[
  {
    "id": "nightwatch-crewdson",
    "title": "守夜人格雷戈里·克鲁森",
    "titleParts": [
      "守夜人格雷戈里·克鲁森"
    ],
    "category": "papers",
    "date": "2026-09-17",
    "byline": "陈国森、格雷戈里·克鲁森",
    "publisher": "丽水摄影节丨FIAP世界摄影人大会",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/29xVb68-opiIDNzR3emZ7w",
    "excerpt": "",
    "cover": "/assets/articles/nightwatch-crewdson-cover-hd.webp",
    "cardAuthor": "陈国森",
    "titlePhrases": [
      "守夜人",
      "格雷戈里·克鲁森"
    ]
  },
  {
    "id": "lu-expedition",
    "title": "书介：《远征：世纪前卫与全球当代》",
    "category": "papers",
    "date": "2026-09-17",
    "byline": "鲁明军",
    "publisher": "",
    "publication": "",
    "sourceUrl": "",
    "excerpt": "围绕中国当代艺术的叙述，常在“中国与西方”“本土与全球”“传统与现代”几组关系中展开。它或被解释为对西方现代主义的回应，或被要求证明自身独特的中国性。这种叙述困境既来自全球化时代的身份焦虑，也与西方艺术界长期掌…",
    "cover": "/assets/articles/lu-expedition-85.webp",
    "titleParts": [
      "书介：",
      "《远征：世纪前卫与全球当代》"
    ],
    "titlePhrases": [
      "书介",
      "远征",
      "世纪前卫",
      "全球当代"
    ]
  },
  {
    "id": "photography-self-shame",
    "title": "摄影与自我：为何有些照片使我们感到羞耻？",
    "category": "conversations",
    "date": "2026-09-01",
    "byline": "陈国森、刘畅、陶陶、现场观众",
    "publisher": "摄影理论避难所",
    "publication": "复旦大学“现象学·艺术”暑期研修班·学员研讨会发言",
    "sourceUrl": "",
    "excerpt": "大家好，今天我想谈一个各位可能多少都有所体会的问题——有时候，别人给你拍了一张照片，他自己觉得似乎并没有什么不对，把手机拿过来给你看。你看的时候，却多多少少会觉得这张照片把自己拍得非常奇怪。这个“奇怪”还不只是…",
    "cover": "/assets/articles/photography-self-ilse-bing.webp",
    "titleParts": [
      "摄影与自我：",
      "为何有些照片使我们感到羞耻？"
    ],
    "titlePhrases": [
      "摄影与自我",
      "为何",
      "有些照片",
      "使我们",
      "感到羞耻"
    ]
  },
  {
    "id": "open-photography-history",
    "title": "书写开放的摄影史：权力、档案与未来",
    "titleParts": [
      "书写开放的摄影史：",
      "权力、档案与未来"
    ],
    "category": "conversations",
    "date": "2026-08-30",
    "byline": "陈国森、汪逸玮、章文、张雅琼",
    "publication": "“摄影史的书写”圆桌对谈",
    "publisher": "",
    "sourceUrl": "https://imagepresence.cargo.site/roundtable-17",
    "excerpt": "摄影史的书写并非中立的档案整理，更像一场持续的权力协商。在本次圆桌对谈中，图像存在与三位研究者从各自的学术路径与个人经验出发，围绕摄影史被建构、被固化、被质疑与被重写的过程，展开了一场跨越机构批判、殖民档案、技术哲学与日…",
    "cover": "/assets/articles/open-photography-history-047.webp",
    "publicationUrl": "https://imagepresence.cargo.site/roundtable-17",
    "titlePhrases": [
      "书写",
      "开放的摄影史",
      "权力",
      "档案",
      "未来"
    ]
  },
  {
    "id": "photography-is-magic",
    "title": "对话夏洛特·科顿",
    "category": "server",
    "date": "2026-07-28",
    "byline": "夏洛特·科顿、江融、陈国森、藏策",
    "publisher": "呼吸公社PLUS",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/MfkYTdON3tSaDgGKcXv1IA",
    "excerpt": "「当代影像，路径及其可能」系列研讨第十八期，我们邀请到国际著名当代摄影评论家、策展人夏洛特·科顿（Charlotte Cotton）作为特邀嘉宾，摄影评论家、摄影家、策展人江融、复旦大学哲学学院艺术哲学系博士候…",
    "cover": "/assets/articles/photography-is-magic-012.webp",
    "biographySources": {
      "夏洛特·科顿": [
        "https://www.icp.org/sites/default/files/Release_ICP%20Magnum%20Women%20%208-22-22.pdf",
        "https://store.aperture.org/products/photography-is-magic"
      ]
    },
    "titlePhrases": [
      "对话",
      "夏洛特·科顿"
    ]
  },
  {
    "id": "knowledge-beyond",
    "title": "对话许煜：技术、个体化与哲学的限度",
    "titleParts": [
