試以第三空間觀點論述當代藝術家曹斐、李文政、郭慧禪作品中的賽伯空間

Thirdspace: The Cyberspace Created by Contemporary Artists Fei Cao, Wen-Cheng Lee and Hui-Chan Ku

賽伯空間的概念顛覆了我們過去對空間的觀念，超越了我們所經驗的實體空間地理的概念，隨著手指點一下滑鼠或鍵盤，隨即轉可換到不同的網路空間，它是自由移動、瞬息萬變的。賽伯空間不是我們真實世界所接觸的生活空間──「第一空間」，也不是概念所生成的構想空間──「第二空間」；而是具有索雅（Edward W. Soja，1940－2015）所描繪的「第三空間」的特色：具有「真實與想像兼具」的性質，是一種「其他」（an-Other）的理解與行動方式。本文將針對中國藝術家曹斐的作品曹斐的《我‧鏡》、《人民城寨》，以及與李文政的《看見不見的海》、郭慧禪的「鎖」系列進行文本分析與討論；藝術家在作品中挪用真實城市中所見的建築元素或街頭風景，解構之後在數位世界中再現，創造出兼具真實與想像特質的城市空間，再現異質化的第三空間。

The concept of cyberspace in which we can transcend beyond what we have experienced in the material spatial geography also subverts what we used to comprehend space. That is, it (digital space) is free to move and highly changeable. The cyberspace is neither “Firstspace”, the real material world, nor the “Secondspace”, which is constructed by “imagined” ideas. Instead, according to Edward W. Soja, it has the characteristic of “Thirdspace”- a place that combines both “real-and-imagined” qualities. It is “an-Other way of understanding and acting to change the spatiality of human life, a distinct mode of critical spatial awareness.”In this article, Fei Cao’s Mirror and RMB City and Wen-Cheng Lee’s Seeing Invisible Ocean and Hui-Chan Kuo’s Lock series will be discussed. By appropriating images which are retrieved from urban architectural elements or street snapshots in the real city, artists then deconstruct those images to “represent space” in the digital world, creating both real-and-imagined urban space, Thus, these cyberspace are the re-presentation of heterogeneous thirdspace.