- 學位論文
平行的世界——觀看影像的模糊邊際
Establish the Parallel World: Breaking the Screen
摘要
一切事物，我們不能忽略其必有「信仰」。然而我所關照的到底是什麼，自己一時似乎也很難去描述，不過相對於偉大的事物，我選擇了一些表面上看起來很輕的事物。相較那些偉大的（甚至可以說像藝術這件事）；這些看似輕盈的人、事、物，卻似乎只被安排（有點宿命似地）寧願在那兒或就這樣如此下去。 在科技日新月異與數位影像技術不斷提升的今日，人們幾乎持平地擁有影像中的世界，然而，觀看這些如此細膩的影像過程中，我們是如何再一次看待世界？很多時候，看待事物的角度，往往左右我們對於本質認知上的差異。就像我們起初只能站在地球上看到太陽下山；不過因為物理科學發展的進步，我們近一步便發現那其實是地球自轉所造成的結果。然而，其實沒有所謂的對與錯，這中間只取決於你「站」在哪裡。我的影像作品並非藉由錄影媒介之特質或物理性來突破視覺藝術的範疇，甚至只把它當成是我的另外一雙眼睛，把我所關照的事物「紀錄」下來。這些紀錄，與其當作是「看」的對象，但我寧願將它們視為「被看」的主體。我永遠在這樣的關係結構中，透過一次又一次的「看」與「被看」來組構我影像中的世界。 本文共分四章，第一章節從自身觀看周遭世界的經驗開始談起，從自身所看，轉而進行拍攝，這其中的「轉」，它背後所支持的意識是什麼？本章在試著描述我「看」如何成為我的「影像」，也就是正如一個所謂「觀看世界」的世界。第二章節談的是拍攝及影像後製的轉化，企圖藉由過去創作的脈絡講述影像世界如何過渡形成另一窗口視域。第三章節則進一步以我所拍攝的對象（物質）來深刻闡明影像世界的向度及內容。第四章節以全新的《無影》系列作品來談近期創作上的轉變及探討。結語企圖以一個「將來」的時間軸回頭看待自己影像的位置及意義，在影像無所不在的環境，自己的影像如何可能？實則以另一個開始的面貌向自己的創作來做提問和回應。
並列摘要
In all things we must never overlook the necessity of “faith,” but when I consider what it is that concerns me most, it is suddenly difficult to put into clear concise words. As opposed to great things I prefer to select things that on the surface appear much lighter. When compared to great men (or things such as art), people and things that appear more lightweight are arranged (somewhat fatalistic in nature), preferring where they are or continuing onwards in the same way. In today’s world of advance technology and ever-improving digital imaging technology, everyone seems to own the world depicted the image. However, as we view these delicate images, how do we see the world from a different perspective? In many instances, our perspectives would result in the differing ways in which we perceive things. This is evident in the fact that at first, we could only see the sun setting on Earth, but overtime, the progress made in physics has led us to realize that this was due to the Earth’s rotation. However, there is no such thing as right and wrong in this case; rather, it depends solely on where you stand. I must note that it is not my intention to break through the limit of visual arts through the physicality and quality of recording as a medium. In fact, I regard my works as another pair of my eyes that I use to “record” things of my concern. I would rather treat these recordings as the subjects “being seen,” rather than something to “look at.” It is through this relationship of “looking at” and “being seen” that I construct the world through images. The full text consists of four chapters. The first part concerns the personal experience of viewing the surrounding world. Changing from a viewer to a filmer, I would like to discover what kind of consciousness behind this “transformation.” Moreover, to discuss the images derived from what I viewed, which is the world of my viewing world as well. The second chapter deals with the transformation of filming and photo retouching. Likewise, basing on the context of my previous image works, narrating how the image world could transit to be another visual perspective. Chapter three is mainly clarifying the dimension and content of image world through the objects I filmed. As to the final chapter, taking my brand new work series “Shadowless” as a case study to review self-transformation within my recent artworks. In the conclusion, through a way of “future” timeline, I attempt to find out the significance of personal image position and the possibility, particularly in the environment with ubiquitous images. Meanwhile, the process could be regarded as a start point of reflection and response to my creations.