第36届世界艺术史大会分论坛征稿启事

国际艺术史学会（Comité International d'Histoire de l'Art，简称CIHA。英文为：International Association of Art History），是世界上历史最悠久的艺术史研究国际组织，其前身最早可追溯至1873年的奥地利维也纳。1930年成立以来，CIHA每四年举办一次代表世界艺术史发展最高水平的世界艺术史大会（CIHA World Congress），向所有国家开放，旨在推动世界各国艺术史研究的交流和对话，因此也被称为“艺术史界的奥运会”。

2023年7月，国际艺术史学会发布了下一届世界艺术史大会征稿启事，大会总主题为“物质与物质性”（Matière Matérialité），官方宣布共有90多场学术活动、学术论坛、沙龙和艺术交流活动将围绕该主题展开。

2022年秋，国际艺术史学会向全球学者发出邀请，以广泛征集本届大会的论题。经过申报、选拔与评审，北京大学艺术学院李洋教授、中国传媒大学青年教师黄天乐的两个主题被大会接受，分别为“无物质的图像”（Image without Material）、“电影、录像与运动影像的去/再物质化”（Cinema, Video, and the De- or Re-Materialization of Moving Image），两个分论坛邀请北京大学历史系教授、上海外国语大学世界艺术史研究所所长朱青生先生担任学术顾问，现联合对外征稿。

Chinese culture believes that “existence arises from nothingness”, and the world image is the realization of human events (matters). Indian culture also believes that “there is nothing initially”, that the essence does not exist, and that all images are delusional illusions. Various cultures do not believe that images are necessarily related to the manifestation of matter, which provides a new perspective to understand the abundance of art history. From the perspective of art history, the foundation of East Asian art is neither sculpture nor painting, but art of Word-writing (mistakenly translated as Calligraphy). As an image, “word- writting” has no matter and cannot be obtained through sketching or observation.

This session aims to develop a negative and opposing hypothesis to the theme of this conference, engaging in a critical, interdisciplinary, diverse, and multi-perspective discussion, and promote a new understanding of image. We invite proposals for papers exploring these and related questions, with potential topics and areas of study including (but not limited to): 

Topic 1: “Image without substance”. Images always adhere to certain matter, but with the development of media technology, images gradually liberate from entities and break free from their dependence on physical entities. They can be transmitted, transformed, copied, and reconstructed between different material media, specific entities are no longer the basis and origin of images. Images are no longer inseparable from matter, such as digital images, which enhance the speed of image dissemination and make it possible for images to form an independent world.

Topic 2: “Amorphous image”. Bergson believes that matter transforms itself into an image in motion, and the attachment relationship between matter and image is reflected in two aspects. From the state of the image, the materiality of the image is reflected as solid state, and from the perception of image, it is reflected as visibility. This concept usually refers to images that constantly change and generate, such as liquid or gaseous images, sensory images such as tactile or auditory images. These “amorphous images” are unstable, constantly changing, and free from solid-state and visual phenomena.

Topic 3: “Endogenous image”. When mental images are not produced through perceptual stimuli from the external world, but entirely through internal spiritual activities, they are endogenous images. These images are the energy of art history, providing artists with the driving force to create magnificent object images (exogenous images), such as religious imagination, meditation, thought-images, dreams, spontaneous illusions, foresight, etc.

Topic 4: “Non-temporal image”. Malraux believed that the essence of art is a struggle against time, and images provide possibilities for such struggle of art. Images are essentially the result of art’s pursuit of eternity and resistance to secular temporality, as well as the pursuit of immortality to save beauty from reality. They also enable art to break free from its fate and enter a new “non-temporal” / “immortal” world through museums. Temporality is the fundamental dimension defined by 20th century physics for matter, while non-temporality provides possibilities for artworks to transcend materiality.

This session consists of two theme forums and one forum for young scholars. The theme forum consists of keynote speeches by experts, scholars, and artists, and the youth forum welcomes young scholars and doctoral students under the age of 35 from all over the world to make speeches of no more than 20 minutes.

