就這樣子了-身體迴盪的影像

從創作的歷程當中已視為理所當然的事情，發現很少正視或是根本拒絕關切到自己生活以外的部份，大部分毛病性慣習將自己置放跟外界隔絕的生活狀態中然後出現一個像是我卻又不完全是我的人佇立在旁，去觀看聆聽自己，像是一個自己也正在經歷卻有在觀賞的角色，被動性的或許不能說是被動性而是好端端的立在當場即時性聽與見，或是主動彎腰傾身觀看聆聽著，在大多自我聆聽的過程當中，一次又一次，跟自己身體產生對話聲響，或是腦內運作內在的眾多的他者產生場景佈局，也因此創作。這次在關注以前到現在的脈络以及在各時各地的位置點，在當中穿插提到從2002-2004年的實驗電影還有2003-2006錄像作品，再加上討論2005年十月在伊通公園的個人展覽 < 毛牛-曾御欽個展 > 從這個人展覽當中所有的作品以及空間來敘述我自己本身是如何對待影像，以及我如何呈現佈局腦內場景，以及對呈現影像的觀點或是實踐。第一章節，是大約敘述何謂眾多自身他者，以及我將腦內喻為綿延的森林，而這些他者是森林當中的幻獸，包括可追逤怪獸:有關父母親生命歷程遺傳過繼下的角色，在幼童時期幻想朋友隱形的朋友或是手造漫遊繪畫產生有形角色，或是不刻查出的怪獸:記憶幻獸的互相透成為新狀態，或是怪獸雜交或是自生產。第二章節，主要是從腦內森林，各色所謂眾多自身的他者如各異怪物幻獸在腦內自行漫步，而在腦內無限綿延森林相遇而佈局產生風景。將這些場景聲響聽視後置入到對外的部分，當時在那當下忽然腦內風景光影，在腦內成像之後我如何呈現，在作品上對影像，影像跟身體以及當中角色的觀念，我是如何選擇，還有對於影像我為何要如此呈現，奇幻異獸的場景光影成全。第三章節，主要是以我在伊通公園的個人展覽 < 毛牛-曾御欽個展 >在空間上我是如何呈現，以及說作品被產出之後跟我自己斷絕關係，最完美的場景是不可被取代，也，來說我對於作品跟自身以及對外改變的部份。第四章節，是做一個完整性的總結，説出對於追尋影像那剎納的迷失，還有對於<希望>將這幾年時期的創作產生以及想法作一個完整性的總敘述。

關鍵字

迴盪,錄像,身體

並列摘要

While seeing it as a matter of course through the process of producing, I realize that I rarely face up to anything irrelevant to my own life, even refuse it. Habitually deposing myself in a cocooned life as a fault, someone like me, but not an exact me, appears beside me, looks on myself, as a part which self is not just experiencing but viewing, passively, or perhaps not, but in a good condition, immediately hearing and seeing on the spot, or bending down and listening and looking actively. This self-listening brings the noise of a dialogue between me and the body, or multitudinous others inside my brain producing scenes and composition, so creations come into being. This time follows the vein to date and the position in every time and everywhere, interweaves experimental movies from 2002 to 2004 and video works from 2003 to 2006 in between, plus discussion about the personal exhibition “ Oxy- Tseng Yu Chin” in IT park in Oct, 2003, through the works in which, expressing how I deal with images myself, present and composite the scenes in my brain, and the viewpoint of presenting images or practice. The 1st chapter is about the meaning of self-others, and allegorizing the inside of the brain as an extended forest. These self-others are the chimeras in the forest, including the referables: the roles which adopts from parents’ life experience, friends who fantasized invisible friends in the childhood or casually drawn figures; or the anonyms: memorial chimeras permeate one another into new states, or hybridize, or agamic multiply. The 2nd chapter describes the varied self-others wonder inside the brain like the chimeras, and come across one another in the extended forest, the inside of the brain, and the scenery comes into existence. Posit the scenes and noise behind into outside, the sudden picture in the moment, how I present it after its imaging in my brain, how I choose in the works, images and images and body, and the parts in between, and why I present the images like this, all because of the pictures from the chimeras. The 3rd chapter is mainly about my personal exhibition in IT park “Oxy- Tseng Yu Chin”, how I present the space, that the works split up with me after being produced, the most perfect scene is unreplaceable, and what I have changed in my works, myself and outward. The 4th chapter is a complete summary about the loss of chasing the split second of an image, the “hope” of the producing and thoughts from the works