      "对话许煜：",
      "技术、个体化与哲学的限度"
    ],
    "titlePhrases": [
      "对话许煜",
      "技术",
      "个体化",
      "与哲学的限度"
    ],
    "category": "conversations",
    "date": "2026-05-21",
    "byline": "许煜、陈国森",
    "cardAuthor": "许煜、陈国森",
    "publisher": "",
    "publication": "",
    "sourceUrl": "",
    "excerpt": "许煜与陈国森围绕人工智能、宇宙技术与批判哲学展开对谈，讨论哲学教育、个体化、技术多样性，以及艺术、技术与哲学之间的关系。",
    "cover": "/assets/articles/knowledge-beyond-yuk-hui.webp"
  },
  {
    "id": "wall-contemporary-art",
    "title": "对话杰夫·沃尔",
    "category": "server",
    "date": "2026-05-09",
    "byline": "杰夫·沃尔、江融、陈国森、藏策",
    "publisher": "呼吸公社PLUS",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s?__biz=MzI1NjI0OTUwNA==&mid=2247491348&idx=1&sn=3e61f4cf3c7b5c0fddad7b039071c64f&chksm=eb977860d06bde15f37728fa99698645d26dfc2cad7e656c8cddc20bb6f1e6c67eea11b7a8bc#rd",
    "excerpt": "「当代影像，路径及其可能」系列研讨第十八期，我们邀请到著名摄影艺术家杰夫· 沃尔作为特邀嘉宾，摄影评论家、摄影家、策展人江融、复旦大学哲学学院艺术哲学系博士候选人陈国森为与谈嘉宾，艺术理论家、独立策展人，呼吸公…",
    "cover": "/assets/articles/wall-dead-troops-cover.webp",
    "biographySources": {
      "杰夫·沃尔": [
        "https://gagosian.com/artists/jeff-wall/"
      ]
    },
    "titlePhrases": [
      "对话",
      "杰夫·沃尔"
    ]
  },
  {
    "id": "ai-ethics-five-questions",
    "title": "当 AI 说的每句话都“正确”时：人工智能伦理五问",
    "category": "papers",
    "date": "2026-04-11",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/LZe224_b5TySo0LnKsLf8w",
    "excerpt": "如果没有好问题，再有道理的思想也是空转的。本文前三个问题来自于我修读的《人工智能伦理》课程中杨庆峰老师提出的，我做了一些措辞上的改动，特别感谢杨老师的问题给予了我一个可以沿着它们去思考的空间。下文中提到的询问桥…",
    "cover": "/assets/articles/ai-ethics-five-questions-000.webp",
    "titleParts": [
      "当 AI 说的每句话都“正确”时：",
      "人工智能伦理五问"
    ],
    "coverStyle": "object-position:center 15%",
    "titlePhrases": [
      "当 AI",
      "说的每句话",
      "都“正确”时",
      "人工智能",
      "伦理五问"
    ]
  },
  {
    "id": "ethics-of-representation",
    "title": "再现的伦理：暴行摄影的痕迹美学",
    "category": "papers",
    "date": "2026-02-25",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "《二十一世纪》2025年12月号，第120–134页",
    "sourceUrl": "https://mp.weixin.qq.com/s/Lv_jTlnIJNqSIx4JBdfYxw",
    "excerpt": "此文和前段时间推送的《何为今日之摄影？一种政治本体论》是同期写作的（约莫都在 2023 年下半年），因此关切方向有些近似。此文有幸刊发在香港《二十一世纪》期刊上，特别感谢总编张志伟博士与《二十一世纪》其他编审老…",
    "cover": "/assets/articles/ethics-of-representation-004.webp",
    "titleParts": [
      "再现的伦理：",
      "暴行摄影的痕迹美学"
    ],
    "titlePhrases": [
      "再现的伦理",
      "暴行摄影的",
      "痕迹美学"
    ]
  },
  {
    "id": "political-ontology",
    "title": "何为今日之摄影？一种政治本体论",
    "category": "papers",
    "date": "2026-02-21",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "《艺术学研究进展》2025年第2卷第2期，第218–230页",
    "sourceUrl": "https://mp.weixin.qq.com/s/q8AjCSm9yKw6xDeGJ9RNcg",
    "excerpt": "按：本篇发布在《艺术学研究进展》2025 年第 2 卷第 2 期。本文最初写于 2023 年，辗转多年之后终于找到它的收容之所，特别要感谢韩晓强和鲁明军老师。这篇文章的写作目的有且仅有一个：即引介阿莉耶拉·阿伊…",
    "cover": "/assets/articles/political-ontology-013.webp",
    "titlePhrases": [
      "何为",
      "今日之摄影",
      "一种",
      "政治本体论"
    ],
    "titleParts": [
      "何为今日之摄影？",
      "一种政治本体论"
    ]
  },
  {
    "id": "ruff-meta-photography",
    "title": "对话托马斯·鲁夫",
    "category": "server",
    "date": "2026-02-13",
