懸浮社會的影像夢遊

超現實主義詩人布列東在1924年的《超現實主義宣言》中，引述韓波的這段經典詩句做為結束。「在富於詩意的夢幻想像中，周圍的生活是多麼平庸而死寂，真正的生活總是在他方。」如此，影像做為一種能夠創造幻境經驗的觀影工具，使人能夠真正短暫脫離在規則之下，充滿慌亂雜序、詭異秩序和均質邏輯組成的平面世界，躲進一個由藝術家所創造出的烏托邦；內裡反應現實社會於集體運動下，不自覺莫名而生的慣性，社會的荒誕、詭譎、怪誕等生活集體異狀；正因為真實社會是如此的平庸、均質、乏味，我得以用錄像、動畫、影像，幻想與創造，使理想得以救贖，捕捉各種麻痺幽微的超現實模樣，勾勒更細微的真實。我將對社會與自我座標對應的觀察，透過動畫影像的工具特質後製、凝縮、建構、塑造如夢遊幻境一般的烏托邦，思索著如何在鬱悶窒塞的年代裡，帶著超現實的影像方式端看這混沌的異象世界，在現實和夢想間找尋出口，追尋永遠的它方。本篇創作論述將研究所時期的作品以相關文字、哲學、電影、書籍、詩句等學理和個人特殊紙糊靈偶背景做連結，回應我從社會觀中所顯見的各種異質現象，並進一步討論筆者從”動畫創作”延展至”錄像、影像投射裝置”兩者之間的轉變與關鍵看法。前兩章則是以介紹研究所時期創作背景思維與創作核心，作品回溯則是以線性時間回溯每件創作的自述與當下，其中《Renew The Future Not Future》、《截景島系列》、《陰極射線管的神祕儀式》、《紙人展與新興糊紙店系列》是透過錄像動畫的影像製造夢幻的幻象，揭示社會的異樣，以及我對動畫創作核心的不同演變，《Animation daily》等手稿物件，則因”限地製作”重新觸發影像思考本質，藉由思考本質而重新提出在時間至外如何延續影像知識的可能性，而這影像物件則對應在未來紙偶動畫大型計畫

關鍵字

怪誕、詭譎、超現實、夢遊

並列摘要

In his “Manifesto of surrealism” (1924), André Breton quoted Arthur Rimbaud’s poem "La vraie vie est ailleurs” (true life is elsewhere). As a tool of manufacturing fantastical experiences, the image temporarily takes one out of this chaotic, nonsensical and logically homogeneous, two dimensional world, into an utopia created by the artist; collective movements of the society creates introspections that give rise to inexplicable habits, uncanny and bizarre collective symptoms; due to the lack of meaning in our society and it’s banality and homogeneity, I have resurrected my idealism by creating virtual worlds with video, animation and images, capturing the surrealism in life’s glimmers of numbness, sculpting a more delicate version of reality. Through animation tools, I condense and construct an utopia with respect to my observations of the society in relation to my own coordinates; contemplating ways to inspect this grotesque world through surrealism, in search of the eternal elsewhere in this depressing congested age. This thesis contains literature, philosophy, movies, books and poems in relation to my background in Chinese funeral paper dolls, interweaving the work I’ve done during my graduate studies. This is a conversation between my observations of the eerie phenomenons of society, extending to the transition of “animation” to “video, projection installations”, and how they relate to each other. The first two chapters introduces the central themes of my creations through graduate school with a linear timeline, the series “Renew The Future Not Future”, “Clips-Island series - Lost Path、SearchLight01、SearchLight02”, “Ritual of Cathode Ray Tube”, “Hsin Hsin Paper joss home” are created through video animation reflecting upon the bizarreness of society and my own development through the process. The hand drawn pieces of “Animation daily” are site specific and this triggered a change in the way I regard the essence of image, this opens up new possibilities of dialogues concerning image, and will be incorporated into my future series “Hsin Hsin Paper joss home”.