海廢現成物裝置：後數位的人類世藝術反思

Marine Debris Ready-made Installation: Artistic Reflections on the Post-Digital Anthropocene

生態哲學家Timothy Morton以「超物體」（Hyperobject）一詞描述具有廣闊的時間和空間維度的實體，提出後人類主義思維中的混種、共生的網絡生態觀點，以及「暗生態」（Dark ecology）的生態美學（Ecological aesthetics），意圖倡議更多元的美學探究，鼓勵將不確定性、思考性、諷刺性融入生態的實踐，重新建立人類與非人類的聯繫。奠基於上述思潮，筆者於2020-2023年間進行一系列新媒體藝術創作，包含：〈理想城市的建構〉、〈北海岸海廢考古系列〉、〈海廢塑料頭骨―其生成、流動與綿延〉等三件創作，藉此探討科技、生態與藝術的關聯性，以及人類在這個動態關係中扮演的角色並概述其所對應之問題、表現手法與啟示。本文以實踐導向研究（Practice-based research）的脈絡，分析此系列作品之構想、技術、價值與省思。

Ecological philosopher Timothy Morton coined the term ''hyperobject'' to describe entities characterized by vast temporal and spatial dimensions. He introduced a hybrid ecological perspective within the realm of posthumanist thought which emphasized symbiosis and networking, and he explored ''dark ecology'', a branch of ecological aesthetics. His aim was to advocate for a more diverse exploration of aesthetics, encouraging the infusion of uncertainty, reflexivity, and irony into ecological practices while reestablishing connections between humans and nonhumans. Building upon these conceptual foundations, the author engaged in a series of new media art projects between 2020 and 2023. These projects include Construction of an Ideal City, Marine Waste Archaeology on the North Coast, and Ocean Waste Plastic Skull–Generation, Fluidity and Duration. They collectively explore the interplay of technology, ecology, and art, as well as the role of humans in this dynamic relationship. This paper, situated within the context of practice-based research, analyzes the concepts, technologies, values, and reflections of this series of works.