    "byline": "托马斯·鲁夫、江融、胡涂、陈国森、藏策",
    "publisher": "呼吸公社PLUS",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s?__biz=MzI1NjI0OTUwNA==&mid=2247491270&idx=1&sn=cb1c5eb80fa83050cf2125a1ad502d75&chksm=eba14f8eebf64de24f4eefcff5a35c7866bd35136beaac3b67ba2c6d2c5fc3790facd3aae079#rd",
    "excerpt": "「当代影像，路径及其可能」系列研讨第十七期，我们邀请到杜塞尔多夫摄影学派的代表人物之一托马斯·鲁夫(Thomas Ruff)作为分享嘉宾，摄影评论家、摄影家、策展人江融、当代摄影教育工作者胡涂、复旦大学哲学学院…",
    "cover": "/assets/articles/ruff-meta-photography-010.webp",
    "biographySources": {
      "托马斯·鲁夫": [
        "https://www.davidzwirner.com/artists/thomas-ruff"
      ],
      "胡涂": [
        "https://m.thepaper.cn/baijiahao_4743326",
        "https://www.bilibili.com/cheese/play/ep2392239"
      ]
    },
    "titlePhrases": [
      "对话",
      "托马斯·鲁夫"
    ]
  },
  {
    "id": "reading-photographs",
    "title": "对话大卫·坎帕尼",
    "category": "server",
    "date": "2026-01-29",
    "byline": "大卫·坎帕尼、江融、陈国森、藏策",
    "publisher": "呼吸公社PLUS",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s?__biz=MzI1NjI0OTUwNA==&mid=2247491226&idx=1&sn=6fdb9c01cc1f673b00f31b0660076b09&chksm=eb49cb4729de2caf3d47ebdd8ac3be4e215ea719d0acfdfa819e63d3425b5d908c37d2641ba2#rd",
    "excerpt": "「当代影像，路径及其可能」系列研讨第十五期，我们邀请到际著名策展人、作家、图书编辑和教育家大卫·坎帕尼（David Campany）作为分享嘉宾，摄影评论家、摄影家、策展人江融、复旦大学哲学学院艺术哲学系博士生…",
    "cover": "/assets/articles/reading-photographs-013.webp",
    "biographySources": {
      "大卫·坎帕尼": [
        "https://davidcampany.com/about/"
      ]
    },
    "titlePhrases": [
      "对话",
      "大卫·坎帕尼"
    ]
  },
  {
    "id": "jeff-wall-staging",
    "title": "解读杰夫·沃尔：摆拍何以成为经典？",
    "category": "conversations",
    "date": "2026-01-17",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/nwjShoFxvZ6rY0Tugt6kFQ",
    "excerpt": "今天我们要谈论的这位摄影师，杰夫·沃尔（Jeff Wall），我想应该有人听说过吧？即便没有亲眼看过他的照片，或许也对这个名字有所耳闻？喔，场上只有两位朋友听说过他。",
    "cover": "/assets/articles/jeff-wall-staging-005.webp",
    "titleParts": [
      "解读杰夫·沃尔：",
      "摆拍何以成为经典？"
    ],
    "titlePhrases": [
      "解读",
      "杰夫·沃尔",
      "摆拍",
      "何以成为经典"
    ]
  },
  {
    "id": "tableau-form",
    "title": "界线、装置、被建构性：论当代摄影中的“巨幅场面”问题",
    "category": "papers",
    "date": "2025-12-13",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "《南京艺术学院学报（美术与设计版）》2025年第6期，第80–88页",
    "sourceUrl": "https://mp.weixin.qq.com/s/mtEbIDPfCY0GD8Y3tW2kbA",
    "excerpt": "此文的直接写作诱因是上海西岸美术馆的“另辟前卫”展览，策展人将杰夫·沃尔的《为女性而作的图像》放到了展览进场的最醒目的位置。杰夫·沃尔（以及许多其他当代摄影师）采用的这种大尺幅形式，学界一般称之为“tablea…",
    "cover": "/assets/articles/tableau-form-cover-hd.webp",
    "titleParts": [
      "界线、装置、被建构性：",
      "论当代摄影中的“巨幅场面”问题"
    ],
    "titlePhrases": [
      "界线",
      "装置",
      "被建构性",
      "论当代摄影中的",
      "“巨幅场面”",
      "问题"
    ]
  },
  {
    "id": "uncanny-landscape",
    "title": "怪怖的风景：论景观摄影的非亲密性",
    "category": "papers",
    "date": "2025-12-07",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "“风景的再生产”展览学术文章",
    "sourceUrl": "https://mp.weixin.qq.com/s/8bEywuscs3OdzAyCJOwWyA",
    "excerpt": "写在前面：本文不区分“风景”和“景观”这两个中文词的词义差别，读者可将之都等同为“landscape”，但切勿与居伊·德波的“景观”（spectacle）混淆；同时，本文也不涉及中国古代意义上的“风景”/“山水…",
    "cover": "/assets/articles/uncanny-landscape-006.webp",
