從這裡走進，在那時說出

此篇創作論述將描述在影像和聲音的創作中，如何以「景」的概念將感知身體的時、空經歷用影像和聲音的蒙太奇運動，虛擬出對於時間與空間的記憶和想像，並且試著以文字說出影像如何化為--「景」，成為身體感知的另一拘留之地。「從這裹走進，在那時說出」的題目所圈圍出的是一個如「外邊」、「域外」的時、空縐褶之「景」，「走進」的某地不是「這裡」或「那裡」，是一種移動及流變的欲望之「景」；而「說出」指的是影像當下的作用顯現成「景」，也是和他人及世界並存的介面，當「走進銳出」時，時間與空間開始作用。此次創作除了延續以往空間裝置作品中的主題—藉由特定場域的空間經歷一「景」來顯現自我的存在處境。並且也對於使用影音媒體做為創作形式時面臨著「時間」的存在責難做出回應。在以往的裝置創作中，作品所圈圍的空間總是以「人的缺席」的狀態存在著，作品中的時間也同時靜止，說時間靜止倒不如說是被「懸置」，因為時間和空間在裝置藝術的手法上總是策略性的等待著觀者的「出席」後才開始運作，但是在所謂影像呈現的空間中，我將活動影像當成是一種「誘捕」觀者視覺和自我誘捕的誘餌，所謂自我誘捕及誘捕的完成就是將自我存在的經驗影像化後，影像反而以陌生、虛擬的返觀，回饋到我的感知身體。創作關涉創作者自身，所以我的影像創作就是作為一創作者的我可以在作品中以「臨場卻又缺席」的方式，於自身現實和影像之間打開一個流動的空隙以供意調坏口感知游移的「景」。此篇文字的鋪陳，在在追趕著創作中我與作品相互的影響和感知狀態，當然，也嘗試用文字的書寫形式去描述作品的膚廓。創作者時常困窘於文字或語言的思維模式與詮釋權力的纏縛，進而產生感知描述的焦慮，但我認為此種恐懼文字思考凌駕作品的情境是因為不了解文字或視覺作品都是表達感知、意志的形式，它們各自有其存在的不可替代性，如同身體和影像也能因相遇而相互產生「補遺」的作用，於此，當代藝術所具有的多元性才有對話的可能。

關鍵字

影像；景；圖庫；感知；虛擬

並列摘要

This thesis discuss about how to simulate the memory and idea of time and space, using the montage movement of image and sound, from the time and space experience we sense our bodies, with the concept of view, and try to describe how images are transformed into view, thus forming another repository for our body senses. "Walk in Here, Speak out Thereafter" express a "view" of time/space fold which is like "out there" and "outside", the place we "Walk in" is not "here" or "there," but a view of moving and varying fascination, while "speak out" means the image forms the "view," also the interface of the co-existence of others and the world, when "Walk in/speak out," time and space reacts with each others. In addition to extending the topic of past installation works, i.e. demonstrating the existing circumstance of oneself with "view," the experience of certain spaces, the work also responds to the censure about the existence of "time" when audio and video is used as a medium. Before installations always cover the point that space exists with the condition of "absence," because time and space, in the form of a installation, only starts strategically with the "presence" of the audiences, but in the space of image presentation, I assume moving images as bait to "entrap" the sight of audiences and lead them to a state of self-entrapment. The meaninu of self-entrapment and the completeness of entrapment is that after transforming self existence into images, while the image feedback to our sensinie bodies in an unfamiliar and virtual way. A work concerns the artist. As an artist, my image work is a "view" for me to achieve, as my work, the condition of "present but absent," forming a running gap between the reality and the image for the wavering mind and senses. This text comes after the affection and senses between me and my work, and，as it should be, tires to describe the contour of the work with words. Artists always have difficulties to think in words and confused with the interpreting authority, thus being nervous on perception description. But I suppose the fear of words over the work is due to the misunderstand that both written words and images are forms to express one's mind and senses, they have their own indispensableness, same as the producing of "supplement" effect from the confrontment of bodies and images, thus, having the possibility to give contemporary art heterogeneity and multiplicity.