论艺术语言的产生是感知觉变异的结果--艺术语言产生的心理分析之三

感觉和知觉是事物作用于人的感官产生的感性认识，它们保存了人的未经加工的原初经验，这为表现无限丰富的人类情感提供了可能。但艺术语言的产生并不是对人的感觉和知觉的简单复写，艺术语言的产生往往是感觉、知觉变异(包括错觉、联觉)的结果。当人们用语词去描摹人的感知觉的细微变化时，语言符号能指和所指的关系发生变化，语词由概念转化为形象——为了在语言层面上与感知觉获得的信息保持符号编码的一致性，语词也必须是形象化的，而不是抽象的概念。由于概念语词的形象化，语义突破原有语词概念内涵的限制，产生了新义、歧义、附加义。     

Conflicting views on the importance of emotion to human development and growth: Piaget and Whitehead

In this paper I analyse the concept of emotion on Jean Piaget's theory of development and Alfred North Whitehead's theory of growth. For Piaget, emotion is the motivating force of action emanating from outside the individual in the form of sensations emitted by objects. His view is rooted in the Newtonian conception of a universe comprised of isolated objects requiring an emotive force to initiate a series of mechanistic interactions between objects. Piaget reduces all conscious human experience to a cognitive formulation of these causal relations. His abstract concept of emotion as force fails to explain the relationship between bodily feelings, emotions, and higher forms of consciousness in human beings. Conversely, Whitehead explains that emotions are the crucial mediating factors between the welter of awareness of these feelings in higher organisms. His view is consistent with the new physics and its emphasis on indeterminacy, energy, and the organic relationship among events. Whitehead's concrete concept of emotion gives insight into the experience of bodily feelings and their relationship to the growth and learning of human beings. The implications of these conflicting views of emotion for psychology and education are clear. Psychologists must avoid the reductionist tendencies illustrated in Piaget's theory if they hope to understand the subtleties of human experience. Failing to do this will lead them to a concept of human growth and learning in which ideas have no internal relationship with the experience of the knower. Such a conception distorts our understanding of human beings and ignores the joy of knowing.     

固定唱名中的音程和调性感觉的训练

音程和调性感觉的训练是固定唱名法视唱的核心问题。加强学生对调性倾向关系(主音、属音、导音等)和各种音程关系的感觉培养,恰当使用学生跟琴视唱的练习形式和加强独立视唱能力的培养,以及重视“泛唱”训练,是提高固定唱名法视唱教学水平,提高学生音程和调性感觉水平及独立视唱能力的关键。     

美育作为感性教育初探

美育具有感性的重要特征,而感性也是人发展的重要方面,因此,美育作为感性教育对人的发展具有重大作用。     

论报纸版面的感觉重组功能

为降低文字语言的抽象度,提高报刊信息的易受性和可读性,报纸编辑可充分发掘版面元素等非语言符号及标题文字等语言符号的感觉重组功能,引导受众对报刊信息进行从抽象到具象、从复杂到单一、从感知到体验、从熟悉到陌生的感觉转换,从而实现最佳传播效果。     

Technoliberal rhetoric,civic attention,and common sensation in Sergey Brin’s “Why Google Glass?”

Sergey Brin’s February 2013 TED Talk, “Why Google Glass?,” is an example of technoliberal rhetoric that offers a constricted vision of civic attention. Technoliberalism, the intensification of neoliberalism through computational technology, funds Brin’s emphasis on the primacy of action-oriented leisure, the power of connection, and the possibility of sensation without mediation. I interpret “Why Google Glass?” as indicative of how technoliberalism privatizes, marketizes, and digitizes sensation, frustrating the efforts of strangers to make common, democratic worlds. The essay concludes by underlining the continued importance of sensing-in-common, identifying specific vectors for rhetoricians to pursue in preserving the foundations of democratic community: advocating for shared public life instead of corporatized, privatized experiences; employing glass metaphors to understand how ubiquitous glassed devices shape sensation; and designing interventions with and without the aid of digital technologies to spark civic desire.     

Traumatic encounters with Frank Mechau's Dangers of the Mail

This essay examines Frank Mechau's infamous mural Dangers of the Mail as an opportunity to theorize the force of memories contingent upon immediate sensual encounters that operate largely irrespective of actual historical occurrences. Through an analysis of public documents, archival material from the 1930s and early 2000s, and two separate tours of the William Jefferson Clinton Federal Building in 2015 and 2016, we argue Mechau's Dangers of the Mail triggers a form of traumatic sense memory that positions audiences within a trauma economy in which sensation functions as epistemological grounding for political struggle.     

现代文学叙事体系中“阶级的身体”——革命时代的身体意识形态

在20世纪的中国现代文学叙事体系中,以阶级/国家为话语中心的无产阶级革命叙事有突出地位。从身体政治,分析革命叙事中对长相、体格和穿着的看法,探究革命话语对身体的拣选、规训、操控等等,说明它不仅是一套话语体系,同时也是一套操控制度。     

论环境形态对现代美术审美知觉的介入

现代社会以发达的科学技术生产了大量的物体形态，又以现代艺术的方式生产了大量的美术形态，这些形态作为环境以自己特有的方式介入现代美术的审美知觉，其介入的方式主要有群体效应和个体效应。     

生命强力的高扬,感觉世界的狂欢——评《红高粱》的艺术追求

莫言有感于现代“不肖子孙”“种的退化” ,在《红高粱》中着意高扬祖辈们元气充沛的生命强力 ,作为建构民族品格不可或缺的精神基因。与之相应 ,《红高粱》在艺术上表现为感觉的狂欢 ;儿童视角的选择 ,叙述者“我”的设置 ,异彩纷呈的意象的展示 ,共同构成了《红高粱》卓异的艺术风味。