    "titleParts": [
      "怪怖的风景：",
      "论景观摄影的非亲密性"
    ],
    "titlePhrases": [
      "怪怖的风景",
      "论景观摄影的",
      "非亲密性"
    ]
  },
  {
    "id": "beyond-documentary",
    "title": "“超越纪实”与“文献之上”",
    "date": "2025-11-30",
    "byline": "江融、骆丹、陈国森、藏策",
    "titleParts": [
      "“超越纪实”与“文献之上”"
    ],
    "category": "server",
    "publisher": "服务器艺术",
    "publication": "",
    "sourceUrl": "",
    "excerpt": "",
    "cover": "/assets/articles/dialogue-luo-003.webp",
    "coverStyle": "transform:scale(1.26)",
    "titlePhrases": [
      "“超越纪实”",
      "与“文献之上”"
    ]
  },
  {
    "id": "gregory-crewdson",
    "title": "对话格雷戈里·克鲁森",
    "category": "server",
    "date": "2025-11-19",
    "byline": "格雷戈里·克鲁森、江融、陈荣辉、藏策",
    "publisher": "服务器艺术",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/aAmDKlDlf8rxgqWraTm0UQ",
    "excerpt": "",
    "cover": "/assets/articles/crewdson-047.webp",
    "titleParts": [
      "对话格雷戈里·克鲁森"
    ],
    "titlePhrases": [
      "对话",
      "格雷戈里·克鲁森"
    ]
  },
  {
    "id": "ruff-mind-map",
    "title": "解读托马斯·鲁夫：如何理解“摄影的思维导图”？",
    "category": "conversations",
    "date": "2025-11-10",
    "byline": "陈川端、陈国森、牛童等",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/XP8EhOCBNcuzt0_XjIhrpw",
    "excerpt": "我今天想讲一讲我最大的感受。不知道大家在平时学习摄影或对摄影感兴趣时，是否经常会问一个问题——问前辈、老师，也问自己：我们怎么样去看懂一个艺术家或摄影师的作品？我个人的作品也时常被问到这个问题。在托马斯·鲁夫（…",
    "cover": "/assets/articles/ruff-mind-map-005.webp",
    "titleParts": [
      "解读托马斯·鲁夫：",
      "如何理解“摄影的思维导图”？"
    ],
    "titlePhrases": [
      "解读",
      "托马斯·鲁夫",
      "如何理解",
      "“摄影的",
      "思维导图”"
    ]
  },
  {
    "id": "warburg-electricity",
    "title": "1900年前后的电波和幽灵：“电”与瓦尔堡的“图像科学”",
    "category": "papers",
    "date": "2025-09-24",
    "byline": "乔泓凯",
    "publisher": "西西弗斯艺术小组",
    "publication": "乔泓凯. 1900年前后的电波和幽灵：“电”与瓦尔堡的“图像科学”[J]. 南京艺术学院学报（美术与设计）, 2025(3).",
    "sourceUrl": "https://mp.weixin.qq.com/s/Z92jDhhGRcvfCXq26zgyHg",
    "excerpt": "[摘 要]“电”以及与之相关的图像电报、X射线摄影等技术，深刻影响了瓦尔堡的“图像科学”范式。瓦尔堡的“极性”“动力图”等概念与电磁学密切相关；瓦尔堡熟稔赫兹等人的研究。电波反映了不可见的能量关系，也涉及对幽灵…",
    "cover": "/assets/articles/warburg-electricity-001.webp",
    "titleParts": [
      "1900年前后的电波和幽灵：",
      "“电”与瓦尔堡的“图像科学”"
    ],
    "titlePhrases": [
      "1900 年前后的",
      "1900年前后的",
      "电波和幽灵",
      "“电”",
      "与瓦尔堡的",
      "“图像科学”"
    ]
  },
  {
    "id": "islands-second-origin",
    "title": "世界的第二起源从岛屿开始",
    "category": "papers",
    "date": "2025-09-15",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/VYgJ9MSTK49M1gFXuWc48w",
    "excerpt": "前段时间应“CEF 实验影像中心”的邀请，从艺术家胡伟的作品中挑选了一组影像组成专题，并撰写了相关的评论。这篇文章也算一种在论文与随笔之间的写作，一种关于写作的写作，关于评论的评论，试图用不同于一般艺术评论的方…",
    "cover": "/assets/articles/islands-second-origin-014.webp",
    "titlePhrases": [
      "世界的",
      "第二起源",
      "从岛屿开始"
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  },
  {
    "id": "photography-as-hermes",
    "title": "作为赫耳墨斯的摄影：论信使、档案与记忆",
    "category": "papers",
    "date": "2025-07-01",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "Photography and Culture 18 (1), 2025, pp. 5–30. DOI: 10.1080/17514517.2025.2494890",
    "sourceUrl": "https://mp.weixin.qq.com/s/yr-MKhuXmVp9dRrHmABCDg",
