驅光體－電影院/Phototaxis-The theater
物理世界的太陽光、以及各種照明光讓人的視知覺得以作用,進而分辨出了物理空間中物件的秩序、形態、質感,受到光的刺激,人對環境產生了視覺性的認知系統,同時也是一個以肉身為度量衡的知覺系統,在這個系統中我們對於所有對象的認知正仰賴光源,換言之,視覺畫面中的所有物件,皆為光的折射效果,若失去了光源,我們仍然可以用聽覺、觸覺、味覺等等去找到一個與世界對應的位置。然而,在數位世界中,所有的視覺物似乎脫離了這個仰賴著物理光源的認識系統,數位訊號透過螢幕、數位投影等機器所呈現的視覺畫面,雖讓我們能夠目視一切,但是這些訊號光,已不再僅是作為照亮的媒介,而是作為一種經由編碼後傳遞出訊號,這些光發散出的影像世界,與物理世界毫無聯繫,關了電源,人也就和它失去了聯繫。這樣的訊號光極具有吸引力,因為只要開了電源,我們就觸及了在另一個視覺畫面,一個可供人恣意切換的視覺空間。這種脫離肉身所度量之世界的快感,似乎成為了當代生活的主題之一,從隨身的手機、筆記型電腦、電動遊戲機到大眾交通工具、百貨公司、電影院的大屏幕,我們隨時處在一種不斷切換的狀態,當目光擺像這些訊號光,即切進了數位訊號的世界,我們即便共處在同一個物理空間,依然無法對視。在這些訊號光所組成的視覺裝置中,我們僅僅趨著光且凝視之。
The physical world, the sun, and a variety of illumination light to the role of people's visual perception and thus identify the physical space in the order of objects, shape, texture, by the light stimulation, people on the environment of the visual cognitive system, while is also a perception in the flesh for the weights and measures system, in this system, all objects in our awareness of being dependent on light source, in other words, visual images of all the objects are all run effects of light refraction, if the loss of light, we can still use auditory , touch, taste, and so to find a location corresponding with the world. However, in the digital world, all the visual things seem out of this relies on an understanding of the physical light source systems, digital signal through a screen, digital projectors and other visual images presented by the machine, though so that we can all visual, but the signal light, is no longer only as a medium for light, but as a kind of pass out through the encoded signal, the light diverges out of the image in the world, with the physical world there is no contact off the power, people, and it also lost contact. This signals a very attractive light, as long as the power to open, we touched on in another visual image, a vision for human space for arbitrary switching. This estrangement from the flesh of the world, measured by pleasure, seems to have become one of the themes of contemporary life, from the portable phone, notebook computers, video games to the public transport, department stores, big-screen movie theater, we stand at the a constant state of switching, when the eyes placed like these signal light, which cut into the digital signal of the world, we even live together in the same physical space, remains unable to visually. These signals are composed of light in the visual device, we have only the light and the gaze of the trend.
而從另一個角度來看待，也可說是肉軀被訊息介面給規格化後，不斷的反覆著同一性的單一舉動，因為訊息傳遞的途徑係為一個沒有歷程的捷徑。然而，所接收的訊息越大量同時也暗示著人之意識被碎裂為相對多量的片面，甚至經由訊息共時間的大量傳播，收訊成為一個集體共遊的狀態，同一件事情可能在成千上萬個腦袋裡同時播放，我們再各自的訊息平台上遊歷著相同的場景。由此可看出，訊息平台提供了一個均質的活動介面，但也同時等質化了表述的模式，在一個制定好的選單上，我們選擇個人所好的同時，同樣也是被選擇的結果，訊息規格化了我們的感受，與其悲觀地說我們的感知正被抹除，不如期待一個新的感知模式正在建構我們的身體—一個被給予、被冊錄、規劃、編排的身體。
Viewed from another perspective, it can be said to be flesh to the standardized message interface, the constantly repeated the identity of a single move, because the way messaging system as a journey without shortcuts. However, the large number of messages received and also imply that the more people's consciousness has been broken up into relatively large amounts of one-sided, or even by the total time of a large number of messages transmitted, the recipient to become a collective total of travel status, the same thing may be thousands of tens of thousands of head while playing, the message of our respective platforms and then traveled with the same scenario. From this we can see, the message platform provides a homogeneous interface activity, but also other qualitative representation of the model, to develop a good menu, we select good individuals at the same time, it is also be the result of choice , the message normalized our feelings, rather pessimistically that our perceptions are being erased, it is better looking forward to a new perceptual model is build our bodies - one was given, was recorded books, planning, scheduling body.
驅光體－KTV/Phototaxis－KTV
「訊息人」於台北當代藝術館/ "Messengers" at Taipei MOCA
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