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Great changes in art have always been accompanied by changes in the media. The new media art developed by relying on high-tech media is a new art style developed by the confusion and integration of advanced scientific and technological achievements such as computer, video, network and digital imaging technology. However, in sharp contrast with the vigorous development of new media art, there is little research on the theory of new media art. This paper aims to find the unique "lexical model" and "grammatical norms" of new media art by clarifying the new media art, especially focusing on the characteristics of its language category, and based on the language paradigm of new media art itself, put it in a careful comparison with traditional painting styles, and explore its unique perceptual methods and aesthetic qualifications, as well as its impact on the new media art.

Keywords: visual culture/new media art/image culture/motivation

If we only look at the natural evolution of the whole artistic materials, the emergence of new media art with high technology as the fulcrum is not a major event, but only a step and stage of the development of artistic expression media. However, just like the great influence and promotion of oil painting pigments on western art, it is still unknown whether this new media can play a decisive role in the future development of art. Even so, in the course of the rise and development of new media art for half a century, we can still feel the aggressive trend of this new art style. In a sense, the high-tech media art represented by computers in the information society is gradually becoming a popular art style in this society, and people can't live without digital images just as they can't live without computers.

First, the language characteristics of new media art

Since the birth of new media art, it has become vague because of the diversity of its media. Does the new media art exclude all artistic styles except the traditional media represented by oil painting pigments and sculpture materials, or does it refer to something else and cover it? This is a necessary prerequisite for investigating the language characteristics of new media art. From the semantic point of view, new media art is a word opposite to media art. If media art refers to the artistic creation and exploration made by artists in industrial society with all industrial, commercial and technical materials except traditional paintings and sculptures, (Note: Zhang Chaohui, "What is new media art? Art Watch,No. 10, No.200 1, p. 66 ... Then new media art "mainly refers to those works of art with the latest scientific and technological achievements such as video, computer, network and digital technology as their creative media". (Note: Wang Duanting, the emergence of domain-what is new media art? The host's language, Art Watch,No. 10, 20065438, p. 66. Of course, some scholars hold the concept of cultural generalization, and think that "the media in new media refers not only to the material carrier or means of artistic expression, but also to the way that contemporary art, as a cultural activity, faces the society and enters the social public space". (Note: Fan Dian's "Transition from Media to Cultural Horizon-Speech at the Opening Ceremony of China Contemporary Art Seminar", Art Research, No.3, 2002, p. 66. It is understandable to look back at the new media art from the perspective of contemporary culture, but as far as the new media art itself is concerned, it is harmful to ignore the particularity of the new media art itself (that is, the support of high-tech technology and its interaction with the current information society). Back to the art form itself, the new media art corresponds to the social context of image culture controlled and spread by image technology, with more emphasis on surfing art, avant-garde movies and image art (including conceptual image works, image devices and image art focusing on self-identity). (Note: Zhang Chaohui's Western Contemporary New Media Art (II and III), Jiangsu Pictorial, 20065438. ) digital art, network art and other artistic styles. In this way, because the artistic connotation of new media has a clear definition and classification, the analysis of its language characteristics is much more natural and easy.

The first distinctive language quality of new media art is its dependence on high technology. From surfing art, avant-garde film and video art to digital art and network art, the development of new media art shows its close relationship with high technology. Surfing art originated from the avant-garde music field, which combines noise and religious thoughts everywhere. Driven by Dick Higgins' creative concept of "interactive media", surfing art has undergone a qualitative change, and video media such as performance stage, movies and cameras have been integrated, which not only forms a spectacular artistic trend of thought, but also is based on the use of various media themselves. Subsequently, with the gradual popularization of TV sets and video cameras, they began to get rid of the creative limitations caused by the high cost of movies and widely used image and video technology, which triggered another media revolution in art and formed the video art with TV as the display tool. This new artistic style absorbs the expressions of installation art and performance art from the horizontal direction, and adds new media materials such as body and TV to form the image installation art; In the vertical direction, it pays attention to the excavation of the subjectivity of the creative subject itself, and expands into two types of video art: conceptual and self-identity in the process of expressing subjectivity. With the in-depth development of information society and the popularization of computer technology, it has rapidly evolved into digital art and network art, thus creating a new virtual aesthetic experience for mankind.

