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  • 學位論文

我,機器人,雙人舞—《黃翊與庫卡》

I, Robot, Duet - HUANG YI & KUKA

指導教授 : 陳雅萍

摘要


這份論文的研究目標是探討「機器人」如何能夠跳脫工業生產,進入表演藝術,使我們人類有機會重新思考「身體」的意義。為此,我檢視了機器人、同理心與雙人舞在藝術欣賞之間的關係。這份研究藉由三個主要提問回答上述目標:(1)無生命的機器人如何在台上成為活生生的角色?(2)「觀看身體」(觀眾)是如何感知「舞蹈身體」(舞者)?(3)為什麼「雙人舞」這個形式特別適合展演人機共舞的特殊關係?為了檢視以上三個提問,我試圖定義「雙人舞」究竟是什麼?耙梳「同理心」的發展歷史,並運用神經心理學來理解「鏡像神經系統」如何啟動「同理心」幫助我們建立觀舞的藝術鑑賞經驗。並且,簡介由古老幻想化為當今龐大產業的「機器人」種類,以及這些人造物如何作為人類文化中的文本。 直至今日,別說是人機共舞,人與機器人合作的任何表演文獻都非常稀少,主要肇因於此類藝術作品在世界各地皆相當稀有,已存文獻多半聚焦於機器人工程學或新媒體藝術理論,各領域難有交集。我認為沒有領域比舞蹈學更適合擔任人機展演的研究途徑,畢竟,舞蹈研究所著重的便是「身體」本身。身體並非無從觸摸的無形概念,而是實實在在的物質存在。這份論文透過舞蹈研究,我們將更理解身體,無論是人類的,或機器人的。 幸運的是,這個研究課題能夠藉由實際的舞作來探討,更幸運的是,《黃翊與庫卡》這支舞作就產自台灣,使我有機會能親眼觀賞。1983年出生的黃翊身兼三種身份,他不僅是這支舞的編舞家,他同時是舞者,更可觀地,他甚至也是工業機器人庫卡的程式設計師。因此,《黃翊與庫卡》成為解答三個主要提問的個案研究。透過它,我將揭示人機合作的現代舞蹈如何在數位藝術中為無機體打造主體。 研究結果發現,雙人舞的三項要素與兩項竅門是製造兩人關係的要件,我使用這些條件來檢視舞蹈個案,解析編舞家是如何精心編排所有動作,以操弄觀看身體同理感知舞蹈身體的途徑,並且,我發現了與庫卡合作的三項限制,導致了這支舞蹈的特殊質地。這些發現提供數位表演藝術新的評論視野,說明了電腦介入藝術發展的益處,也闡明了若將機器人與人類不同的身體並列,會如何強烈影響編舞動作的發展。在研究的途中,我不再問「身體是什麼?」,因為一般健全人體視為理所當然的結構與動作,對其他樣貌的身體則不然。因此,我來到結論:身體並非自然而是「建構的」,並且心智就是身體,它與社會及環境都為每一個主體累積、刻印下獨一無二的知識與經驗。於是,我改而提問「身體能做什麼?」,透過直接以身體作為展演媒介與主體的舞蹈來檢視,無疑是思考這個大哉問的最佳方法。

並列摘要


This dissertation aims to illuminate how robots could be involved in performance art and our bodies, rather than being a labour in manufacturing. I examined the relationship between duet dance, empathy, and robots. This study is motivated by three research questions: (1) How a lifeless robot becomes a living character on stage? (2) How do “viewing bodies” sense and perceive “dancing bodies” in digital performances? (3) Why the form, duet, suits for question 1? To examine these questions, the study tried to outline the definition of duet dance, to explain the history and physiological structure of empathy system, and to introduce robots to more people who are interested in digital art. To date, literature on dancing with robots is so far little and no systematic investigation has been performed. Because such special performances are rare worldwide. Previous research has focused almost exclusively on robotics or new media theories. In bridging the literature gaps, a method is proposed. I developed theory in dance study to explain those three questions above. This research advances our understanding of “bodies,” both human and robot ones. Luckily, to illustrate these ideas, I found dance work “Huang Yi and KUKA” as a excellent example here in Taiwan. The 1983 born choreographer Huang Yi is not only choreographer and dancer but also the coder of the whole piece, all by himself. So the dance was used as a case study to show how human can dance with an industrial robot while developing subjectivity for inorganic substances. The findings from the research illustrated three essential elements and two strategies in duet dance. I used those findings to analyse the case, and discovered how the choreographer had manipulated the way viewing bodies perceiving a dancing non-human body. Furthermore, I found there are three restrictions when doing art with KUKA which led the piece to its characteristic effects. The findings provided support for the key arguments and offer insights into digital performance art, the benefits of computerised choreography, and how different bodies can impact on dance movement development. I conclude that “body” is constructed by physiological, social, and environmental knowledge/experience influences, and dance is the best way to “think” our bodies through.

並列關鍵字

movement duet empathy robot machine HUANG YI & KUKA

參考文獻


Chang, I-Wen (張懿文)(2014.Dec) Are Dancers Robots? A Theoretical Consideration of the Body between Human and Robot in Performance, Taiwan Dance Research Journal, (台灣舞蹈研究期刊), 9, p.109~123
鄒欣寧(2011年07月)。黃翊:我只是試圖找最接近我心中畫面的表現方式《PAR表演藝術》,第223期,p.56-57。
Merleau-Ponty, Maurice. (1945). The Body as Expression, and Speech. Phenomenology of Perception. NY: Routledge.
張君玫譯(2010)。《猿猴、賽伯格和女人:重新發明自然》(原作者:Donna J. Haraway),台北市:群學。(原著出版年:1991)
Hiroshi Ishiguro Laboratories. Retried from http://www.geminoid.jp/en/index.html

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