Slideshow

出版者:Pennsylvania State Univ Pr

作者:Alexander, Darsie/ Alexander, M. Darsie/ Harrison, Charles/ Storr, Robert

页数:224

出版时间:2005-4

价格:$ 40.62

装帧:Pap

isbn号码:9780271025414

具体描述

Since the Renaissance, most art has been prized because of the prodigious skills that went into its making. Why would any artist choose to work with slides? It's tempting to see slide projection as quick and easy. Indeed, many artists cite these qualities when explaining their initial attraction to the medium. But the process can be complicated, involving not only the creation of the transparency itself but also its arrangement, projected scale, and timing. A single carousel may contain as many as eighty images that must be numbered and ordered, a task that grows all the more complicated with the addition of each new slide grouping. When we rediscovered a piece by one of the performance artists in the exhibition, I thought he was going to cry. The prospect of putting the whole complex thing back together was painful, even though he was delighted to see his work again. Of course, slide projection is low-tech and notoriously accident-prone. But I think the medium owes a lot of its immediacy to its tendency as an apparatus to jam, to burn out a bulb, to turn a well-planned show into a logistical nightmare. Good art often courts disaster. Is the development of slide art connected to the ferment of the 60s? Important question. During the 1960s and 1970s, public projection of slides became a vehicle for social and political activism. Slide projection's portability made this possible, enabling artists (Krzysztof Wodiczko, for example) to project powerful, challenging content onto public buildings. When Lucy Lippard wanted to publicize the exclusion of women from the Whitney Annual of 1970, she projected slides against the surface of the museum to protest its curatorial policies. This application of slides as critical commentary had historical precedents: in the 1880s, the photographer Jacob Riis used slides of the urban poor to arouse the concern of people who might have been able to help. Did the strong associations of slides with family entertainment have any impact on the ways artists adapted the medium? The fact that the medium promotes a collective viewing experience is important for both artists and popular users. The act of looking at images, especially still photographs, generally involves a single spectator and a stationary object, but with slides you are often sitting in the same room with someone, sharing the experience with them. People who watch Nan Goldin's Ballad of Sexual Dependency, for example, find themselves on the same emotional rollercoaster. It's like the family slide show in a way; people participate in a joint emotional response to images of past events. Of course, the memories and feelings such a work stimulates are different for everyone, which is why The Balla is such a great piece. Marcel Proust as well as Ingmar Bergman have called attention to the mesmerizing power of the magic lantern shows they saw as children. Is there any connection between those shows and slide shows by such artists as Dennis Oppenheim or James Coleman? Projection is a mysterious process that evokes all kinds of fantasies. The ancient meaning of the term 'to project' is related to the alchemical process for changing base metal into gold. Nearly every artist I interviewed remembers being fascinated by shadows on the wall as a kid, or lying in the dark using the beam of a flashlight to make patterns in the darkness. An artist like James Coleman extends this magical experience to viewers by manipulating the transformative properties of slides as images that are not quite real; indeed, the projections themselves are totally intangible. But all the works in the exhibition invite viewers to read meaning into translucent pictures. Is slide technology a thing of the past? Over the past five years, at least, PowerPoint presentations have supplanted slide shows. PowerPoint facilitates overlays, dissolves, syncopated fades, and collage. As consumers, we have become accustomed to a barrage of images and are easily bored. No matter how fancy your equipment, slide projection will always seem a slower, more regulated process. Slides and slide projectors are generally a monocular form of vision and, though users can combine projectors to multiply the frames they project, it is rare that people - including artists - use more than two. And please remember: anyone who would like to use a projector must go to the secondhand market. The last slide projector was manufactured in September 2004. How does the book SlideShow relate to the SlideShow exhibition? I am not trying to replicate the exhibition in a book; of course, that's impossible! The book cannot but give its reader a visual experience radically different from that afforded viewers of the exhibition. I think of the book SlideShow as a document, an expansion, a reflection, an interrogation of SlideShow the exhibition.

