身體，複像及其數位替身：蘇文琪在《Loop Me》、《Remove Me》與《微幅W.A.V.E.》中的身體意象與數位美學

近年來，科技跨域的具體展現與劇場、舞蹈等表演形式快速結合，並以「跨藝術」或「跨媒體」的藝術實踐，強調著音樂、舞蹈與戲劇等各藝術元素的跨界融匯。相較於傳統表演藝術，「數位表演藝術」的創作過程不僅增加了複雜性、互動性與科技景觀等特徵外，更需要透過跨領域合作的方式來共同完成，並將數位技術運用於舞台佈景、機械裝置、影像與聲響等；數位表演藝術作為當代藝術形式的表現形式之一，更讓參與者參與在支持製作人意圖的環境之中。本研究試圖以數位表演為核心，結合科技文化相關論述，探究蘇文琪在《Loop Me》（2009）、《ReMove Me》（2010）與《微幅W.A.V.E.》（2011）系列創作中所運用的數位科技，及其展現的身體、身體影像與數位替身的意象，剖析身體在其創作中的流變與狀態。

關鍵字

蘇文琪；身體；複像；數位替身；數位表演

並列摘要

In recent years, the characteristic art practice has rapidly developed by integrating digital technology, theater, dance and other performing form, and claimed its uniqueness of interdisciplinarity and trans-media. Compared with traditional performing arts, digital performance not only increases the complexity, interactivity, and techno-scape of its creative processes, but also requires interdisciplinary collaboration to complete a work of art. Digital technology is implemented to scenography, mechanical installations, audiovisual elements. Besides, digital performance, as one of manifestations of contemporary art forms, allows audience to participate in the environment in order to support the intention of producers. In utilizing techno-culture discourse and based on the form of digital performance, this research attempts to analyze the transformation and condition of body in series works of art, Loop Me (2009), ReMove Me (2010) and W.A.V.E. (2011), created by SU Wen Chi in order to comprehend the symbolic meaning of technology implementation and the representation of body, its double and digital twin.