時延中的物件：痕跡、膠卷、紀念碑

Object in Duration: Trace, Film, Monument

在人類有限的存有中，始終具備著以物質抵抗時間、藉由物的留存免於事物腐朽之傾向。從原始人於洞穴岩壁上留下的手印開始，此一傾向將隨著技術演進而不斷被深化。在攝影術出現之後，封存事物光影而緩止消逝的功能，已是發生於機器內部、無需經由人手操作的自動銘刻。因此可說，攝影影像不僅是種再現媒介，同時亦先天具備著某種造物意義。本文試圖以留存物、雕塑與紀念碑等概念，深入思考影像的物質性與造型性問題，將承載影像的物件如底片、電影膠卷視作由光線完成的雕塑，一種內存著獨特時延之物件。同時亦透過錄像藝術、實驗電影、拾獲影像等問題，並在不同時代的藝術創作間，釐清當代影像實踐中的物質性轉向以及對舊媒介重新關注等狀態。從膠卷上的塵埃與痕跡，來到被光所穿越而投映出的巨大影像，本文將由物質與時間等概念形塑一種特異的影像—物，對影像自身進行另類的本體論思考。

In the finite existence of human beings, there has always been a tendency to resist time with matter and to avoid decay by preserving things. Starting with the handprints left by primitive man on cave walls, this tendency will be deepened as technology evolves. After the invention of photography, the function of sealing the light of things has been an automatic inscription in the machine without manual operation. Therefore, it can be said that photographic image is not only a kind of representation medium, but also innate with some kind of meaning of“create objects”. This thesis attempts to think about the materiality and plasticity of images in terms of the concepts of retention, sculpture and monument, and regards the objects carrying images, such as negative and film, as sculptures completed by light, an object with unique duration. At the same time, through the discuss of video art, experimental cinema, found footage and the relative art practice in different age, this thesis will clarify the material turn and the attention to these obsolescence media in the practice of contemporary moving image. From the dust and traces on the film to the gigantic image projected through the light, we will form a specific image-object from the concept of matter and time, and carry out a different ontological thinking on the image itself.