皮相的生存空間–片段與空缺的幻見

在這一篇論文中我將以電影、詩、小說作為我討論作品的參照。在創作中我用遊戲、行為去喚醒感知，並以實驗短片、錄像的方式進行創作，透過對創作的討論來研究自己的精神與行為狀態。影像讓一切都活著，因為影片擁有可切換任意時間的特性，以及這些片段之間的關係重組。這種活動影像所容許的任意性存在著許多可能，是可編造與延續發想的一種串聯狀態，並且同時存在著開始與結束，或是不會結束。所以我以實驗短片的方式創作，進入類似詩性、散文的狀態來挖掘自我。另一方面儘管有這樣的任意性，可是我不能回去也不能暫停；我回不到童年但我相信我是依附在一種模稜兩可，其中企望的是一種沒有絕對的定位，我既存在這個現實世界裡面，同時在我的「皮相」之後又可能存在著不同可能的我，「皮相」如同一個介面，存在於身體表層，是可被看見、觸摸得到的另一個身體，它像是通往自己身體裡面的一個入口，也是可隔離外界的一道牆面，是可被外界所觀看的一個身體表面，這個入口就像是一個切換的開關，它保證某種程度上的自由，可以讓我任意的切換在「皮相」的裡面或外面，就彷彿有兩個我可以切換，並體驗著這個「我們」。我想要感受的是一種將正在移動的時間凝結以及存在於影像之間緩慢細微的邊界，讓自己的異想具有一種敘事性的串聯。身體像是一種介面，讓自己在身體裡面看著外面，有著一種游移的特性，這種特性與我所要表達的時間與現實存在，或是說一個「幻像」，有著共同的性質，它就像是與虛有空間及真實世界中的遊戲，對身體知覺進行新的挖掘與釋放。由於可以切換在這樣不同的現實裡面，我們都可以擁有一個不會停止的故事與遊戲。

關鍵字

影像、皮相、記憶、遊戲、夢遊、虛擬、身體

並列摘要

In this thesis I discussed my artworks with movies, poetry, and novels as references. My artworks were created with experimental films and video recordings and through games and acts my feeling are recalled. By discussing my artworks, I tried to study my own thoughts and behaviors. Images make things alive, because they have certain characteristics that can warp time and recompose memory fragments. Those images have different possibilities that can be fabricated and extended the forms of different continuums which have their own beginning and endings, or never end actually. Therefore, I create my art pieces with experimental films which are poetic or essayistic to discover myself. In spite of the flexibility of time of space in my pieces I still cannot rewind or pause the real time. I am not able to return back to my childhood, so I am playing the role in the between. I live in the real world where there is another “me” hidden behind my own appearance. The appearance is an interface that exists on the surface of the body. It can be seen and be touched and fence off the outside world like a wall. It is also an entrance into my body; like a switch allows me to change between inside and outside of my appearance at will. It seems like there are two “me” switching in between and both experiencing the “us”. I want to feel time floating and catch the details between images, so that my fantasies could be narrated. Body is like an interface. I allow myself to stay within and look out from inside the body. It has the indefinite trait that coincides with the existence of time and reality I was trying to convey in my works. It’s like a game of the fantasy and reality; a game to discover and release our neglected talents. In the flat of transforming all of us can have a never-ending story and play.

並列關鍵字

Image, appearance, memory, playing games, sleepwalking, fictitious, body

參考文獻

黎煥雄譯，國立中正文化中心。

克莉絲汀•湯普森，大衛．鮑威爾著（Kristin Thompson）（1999），廖金鳳譯，

莫里思．布朗修著 (Maurice Blanchot) (2005)，林長杰譯。《黑暗托馬》。台

彼得•邦德內拉著 (Peter Bondanella) (1995)，林文琪，刁筱華，羅頗誠

Carroll, Lewis(2000),《Alice’s adventures in Wonderland》，Aladdin Classics

國際替代計量

皮相的生存空間–片段與空缺的幻見

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