很久很久以前，
有了一台计算机，
元媒介时代到来了，
一切坚固的媒介都融化了。
一切媒介的抽象化不可挡，
一切媒介的软件化势不可挡，
像朋友圈微这样的社交媒体
这样的软件媒介，则想要
把软件
软件化。
移动的影像Moving Images，
不再仅仅是时间帧移动
不再仅仅是空间移动
甚至不再是社交移动，
它像
一只霸王龙，
W.J.T.米歇尔描述的《侏罗纪公园》中的
投射在艺术家工作室墙上的
移动影像，
进化出自己的
生化基因。
诗之后，
影像觉醒了吗？
还是，
影像仍旧仅仅是诗的衍生品？
All solid media melted away.
The software-ization of all media was inevitable. Social media like WeChat Moments,
Turn software
Into software.
Were no longer merely frames moving in time,
No longer merely motion through space,
Not even merely social movement.
Instead, like
A tyrannosaurus rex—
The moving image described by W.J.T. Mitchell
In Jurassic Park,
Projected onto the studio wall of an artist,
Evolved its own
Biochemical genes.
Have moving images awakened?
Or,
Are moving images still merely derivatives of poetry?
诗，之后的影像现场 Poetry, The Moving Images Come After Exhibition/installation view
Sun Jialing - Chinan 孙佳翎 - 中国 Mid-View 中景 Mid-View Film 电影 2023
诗，之后的影像现场 Poetry, The Moving Images Come After Exhibition/installation view
Sun Jialing - Chinan 孙佳翎 - 中国 Mid-View 中景 Mid-View Film 电影 2023
诗，之后的影像现场 Poetry, The Moving Images Come After Exhibition/installation view
诗，之后的影像现场 Poetry, The Moving Images Come After Exhibition/installation view
诗的时代过去了吗？莱辛的《拉奥孔》提出诗与画的界限，现代艺术在诗歌中探路，阿多诺追问“奥斯维辛之后还能写诗吗”……诗，作为一种媒介形式，始终在形式与伦理的交织中书写着自己的历史。而在今天，诗的声音如何回响？这个古老的媒介似乎隐退在流行的浪潮之外。哪个媒介如今最为鲜活？答案或许是诗的宿敌——图像，它在数字时代蜕变为肆意衍生的移动影像，社交短视频铺天盖地，它们吞噬时间，重塑诗的表达。在时代的媒介错位之中，我们需要追问：新旧媒介如何相互解读，相互应和？移动影像是否可以衍生为一种新的“诗”？是否存在某种普遍的“诗性”，它贯穿了艺术的形式与伦理？21世纪如何刷诗？ Has the Age of Poetry Passed? Lessing’s Laocoön proposed the boundaries between poetry and painting. Modern art ventured into uncharted territories through poetry, while Adorno posed the unsettling question: “Can one write poetry after Auschwitz?” As a medium, poetry has consistently written its history at the intersection of form and ethics. But how does the voice of poetry resonate today? This ancient medium seems to have retreated amidst the tides of popular culture、. Which medium now stands as the most vibrant? The answer might lie with poetry’s long-time rival—the image, which has derived in the digital age into proliferating moving images. Social media’s short videos dominate, consuming time and reshaping poetic expression.
Amid this media dislocation, we must ask: how do old and new media interpret and respond to each other? Can moving images evolve into a new form of “poetry”? Is there a universal “poetic” essence that spans artistic form and ethics? How does the 21st century “scroll” its poetry?
The AMNUA annual program 21st Century Moving Images focuses on the role of moving images in the 21st-century media ecosystem. As the inaugural edition, Poetry, Moving Images Come After is co-organized by the Art Museum of Nanjing University of the Arts and the Goethe-Institut, with the support of Germany’s Zebra Poetry Film Festival and various international moving image organizations.
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编辑 ｜ 倪清蓉
初审 ｜ 刘婷
复审 ｜ 徐轩露
终审 ｜ 林书传
