本論文以作者個人生命經驗中的我執感受,以及科技網路統攝時代下人們藉由網路數位媒介抒發情感、表現自我的群體互動行為現象,分別來探討情感在不同〝機體媒介〞的下曖昧拉鋸與依存的關係。基於上述創作動機,作者創作〈手丸〉〈匍匍匐〉兩件互動藝術作品來探討《機體模態下的情感性肌膚》之議題。兩件作品不管從身體的面向、科技媒介的角度,「情感」的概念始終都是作者創作的最基本核心。 本論文的兩件作品均是透過機械動力裝置來呈現機體與情感性肌膚彼此間的依存關係。〈手丸〉是一件流體動力裝置作品,由一鐘擺裝置往復擺動著,裝置上有一循環流水牽引著一顆白球來回運動,觀者透過身體介入將球拿起放回,白球最後又回到水流牽引的運動中,觀者與作品間呈現一種象徵「我執」的互動關係。〈匍匍匐〉是一件網路互動裝置作品,由四隻象徵生命情緒的語言符號生物的裝置構成,四隻符號生物頂端各裝置著「!」、「?」、「,」、「。」呈現著人們在網路社群留下情緒文字符號,而這符號充斥著我們日常生活,無所不在圍繞著我們參與的每一事物。數位時代下人們習慣性的以指尖敲打著我們的情緒並由這些符號帶引傳遞出去,它代表著我們當下的情緒,有驚訝的、肯定的、困惑的、以及沒說完的與不想說的,這些網路情緒經由網路傳至〈匍匍匐〉,使之變成符號生物在現實空間中閃爍爬行。 兩件作品之執行方法以及相關作品的探討亦在本論文有詳細描述。而論文最後也針對展場觀者參與作品互動後,是否能與遠地網路觀者可達到雙向互動的回饋作進一步探討。
The mechanism and emotion have been the main core concerned by the author in his art creation. In this thesis the author discussed the topic of “Emotion Skin Beyond Organic Mechanism” by two pieces of interactive art works - “Atma-graha” and “Pupufu”. These two works both explored the interdependent relationship between the mechanism and emotions via mechanical installation. “Atma-graha” is an installation art of fluid mechanics. In this work, the pendulum swings back and forth on it and a white ball is dragged by fluid. When the audience picked up the white ball and put it back, the white ball will be controlled and dragged back by fluid finally. The situation represents the author’s current mind. “Pupufu” is a net installation art. It was constructed with four machine creatures which symbolized by punctuation related to different emotional symbols. The four machine creatures are installed by Chinese punctuation symbols “!”, “?”,”、”, “。” separately. Those symbols were typewritten by people through the Twitter and MSN virtual community in internet. The emotional symbols are full of our life and they are ubiquitous around our every single thing. These emotion symbols were converted to a dialogue and made“Pupufu” twinkle and creep in the space correspondently. Besides, the author also described the implement methods and discussed the related works in this thesis. At the end of the thesis, the author reviewed and probed the possibility of tow-way feedback between the audience in the exhibition and the remote audience in internet when they interactive with the works.