用户评价

这本书带给我的情感冲击是极为深远的，甚至有些难以言喻。它成功地捕捉到了现代社会中那种普遍存在的疏离感和对连接的渴望。书中人物的塑造极其立体，他们的挣扎、他们的希望、他们的妥协，都让人感同身受。我发现自己常常在某一页停顿，不是因为情节复杂，而是因为某个角色的某句台词，恰好击中了自己心底最柔软的部分。那种被理解的感觉，是阅读过程中最珍贵的馈赠。更值得称道的是，作者在探讨宏大主题时，从未失去对个体命运的关注。那些关于时间、记忆和身份认同的哲学思辨，都是通过一个个鲜活的小人物的悲欢离合展现出来的，这使得理论不再是枯燥的说教，而是融入了血肉的真实体验。看完之后，我发现自己开始以前所未有的角度去审视身边的人和事，那种细微的观察力和共情能力似乎得到了极大的提升。它让人意识到，即便是最平凡的生活，也充满了史诗般的重量。

我必须承认，这本书的阅读门槛相对较高，它要求读者具备一定的知识储备和对文学的敏感度。初读时，我确实在一些复杂的典故和隐喻上感到困惑，甚至需要查阅一些背景资料才能更好地理解作者的意图。然而，正是这种“需要努力”的过程，让最终的顿悟变得更加酣畅淋漓。作者似乎毫不吝啬地将自己博览群书的积累倾注其中，构建了一个庞大而精密的符号系统。每一次破解了一个隐藏的彩蛋或者理解了一个巧妙的互文，都像是在玩一场高智商的解谜游戏，带来的成就感是巨大的。这本书的配乐——如果用音乐来形容——是那种低沉的大提琴声，带着古典的厚重感，但偶尔又会响起清脆的钢琴独奏，形成一种绝妙的听觉对比。它不是用来消磨时间的消遣读物，更像是一场需要全神贯注参与的智力盛宴。对于追求深度阅读体验的硬核读者来说，这无疑是一次不容错过的朝圣之旅。

初读此书，我最大的感受是它在结构上的那种大胆和创新。它完全打破了传统小说的线性叙事模式，更像是一系列相互关联的碎片，需要读者主动去拼凑出完整的图景。这种阅读方式无疑是对现代人耐心的巨大考验，但一旦你适应了这种节奏，就会发现其中蕴含的巨大魅力。作者似乎并不急于给出明确的答案，而是抛出无数个引人深思的问题，让读者成为故事的共同建构者。我喜欢这种留白的处理，它给予了想象力最广阔的天地。那些场景的切换，那种跳跃性的思维导图，简直像极了梦境的逻辑，荒诞却又无比真实。我甚至觉得，这本书更像是一件艺术品，需要从多个角度去欣赏和解读。它的语言风格时而磅礴大气，如史诗般恢弘；时而又变得极其个人化和私密，像是偷窥到了作者最隐秘的内心独白。这种强烈的反差，使得阅读体验充满了张力和惊喜。对于那些厌倦了平铺直叙的读者来说，这本书无疑是一剂强效的兴奋剂。

从纯粹的文学技巧层面来看，这本书的语言节奏和韵律感令人惊叹。作者在处理长句时，那种行云流水的气势，仿佛在指挥一场交响乐团，每一个词语的停顿和重音都经过了精确的计算。它有一种老派的、对语言的敬畏之心，拒绝任何敷衍的表达。我特别注意到书中对自然景物的描绘，那不是简单的白描，而是将环境与人物的内在情绪深度融合，景即是心，心即是景。比如描绘一场雨戏，它不仅仅是雨水落下，而是带着特定人物的悔恨和期盼一同倾泻而下。这种将外在世界与内在精神世界高度统一的手法，使得文本充满了诗意的张力。读起来，你会不自觉地感觉到自己的呼吸都跟着书中的节奏放缓或加快。这本书展现了一种对文字的极致掌控力，它证明了优秀的文学作品，即便内容复杂，依然可以通过纯粹的语言美感，将读者牢牢地吸引在字里行间，让人沉醉于声音和意义交织的魔力之中。

这本书的封面设计简直是一场视觉盛宴，那种深邃的蓝色调配上流动的金色线条，让人忍不住想一探究竟。我拿到手的时候，光是翻阅目录就觉得心潮澎湃，它似乎在向你承诺，接下来的阅读体验将是一次深入心灵的探索。作者的文字功底毋庸置疑，那种细腻入微的笔触，仿佛能将最抽象的情感具象化。阅读的过程中，我好几次停下来，反复咀嚼那些精妙的比喻和深刻的哲思。它不仅仅是在讲述一个故事，更像是在引领你进行一场关于自我认知和世界本质的对话。这本书的节奏把握得极其精准，高潮迭起，但又在关键时刻留出足够的空间让你喘息和反思。我特别欣赏作者在叙事中穿插的那些看似不经意的细节，它们像散落在地上的珍珠，等你捡起来，才发现每颗都蕴含着独特的光芒。读完合上书本的那一刻，我感觉自己的世界观被轻轻地推了一下，那种既熟悉又陌生的感觉，久久挥之不去。这绝对是一本值得反复品读，并在不同的人生阶段都能从中汲取新意的佳作。