當代影像藝術媒材的多義性及形式運用探究

Studies on the Polysemy and Form Application of the Contemporary Video Art Media

馮勝宣(Sheng-Shiuan Feng)

《環球科技人文學刊》 24期 (2018/07) Pp. 67-81

摘要

本文嘗試於當代攝影、錄像、影像裝置甚至擴及到紀錄片等影像藝術範疇，此在與科技、視覺儀器開發更迭及操作上，有著緊密難分的相互影響效應及依存關係的獨特創作型態中，探究其於前端技術性操作以外，藝術家自概念、取材、形式運用乃至展呈方式等各層面更為關鍵且更應被整體思考的層面進行論述。本文之論述架構為自影像本質上的辯證性邏輯切入，進而探究藝術家於影像媒材與創作思維間的抉擇應用，到展呈形式上的多重考量等為主。並以多位攝影、錄像、電影甚至紀錄片藝術家作品作為研究案例，同時參佐羅蘭巴特對影像本質的多義性論點予以延展，進而將多頻道影像、影像裝置、循環播放等影像藝術之獨特型態及其效應，整體、綜觀性地進行探究。

關鍵字

影像藝術 ； 多義性 ； 鈍義 ； 多頻道錄像 ； 影像裝置 ； 循環播放

並列摘要

This paper is applied into the contemporary video, image art and other video arts. In those unique creation forms which is closely related to technology, the development, iteration and operation of visual device, artists make a detailed analysis in more important and acceptable levels, including the concepts, material, form application and representation, in addition to the exploration into the front-end technological operation. This paper starts from the essential dialectical logic of video, then illustrates the artists' selection application between video materials and creation thought, and takes the multiple considerations into representation. Taking the several artists' videos, video recordings, films, and documentaries as the case study, this paper explains the unique forms and effects of multi-channel video, video device and loop playback through referring to Roland Barthes's fourth meaning form of video which is derived from the video's polysemy.

並列關鍵字

Video Art ； Polysemy ； Obtuse Meaning ； Multi-channel Video ； imaging device ； Loop Playback