| The study of the objecthood diversion of digital pictures is a study of digital media philosophy and cultural studies that delves into human subjectivity consciousness.In the field of modern philosophical research,the essence of the concept of objecthood is the diversity and generative nature of objecthood.Objecthood is the cause and result of human thought.When humans think about where things come from and what they will be,it generates thought as a result of thinking.In the field of cultural research,the concept of objecthood contains the “historical scene” of cultural formation in a specific era.The cultural logic of digital image objecthood research is to criticize and correct the cultural crisis of the digital era by understanding the deep emotional structure and historical cultural traces within the concept of digital image objecthood.Firstly,this article elaborates on the objecthood crisis of digital pictures and reveals the cultural symptoms of the digital age caused by it.The objecthood crisis of digital pictures refers to the potential assumption of a human subject’s cognitive perspective in the thinking framework of technological rationality and image form.In the context of the digital age,digital pictures demonstrate their transparency,controllability,landscape,and imagery properties.Furthermore,after being digitized and imaged in the real world,the spirit of human subjectivity is further weakened,leading to the emergence of cultural crises in the digital age.This article reveals the crisis of subjectivity and de-subjectivity in the digital age culture by examining the concept of digital image objecthood.On the one hand,the crisis of subjectivity in the digital age culture manifests as a one-dimensional and homogeneous understanding of the experiential world by humans.Digital pictures create problem domains that always have a directional meaning,and their content depends on an internal digital programming instruction system that specifies which concepts,cultures,and emotions can be fed back and presented.On the other hand,the crisis of de-subjectivity in the digital age culture refers to the digital image constructing itself as a closed object only targeting its own symbolic structure within its own material symbol network.The grasp of information by humans has shifted from active perception and reflection to passive encounter and acceptance,and humans have lost their ability to actively interpret digital image information.Secondly,through the theoretical interpretation and critical practice of “objecthood aesthetics”,this article elaborates on the method of digital image art’s transformation towards the objecthood of digital images,thereby providing ideological clues for solving the“subjectivity crisis”in the digital age.The criticism of “objecthood aesthetics”is based on the intuitive experience of the aesthetic subject towards the artwork,thus gathering the sensory characteristics of artistic things,capturing the rich world connotations in the artwork,forming a coherent state of meaning experience,and making all aspects of artistic things meaningful.This article points out that artistic things under the “object aesthetics” are not limited to becoming descriptive objects about their existing purposes.They are no longer signifiers of the real world,but actively generate signifiers about themselves.“Object aesthetics” denies any predetermined ready-made objecthood,but instead,by returning to the pure thing itself,opening up and uncovering the existence state of things,mobilizing the perception and life impulse of the aesthetic subject,and constantly pondering the possibility of turning objecthood into something.“Object aesthetics”is the art of subtraction,which achieves its own artistic expression by reducing the dense purpose and rational concepts of things in daily meaning,thereby creating a unique aesthetic experience and continuously enriching the space for interpreting the meaning of artistic works.Based on that,this article derives the theoretical framework of “Object aesthetics”-things as the unity of material form,things as the unity of perceptual consciousness,and things as the unity of life structure.Using this framework,it deeply explains the method of “object aesthetics”turning the objecthood of digital pictures.Thirdly,this article proposes using “inter-subjectivity of media” as the direction for the transformation of digital pictures,in order to dispel the crisis of “de-subjectivity” in digital age culture.“Intersubjectivity of media”means the reconstruction of the inter subjectivity network between people.Through media,humans can feel the feelings of others,perceive their perceptions,and comprehend their coexistence,thereby confirming their own subjectivity through mutual recognition among subjects.In this way,the human subject can form a consensus on meaning and value in the inter subjectivity symbol network of digital image construction,regain the initiative in interpreting the meaning of information,and resolve the crisis of subjectivity under the wave of“the author is dead”.However,as the mainstream technological medium of the digital age,digital pictures have the characteristics of“de-historicity”,“de-causality”,“de-perception”,and “de-event”in media technology,which continuously weakens their “ inter-subjectivity” in the media.Based on this phenomenon,this article discusses the possibility and specific methods of the transformation of“inter-subjectivity” in digital pictures using the theories of “media objects”and“re-media”.It explains how human subjects can form a common emotional judgment and value consensus on digital image content,and confirm their subjectivity in the media interaction network of digital pictures architecture. |
