DVD is a homage to the committed and imaginative work of the Salzburg students and to the very special collaboration with Alois Pluschkowitz. Many years ago, long before the first books were written explicitly on media archaeology, they produced a package of audiovisual energy, which is more than worthwhile to see and hear today.

The Sun Island

The Sun Island is an essay film about coincidences, shattered lives and posthumous fame. A found footage family film about love and passion, friendship and heartbreak set in Frankfurt and Berlin between the wars (1927-1935), during WWII and into the present. It includes the history of the Frankfurt Großmarkhalle (Central Market)– a landmark building of the International Style – before and after its acquisition by the European Central Bank, as part of its new headquarters. But The Sun Island is also a film about the origins of the green movement: about recycling, sus­tainability, and living off the grid – before these ideas had been properly invented.

编辑 | 吴彤

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