“重复”场景的差异化展开——论时间综合在阈限空间影像中的体现

Differentiated Development of “Repetitive” Scenes—On the Reflection of Syntheses of Time in Liminal Space Images

摘要: 近几年阈限空间作为一种独特的互联网亚文化，在年轻群体中迅速蔓延开来。在短时间内，便从一种美学风格发展为影像艺术，并逐渐被应用于游戏、电影之中。然而阈限影像的表现手法与其他影像相比似乎毫无新意，仅仅靠对生活中的常见物像进行重复、拼贴、循环。但在生活中，这种以“重复性”场景作为主要内容的数字影像逐渐“霸屏”，通过不断发展自身进而形成数个影像分支。且不同观者对同一影像的感知与解读也大不相同，甚至截然对立。由此可见，阈限影像并不是单纯的重复，而是一种生成差异的、具有生命力的现代影像。那么，所谓的被影像单一的表现手法遮蔽的差异体现在何处呢？差异又是怎么被重复遮蔽的呢？本文运用德勒兹的三种时间综合方式，在时间这一构成影像最基本的维度中找寻差异所在。在影像的当下之维中，差异经由想象力的缩合形成了观者对影像的连续性感受；在过去之维中，观者潜在的记忆不断切入当下，进而形成差异性的观影体验；在未来之维中，先验的差异打破影像自身形式的桎梏，为影像创造无限可能。可见在当下、过去、未来三个时间维度中，差异总是在以不同的方式涌现。这一发现为现代影像研究提供了一种哲学解释视角。

Abstract: In recent years, as a unique Internet subculture, liminal space has spread rapidly among young people. In a short period of time, it developed from an aesthetic style to a visual art and gradually applied to games and movies. However, the liminal images seem to lack novelty compared to other images, relying solely on the repetition, collage, and looping of common objects in daily life. Yet in real life, this type of digital image with “repetitive” scenes as its main content gradually dominates the screen, forming several branches of images through continuous development. And different viewers have vastly different perceptions and interpretations of the same image, even in stark contrast. From this, it can be seen that the liminal image is not simply a repetition, but a dynamic modern image that generates differences. So, where are the differences in liminal images reflected? How are differences obscured by repetitiveness? This article uses Deleuze’s three syntheses of time to search for differences in the most basic dimension of image composition—time. In the present dimension of image, differences are condensed through imagination, forming a continuous perception of the image by the viewer; in the past dimension, the viewer’s underlying memories constantly intrude into the present, thereby creating a differentiated viewing experience; in the future dimension, transcendental differences break the shackles of the image’s own form, creating infinite possibilities for the image. It can be seen that differences always emerge in different ways in the three time dimensions of present, past, and future. This discovery provides a philosophical explanatory perspective for modern image research.