摘  要

本文以互動式數位作品中的怪異視角(weird perspective)作為檢視對象,嘗試剖析作品深層的內在程序(procedure),以之釐清「電腦的怪異邏輯」的籠統說法;之後,以身體現象學的角度,解析怪異視角在使用者操作過程中,如何與身體圖式(body schema)進行交互作用、拒絕完全被體化(embodied)。在評析「電腦的怪異邏輯」說法時,本文將每件數位作品區分為表層和深層來檢視,並挑選蕭(Jeffrey Shaw)《小金牛》(The Golden Calf)和藤木淳(Jun Fujiki)的〈OLE〉(Object Locative Environment Coordinate System)等兩個怪異視角案例,分析其深層中的「操作邏輯」(“operational logic”),以之揭開「怪異邏輯」的面紗。接著,本計畫引進身體現象學,採梅洛龐帝(Maurice Merleau-Ponty)的身體圖式概念做為討論體化的理論基礎。身體圖式被區分為感知技能(perceptual skills)和機動技能(motor skills),本文以之闡述怪異視角如何讓這兩項技能暫時卡住,讓體化過程出現暫時空轉的現象。總體而言,本文的作品分析嘗試降低對再現美學的倚賴,轉向數位模擬美學的開拓,以之做出貢獻。

關鍵詞:數位藝術、模擬、怪異視角、身體、體化關係

 

ABSTRACT

The paper aims to accomplish two tasks: one, to clarify the misconception embedded in the declaration that a “weird” perspective in a digital work is derived from “the weird logic of the computer”; and two, to demonstrate a tentative aesthetics appropriate to the appreciation of digital simulation works. The paper begins with an introduction of its origins, and offers definitions and interpretations of keywords and key concepts in connection with digital art. Armed with this understanding, the paper proceeds to test-drive two interactive works, Jeffery Shaw’s The Golden Calf and Jun Fujiki’s object locative environment coordinate system, and analyzes the “operational logics” embedded in the two works’ depth level. A deeper look into the operational logics shows that, basically mathematical, they largely derive from the coordinate system of 3D space, which is not “weird” at all. To be specific, on the surface of a work, a “weird” perspective arising from, say, an anamorphosis of a 3D skull, is actually an effect created by the adjustment of the 3D skull’s x, y, and z values in a program. As “the weird logic of the computer” is thus decoded, the paper moves to the discussion of embodiment relations between a viewer’s body and a digital work. Motor skills in the body schema play a defining role in the process of embodiment involved with physical interaction. The paper argues that the “weird” perspective is “an impossible motor experience,” which cannot be fully absorbed into embodiment, but rather runs along the edge of embodiment. As a whole, the paper moves away from dependence on representational art for theoretical support, and steps towards a more self-defined aesthetics of digital simulation.

KEYWORDS: digital art, simulation, weird perspective, body, embodiment relations