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研究生:陳育民
研究生(外文):Yu-Ming Chen
論文名稱:鏡像擬仿
論文名稱(外文):Mirror Image and Simulation
指導教授:許素朱許素朱引用關係
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:科技藝術研究所數位藝術創作組
學門:藝術學門
學類:應用藝術學類
論文種類:學術論文
論文出版年:2005
畢業學年度:93
語文別:中文
論文頁數:83
中文關鍵詞:鏡像擬像主體再現互動式多媒體追蹤式攝影機科技藝術數位藝術
外文關鍵詞:The mirror imagedraws up the picturethe main bodythe reappearancethe interaction type multimediathe tracing type cameradigital arttechnology art
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存在主義學者一直致力於描述人存在的情境,透過不同時問與空問的轉換之下存在的價
值與存在的意義為何?以及關於人外在和內在之問因為種種條件的轉換造成連續不斷的複雜
情況和糾葛,矛盾錯亂的狀態,由於這樣的狀態而造成的本體不安和完整感的喪失。存在主
義透過這樣的檢視來探討「存在」的議題,而本論文主要探討的重點也是從這裡出發。人透
過鏡子來確認自己的形貌、情緒的反映和自身的存在狀態,而鏡像也映照出一種全然的熟悉
卻又非全然真實的景象(鏡子的影像是左右顛倒的)一透過分裂與複製而產生的鏡像與主體之
問的差異關係。另一方面本論文也將鏡像解釋的範疇延伸至照相機和攝影機成像媒體,去思
考透過媒體的複製所產生的影像與主體之問的主從關係,複製的影像本身是否有可能取代主
體成為另一種新的主體?已形成一種全新的現實,透過影像的拼貼與重組發展出另一種異想
的景況「熟悉的陌生感」與「陌生的熟悉感」。以及經由大量複製的過程之後,主體原本存
在的意義是否已被複製影像所削弱和扭曲?本論文透過作品的創作過程去詮釋與探討這些問
題並透過不斷追問和回朔的過程中,從布希亞(Jean Baudrillard)的《物體系》[1]著作和拉岡
(Jacques Lacan)的「鏡像階段」[2]論述中找尋線索,企圖去整理出一個明確而清楚的脈絡和
輪廓。
哲學家保羅田力克(Paul Tillich),曾言:「存在的表面結構已被破壞了,構成日常經驗的範疇已
經喪失能力,本質的範疇已經失去,固定的物體如繩索般被絞曲,事物的因果關係被忽略,事物變
成完全的偶然,短暫的連續已不再重要,一件事是發生於另一件事之前或之後都已不再重要,空問
的向度被歸入或溶化於可怕的無限之中,生命的有機結構被肢解成個別的片段,並任意的重新組合,
真實性已喪失取而代之的形式與本質背離的狀態。」這個論述很清楚點明了數位影像一個很重要的
跳躍性的,非線性連續的因果特質,伴隨軟體功能的強大,影像可以輕易的合成、拼貼、挪用、竄
改和組合,因而造成往往不容易去回朔影像最初原來的狀態,一個源初的事實指向線索的喪失,往
往造成形式與本質背離的狀態,而這樣的背離狀態,所導致影像符號予人的疏離感和不信任感及連
續性意義的碎片化,事實往往也隱含在身影背後,對影像主體的認同也隨之變得混亂,影像的它者
取代了源初的主體,存在的真實性與虛擬性逐漸模糊也無從分辨,清楚的指涉意義已經喪失。
同樣的本論文所探討的作品「鏡像擬仿(I):與「鏡像擬仿(II)」乃著重在研究鏡像與擬像
之間的擬仿關係,以及探討透過數位媒體作為再現的介面產生出的影像和主體外在和內在的
差異性關係,還有主體、鏡像、數位影像這三者之問的互相依存關係,以及詮釋這三者個別
的意義,甚至三者存在層次上的辨證關係。
「鏡像擬仿(I)」以互動式多媒體為主要表現形式,在開頭動畫中,圍繞在鏡子四周各有
許多個以不同速度和旋轉方向的鏡子,鏡子的影像有著各種不同的情緒,這隱喻著透過一個
反射的鏡子再現過程,可以看到人潛意識中所潛藏的不同面向。作者在此作品中設計了許多
不同的場景,觀者可以用自己的詮釋角度在每一個互動模式與情境當中去感受作者想要去傳
達的意念,並且從中得到許多不同面向的情緒感受。
「鏡像擬仿(II)」裝置作品中,運用了自動感應追蹤攝影的技術,成為此件作品主要的
互動方式,當觀者進入到裝置空間當中後,攝影機透過自動追蹤程式運作,開始捕捉觀者的
動態影像,並且同時把捕捉到的影像訊息傳輸到投影機中,因此當觀者看到桌上鏡子反射出
自己的影像時,一旁的攝影機也會把觀者的影像投影至牆上,因此鏡像與投影影像會造成彼
此交疊的狀態,造成一種虛實交錯的感覺。透過攝影機的設置,作品也暗示著人被窺視隱私,
在一種被動的情況中,強迫接受自我隱私的公開化過程,人與科技之問產生一種希望透過科
技的工具達到生活上的便利性,造成一種依賴的關係,另一方面科技的便利也逐漸讓人在生
活之中造成被侵擾和不安的感受,如隱藏攝影機的偷拍和網路駭客侵入電腦偷取個人資料等
等狀況層出不窮的發生,讓人開始去省思科技在現代社會中所扮演的角色和定位。
Does the existentialism scholar continuously devote to describes the situation which the
person exists, why the value and the existence significance which under the penetration different
time space conversion exists? As well as about person external and intrinsic between because all
sorts of conditions conversion creates continuously the unceasing complex situation and the
entanglement, the contradictory confused state, the main body which creates as a result of such
state is restless and integrated feeling losing. The existentialism penetrates such inspection to
discuss "the existence", but the present paper main discussion also embarks with emphasis from
here. The person penetrates the mirror to confirm own appearance, the mood feedback and own
existence state, but the mirror image also shines upon one kind of completely familiar actually must
completely real picture (mirror image is about inverts):The penetration splits between the mirror
image and the main body difference relations which and copies produces. On the other hand the
present paper also the category which interpreted the mirror image extends to the photographic
camera and the camera imagery media, pondered the penetration media copying produces between
image and main body host from relations, copying image itself whether does have the possibility to
substitute for the main body to become another kind of new main body? Forms one kind of
brand-new reality, the penetration image spells posts with reorganizes develops another kind of
fantasy situation "the familiar strange feeling" and "the strange familiar feeling". As well as after
massive copying process, the main body originally exists whether the significance has been copied
the image to weaken with the distortion? The present paper penetration work creation process goes
to the annotation with to discuss these questions and the penetration unceasingly closely examines
and returns to the new moon in the process, from Bush Asia (Jean Baudrillard) "Object Is" the work
and pulls Kang (Jacques Lacan) "the mirror image phase" in the elaboration pursues the clue, the
attempt reorganizes to be clear about but the clear vein and the outline.
The philosopher guaranteed the Luotian to overcome (Paul Tillich) once to say: "The existence
surface texture was destroyed, the framing daily experience category already lost the ability, the
