From Critique to Production: The Discourse Expressionand Logical Evolution of “Implosion”
FAN Yu-gang1,2, ZHU Si-tong1
1. Center for Literary Theory and Aesthetics, Shandong University, Ji'nan, Shandong, 250100; 2. Institute of Global Urban Civilization, Southern University of Science and Technology, Shenzhen, Guangdong, 518055
Abstract：As a pivotal concept frequently employed in postmodern discourse, “implosion” denotes the dissolution of boundaries, typically utilized to characterize the phenomenon of dedifferentiation in economic, social, and artistic development under the influence of electronic media and science and technology. The evolution of the conceptual connotation of “implosion” demonstrates the continual interplay between theoretical inquiry and practical application. Within the realm of art, as technological applications advance continuously, “implosion” manifests diverse modes of discursive expression and practical rationale. In the era of electronic media, as a theoretical discourse within art criticism, “implosion” embodies three layers of significance: “implosion of reality” delineates the retreat of reality within hyper-realistic artistic landscapes; “implosion of meaning” reflects on the vanishing meaning and individuality within artistic works; and “implosion of artistic boundaries” criticizes the gradual erosion of purity, autonomy, and aesthetic value in art. In the age of digital media, “implosion” has evolved into an immersive production logic of “de-media” in the production of digital art, an interactive production logic that eliminates the dichotomy principle of subject and object, and a digital simulation production logic of super-realistic artistic landscape. It is imperative to underscore that “implosion” exhibits significant creative vitality and aesthetic tension in the digital age by presenting expanded possibilities for integrating science, technology and art. Simultaneously discussing “implosion” from both perspectives provides a unique vantage point for examining current developments in art while advancing construction efforts for Chinese theoretical framework of art criticism in this digital age.
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2024, Vol. 41 
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