本文選題：視覺(jué)文化 + 現(xiàn)實(shí)�。� 參考：《東北師范大學(xué)》2010年碩士論文

【摘要】： 這是一個(gè)視覺(jué)統(tǒng)帥世界的時(shí)代。 1913年,視覺(jué)文化這個(gè)概念正式被提出,直到1980年左右,學(xué)術(shù)界認(rèn)同了這個(gè)概念。在視覺(jué)文化時(shí)代中,圖像取代文字主導(dǎo)文化霸權(quán),視覺(jué)從未在一個(gè)時(shí)期得到過(guò)如此高的地位,視覺(jué)也從未如此的繁忙過(guò)。 視覺(jué)文化的研究主要集中在視覺(jué)性上,伴隨科技的發(fā)展,大眾傳媒和數(shù)碼技術(shù)的出現(xiàn),由視覺(jué)形象構(gòu)建的現(xiàn)實(shí)出現(xiàn)了虛擬的意味,現(xiàn)實(shí)的意義開始消解,現(xiàn)實(shí)不再真實(shí),形象與它的所指之間出現(xiàn)了斷裂,兩者之間的關(guān)系發(fā)生了變化。這不可避免的觸及到了一個(gè)視覺(jué)文化的悖論。這個(gè)悖論影響到了社會(huì)中的種種現(xiàn)實(shí)表征,人們更是受到文化更迭的影響,無(wú)論是行為準(zhǔn)則還是審美標(biāo)準(zhǔn)或是思考方式都發(fā)生了轉(zhuǎn)變,環(huán)境把文化帶來(lái)的影響投射給了在它境內(nèi)的一切存在。 設(shè)計(jì)是一種視覺(jué)文化現(xiàn)象,這個(gè)時(shí)代充斥著設(shè)計(jì),“非設(shè)計(jì),不生活”已儼然成為時(shí)代的口號(hào)。因此從設(shè)計(jì)的角度來(lái)解析形象和現(xiàn)實(shí)之間的悖論問(wèn)題,有著及其重要的現(xiàn)實(shí)意義。 本文從視覺(jué)文化的源起出發(fā),介紹了圖像的轉(zhuǎn)向,視覺(jué)文化的悖論在社會(huì)具體表征中的具體表現(xiàn)。重點(diǎn)部分是視覺(jué)文化時(shí)代的設(shè)計(jì),設(shè)計(jì)這種功利性的社會(huì)活動(dòng)在圖像時(shí)代遭遇的問(wèn)題,并對(duì)此進(jìn)行闡述。在之前的論證后反思視覺(jué)文化時(shí)代中當(dāng)代設(shè)計(jì)中所存在的矛盾,聯(lián)系中國(guó)的傳統(tǒng)哲學(xué)思想進(jìn)行論證,并瞻望未來(lái),為未來(lái)設(shè)計(jì)提出堅(jiān)實(shí)的理論支撐。
[Abstract]:This is an era of vision commander-in-chief of the world.
In the 1913, the concept of visual culture was formally proposed. Until about 1980, the concept was recognized by the academic community. In the age of visual culture, the image replaced the literal hegemony, and the vision never had such a high position in a period of time, and the vision had never been so busy.
The research of visual culture is mainly focused on the visual nature, with the development of science and technology, the emergence of mass media and digital technology, the reality of the visual image has appeared the virtual meaning, the realistic meaning begins to disappear, the reality is no longer true, the image and its finger appear broken, the relationship between the two has changed. This can not be changed. The paradox of avoidance touches the paradox of a visual culture. This paradox affects the realistic representation of society. People are influenced by cultural change, whether it is the code of conduct, the aesthetic standard or the way of thinking, and the environment brings the influence of culture to all the existence in its territory.
Design is a visual cultural phenomenon, the era is full of design, "non design, not life" has become the slogan of the times. Therefore, it is of important practical significance to analyze the paradox between image and reality from the perspective of design.
This article, starting from the origin of visual culture, introduces the direction of image and the concrete manifestation of the paradox of visual culture in the concrete representation of the society. The key part is the design of the age of visual culture, the problems encountered in the design of this utilitarian social activity in the age of image, and the explanation of the visual culture after the previous argument. The contradictions existing in the contemporary design of the middle and contemporary generations are linked up with the traditional Chinese philosophical thinking, and look forward to the future, which will provide solid theoretical support for the future design.

【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J06

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

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2 陳文忠;;文學(xué)是人學(xué),文論即人論[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2012年01期

3 張曉s，

本文編號(hào)：1881872