无物质的图像

世界艺术史大会强调了不同时代、不同文化对艺术、图像的理解差异，对于这些差异、彼此对立的思考与争论，扩展了艺术史中“确定问题”的不同回答。

从本体论上，人们认为世界是存在与物质的“现象”，这源于希腊传统的西方艺术史的基本认识。物作为物质，经过现象学，尤其是海德格尔的分析与论述，即“物性”（Dinghafte）。析而言之，“物性”具有“物的本质”（Dinghaft）与“物的本体”（Dingsein）。人会具有并给予物的概念（Dingbegriff），根据自我对物的构成（Dingbau）而形成不同的对物的把握和理解（Dingerfassung），并对之进行物的解释（Dingauslegung）。不同的时代和不同的文化对“物”的解释不同。把“物”作为世界的本质和人的本性的依据是以亚里士多德思想为根源的西方思想，成为世界观念的一个部分，与中国的观念形成互鉴和对比。

中国思想认为“有生于无”，世界图像是人的问题的变现。印度哲学也认为“本来无一物”，本体是不存在的，诸图像都是错误和虚妄的幻象。许多文化不认为图像必然与物质的显现有关，而这为我们理解艺术史的丰富性提供了新的视角。从艺术史的事实来看，东亚艺术的根基既不是雕塑，也不是绘画，而是书法（Art of Word-writing，长期被误译为 Calligraphy），“书法”作为图像就没有物的存在，无法通过写生、观照来获得。书法从13世纪起影响并完全覆盖了中国绘画，成为写意绘画的基础。“意”不是“物”，而是借似是而非的物象和图像来表达人的问题。

对于温克尔曼（Johann Joachim Winckelmann）和那个时代的人而言，“无物质的图像”是不可能的，石头、铜板、木板、画布、颜料，物支撑并塑造了图像、艺术品和艺术史。但对于21世纪的温克尔曼来说，答案是开放的，数字艺术、NFT等颠覆了传统艺术的生产和流通方式，图像可以不依托于物而存在。在图像定义被数字技术和虚拟现实所动摇的今天，重新理解图像与物质的关系，思考图像的本源，重建图像的分类学，在古代图像与数字图像之间建立新的连接，已成为艺术史研究的当务之急。

关于“非物质性”，不同语言中有不同的表述方式，例如immaterial和incorporeal。除了没有物质实体，Immaterial还意味着“不重要”，这一含义在对待图像时就显得意味深长。当缺少了物质实体时，图像本身是不是就变得不那么重要了？图像是否会被一种关系取代？

主题一：“无实体图像”（image without substance）。图像总是依附于物质，但伴随着媒介技术的发展，图像逐渐从实体中解放出来，摆脱了对物质实体的依附性，能够在不同的物质媒介之间传递（transition）、转换（transformation）、复制（copy）、再生成（reconstruction），特定实体不再是图像的根据和起源，图像也不再与物质不可分离，比如数字图像，无实体图像提升了图像流传的速度，也让图像自身构成一个独立的世界成为可能。

主题二：“无定形图像”（amorphous image）。柏格森认为，物质在运动中把自身变成图像，物质与图像之间的依附性关系体现在两个方面，从图像的状态来看，图像的物质性体现为固态，从图像的知觉来看，则体现为可见性。这样的观念通常会是那些不断流变、生成的图像，比如液态的、气态的图像，或者其他感觉的图像，比如触觉图像、听觉图像（acoustic image）。这些“无定形图像”是不稳定的，持续变化的，游离于固态和视觉。

主题三：“内生图像”（endogenous image）。当精神图像（mental image）不是因外部世界通过知觉的刺激而产生，而完全通过内在精神活动而生产出来，这个图像就是内生图像，这些图像是艺术史上的能源，为艺术家创造出波澜壮阔的客体图像（外生图像）的动力，比如宗教想象、冥想、思想图像、梦、自生幻觉、前摄等。

主题四：“无时间的图像”（non-temporal image）。马尔罗认为，艺术的本质是与时间的斗争，而图像为艺术品的斗争提供了可能。图像本质上是艺术追求永恒、抵抗世俗的时间性的结果，也是追求不朽，以把美从现实中拯救的结果，更是让艺术摆脱艺术之命运，从而通过博物馆进入一种新的“无时间”的世界。时间性，是20世纪物理学为物质定义的基本维度，非时间性则为艺术品超越物质性提供了一种可能。

本分论坛由2个主题论坛和1个青年学者论坛组成，主题论坛由在本领域的专家、学者、艺术家的主题发言，青年论坛欢迎来自世界各地的35岁以下的青年学者和博士研究生，做不超过20分钟的发言。

