数智艺术灵韵的内涵特质、生成机制及其价值构建

Abstract
Figure/Table
References
Related Citation (15)

Download: PDF (555 KB) HTML (1 KB)
Export: BibTeX | EndNote (RIS)

Abstract The widespread application of digital information technology and artificial intelligence has profoundly transformed the traditional ecology of the arts, giving rise to the emergence and rapid development of digital-intelligent art. The aura of digital-intelligent art emerges from the unique technological, creative, and experiential dimensions as well as distinct cultural value orientations manifested in human-machine collaborative creation, virtual space presentation, and interactive experiences. It embodies an experiential value centered on interactivity, participation, and perceptibility, which fundamentally differs from traditional cult value and exhibition value. This unique aura and its value characteristics stem from transformations in its generative mechanism under the empowerment of digital-intelligent technologies——namely, intelligentized encoding, virtualized presentation, and interactive decoding. In response to the irreversible trend of technological empowerment in artistic creation, the value construction of digital-intelligent aura must be grounded in the creative subjectivity of the artist, supported by blockchain technologies to ensure legitimacy, realized through data anthropomorphism to embody intelligent aesthetics, enhanced by virtual reality to create immersive experiential environments, and regulated by ethical norms to address potential value-related risks. Within the contemporary context where digital civilization is reshaping the ontological paradigm of art, the aura of digital-intelligent art not only constitutes a core proposition of techno-aesthetics, but also represents a key issue in the construction of cultural subjectivity in the digital-intelligent era.

Key words： digital-intelligent art aura digital information technology artificial intelligence technological aest-hetics cultural subjectivity

Received: 23 May 2025

G124

	Service

	E-mail this article
	Add to my bookshelf
	Add to citation manager
	E-mail Alert
	RSS
	Articles by authors
	CHEN Geng
	YAN Rui-cheng

Cite this article:

CHEN Geng,YAN Rui-cheng. The Connotation, Generative Mechanism, and Value Construction of the Aura in Digital-Intelligent Art[J]. , 2025, 42(5): 52-62.

URL:

https://xb.szu.edu.cn/EN/ OR https://xb.szu.edu.cn/EN/Y2025/V42/I5/52

[1] (德)瓦尔特·本雅明.艺术社会学三论[M].王涌译.南京:南京大学出版社,2017.
[2] (德)瓦尔特·本雅明.机械复制时代的艺术作品[M].王才勇译.北京:中国城市出版社,2002.10.
[3] 彭锋. 人工智能与灵韵重现[J].电影艺术,2024,(5):12-18.
[4] 邱卓. 技术与艺术的“时空错位”:本雅明机械复制理论的内在线索[J].文艺评论,2024,(4):112-120.
[5] 赵炎. 艺术的“去物质化”与身体的“去物质化”——新媒体艺术中的观念、技术与身体[J].当代美术家,2024,(2):84-100.
[6] 李扬,涂藤.论人工智能生成内容的可版权性标准[J].知识产权,2024,(1):68-84.
[7] Zhou J, Li R, Tang J, et al.Understanding Nonlinear Collaboration Between Human and AI Agents:A Co-Design Framework for Creative Design[C].Honolulu:Proceedings of the 2024 CHI Conference on Human Factors in Computing Systems,2024.1-16.
[8] (荷兰)约斯·德·穆尔,吕和应.数字化操控时代的艺术作品[J].学术研究,2008,(10):132-140+160.
[9] Sheth,J.N.,Newman,B.I.,Gross,B.L.Why We Buy What We Buy:A Theory of Consumption Values[J].Journal of Busin-ess Research,1991,22(2):159-170.
[10] 文小辉,刘强,孙弘进等.多感官线索整合的理论模型[J].心理科学进展,2009,17(4):659-666.
[11] 钟丽茜. 数字交互艺术的审美特征及其局限性[J].社会科学家,2020,(4):144-148.
[12] (英)霍恩比.牛津高阶英语词典(第9版)[M].李旭影等译.北京:商务印书馆,2016.86.
[13] Stuart Hall.Encoding and Decoding in the Television Discourse[A].John Wiley & Sons. Media and Cutural Stu-dies: Keyworks[M].New York:A John Wiley & Sons,Ltd. 2012.137-144.
[14] 田甜. 在文化工业时代回望“灵韵”[J].上海工艺美术,2021,(4):108-110.
[15] Simon Colton, Geraint A.Wiggins.Computational Creativ-ity: The Final Frontier?[J].ECAI,2012,(12):21-26.
[16] 程栋. 智能时代新媒体概论[M].北京:清华大学出版社,2019.26-27.
[17] 刘梦蕾,巴晓.智能嵌入与创作解构:人工智能时代影视生态的重塑和建构[J].电影文学,2025,(7):39-44.
[18] Rabinovich M, Foley C .The Work of Art in the Age of AI Reproducibility[J].AI & SOCIETY,2025,(40):1565-1567.
[19] Pierre Lévy.Semantic Computing With IEML[J].Collective Intelligence,2023,2(4):1-28.
[20] Brian Eugenio Herrera.Liveness: Performance in a Medi-atized Culture, Second Edition[J].Theatre Journal,2009,61(4):653-654.
[21] 仝妍,胡一蝶.人工智能与舞蹈:“AI+”的身体美学构建[J].艺术学研究,2024,(1):72-77.
[22] 全燕. 为复浮生是梦中?——虚拟现实媒介的美学逻辑与问题审视[J].学习与实践,2024,(2):123-131.
[23] Mark Ortwein.The Essence of Virtuality: Exploring the Digital Body[J].The Journal of Virtual Worlds Research,2009,2(5):99-129.
[24] 余日季,吕高枫,张玉栋.虚拟现实媒介中的空间叙事:场域建构、情节旨归及主体交互[J].学习与实践,2024,(12):132-140.
[25] 孔德罡.玩家视点、“具身化”和时空“拟真”:游戏学和叙事学视域下的游戏叙事学[J].上海文化,2022,(2):100-109+122.
[26] 蔡毅. 论文艺价值对人和生命之意义[J].文化软实力研究,2024,9(5):71-80.
[27] 彭文祥,张羽珺.技艺相生:AI艺术创作的审美特征与现代性[J].当代电视,2024,(10):4-10.
[28] 陆建栖,陈亚兰.元宇宙中的数字资产:NFT的内涵、价值与革新[J].福建论坛(人文社会科学版),2022,(8):35-47.
[29] Nass,C.,Moon,Y.Machines and Mindlessness:Social Resp-onses to Computers[J].Journal of Social Issues,2000,56(1):81-103.