    "excerpt": "这篇文章可以算作我博士论文中的一个导论性部分，也是我迄今为止下了最大心力的一篇文章。它最初以中文写成草稿，投给了《文艺研究》杂志社与中南大学合办的“艺术与记忆”论坛，但是思忖再三，还是选择以英文发表。于是，在翻…",
    "cover": "/assets/articles/photography-as-hermes-017.webp",
    "titleParts": [
      "作为赫耳墨斯的摄影：",
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    "titlePhrases": [
      "作为赫耳墨斯的",
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  {
    "id": "salgado",
    "title": "解读萨尔加多：苦难的审美化与辩证法",
    "category": "conversations",
    "date": "2025-06-16",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/1Gg6sfAkZj4U-05z6eywIQ",
    "excerpt": "围绕萨尔加多的苦难摄影，讨论人权、苦难的审美化、观看经验，以及摄影与被摄者之间的关系。",
    "cover": "/assets/articles/salgado-cover-hd.webp",
    "titleParts": [
      "解读萨尔加多：",
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      "审美化",
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  {
    "id": "fred-ritchin",
    "title": "对话弗雷德·里钦",
    "date": "2025-06-14",
    "byline": "弗雷德·里钦、江融、陈国森、藏策、夏靖宜",
    "titleParts": [
      "对话弗雷德·里钦"
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    "category": "server",
    "publisher": "服务器艺术",
    "publication": "",
    "sourceUrl": "",
    "excerpt": "",
    "cover": "/assets/articles/dialogue-ritchin-054.webp",
    "biographySources": {
      "弗雷德·里钦": [
        "https://www.icp.org/users/fredritchin",
        "https://aperture.org/editorial/is-documentary-photography-at-a-crossroads/"
      ]
    },
    "titlePhrases": [
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  },
  {
    "id": "typology",
    "title": "从“重复”到“类型学”：空间抽象的视觉内在化",
    "category": "papers",
    "date": "2025-05-15",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "《文化艺术研究》2025年第2期，第16–24页",
    "sourceUrl": "https://mp.weixin.qq.com/s/OsSjFNFiCt3LXUFrFkiv9g",
    "excerpt": "以埃德·鲁沙和贝歇夫妇为代表，当代摄影中的“重复”和“类型学”策略通过将摄影师的视野组织方式前景化，使自身区别于现代主义绘画的“格子”式自我复制所带来的自我封闭和向心特质，也通过无限的可延展性与其自身的无尽重复…",
    "cover": "/assets/articles/typology-012.webp",
    "titleParts": [
      "从“重复”到“类型学”：",
      "空间抽象的视觉内在化"
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    "titlePhrases": [
      "从“重复”",
      "到“类型学”",
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  },
  {
    "id": "tableau-dialogue",
    "title": "何为“巨幅场面形式”？",
    "category": "server",
    "date": "2025-05-11",
    "byline": "陈国森、江融、藏策",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/fuwcsamaLba90iXDEGDbdQ",
    "excerpt": "围绕新近在上海闭幕的现象级展览“另辟前卫：摄影 1970-2000”，“服务器艺术”本次对谈邀请到“摄影理论避难所”联合创始人、复旦大学哲学学院艺术哲学系博士生陈国森，摄影评论家、摄影家、策展人江融，艺术理论家…",
    "cover": "/assets/articles/tableau-dialogue-039.webp",
    "titlePhrases": [
      "何为",
      "“巨幅场面形式”"
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  },
  {
    "id": "shutter-and-generation",
    "title": "人工智能之后的摄影：解读《光圈》新刊",
    "category": "conversations",
    "date": "2025-04-13",
    "byline": "陈国森、Qiu",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/v9UQ_3KzYwmYt1O6H4lZFQ",
    "excerpt": "我先简单介绍一下，欢迎大家来到无知社的3月无知书房，我们和摄影理论避难所一起联合举办的无知书房。我先简单介绍一下两个社群。摄影理论避难所是 2024 年成立的，是一个以摄影理论研讨为起点，但不限于此的开放式社群…",
    "cover": "/assets/community/aperture-257.jpg",
    "titleParts": [
      "人工智能之后的摄影：",