主席：李洋（北京大学）

联合主席：朱迪特·戴尔菲娜（法国巴黎南戴尔大学）

电子邮箱：ciha2024@163.com

论文语言：英语、法语、中文（如入选需翻译为英文或法文）

字数：不超过8000字

论文提交时，需要同时提交您的个人简介

截止日期：2023年9月15日

The contemporary discourse on cinema is inextricably intertwined with the conceptual crises of 'materiality' and 'medium' in the post-cinematic era. Films are projected and stored, with their material qualities being divergent, if not irreconcilable. As the transition from film to digital media occurs, film’s 'immateriality', generally alluding to the sacred or spiritual dimensions in the Western tradition, becomes increasingly pronounced. Hence, 'film', derived from 'pellis' (Latin for 'thin skin'), can be regarded as an 'oxymoron'. Consequently, the question "What is film?" seems to shed its skin into ambiguous speculation between ontology and epistemology. When a film is projected, light passes through it, bringing the etched image forth until the screen intercepts and unveils it. In recent decades, the debate over the 'death of film' induced by digitalisation has frequently been articulated as the loss of both the medium's materiality and the indexability that films represent; while over a century ago, avant-garde artists began using film to reflect the bearing of moving image.

The 1920s were a historic moment marked by fervent optimism regarding the potential for new horizons unlocked by film. These affirmative discussions perceived cinema as a material distinct from 'tangible' and 'physical' objects, viewing moving image as an emerging medium and aesthetic language possessing immense potential. The hope was that it would not succumb to commercial rhetoric in the form of dematerialisation. Many avant-garde artists of the time employed projection as a medium and methodology to accentuate the immateriality of cinema and to envision a utopian future for film. In the 1960s, filmmakers and video artists embraced radical ideas within a theoretical framework, cultivating nascent genres such as 'Structural Film' and 'Structural/Materialist Film' to critique capitalism's rational aesthetic. Concurrently, 'material matters', encompassing architecture and installation, were increasingly incorporated into avant-garde film and video art, underscoring cinema’s materiality and mediation. The theoretical pivot from dematerialisation to re-materialisation has evolved into a more direct critique of the collusion between capitalism and cinema. This shift probes the structural interplay linking film and patriarchal production mechanisms, where cinema represents one of the leading industries in consumer society.

In light of this context, the theme of this session is 'Cinema, Video, and the De- or Re- Materialisation of Moving Image'. This session endeavours to interrogate the manner in which the relationship between moving image – primarily embodied by cinema and video art – and materiality, can be re-conceptualised, re-envisioned, re-constructed, and re-fractured. Furthermore, it aims to elucidate the transformative implications of the de/re-materialisation of moving image within the domains of art, culture, and society.

The themes solicited by this session encompass but are not confined to:

Chair: Tianle Huang(Communication University Of China - Beijing, China)

Co-Chair: Vanessa Frangville(Université libre de Bruxelles - Brussels, Belgium)

Email: ciha2024@163.com

Languages: English, Français, Chinese

CV must be submitted at the same time

Article word count: can't be more than 8,000 words

电影、录像与运动影像的去/再物质化

今日世界的影像问题与后-电影状况（state of post-cinema）下“物质性”（materiality）与“介质”（medium）的概念危机密不可分。影像被投射，亦被储存，二者存在的物质属性不尽相同乃至无可调和。从胶片到数字媒介，影像愈发呈现为非物质性（immateriality），在西方传统思想中，该词多被用于指称神圣或灵魂层面，以至电影/胶片（film）——本意为“薄膜”，源自拉丁文“表皮”（pellis）——称谓本身可被视为某种“矛盾修辞”（oxymoron）。由此，“影像何谓”的追问似乎蜕化为某种游移于本体论与认识论之间的暧昧思索。电影放映时，光线贯穿胶片，将铭刻其上的影像一同带往前方，直至银幕将之截断、显像。于近年甚嚣尘上的、由数字化导致的“电影之死”论争常表现为对于胶片及其代表的媒介物质性与影像索引性丧失的哀挽，而早在百余年前，前卫派艺术家亦通过电影反身思考影像自身的物质性议题。

1920年代是一个历史性时刻，人们对于电影创造全新视野的潜力展现出狂热的乐观态度。这些乐观的论述将影像看作一种与那些看上去更加“有形”、更加“实在”的物体完全不同的材质，并将运动影像作为一种极具可塑性的新兴媒介与美学语言，希冀其能够以去物质化形态避免为商品化话语所侵蚀。彼时，诸多前卫艺术家以投射（projection）为媒介及路径，凸显影像的非物质性，想象关于电影的乌托邦未来。此等激进理论构想为1960年代的电影人与录像艺术家所继承，并发展出“结构电影”（Structural Film）与“结构/物质主义电影”（Structural/Materialist Film）等新兴类型，借此批判资本主义理性审美。与此同时，建筑、装置等“物质材料”愈发频繁地于前卫电影及录像艺术现身，将影像的物质性与中介性予以突显。理论焦点由去物质化至再物质化的移转成为对于资本主义与影像共谋关系更为直接的批判，既指涉马克思（Karl Marx）的唯物主义理论，又探讨了作为消费社会的庞大产业之一，电影与父权机制生产关系的结构性互嵌。