essential category already loses, the fixed object like rope is twisted the tune, the thing causal
relation is neglected, the thing turned integrated accidental, short continuously no longer important,
a matter was occurred after another matter or all no longer important, the space belongs to or the
dissolve to is fearful infinite in, the life organic structure becomes by the dismemberment the
individual fragment, the state which and the free again combination, the authenticity has lost which
displaced the form and the essence departs from."This elaboration had very clearly pointed out
several bit of images is very important unevenness, the non-linear continual causes and effects
special characteristic, follows the software function the great strength, the image may the easily
synthesis, spell posts, diverts, revises correct with the combination, thus creates not easily often to
return to the new moon image at first original state, at the beginning of a source fact pointing to
clue losing, often creates the state which the form and the essence departs from, but such departs
from the state, causes the image symbol to give the person sparsely to the feeling and the trust
feeling and the continuous significance fragment, the fact often also conceals behind the form, Also
changes to the image main body approval along with it chaotic, image it has substituted for at the
beginning of the source main body, the existence authenticity and virtual gradually blurs also
without knowing where to begin distinguishes, clear referred fords the significance already to lose.
Between the same present paper discusses the work "the mirror image plans to imitate (I)" and
"the mirror image plans to imitate (II) "is emphatically with draws up in the research mirror image
likes the relations, as well as the discussion penetrates several bit of media as the reappearance the
image and the main body which lies between the surface to produce external and the intrinsic
different relations, but also has the main body, the mirror image, several bit of images these three
between mutually depends on for existence the relations, as well as annotation these three
individual significances, even in three existences levels dialectical relations."The mirror image
plans to imitate (I)" take interacts the type multimedia as the main manifestation, in the opening
animation, revolves around the mirror all around respectively has many by the different speed and
the hand of rotation mirror, the mirror image has each kind of different mood, this metaphor is
penetrating a reflection the mirror reproducible process, may see in person subconscious hides
differently faces.The author designed many different scenes in this work, view has been allowed to
use own annotation angle feels the thought in the middle of each interaction model and the situation
which the author wanted to transmit, and obtained the mood feeling which many differently faced.
"The mirror image plans to imitate (II)" in the installment work, has utilized the auto-induction
tracing photography technology, becomes this work main interaction mode, after view enters to the
installment space, the camera penetration automatic tracking program operation, starts to catch the
view dynamic image, and simultaneously the image information which catches transmits in the
projecting camera, therefore when view saw when on the table the mirror reflects self-image, the
one side camera also can the view image projection to the wall on, therefore the mirror image and
the projection image can create each other overlap the state, creates one kind of actual situation
staggered feeling. Penetrates the camera the setting, the work also suggested the person is peeped at
the privacy, in one kind of passive situation, the force accepts the self-privacy the public process,
between the person and the science and technology produces one kind of hope penetration science
and technology tool to achieve in the life the convenience, creates one kind of dependent the
relations, on the other hand the technical convenience also gradually lets the person create during
the life is invaded and the restless feeling, like hides the camera photographing surreptitiously to
startle the guest with the network to intrude on the computer to steal the occurrence which personal
information and so on condition emerges one after another incessantly, lets the person start the
province to think he science and technology the role and the localization which acts in the modern
society.
