新光學鏡像前認同與誤認的傾情演出

Ecstatic Performance of Misrecognition in front of the Contemporary Mirror

陳怡君(Yi-Chun Chen)

《藝術論文集刊》 25期 (2015/10) Pp. 49-73

摘要

人在鏡子前確立自我意識的過程有如一齣戲，個體在鏡前觀看身形反射是認同構型的重要場景，在此場景人對鏡像這虛設的複合體投射各種欲力，此過程幾乎是忘情且入迷的。精神分析學說藉「鏡像階段」指出，每個人都是通過他人的維度抵達真實，本論文將以這理論作為研究基礎與問題意識，去探查「他人」如何從一面鏡子的原始型態，隨各種光學的影像採集技術慢慢演化出越來越複雜的主體間性。本論文依成影要素分為兩階段，為區分筆者將第一階段命名為「銀本位」影像時代，影像感光於各種「銀」之介質，約在十九世紀中葉以後到二十世紀後半期；第二階段是1970年代數位相機與液晶螢幕發明之後，也是影像從類比轉化成數位影像的關鍵年代，成像原理從間接光影反射變成光透射。當所謂的「影中人」慢慢從「銀之幕」移動到「螢幕」時，現代人的形象在各種尺寸的液晶螢幕中現身，並大量被上傳到網路與眾人分享。一齣新型態的認同戲碼開演了，當認同需依靠自身以外的某對象承認時，這種漫反射的形象需經更強烈的整形術才能統一出整體。當代的鏡像投射在一個更多維、更即時變化的他人場景，在這數位鏡像前又會有哪些力量可能迫使主體產生誤認或分裂，在這新認知情境所衍生的視覺習性與主體間性即是此論文之研究對象。

關鍵字

鏡像階段 ； 光學裝置 ； 主體間性 ； 快照熱衷

並列摘要

The process of man established self-awareness in front of the mirror is like a play. The individual in front of the mirror to watch reflected image is an important scene. In this scenario, the performance of self-identity drama is almost attractive and fascinated. People wanted to catch the image even invented the technique of photography. The ＂mirror stage＂ is one of important theme of Lacan's psychoanalytic theory, it is the process of empty ＂body＂ configured in a mirrored environment, being subject to the ＂I＂ in the form of a mirror Phantom summoned. In this paper, according to image elements are divided into two phases. To distinguish the author called the first stage as ＂silver standard＂ video age, in the mid-nineteenth century to about half of the twentieth century, which photographic or image on light-sensitive signal containing a variety of ＂silver＂ media. The second stage is after 1970 digital cameras and LCD screen invention, Analog video is converted from digital images of key years. A new drama is performing, uploaded shredding body image need much stronger plastic surgery to shape self-integrity. The so-called identification is the body with projected way in the libido projection, recognizing, accepting and absorbing to a person or object besides himself, it is a mechanism of self and body composition. But Contemporary mirror, projected in a multi-dimensional some other person scene. In front of this digital image, what kind of power could force the body to produce the misrecognition or split? In this new circumstance of realization, derivative visual convention and intersubjectivity is the object of this thesis.

並列關鍵字

Mirror Image ； Optical Device ； Intersubjectivity ； Addiction to Snapshots

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