數位模組的想像溢位——陳永賢〈斗室棲居〉系列的時間雕塑

The Imagination of Overflow in the Digital Module: Time Sculpture in Chen Yung-Hsien's Video Series of ''In Search of Re-Habitat and Material Memory''

錄像藝術在數位的發展進程中，誠如Yvonne Spielmann的看法：「錄像藝術具備自身媒介，而數位技術不斷豐富媒體及其美學潛力。」據此觀之，當代錄像藝術在歷經豐富的媒材性轉換後，如今3D掃描、VR虛擬實境，抑或AR擴增實境等多元表現，已成為許多創作者不可或缺的實踐表徵。此外，因為數位參數的高度彈性，作品中的創製型態，形成一種更為開闊的影像部署。藝術家陳永賢，即以貼近數位時代的獨到觀察，利用3D掃描技術進行〈斗室棲居〉之系列創作。在其創作概念的自述中，藝術家根據狹窄場域牽引出隱微之情，對位於人與空間相互依存的視角，並在可視的環境中，反映出二戰時期倖存者的流動遷徙與生存光譜。此外，錄像內容以遊蕩式的穿越運境，以及3D掃描所建立的殊異輪廓，形塑出數位模組的感官調控，並且組織出數位型態下的時間雕塑，透過掃描式的累進拼接，將錄像藝術過去藉由真實影像所建立的時間蒙太奇，轉譯為時間層疊後的影像雕塑。換言之，在數位工具的幫助下，更能回應Michael Snow認為動態影像具備「在時間中塑造形狀」的看法。據此概念，本文將藉由陳永賢〈斗室棲居〉系列作品之分析，闡述數位工具在當今錄像藝術創作的特殊位置，並從藝術家的創作脈絡中，理解與洞察在數位表徵之下，所帶來的革命性創作語境。

Video art in the process of digital development can be described as what Yvonne Spielmann underlined,“that video is a medium of its own…the introduction of digital technologies continues to enrich the medium and its aesthetic-cultural potential.”According to this observation, contemporary video art-- such as 3D scanning, virtual reality (VR), augmented reality (AR) among other diversified effects-- has become indispensable practical representations for many creators after it has undergone rich types of media material evolution. Besides, due to the high flexibility of digital parameters, the deployment of more flexible images constitutes the many possibilities for the creative representations in the work. With his unique observation in line with the digital age, artist Chen Yung-Hsien makes use of 3D scanning technology to create a series of work titled“In Search of Re-Habitat and Material Memory (〈斗室棲居〉).”In the narration of his creative concept, Chen draws subtle emotions out of a narrow field from the perspective of the interdependence of people and space, while reflecting the unstable migration and subsisting determination of survivors of World War II in the visible layout of the work. Besides, the free scenes wandering through via the video content along with the special contours created by the 3D scanning together shape the sensory control of the digital module, and organize the temporal sculpture in the digital form. Through the progressive splicing via scanning, the history of video art is interpreted as an image sculpture with layers of time based on the temporal montage created by real images. In other words, with the help of digital tools, it may better echo to Michael Snow’s view that“dynamic images can shape forms in the timeline”. Based on this concept, this paper elaborates the special position of digital tools in today’s video art creation, based on the analysis of Chen Yung- Hsien’s“In Search of Re-Habitat and Material Memory”series, while understanding the revolutionary creative contexts brought about by the insight into the digital representation through artists’creation contexts.