It is not enough to look at the new media art only from the material. It also presents the borrowing and collage of existing image resources in form, and forms a chaotic text form through this special artistic creation method. "Collage, like parody, is an imitation of a special or unique style, wearing a mask of style and speaking a lifeless language; However, this is a neutral imitation, without the hidden motivation of parody and the impulse of irony ... Collage is an empty parody, a parody without a sense of humor: collage is a parody of those weird things, a modern practice of empty irony. " (Noe: [America] Fredric Jameson's Cultural Turn, translated by Hu Yamin, China Social Sciences Press, 2000, p. 5. Collage and borrowing, as an artistic means, are original works based on "metaphor, imitation, stealing and borrowing" between texts (Note: China Pioneer Art Works, Jiangsu Fine Arts Publishing House, 1997, 1 version, 183. ) directly flattened the original value center and formed an intertextual relationship with the existing text, "making full use of mass media, collage of photos, newspapers and magazines, and video posters" (Note: China Pioneer Art Author Gao, Jiangsu Fine Arts Publishing House, 1997, 1 version, 183 page. ) and other image resources, put aside the painting style of schema, integrate the original images, and form the tension between the expressive force and intertextuality of the text itself. Of course, this borrowing and collage is not aimless, but the morphological integration of the dominant artists' artistic concepts. Blair witch project, a masterpiece called rebel text (many film theorists regard it as a model text of American "independent film", but we prefer to regard it as a representative of new media art), has established a brand-new artistic writing concept for new media art in shooting mode, narrative organization and many other aspects, completely washed away people's existing concepts of new media art and realized an innovation in text understanding. In the whole video narration, there are many writing tools, such as TV camera (special), home camera, old 16 mm movie camera and so on. Through the adoption and series connection of news report mirror language system, different combinations of image styles have been formed, image jumps displayed on the screen have been made, and a series of most backward and advanced image tools have been made. In addition, all video paragraphs in this paper are randomly shot, collaged and assembled in the outdoor, which directly changes the image texture in the traditional text, overflows the loose and folk characteristics of the new media art form, reveals the diversity and richness of the image form, and wedges the pioneering characteristics of the new media art form. Therefore, "if a work of art is to become a work of art, it must transcend grammar and syntax" (Note: The End of Art by Arthur Danto, translated by Ouyang, Jiangsu People's Publishing House, 200 1 September, 62. ) Bart Newman fully and necessarily affirmed that the new media art has completed the repair and supplement of art itself in the continuous transcendence and sublimation of grammar paradigm, thus "transcending the limitations of previous art forms such as poetry and novels". In many fields, artists began to confuse various media means, and integrated vulgar works and popular culture into their own aesthetic creation. (Noe: [America] Douglas Cerna, Steven Best, Postmodern Theory: Critical Query, translated by Zhang Zhibin, Central Compilation Press, 1999 1 Edition, p. 13. )

The linguistic features of new media art are also reflected in the spectacle and schema style of images. The spectacle presentation is "a compound, imaginary and magnified image scene" ... which truly belongs to the movie world, and its dazzling audio-visual value is irreplaceable "(Note: Yu Ji's The Spectacular Film-Theoretical Enlightenment from Mei to American Science Fiction Movies, Contemporary Movies, No.5, 1998. "An image spectacle that combines space, religious classics, historical secrets, overseas legends, fairy tale interpretation, archaeological discoveries, etc." (Note: Yu Ji's Spectacular Film-Theoretical Enlightenment from Mei to American Science Fiction Film, Contemporary Film No.5, 1998, p. 1 1. Of course, not all new media arts have grand narrative function, but drawing nutrition from movies is the common symbol of many new media arts. Although the early surfing art used very simple movies without video to try to figure out people's aesthetic experience, with the continuous development of new media art, many works of art began to use sound, light, color, human body and other media to reconstruct their artistic creation to express human anxiety and anxiety. NamJune Paik, a Korean-American artist, completed "Electronic Highway: Bill Clinton Stole My Idea" in 1993 * * with 3 13 televisions arranged in the wall, and made full use of flashing neon lights and pipes to show "the database of contemporary life graphics, From politicians to street scenes, assembly lines, fashion shows, star shows, traffic jams, environmental pollution and even mushroom clouds during the atomic bomb explosion "... It seems that the author is not talking about the social reality of media flooding, but the survival crisis and social disaster he is facing" (Note: Zhang Chaohui's Contemporary Western New Media Art (III), Jiangsu Pictorial, 2006544. ) The wonders of new media art have been clearly revealed so far. Another new media artist, bill viola's work "Water, Fire and Breath" was completed on 1996 and consists of three sets of projection equipment. All the scenes are set in the zenith of Deham Cathedral in England, showing the collision between a person and the three basic elements of existence under the tension of Gothic art, so as to strengthen the * * * relationship between the person as a representative of strength and the inseparable natural elements. One group shows people in flames, while the other group shows people submerged in floods. Three groups of visual art texts show the spectacle scenes of men in water, fire and desire for survival by strengthening actions, fully mobilize new artistic elements such as body and voice, and create strong artistic appeal and shock.