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  {
    "id": "pompidou-curator",
    "title": "马蒂亚斯·法勒谈元数据与摄影的物质性",
    "category": "conversations",
    "date": "2025-04-12",
    "byline": "马蒂亚斯·法勒、陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/cXEx66VkbV6axEy3_7noJQ",
    "excerpt": "前段时间，我们有幸请到了蓬皮杜中心的助理策展人马蒂亚斯·法勒进行了简短的线上采访。法勒也是前段时间在上海西岸美术馆闭幕的“另辟前卫：摄影 1970-2000”的策展人之一。在这 15 分钟里，他回答了我们四个有…",
    "cover": "/assets/articles/pompidou-curator-018.webp",
    "titleParts": [
      "马蒂亚斯·法勒",
      "谈元数据与摄影的物质性"
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      "马蒂亚斯·法勒",
      "谈元数据",
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    ]
  },
  {
    "id": "photography-and-literature",
    "title": "摄影与文学：如何用照片讲故事？",
    "category": "conversations",
    "date": "2025-01-14",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/_uumoxu8PwyWlvanaAEdag",
    "excerpt": "1 月 12 日，我在“蚂蚁摄影”以“摄影理论避难所”联合创始人的身份做了一场有关“摄影与文学”的分享，感谢“蚂蚁摄影”与令老师的大力支持。现将当时的讲解文字实录整理在下。",
    "cover": "/assets/articles/photography-and-literature-019.webp",
    "titleParts": [
      "摄影与文学：",
      "如何用照片讲故事？"
    ],
    "coverStyle": "width:187.5%;max-width:none;height:auto;position:absolute;left:-7.29%;top:-49.74%",
    "titlePhrases": [
      "摄影与文学",
      "如何用照片",
      "讲故事"
    ]
  },
  {
    "id": "yang-photography-anthropology",
    "title": "摄影如何人类学：管窥西方摄影人类学前沿",
    "titleParts": [
      "摄影如何人类学：",
      "管窥西方摄影人类学前沿"
    ],
    "category": "papers",
    "date": "2025",
    "byline": "杨云鬯",
    "publisher": "",
    "publication": "杨云鬯.摄影如何人类学——管窥西方摄影人类学前沿[J].民族艺术,2025,(4):130-141.",
    "sourceUrl": "https://mp.weixin.qq.com/s/BthCP4SkNDCYovz6xKhy9A",
    "excerpt": "从全球范围来看，“摄影人类学”是一个尚未被定义的新兴学术领域，目前正处于有研究的实体但缺乏统一定义的状态之中。在中西方相关学者的表述中，有摄影人类学（the anthropology of photography）、民族…",
    "cover": "/assets/articles/yang-camera-indica-p131.png",
    "titlePhrases": [
      "摄影",
      "如何人类学",
      "管窥",
      "西方",
      "摄影人类学",
      "前沿"
    ]
  },
  {
    "id": "everyday-photography-phenomenology",
    "title": "日常摄影的现象学",
    "titleParts": [
      "日常摄影的现象学"
    ],
    "category": "conversations",
    "date": "2024-12-30",
    "byline": "陈国森",
    "publisher": "",
    "publication": "白读书屋“晚间客厅”分享与问答",
    "sourceUrl": "",
    "excerpt": "",
    "cover": "/assets/articles/everyday-baldessari-three-balls.webp",
    "titlePhrases": [
      "日常摄影的",
      "现象学"
    ]
  },
  {
    "id": "another-avant-garde",
    "title": "寻找“另前卫”：摄影反对神话",
    "category": "papers",
    "date": "2024-12-17",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "《中国摄影》2024年第12期",
    "sourceUrl": "https://mp.weixin.qq.com/s/jKi6cG3Kl-lfhHXW6bPL0A",
    "excerpt": "[摘要] 展览“另辟前卫：摄影1970-2000”立足于“指示性—专注性”这一二元关系的摆荡，使得展览本身也在对艺术作品的批判性与其自我指涉性的开放性之间摇摆。该展览试图借助摄影的透镜，在前卫的历史中发现一重“…",
    "cover": "/assets/articles/another-avant-garde-001.webp",
    "titleParts": [
      "寻找“另前卫”：",
      "摄影反对神话"
    ],
    "titlePhrases": [
      "寻找",
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  },
  {
    "id": "soviet-cosmism",
    "title": "苏联前卫电影的宇宙主义谱系：玻璃—球域、机械生机论与星际革命",
    "category": "papers",
    "date": "2024-12-11",
    "byline": "乔泓凯",
    "publisher": "电影艺术杂志",
    "publication": "乔泓凯. 苏联前卫电影的宇宙主义谱系：玻璃—球域、机械生机论与星际革命[J]. 电影艺术, 2024(6).",
    "sourceUrl": "https://mp.weixin.qq.com/s/dGRKBg1tejK8v1Llul1CKg",
    "excerpt": "摘 要：费多罗夫、齐奥尔科夫斯基等人的俄罗斯宇宙主义构成了定位未来派艺术与苏联前卫电影的重要思想史坐标。爱森斯坦未竟的“玻璃屋”“球体书”计划指向一种具有宇宙论意义的球域学结构。比例模型在早期苏联电影中的运用暗…",
    "cover": "/assets/articles/soviet-cosmism-008.webp",
    "titleParts": [
      "苏联前卫电影的宇宙主义谱系：",
      "玻璃—球域、机械生机论与星际革命"
    ],
    "titlePhrases": [
      "苏联前卫电影的",
      "宇宙主义谱系",
      "玻璃—球域",
      "机械生机论",
      "星际革命"
    ]
  },
  {
    "id": "exhibition-tour",
    "title": "导览：“另辟前卫：摄影 1970—2000”",
    "category": "conversations",
    "date": "2024-11-17",
    "byline": "陈国森",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/UaRwsgT6fGBy8xFleDHiiA",
    "excerpt": "当时为了准备这次活动，我整理出了近十万字的笔记。在导览前，我有幸得到了《中国摄影》杂志的邀请采访了策展人弗洛里安·埃布纳（Florian Ebner）与马蒂亚斯·法勒（Matthias Pfaller），并向二…",
    "cover": "/assets/articles/exhibition-tour-cover-hd.webp",
    "titleParts": [
      "导览：",
      "“另辟前卫：摄影 1970—2000”"
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    "titlePhrases": [
      "导览",
      "“另辟前卫",
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  },
  {
    "id": "warburg-photographer",
    "title": "作为摄影师的瓦尔堡",
    "category": "papers",
    "date": "2024-11-10",
    "byline": "乔泓凯",
    "publisher": "图像之书",
    "publication": "乔泓凯. 作为摄影师的瓦尔堡[J]. 画刊, 2024(9).",
    "sourceUrl": "https://mp.weixin.qq.com/s/tGdJFboRL0BcOZgK6q3JaA",
    "excerpt": "1895年9月，瓦尔堡开始了他传奇的美国之旅，在这趟行程中，一款新型“鹿眼”相机（Buckeye Camera）伴随于瓦尔堡左右，瓦尔堡使用这台机器拍摄了此行过程中的诸种见闻。该型号的相机是伊士曼柯达公司于18…",
    "cover": "/assets/articles/warburg-photographer-005.webp",
    "titlePhrases": [
      "作为摄影师的",
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  },
  {
    "id": "stephen-shore",
    "title": "与斯蒂芬·肖尔对谈：作为意义体验的摄影",
    "category": "conversations",
    "date": "2024-09-26",
    "byline": "斯蒂芬·肖尔、江融、杨云鬯、陈国森、林子等",
    "publisher": "小该隐避难所",
    "publication": "",
    "sourceUrl": "https://mp.weixin.qq.com/s/mjIkLX-1vv1hZRIxgwWy5A",
    "excerpt": "9 月 19 日上午，斯蒂芬·肖尔老师与江融老师、杨云鬯老师和我们“摄影理论社群”一同举行了一次研讨会。我们整理了录音稿件，现将对谈与问答环节全文照录在此。欢迎各位转发。",
    "cover": "/assets/articles/stephen-shore-007.webp",
    "titleParts": [
      "与斯蒂芬·肖尔对谈：",
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  },
  {
    "id": "zylinska-diffused-seeing",
    "title": "弥散的观看：生成式人工智能的认识论挑战",
    "category": "translations",
    "date": "2024-06-11",
    "byline": "乔安娜·泽林斯卡（Joanna Zylinska）、陈国森、Claude Fable 5",
    "publisher": "小该隐避难所",
    "publication": "原载 Media Theory，2024年第8卷第1期，第229至258页。",
    "sourceUrl": "https://mp.weixin.qq.com/s/9jVFgVQ1FeHqET6vyG1CDw",
    "excerpt": "本文考察了被称为“生成式人工智能” （generative AI）的机器学习技术是如何改变了人类与机器之间关于“观看”与“理解”的关系的。本文以 Stable Diffusion 为例，同时也兼顾了其同类模型（…",
    "cover": "/assets/articles/zylinska-diffused-seeing-051.webp",
    "titleParts": [
      "弥散的观看：",
      "生成式人工智能的认识论挑战"
    ],
    "coverStyle": "transform:scale(1.18) translateX(-3.5%);object-position:center",
    "cardAuthor": "乔安娜·泽林斯卡（Joanna Zylinska）",
    "titlePhrases": [
      "弥散的观看",
      "生成式人工智能的",
      "认识论挑战"
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  },
  {
    "id": "warburg-atlas",
    "title": "《记忆女神图集》：瓦尔堡的影像实验——“Atlas”、运动摄影与蒙太奇",
    "category": "papers",
    "date": "2024-01-15",
    "byline": "乔泓凯",
    "publisher": "北京电影学院学报杂志",
    "publication": "乔泓凯. 《记忆女神图集》：瓦尔堡的影像实验——“Atlas”、运动摄影与蒙太奇[J]. 北京电影学院学报, 2023(3).",
    "sourceUrl": "https://mp.weixin.qq.com/s/oZuKpI3B2_8OEfSKsEqV-g?scene=1&click_id=339224858",
    "excerpt": "摘 要 :《记忆女神图集》作为瓦尔堡最后的研究计划，同时也构成某种先锋影像实验与视觉仪器。通过移动、装配图板材料，“图集”以游牧式的制图学原则构建异托邦矩阵。运动—影像指涉了情念程式的幽灵遗存与“图集”的电影结…",
    "cover": "/assets/articles/warburg-atlas-009.webp",
    "titleParts": [
      "《记忆女神图集》：",
      "瓦尔堡的影像实验——“Atlas”、运动摄影与蒙太奇"
    ],
    "titlePhrases": [
      "《记忆女神图集》",
      "瓦尔堡的",
      "影像实验",
      "“Atlas”",
      "运动摄影",
      "蒙太奇"
    ]
  },
  {
    "id": "yang-family-photography",
    "title": "家庭摄影：历史、艺术与人类学",
    "titleParts": [
      "家庭摄影：",
      "历史、艺术与人类学"
    ],
    "titlePhrases": [
      "家庭摄影",
      "历史",
      "艺术",
      "与人类学"
    ],
    "category": "papers",
    "date": "2023-09",
    "byline": "杨云鬯",
    "cardAuthor": "杨云鬯",
    "publisher": "",
    "publication": "杨云鬯. 家庭摄影：历史、艺术与人类学[J]. 艺术探索，2023，37(5)：66–74.",
    "sourceUrl": "",
    "excerpt": "家庭摄影是摄影中最为常见的一种类型，但少有学者对其进行研究。审慎的历史考证、细致全面的社会观察以及富有创见的批评，对于我们准确理解不同语境下的家庭摄影不可或缺。艺术史研究的民族志转向为家庭摄影研究提供了视角和方法。家庭摄影使我们能够在主流话语之外找到另一种书写和回望历史的可能，而借由民族志，我们能够看到家庭摄影在这一过程中的能动性和多样性。",
    "cover": "/assets/articles/yang-family-photography-01.webp"
  },
  {
    "id": "lu-photomontage",
    "title": "摄影蒙太奇、图像矩阵与媒介化博物馆：以展览“电影与摄影”（1929）为中心",
    "category": "papers",
    "date": "2021",
    "byline": "鲁明军",
    "publisher": "",
    "publication": "《南京艺术学院学报（美术与设计）》2021年第4期，第94–101页。",
    "sourceUrl": "",
    "excerpt": "摘要：1929年，由“沃克邦德”（即德意志制造联盟）发起并组织的大型国际图片展“电影与摄影”（Film und Foto）在德国斯图加特举办。展览意在打破美术与实用艺术之间的界限，呈现了大量没有文字的拼版图片。…",
    "cover": "/assets/articles/lu-photomontage-003.webp",
    "titleParts": [
      "摄影蒙太奇、图像矩阵与媒介化博物馆：",
      "以展览“电影与摄影”（1929）为中心"
    ],
    "titlePhrases": [
      "摄影蒙太奇",
      "图像矩阵",
      "媒介化博物馆",
      "以展览",
      "“电影与摄影”",
      "（1929）",
      "为中心"
    ]
  },
  {
    "id": "lu-october",
    "title": "美国《十月》杂志的诞生",
    "category": "papers",
    "date": "2020",
    "byline": "鲁明军",
    "publisher": "",
    "publication": "《艺术史与艺术哲学》第一辑，商务印书馆，2020年，第377–403页。",
    "sourceUrl": "",
    "excerpt": "第二次世界大战不仅缔造了美帝国，也缔造了美国艺术。20世纪50年代，抽象表现主义或“‘美国式’绘画”的崛起，标志着世界艺术的中心从巴黎转移到了纽约。[2]在这个过程中，格林伯格(Clement Greenber…",
    "cover": "/assets/articles/lu-october-007.webp",
    "titlePhrases": [
      "美国",
      "《十月》杂志的",
      "诞生"
    ]
  },
  {
    "id": "sekula-body-archive",
    "title": "身体与档案",
    "category": "translations",
    "date": "1986",
    "byline": "艾伦·塞库拉（Allan Sekula）、陈国森、Claude Fable 5",
    "publisher": "小该隐避难所",
    "publication": "原载《十月》（October）第39期，1986年冬季号，第3至64页。",
    "sourceUrl": "https://mp.weixin.qq.com/s/I_QeyUebSfnTQhYYHlijFw",
    "excerpt": "此文原发表于1986 年冬季号的《十月》（October）杂志上（那时《十月》还风头正盛），全文约60 页，随后被收入了理查德·博尔顿（Richard Bolton）编辑的文集《意义之争：摄影批判史》（The C…",
    "cover": "/assets/articles/sekula-body-archive-091.webp",
    "cardAuthor": "艾伦·塞库拉（Allan Sekula）",
    "titlePhrases": [
      "身体与档案"
    ]
  }
]