乔纳森·克拉里《观察者的技术》一书是视觉文化研究的重要著作，提供了一种新的西方现代视觉的历史叙述。该书将现代视觉溯源到19世纪上半叶在新的视觉学科发现和新式光学媒介技术基础上出现的一种主观视觉，这一视觉转型所带来的新的观察者正是现代性主体的形象。克拉里的研究开拓了艺术史研究的领域，对视觉性、媒介、感官经验等核心问题进行深入分析，特别体现为“视觉现代性”和“媒介考古学”两种视觉文化与媒介研究的新趋向。克拉里的研究也有助于我们反身整理中国近现代历史中向来被淹没的那些媒介实践与视觉经验。
Abstract
Jonathan Crary's The Techniques of the Observer is one of the most important works of visual culture studies, which provides a new historical perspective on modern western vision. Crary traces modern vision to the subjective vision based on new scientific discoveries on vision and new inventions of optical apparatus of the nineteenth century. Thus a new type of observer, who is seen as a modern subject by Crary, was formed. Crary's study has enlarged the field of art history and he has conducted lots of in-depth analysis of visuality, media, perception, etc. His book especially shows two new trends in visual and media studies, which are the studies of visual modernity and media archeology. Such studies could also inspire Chinese scholars to investigate the complicated historical experiences and practices of vision and media in modern China.
关键词
克拉里 /
观察者的技术 /
视觉现代性 /
媒介考古学 /
视觉性
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Key words
Jonathan Crary /
The Techniques of the Observer /
visual modernity /
media archeology /
visuality
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中图分类号：
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参考文献
○1参见Kittler, Friedrich. Gramophone, Film, Typerwriter. Trans. Geoff Winthrop-Young and Michael Wutz. Stanford: Stanford University Press, 1997. Kittler, Friedrich. Optical Media. Trans. Anthony Enns. Malden: Polity Press, 2012. Huhtamo, E. and J. Parikka eds.. Media Archaeology: Approaches, Applications, and Implications. Los Angeles: University of California Press, 2011. Parikka, Jussi. What is Media Archeology. Cambridge: Polocy Press, 2012. Zielinski, Siegfried. Deep Time of the Media: Toward an Archeology of Hearing and Seeing by Technical Means. Cambridge: MIT Press, 2006. ○2参见Elsaesser, T. ed.. Early Cinema: Space, Frame, Narrative. London: British Film Institute, 1990. Charney, Leo and Vanessa R. Schwartz eds.. Cinema and the Invention of Modern Life. University of California Press, 1995. Mannoni, L.. The Great Art of Light and Shadow: Archeology of the Cinema. Trans. Richard Cragle. Exeter: The University of Exeter Press, 2000. Rossell, D.. Living Pictures: The Origins of the Movies. New York: State University of New York Press, 1998. Friedberg, Anne. The Virtual Window: From Alberti to Microsoft. Cambridge: MIT Press, 2009. Doane, Mary Ann.The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge: Harvard University Press, 2002. ○3沈语冰：《塞尚、科学话语与早期电影——论十九世纪九十年代的绘画与视觉机制》，北京大学“文研讲座”2017年3月23日。 ○4技术化观视（technologized visuality）的概念由周蕾在《原初的激情》一书提出，但根本上源自本雅明在《机械复制时代的艺术》中对于摄影、电影等现代视觉技术和人之感官经验的讨论。参见 Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia University Press, 1995. ○51887年10月17日《申报》载《丹桂园观影戏志略》文称，“他如人物之变幻、日月之吞吐，沙＊风帆之出没，珍禽怪兽之往来，一转瞬间而仪态百变，嗟乎，白云苍狗、沧海桑田，大千世界何不可做如是观哉。??”1897年9月5日《游戏报》第74号载《观美国影戏记》，作者最后发出感叹，“如影戏者，数万里在咫尺，不必求缩地之方，千百状而纷呈，何殊乎铸鼎之像，乍隐乍现，人生真梦幻泡影耳，皆可作如是观。” ○6少数关注到虚拟影像媒介之视觉性的研究如：Bao, Weihong. Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945. Minneapolis: University of Minnesota Press, 2015. Pang, Laikwan. The Distorting Mirror: Visual Modernity in China, Honolulu: University of Hawai’i Press, 2007.???????????????? ○7关于克拉里此书的论述断裂与历史想象等缺陷，参见钱文逸：《乔纳森?克拉里的仪器隐喻学》，Art Forum中文网，
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基金
本文系教育部人文社会科学研究项目“《点石斋画报》新材料与新问题研究”[项目编号：18YJC760075]的阶段性成果。
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