Compared with mature video art, the artistic language feature of new media art is vivid originality. From surfing art, avant-garde movies to video art, new media art appears in a rebellious attitude to the existing video art. They use avant-garde movies to resist film art, and use undifferentiated original video materials to resist news reports on TV. All of them are permeated with the trend of artistic creation returning to the original form. For example, in the Blair Witch Project, the text gives people an obvious feeling that, apart from borrowing and collage, it is a betrayal and abandonment of traditional narrative methods. In the process of telling stories, artists only show a main line, focusing on finding the event itself, and the process of finding it is a very vivid image record, which will inevitably lead to the blank of narrative images. These gaps can only be filled and updated by borrowing narrative details caused by various image writing tools, which leads to the deviation from traditional image narration and completes the fission and breakthrough of the text on the basis of narrative organization, image creation and image. In the surfing art movement, andy warhol, a new media artist, rebelled against Hollywood with practical actions. His works "Sleeping" (1963) and "Kissing" (1963) bridge the gap between details in real life and film processing, allowing cameras to record the development of things indiscriminately. Maybe this kind of thing doesn't have the potential of a story at all. The result of this rebellion against institutionalized Hollywood is the originality and vividness of the image form itself.

In addition, although the origins of digital art and network art can be traced back to the 1960s, the representative artistic style, namely the vigorous development trend of new media art, is the product of the 1990s. At first glance, it is very different from other new media arts. However, the four characteristics of new media art, such as dependence on high technology, borrowing collage, spectacular and natural, original and vivid, still have strong coverage and inclusiveness. In the visual character of digital art, the characteristics are fantasy, regularity, virtuality and combination (Note: For the visual character of digital art, see Lin Tao's Digital Art, Chongqing Publishing House, August 2002, p. 2-9. ) can find the corresponding position in the language character of new media art, especially in online games and online animation, which is particularly prominent and even becomes a typical feature of the language character of new media art.

As we all know, the emergence of theory is the sublimation of experience. Although the development of new media art itself is not sufficient, it is impossible to make an accurate and comprehensive summary. However, after more than half a century of development and exploration, the basic language features of new media art are still very clearly highlighted.

Second, the influence of new media art on traditional art

As a new art form that has just emerged for nearly half a century, new media art has gradually formed its own unique artistic qualification after inheriting the characteristics of performance art, installation art, concept art, music and film art. Although it has absorbed various elements of art from the source, there is a huge gap between its dependence on new media and its absorbed artistic style (more emphasis on modernist art), which has also caused a deep gap between new media art and traditional art.