中文摘要
英文摘要
致謝
目錄
圖次
第一章、緒論
前言
第一節、關於「鏡像」
第二節、關於「再現」
第三節、「摹本(Copy)」與「擬像(Simulacrum)」
第二章、創作背景
第一節、媒體形式與複製關係
第二節、創作動機與目的
第三節、創作內容
第三章、文獻探討
第一節、鏡像理論的探討
第二節、擬像相關論述的探討
一、真實與擬像
二、摹本與擬像
三、從鏡像到擬像
第三節、從互動式數位藝術探討美學和創作觀念
一、科技與藝術的相互影響
二、數位藝術的互動性概念
第四章、創作理念
第一節、鏡像隱喻與認知的不平衡性
第二節、真實不必在場
第五章、作品執行方法
第一節、鏡像擬仿(I)(互動式多媒體系列)二
一、創作理念
二、視覺呈現
三、場景與影像設計
(一)、鏡像擬仿(I)
作品初始片頭「開頭動畫」
作品第一段「逃離之鏡」
作品第二段「交錯之鏡」
作品第三段「無序之鏡」
作品第四段「無盡之像」
第二節、鏡像擬仿(II)(空間裝置系列)
一、創作理念
二、視覺呈現
(一)、鏡像擬仿(II)-A
(二)、鏡像擬仿(II)-B
第六章、結語
第一節、作品特色
第二節、鏡像擬仿後語
第三節、作品檢討
參考文獻
中文文獻
網路文獻
參考文獻
中文文獻
[1] 尚·布希亞(M. Jean Baudrillard)著,林志明譯,〈物體系〉,時報出版1997年。
[2] 杜聲鋒著,〈拉康結構主義精神分析學〉,遠流出版,1996年。
[3] 福原泰平著,〈拉康一鏡像階段〉,河北教育出版,2002年,頁35。
[4] 傅拉瑟(Vulem Flusser)著,李文吉譯,〈攝影的哲學思考〉遠流出版,頁65。
[5] 羅蘭巴特著。(明室一攝影札記〉(La Chambre Claire-note sur la photographie),台北:
臺灣攝影季刊,1995年1月初版。
[6] 詹明信著,唐小兵譯,〈後現代主義與文化理論〉,允晨出版,頁125。
[7] Lawrence A. Pervin著,鄭慧玲譯,〈人格心理學〉,桂冠圖書,頁217-218。
[8] 王國芳、郭本禹著,〈拉岡一當代大師系列9〉,生智出版,1998年,頁35。
[9] 大衛哈維,王志弘譯,〈全球化、壟斷與全球的商品化〉,2003年,頁110。
[10] 尚·布希亞著,吳昌杰、徐詩思譯,〈美國〉,時報文化,頁75。
[11]《漫遊者-2004國際數位藝術大展》,國立台灣美術館出版,X66。
[12] 羅蘭巴特著,〈明室-攝影札記〉,台北:臺灣攝影季刊,1995年1月初版,頁34。
[13] 〈都是杜象惹的禍〉,雄獅出版,頁87。
[14]《漫遊者-2004國際數位藝術大展》,國立台灣美術館出版,頁67。
[15] 羅蘭巴特著。〈明室-攝影札記〉,台北:臺灣攝影季刊,1995年1月初版,頁35。
[16] 約翰·伯格著,劉惠媛譯,〈影像的閱讀〉,遠流出版社。
[17] 沙特著,〈論影像〉,商鼎出版社。
[l8] 張國清著,〈後弗洛伊德主義〉,揚智出版社。
[19] 艾柯等著,王宇根譯,〈詮釋與過度詮釋〉,牛津大學出版社。

網路文獻
[20] 翟本瑞,〈數位資本主義〉,《南華大學社會學研究所網路社會學期刊第11期》
http://www.nhu.edu.tw/~society/e-j/11/11-2.htm(2005/6/20瀏覽)。
[21] 戴光鬱,(藝術語言與生存經驗〉,http://www.be-word-art.com.cn/document17.htm
(2005/6/20瀏覽)。
[22] 羅伊·阿斯科特,〈關於新媒體藝術〉,http://arts.tom.com/zhuanti/1112-04(2005/6/2O
瀏覽)。
[23] 謝鴻均,〈後現代藝術欣賞之道〉
http://vm.rdb.nthu.edu.tw/mallok/Pieee/content.asp?post_serial=593(2005/6/20瀏覽)
[24] 羅伊·阿斯科特著、慕容青譯,〈藝術與轉化的科技〉
http://arts.tom.com/zhuan/11012_1/index.html(2005/6/2O瀏覽)。
[25] 翟本瑞,〈網路閱讀與行為模式改變的社會考察(初探)〉,《南華大學社會學研究
所網路社會學期刊第14期》,http://mail.nhu.edu.tw/~soeiety/e-j/14/14-3.htm(2005/6/20
瀏覽)。
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