- 學位論文
繞行視點: 維度間的影像運動
Orbiting Viewpoint: Image Movement between Dimensions
摘要
童年時至親的驟然離世，是一條記憶中漸趨微弱卻不可能中斷的線索，對我來說這個事件的重要性不在於該如何「記憶」或該如何「遺忘」它，或將它轉換為種種繼續前行的動力 — 放開時間 — 讓縫隙得以癒合。而更像是，它讓我學習到在客觀理性主導的時間觀中，持續撐開縫隙以減緩外在速度的重要性。撐開縫隙的動作可能是種不值一提的徒勞，但它卻讓我得以持續思考對生活或想像給我的種種問卷中 — 「留下空白」與「寫下零」兩種回應之間的可能與差異。 這篇論文書寫首先以 “開始之前—滯留與真空” 作為進入各章節前的「預備位置」，這個「預備位置」提示了一種看似在事物作用的引力圈之外，近乎暫停，但卻可能對未來產生積極意義的中心，這個位置既可被識別為「零」(計算上的無法定義)，也可被識別為在開始後無處不在的關鍵元素。 文中第一章「緒論」以“製圖者: 維度轉換的中介處”及”身體界限 / 視覺感知 / 單人座載具“ 兩節分別帶出了我在過去建築製圖訓練中如何開啟維度以及想像之間的關係，以及身體界限與視域之間的多重關係。 第二章「繞行 -- 維度」為此書寫的核心，第一節“時間中的縫隙: 意識記憶”主要關於我的兒時記憶事件，其中包括父親離逝、於近乎街無人街道上遊走所開展的個人歷史踏查平面、以及遊戲中的墜落等，這些事件層層地深化我對於時間與身體，過去記憶與未來的想法，也促使我思考均質線性時間之外的諸多想像可能。第二節“邊緣場域: 身體記憶”，透過個人曾施行的(心臟)半麻醉手術，同時論述身體(觸覺)感受的喚醒 — 一種非「內」亦非「外」的交揉觸覺。以及被迫分離，卻緊連在 “發生中” 場域之外的「邊緣視點」。 第三章是關於錄像新作《繞行—視點練習》，書寫從“屏幕”與“窗”兩種分別關於直接視知覺與數位載具視覺在空間上的差異與關聯開始，接者進入拍攝“百葉”的來回繞行(Orbit)運動(旁敲窺探逼近死亡維度, 直視無法看見)，來開展出一方面凝視過去，卻也同時容納視域周圍全體的未來想望。
並列摘要
During childhood, my father’s sudden serious breakdown is a gradually fading but yet possible disconnect clue. For me, the importance of this event is not simply about how to “remember” or how to “forget”, or to change it into a variety of driving force in order to maintain moving forward — release time — let the gap (wound) heal. But would be more like, let me learn to understand the importance of keep breaking the gap, in order to slowing external speed within the concept of time being dominant by objective rationality. The behavior of keeping break the gap might be a not worth mentioning futile attempt, but it do motivate me keep thinking about the possibilities and differences of a variety of questions what life or imagination gave me, in between two kinds of reactions: “leave a blank” or “write down zero”. This thesis writing begin with “Another Foreword - Retention and Vacuum”, as a “prerequisite position”, prompted a center, which seemed outside the context of the gravisphere where things interactions — nearly pause — but possibly providing positive meanings toward the future. This position can be recognized not only as “zero”(cannot be defined in calculation) , but can also be recognized as a ubiquitous key element after the start. First chapter ”Introduction” is divided into two sections, they severally brings out how my past architectural drawing training could re-open the relationships between dimensions and imagination, and the multiple relations between the limitation of body and the field of vision. Second chapter “Orbit - - Dimensions” is the core of this writing, first section mainly about my childhood events in memory, including father’s death, a personal on the spot historical investigation developed by my past experience wandering around the nearly unmanned street, and unexpected fall among field games. Those events, layer upon layer, deepen my ideas about time and body, past and future, also motivates me to think about the multiple possibilities beyond linear time. Second section, through a personal surgical heart operation, discussing the awakeness of body sensibility — a twined sense of touch which cannot be simply classified “inside” or “outside”. And a “Viewpoint on the edge”, which been forced to seperate, but closely joint with the side of “happening” field”. Third chapter is about my latest video work “Orbit - Viewpoint Practice”, the writing begins with the spatial differences and relations between “screen” and “window”: two different kinds of perceive mode severally about the visual experience of “to direct see”, and another of “to see with(in) digital tools”, then into the shooting of a back and force orbit movement on “blind” (a closer attempt peeking death dimension), to unfold a aspiration toward future — gazing the past — but simultaneously contain the whole surrounding field of vision at present.