身體行爲與極限體驗的影像探討－以馬修•巴尼的錄像藝術爲例

本文以戰國時期一件北方草原地區出土的黃金牌飾爲分析對象，試圖發掘一種文獻以外的美學意涵。本文在「器之顯現」的四個主要因素，即「質料因」、「動力因」、「形式因」與「目的因」，從工藝、現象觀察、形式分析、考古脈絡、圖像意涵等方法的多元視野，以交疊出此器物的豐富文化意涵。本文並參考當代理論中所強調觀者的視界融合因素，試圖在文獻不足的有限條件下分析戰國時代北方民族的審美觀與世界觀。本文透過黃金牌飾畫面的形式構圖，發現其審美觀係表現在「多元視點」的並置、以及「二元對立」上。這種衝突與其說是負面的力量，不如說是一種生命必須接受的自然法則，是一種物競天擇的自然法則，一種絕對化的自然，一種只能遵守不能對抗的超越性自然。

關鍵字

黃金牌飾；戰國；北方草原地區；器之顯現；視界融合；二元對立

並列摘要

American Video Artist, Mathew Barney, has transferred his individual physical experience to the creation of video art work. His visual representation features an emphasis on body image and a reverse of the traditional visual semiotics. The extending continuity of reality is disclosed as the dialects of body and self proceed. Sheltering under the splendid visual appearance is contextual memory of the body as a speechless metaphor, which further highlights the atmosphere of treacherous uncertainty. Hence, the essay intends to analyze a series of his works with an interest on the significance of his visual images. The study concludes that the symbols of uncertainty in his video works are classified into three categories: first, a double existence of ”voluntary memory” and ”involuntary memory” results from the intertexture of struggle and pleasure. Second, the interaction between Mathew's body experience and body memory inspires an outburst of experiencing consciousness. Third, his body experience is a visual symbol generated by exhausting his ultimate physical strength. It is a retrospect on the ”limit experience” through body experience in order to recapture the lost memory of the past. Thus, Mathew Barney's creative works disclose the body ”transgression” of ecstasy and anguish, which also construct the inner ”Heterotopias” of the self. The resulting state of treacherous uncertainty gives the viewer multiple associations for imagination to play with.