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文艺理论研究

文艺理论研究 ›› 2020, Vol. 40 ›› Issue (5): 72-83.

• “新时代中国文论创新发展方式及路径研究”会议专题 • 上一篇    下一篇

虚拟艺术体验中的身体及其理论问题——基于VR电影身体实践的考察

单小曦, 李雪莉   

  1. 杭州师范大学人文学院;山东大学（威海）文化传播学院
  • 出版日期:2020-09-25 发布日期:2020-09-27
  • 作者简介:单小曦，文学博士，杭州师范大学人文学院、文艺批评研究院教授，主要从事文艺理论、新媒介文艺理论研究。李雪莉，山东大学（威海）文化传播学院文艺学专业在读博士生，主要从事文艺理论、新媒介艺术研究。
  • 基金资助:
    国家社科基金重大招标项目“中国新媒介文艺研究”[项目编号: 18ZDA282］、国家社科基金项目“当代中国新媒介文论话语建构研究”[项目编号: 18BZW008］

The Body and Its Theoretical Problems in Virtual Art Experience: An Investigation Based on Physical Practice in VR Films

Shan Xiaoxi, Li Xueli   

  1. School of Humanities and the Academy of Literary Criticism, Hangzhou Normal University; Weihai Campus of Shandong University

  • Online:2020-09-25 Published:2020-09-27
  • About author:Shan Xiaoxi, Ph. D., is a professor at the School of Humanities and the Academy of Literary Criticism, Hangzhou Normal University. His research interests include literary theory and new media art. Li Xueli is a Ph. D. candidate at the School of Culture and Communication, Weihai Campus of Shandong University. Her research interests include literary theory and new media art.
  • Supported by:

    the Major Project of National Social Sciences Foundation (18ZDA282), and National Social Sciences Foundation (18BZW008)

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摘要： 在以VR电影为代表的虚拟艺术活动中，典型的交互性体验方式形成了。按体验者身体呈现程度不同的“自由度”，可将VR电影交互性体验分为“三自由度”“六自由度”和“多自由度”体验三种类型。在不同类型的交互性体验活动中，技术延伸身体、身体同化技术并使之发挥身体功能，形成了“技术身体化”；意识依托身体、身体覆盖意识，形成了“意识身体化”。随着身体“自由度”的提高，“技术身体化”和“意识身体化”也不断增强。西方“身体主体”思想研究在克服意识性主体论身/心、主/客二元对立弊病方面，取得了一定成效，但也存在着与当代虚拟现实语境和虚拟艺术现实不相容的一面。虚拟艺术体验活动中的主体，既不是传统美学理论中的意识性主体，也不是一般“身体主体”理论所标榜的“身-心”统一体，而应是“技术-身体-意识”的结构性主体，身体带动技术、意识的实践活动是其主体性生成之源。

关键词:

虚拟艺术, 自由度, 身体实践, 意识身体化, 技术身体化

Abstract:

The mode of typical interactive experience comes into being in virtual art activities represented by VR films. According to the degrees of "freedom" of the experiencer's body, the interactive experience of VR films can be divided into three types: three-dimensional freedom, six-dimensional freedom, and multi-dimensional freedom. In different types of interactive activities, technology extends to body, and body assimilates technology to makes it function as body, which gives rise to the "technical embodiment"; in the meantime, consciousness rests on body and body covers consciousness, which gives rise to the "conscious embodiment". With the increase of body's freedom, "technical embodiment" and "conscious embodiment" are also enhanced. The study of "body-subject" in the West has made some achievements in overcoming the problem of the body/mind and subject/object dualisms, but it is also incompatible with the contemporary context of virtual reality and the reality of virtual art. The subject in the activity of virtual art experience is neither the conscious subject in traditional aesthetics, nor the "body-mind" unity in general "body-subject" theory, but the structural subject of "technology-body-consciousness". The practice of technology and consciousness driven by body is the source of its subjectivity.

Key words:

virtual art, degrees of freedom, physical practice, conscious embodiment, technical embodiment