论文部分内容阅读
同样作为镜像的诉求方式,摄影的出现一度使再现意义上的绘画陷入一种实用方法论层面上的“绝境”。现实物质性的一面在相纸上荡然无存,一切都被药水显影成某种幻觉,人们基于此对熟视无睹的现实展开二度想象。照片提供给我们一种似乎是确凿的虚拟,或者可以反过来说。但在此,我不得不引用罗兰巴特在《明室》中说过的一段话:
Similarly, as a mirror of the way of asking, the emergence of photography once rendered the painting in the sense of meaning into a practical methodological level “desperation.” The material side of the reality is gone on the photo paper, everything is developed into some illusion of syrup, people based on this reality turned a blind eye second degree imagination. The photos provide us with a seemingly conclusive virtual, or you can say the other way around. But here, I have to quote Roland Bart’s “clear room” said in a passage: