icon是一种Windows系统下的一种文件格式,类似的有*.ico、*.icon是一种图标文件,相比于jpg和png空间更小但清晰度较低
不同语境表达意思不一
1、按目前网络流行梗的用法,与idol相似,但ICON更具有模范性和标签性,从这点上讲icon>idol
2、对前述词起强调作用
3、icon在设计语言里是图标的意思,每个网站及APP都有自己的icon,通常与logo相近。
虽然不知晓icon作为网络用词的具体语境与内涵,但我希望更多人尤其是女性了解这个词的存在。
以下来自法国女性主义哲学家露西·伊利格瑞(LuceIrigaray,1930–)对icon的理解,她特意将其与idol(偶像)与fetish(恋物癖)做比较:
“For an objectified woman, love of self is arrested in its development. If an analogy were sought in that which already exists as a statute of representation, this love of self might perhaps be compared to the icon insofar as that differs from the idol and the fetish. In the icon, the passage from inside to outside occurs through the insistence of the invisible within visibility: the icon irradiates the invisible, and its gaze seems to gaze on the visible from out of the invisible, gaze of the gaze beyond our usual (?) perceptions. The idol, however, attracts the gaze but blinds it with a brilliance that bars access to the invisible; it flashes; it dazzles, it does not lead toward another threshold, another texture of gaze, of world, of meaning. Rather it destroys the horizontal perspective. The fetish is meant to be the place where innerness is guarded, or at least guaranteed; some ‘thing’ precious would lie hidden in it, precious because hidden, which does not mean invisible, nor even existent; the fetish would have us believe in a valuable mystery or a mysterious value; it would set up or destroy in seduction the power of the invisible. In painting, only the icon would speak and not speak the invisible, like a reality that must be recognized and not merely as the reverse side or other side of the visible, but as its texture, its shelter, here and now; which doesn’t simply mean within reach of hand or tool: another dimension would be involved, of the gaze, of speaking, of flesh. (1993)”
对于被物化的女性来说,对自我的爱在发展过程中就会停滞不前。如果要在已经存在的表象法规中寻找类比,这种对自我的爱或许可以与icon相提并论,因为它不同于idol和fetish。
在icon中,从内到外的过程是通过坚持可见性中的不可见性实现的:icon照射着不可见性它的目光似乎从无形中凝视着有形之物,凝视的目光超越了我们通常的感知。
idol吸引了人们的目光,但它的光辉却遮蔽了人们的视线,阻碍了人们进入不可见的世界;它闪烁着,让人眼花缭乱,但它并没有引导人们进入另一个门槛,另一种凝视、世界和意义的质地。相反,它破坏了水平视角。
fetish的本意是守护或至少保证内在性的地方。一些珍贵的 "东西 "会隐藏在其中,珍贵是因为隐藏,而隐藏并不意味着不可见,甚至也不意味着存在。fetish会让我们相信有价值的神秘或神秘的价值。它会在诱惑中建立或摧毁不可见的力量。
在绘画中,只有icon会讲述,并且不讲述无形之物,它只是作为一个必须被认识到的现实。并且,它不仅仅作为可见的对立面或是另一面,而是作为它的质地,它的庇护所,此时此地;这不仅仅意味着在手或工具所及的范围内:这将涉及另一个维度,凝视的维度,说话的维度,肉体的维度。(1993)
我的理解就是,对于女性而言,寻找自主性的重要关键在于找到世界的不可见性。被物化就是屈从于世界的可见性并将自己的身体视为其中的一部分,以致丧失了自我与世界产生内在联结的真正力量。而icon并非像idol一样通过直接讲述无形之物而剥夺了女性去凝视真实世界的自主性(追寻所谓的理想女性的光辉),也不像fetish一样以一种神秘的诱惑欺骗女性去相信虚假的不可见性(崇尚商品与拜物教)。icon只是一种中介,它向女性提供信念与力量,以此来凝视与触碰无形之物。