The first impact of new media art on traditional art is to break the myth of "elite art" and dispel the sense of distance between "elite art" and popular art. Traditional art has always been a "tool" played by aristocratic elites. However, under the premise of the general diversification of human culture at the end of the century, postmodernism on the cultural front is actually a cultural movement re-established by human beings to replace classical discourse with civilian discourse. This revolutionary cultural movement provides the possibility of breaking the old authoritative order conceptually, which is the beginning of the marginalization of image culture. Moreover, all human cultural achievements have evolved into fragmented resources in the post-modern cultural concept, which provides resource allocation and narrative expression of original words for the transformation of image culture, and constitutes an attitude towards the existing image cultural achievements, that is, the artistic writing of new media. Then, what kind of character should the writing style we call "new media art" have? Is it just the vivid originality of the words themselves? Of course, this is also one of the manifestations, but this new type of cultural writing exists in a folk way, which is an important hint. As a prerequisite for the natural expression and expression of individual discourse, it can really listen to the voice from the heart of human beings, so it at least means the acquisition of pure subjectivity. Professional images are covered image writing, which is a kind of manipulation power given to elites by the historical context of images. It often shows a metaphorical feature of discourse expression. Therefore, whether it is the hegemony of mainstream discourse or the imposition of "elite art", it is an image landscape filtered by various ideologies, and it is the embodiment of the weakening subject gaining powerful power. This new media art is essentially different from professional images. This difference is reflected in the freedom and flexibility of artistic expression of new media, which is unmatched by any professional image. It can transcend the shackles of ideology, truly realize the free expression of the subject's existence, and become a symbol of the perfection and progress of human nature. Therefore, "firstly, taking the concept as the center, and then combining with other aspects of performing arts, body arts, sound arts and surfing arts, multimedia installation art has grown up, which reflects many things and concepts in the art field and challenges the development of media systems based on TV advertisements". (Note: Qin Heng's Image Installation Art, World Art No.2, 200 1, edited by Michael Rush: New Media in Art in the Late 20th Century, Times &; Published by Hudson Press, 1999 Rendun. Although we can't accurately predict the shape trend of new media art, through the demonstration of new media art, it is at least a benign beginning of the new century and clearly shows a dimension of the development of new media art.

In the form combination of traditional art, "the elements that constitute the form mainly include medium, line, surface, light and shade, texture, space and color" (Note: Otto G. Okwilk, robert byrne, Robert Stinson, Philip Vig: Art Foundation: Theory and Practice, WM.C Brown Company Press,/kloc-0. Limited by materials, its main function is to complete the modeling and display of objects in two-dimensional and three-dimensional (sculpture) space. In the new media art, the ability of modeling and display has been greatly expanded and enriched. It not only inherits the traditional art's desire for space, but also absorbs the two elements of motion and sound in video art, that is to say, it adds two new aesthetic dimensions: auditory perception and time flow. "The concept of using video as a pure visual medium is wrong in my opinion for the simple reason that video happens in time. Visual artists who are well-trained in dealing with space are usually very uncertain about the grasp of time, and are not sure about the importance of time art such as drama ... Visual art needs such concentration: we are expected to be keen on painting and sculpture, but this also requires us to dedicate our time to it. " (Note: [America] tomkins's "Watch and Don't Watch" is quoted from [England] Edward Luci-Smith's "New Dada, Conceptual Art and Installation", translated by the West and the United States, 1998, No.3, p.6) Obviously, the new media art itself has surpassed the traditional art and has taken place qualitatively.

The impact and change of new media art on traditional art is also manifested in exploring artistic modernity through multiple channels. The new media art has stepped out of the traditional art's concern about the form itself, adapted to the new cultural context, and paid attention to things outside the art form. Traditional art, especially "from the middle of16th century to the middle of19th century, the western aesthetic intention is to establish some formal artistic principles around the rational organization of space and time." As a principle of adjustment, the harmonious aesthetic ideal focuses on the unity of the whole and the form. (Note: daniel bell's Cultural Contradiction of Capitalism, translated by Zhao Yifan, Pulong and Ren Xiaojin, published by Sanlian Bookstore, 1989, 1, 157. Western classical art has always adhered to the concept of space and the imitation theory defined by ancient Greek ancestors since Euclid, but under the impact of irrational thoughts, the strict and rational concept of space has disappeared, and various schools of modernist art began to highlight and exaggerate a single element in form. After the 1960s, under the attack of new cultural sentiment, after abstract art, "canvas began to look like the action place of one American painter after another-not a space that depends on reappearing, redesigning, analyzing and' expressing' a real and imaginary object" (Note: [America] Rosemburg, quoted from daniel bell's The Contradiction of Capitalist Culture, Zhao Yifan and Prone. ), so as a new media art rising in the late 1950s, it takes pleasure in publicizing this rebellious mood and directly deconstructs traditional art with its own practical actions to realize the pursuit of artistic modernization. Of course, it inevitably shows the inability to erase the boundary between art and life and pay attention to the existence outside art itself, which makes art essentially a special way for truth to enter existence, that is, to become a historical truth and a source of national history. (Note: [Germany] Heidegger's "Man-Living Poetically", translated by Gao Yuanbao, published by Guangxi Normal University Press, 650 pages, 2000. ) completely subverted the "people-oriented, people's experience as people's understanding of themselves, God and nature" (Note: [English] Alan Brock's "Western Humanistic Tradition", translated by Leshan Dong, published by Sanlian Bookstore, 1997 10 version, 10 version. ) the knowledge tradition. Therefore, because of staring at the "conceptual" world outside the text and abandoning the loose form, new media art has not only become the mainstream mode of contemporary art, but also made exploration and practice for the modernity of art, forming an artistic existence situation with mixed forms.

