拾光˙機器：記憶空間的絕對之境

記憶是人的生存過程中，情感與思想在生活實踐中過去式時態的印記。個人的記憶又是一個繁複、龐雜的未命名的經驗和已命名的詞彙揉合而成的封閉體系。回返、追憶是生命實踐的創造力為過去的經驗重新認識自身的內在需求。在時間與空間的不可逆轉特性，在回憶的運動模式下時空被裂解，形成一種逆向的時間觀。追憶時讓某種新東西重複自身，進而重新建構，而與此相聯的是一種嘗試，一種「選擇性」的重構，重複所涉及的意志是最深層而內在的要素，是涉及個人的潛在意識世界。創作者將內在的不可見的世界，藉由物質、圖式作為意念的表達，為「自身」提供曾在的證據，而影像圖式本身是歷史，這個歷史保障了我們自身的真實性。對於當代的創作者來說，影像和記憶的圖式都是一種體現內在意識的方法，這種方法實現了從我們有限的感官所不能觸及的過去展現於現時。本文藉由記憶的「回返運動」作為認識自身的一種方式，同時將內在的精神欲望和心靈感悟作為自身表達，透過「曾在」之物的重新構畫與創造，是一種「思之聚合」，是一種「省察」，是一種不自覺地融入自主意識的過程。回憶不是邏輯能洞悉的事物，而是探討心靈深處對於生命存在的意義，以及真實的自我與靈魂的歸宿等，以「認識」和「實踐」兩種方式達到對自身存有的體現，同時藉著自身創作的實踐，思考內在性的思維意識，在碎片化的時代體現另一種自身的生活審美意識，以及在超越自身後進行未來的可能。

關鍵字

記憶；劇場；異質空間；綿延；圖式

並列摘要

Memory is an imprint of the past tense in the process of human survival and the emotions and thoughts in life. Personal memory is furthermore a closed system of complex and cluttered unnamed experiences blended with already-named vocabulary. Returning and recalling is the creative inherent need to re-understand the self through past experiences. Under the irreversible characteristics of time and space and the split of space under the mode of movement of memory, a kind of reverse view of time is formed. Recalling can reembody certain things and then reconstruct them. Associated with this is a kind of attempt, a kind of “selective” reconstruction, which is a duplication of the mind and is the deepest and most intrinsic element, that related to the world of personal potential consciousness. The creator will provide evidence of the “self” in the inner, invisible world through the expression of ideas by means of materials and schemas. While the image schema itself is historical, this history ensures the authenticity of our own. For contemporary creators, image and memory schemas are methods to reflect the inner consciousness. These methods actualize the now that emerges from the untouchable past derived from our limited senses. This article employs a “return exercise” of memory as a method for self-understanding while inner desire and spiritual realization serve as self-expression. The re-creation and creation of objects through “gewesenheit” is a kind of “reuniting the mind,” a kind of “self-examination,” a kind of unconscious merging into self-consciousness. Memory is not a means to provide logical insight, but rather a way to explore the depths of the soul for the meaning of life as well as the true self and the homestead of the soul. By employing the two methods of “understanding” and “putting into practice,” self-existence materializes. While at the same time, by self-creating, we contemplate the inherent awareness of thinking. In the era of fragmentation, it embodies another kind of life aesthetics of the self, as well as the possibility of transcending beyond the self into the future.