沉失/沉思：一個現象學流形的新媒體藝術創作研究

對運動（motion）的不同觀念思維影響了新媒體藝術的創作與解讀。本論文將 Sinking 視為空間維度之間的運動，從低維空間進入高維空間稱為嵌入（embedding），從高維空間穿越低維空間稱為浸入（immersion），「沉」、「失」兩個字代表著這兩種不同 Sinking 運動的現象。 Sinking/Thinking（沉失/沉思）是一個以現象學流形（Phenomenological Manifold）的觀點進行的創作研究，探討Sinking的運動（Motion）與非運動（Non-Motion）現象，最後完成Sinking系列新媒體藝術作品，表現跨越低維空間和高維空間的影像游牧。作品《Sinking》不論是影像或是音樂，都希望以一種直觀的方式，將意象顯現出來，從眼睛、身體、爾後影響到心靈，最後產生新的意識和想法。若以身心變容的觀點來說明，其實就是從身到心到意識，一個階段性探討如「沉浸」的感受過程，並以「四角對當」的關係來思考「沉」、「浮」間的對應關係。因此，整個作品是以一個流形的概念來表現多重的可能性，也會和時間空間聯想在一起，這也就是為什麼將音樂和視覺藝術類比在一起的原因，因為，這一切都和時間空間有關係。以量子敘述、創作或解讀數位藝術作品，其實不僅是一個敘述性的故事情節，也可能會有許多說法，這是與每個人的理解或知識背景習習相關的，所以也需要有相關的知識背景才能有相關的體驗感受。因此，希望透過這樣的創作與研究，和所有欣賞者一同分享這樣的一種思考邏輯和觀看體驗。

關鍵字

沉失/沉思；流形；跨維度；數位藝術；新媒體藝術

並列摘要

Different motion concepts can influence the creation and interpretation of New Media Art. In this paper, Sinking is regarded as the motion between spatial dimensions. It is also further described in two terms: Embedding and Immersion. The two Chinese characters: “沉、失”are interpreted as Sinking and Missing, which represent the two different sinking motion phenomena. Sinking/Thinking is a creative research based on the perspective of Phenomenological Manifold, from exploring Sinking's Motion and Non-Motion phenomena to completing the Sinking series of New Media Artworks; this research spans high and low dimensional space. Whether it is video or music, “Sinking” hopes to reveal the image in an intuitive way: start from what the eyes see, the body feels, to how one’s soul might react and finally generate new consciousness and ideas. To explain from the perspective of body’s and mind’s transformation, it is actually a staged discussion of the process of “Immersion” -- from body to mind to consciousness. In addition, the relationship between “Sinking” and “Floating” is discussed from the perspective of “Square of Opposition”. The whole work is based on a manifold concept to express multiple possibilities, and the work will also be associated with time and space. This is why music and visual art are usually being compared with each other, because they are related to time and space. Narrating, creating, or interpreting digital art works in quantum terms is not only a narrative storyline, but there may also be many different interpretations. This is related to everyone’s understanding and learning process, so relevant background is also required in order to be able to share similar experience. Therefore, I hope to share this kind of thinking logic and viewing experience with all audience through such creation and research.