Third, the new media art promotes the current image culture.

As mentioned above, the hypertext significance of new media art is far greater than the development of the text itself. This significance lies in the uniqueness of its own text character, which makes it establish a brand-new concept of artistic writing for people in many aspects, thus clarifying people's existing concepts of image culture and visual culture and innovating the cognitive way of the text.

First of all, new media art strengthens and highlights people's subjectivity, especially under the impetus of science and technology, image culture gradually marries with the mass class, tearing the noble veil of imprisonment originally played by image elites and promoting the transition between image culture and visual culture, which directly marks the spread of narrative discourse power by new media art. With the expansion of image boundaries and interference in human life, the means of making images has become a routine means that ordinary people and all social institutions can control. The large number of home video recorders, home video cameras and editing and broadcasting systems, as well as the large-scale development and simplification of various digital video software, provide a direct possibility for ordinary people to obtain the right to image narration. The acquisition of the right to speak and the multi-channel display of the video system, especially the diversity of broadcast channels such as home live broadcast, indoor live broadcast, microwave transmission, cable transmission, satellite transmission and network broadcast, provide a supporting platform for personal video narration, form a complete cycle of shooting, editing and broadcasting, and even give economic operation and sales channels, ensuring a virtuous cycle of personal video narration in all aspects.

In addition, new media art strengthens the interaction between image culture and human artistic experience. Visual culture is no longer a narrow existence in the whole human civilization, but an expanding cultural outlook, especially at the moment when the network is the center, forming an image era composed of art, television, movies and the Internet. In addition, under the catalysis of professional and non-professional art education activities around the world, visual culture has been closely related to human life and leisure, and has become a way of human survival, especially recently. They have been immersed in video culture since childhood, and animation and comics have become their spiritual "paradise" for self-sufficiency in childhood. This habit of watching movies since childhood has branded the image-based lifestyle. Obviously, image culture no longer exists in the dance of academic theorists, but has become a way of life for people. Perhaps this is the true essence of new and new human beings, and it has become an example of the interaction between image development and human survival. New media art also shows another important dimension of image culture-game function, which combines the experience function of watching movies with the communication function of new media art, especially network art, so that the website interacts with the text, prompting visitors to have a brand-new aesthetic experience of "integration, agency and transformation", that is, the experience from "integration" to "immersion in the text world", and "agency" gradually evolves into "our ability to participate in the text" and. (Note: [America] J.P trotter's Planning of Blair Witch Project, World Movie, No.2, 2002, p. 146. Therefore, this kind of video text and new media art * * * both provide digital magic when watching movies or playing games, which makes this * * * relationship become an important way that can not be ignored in the film marketing strategy in the new century, forcing people to consider the existence and marketing effect of this almost intertextual relationship formed by the spread of new media art texts.

Another impetus of new media art to image culture is to form an artistic writing. Writing is essentially the embodiment of thinking mode. In a society dominated by writing civilization, language is the tool of thinking operation, while in a cultural form dominated by images, schema perception and schema transformation should be the carriers of this writing. Of course, writing and reading are inseparable. With the writing of images, the reading of images naturally becomes an important part of writing thinking. Relying on the new media art of high-tech media, especially after the high-tech media gradually moves towards the folk, the subject's writing desire will overflow very strongly, and even this schema thinking mode will affect people's view of the world, form a real picture of building, reflecting and replacing the world with schema, and gradually evolve and construct a new way of watching. Schema symbols began to construct the real world, so "the boundary between images or images and reality imploded, and with this, people's previous experience of' reality' and the foundation of reality disappeared."

(Note: [America] Douglas Cerna and Steven Best, Postmodern Theory: Critical Query, translated by Zhang Zhibin, Central Compilation and Translation Press, 19, 199, p. 154.