3D立體影像加強了深度結構的幻象感知己深入我們的日常生活。本文試圖論述影像美學進入3D擬像(simulacrum)時代的視覺感知衝擊,並重新反思新時代的影像本質。本文以Merleau-Ponty視覺感知現象為論述的思維核心,從理性主義「我思」的謬誤談起,強調返回視覺感知的首要性,來闡述Merleau-Ponty的觀看之道與數位3D影像的感知體驗二者之間的對話。本文嘗試以視覺感知中第三維度「深度結構」的觀點,探討影像從過往的2D維度到今日3D擬像,做為一個觀看的讀者主體,其感知經驗所達到的理解,我們如何去思考與解釋其內在性意義?從視知覺現象的觀點出發來看3D擬像對影像本體論帶來何種反思與衝擊?文中亦針對3D影像本質的思考提出了五項設想:光的基礎、仿真性、真實之內、虛實混融、時間性。
Three-dimensional stereoscopic images enhance illusion of depth perception and also have been applied into our daily life. This paper attempts to discuss the visual perception of image aesthetics into the era of simulacrum and rethink the ontology of the image. In this paper, the phenomenology of Merleau-Ponty's visual perception is elaborated from the fallacy of rationalist concept- "I think," emphasizing the primarity of returning to visual perception, and exploring the perceptual experience of 3D images from Merleau-Ponty's view. Through the perspective of the third dimension- depth structure, the study tries to investigate how spectators as reading subjects perceive and understand the immanent significance of the transition from 20 to 3D images. Moreover, how would 3D images challenge and impact on the ontology of moving images? Five assumptions have been brought out to rethink the nature of 3D images: the base of light, authenticity, inside of reality, the in-between merge of the simulation and reality, and temporality.