此脉络下，本平行会议以“电影、录像与运动影像的去/再物质化”为题旨，试图论辩以电影与录像为代表的运动影像与物质性的关系是否可能被再思索、再想象、再结构，乃至再断裂，并彰显运动影像艺术的去/再物质化对于艺术、文化乃至社会的改变。

1.景观社会的再造：从建筑到都市影像

2.重屏：从壁画到电影的界面考古

3.影像的身体与部署的幽灵

4.从“洞穴”到元宇宙：观影空间的物质性变迁

5.从前卫电影到录像艺术：运动影像的（非）物质性

本分论坛由2个主题论坛和1个青年学者论坛组成。主题论坛由在本领域的专家、学者、艺术家的主题发言，青年论坛欢迎来自世界各地的35岁以下的青年学者和博士研究生，做不超过20分钟的发言。

分论坛主席简介

Chairs of the Sessions

北京大学艺术学院副院长，教授、博士生导师，教育部青年长江学者，制片人，法国戴高乐大学电影学博士，欧盟大学委员会伊拉斯谟计划高级访问学者，全国艺术专业学位研究生教学指导委员会委员，全国高校美育教学指导委员会委员，中国高教学会美育专业委员会副理事长，主要研究欧洲电影史、电影理论与西方当代艺术理论，主持和参与国家社科基金等各类项目7项，在《文艺研究》《电影艺术》等发表论文40多篇，著有《目光的伦理》《迷影文化史》等，译有《巴迪欧论电影》《莱昂内往事》等，“新迷影丛书”主编，“迷影精神赏”发起人，曾在上海国际电影节、华语电影传媒大奖、大学生电影节、华语青年影像周、FIRST青年电影展、香港鲜浪潮影展等电影节担任选片评审。

黄天乐

中国传媒大学戏剧影视学院青年教师，电影学博士，研究方向为电影与媒介研究，近三年主持教育部项目2项，于CSSCI期刊发表论文十余篇，目前正在翻译加州大学伯克利分校资深教授Mary Ann Doane的最新著作Bigger than Life: The Close-Up and Scale in the Cinema，编剧、导演、策划电影作品于戛纳国际电影节、上海国际电影节、金鸡电影节、亚洲国际青年电影节、北京大学生电影节等获奖。

Tianle Huang gained an PhD Degree in film studies at the Communication University of China, where he also holds a professoriate position at, after a career in film consultation at China Film Group Corporation. His research fields include cinema and media studies. In last three years, he hosted two projects of Ministry of Education of China and published 15 academic papers in CSSCI journals. Currently, he is working on a translation project of Mary Ann Doane’s latest scholarly monograph Bigger than Life: The Close-Up and Scale in the Cinema. He is also a film director, screenwriter and consultant, and has received several awards at Festival de Cannes, Shanghai International Film Festival, China Golden Rooster&Hundred Flowers Film Festival, Asian International Youth Film Festival and Beijing College Student Film Festival, etc.

北京大学视觉与图像研究中心

The Centre for Visual Studies (CVS) at Peking University is a national base for the research of traditional Chinese art, Chinese contemporary art and world art history. As a multidisciplinary center, CVS is on the forefront of visual studies.

古代艺术

Traditional Chinese Art

编辑中国图像志，建立中国图像的“词典” 。建设国家图像数据库。编辑《汉画总录》200卷本，负责主编《中国汉画研究》等学刊。

主编《中国当代艺术年鉴》。

组织当代艺术的研究和展览。

世界艺术

World Art

编辑国际艺术史学会（CIHA）的机关刊物《国际艺术史学刊》，以英文、法文和中文分别出版。

中国当代艺术档案馆

中国当代艺术档案馆为北京大学“中国现代艺术档案”开设的位于798 艺术区内的实体的档案空间，研究、展示中国当代艺术状况，提供查阅服务，并向公众开放，同时是一个传播中国当代艺术信息和研究的平台。

Archives of Contemporary Art in China, located in 798 Art District, is an entitative archival space established by Chinese Modern Art Archive (CMAA) of Peking University. Open to the public, it studies and displays the conditions of contemporary art in China, and provides reference services. It is also a platform that extends the information on contemporary art in China.

北京大学图像学实验室

The PKU Image Lab