閱讀Vilém Flusser：技術圖像與技術想像

Vilém Flusser在媒介發展史中所宣稱的零維技術圖像世界，已經隨著當代數位媒介技術的高度發展而浮現。本文聚焦於此一媒介技術的新階段，試圖從Flusser的攝影哲學與媒介理論探索技術圖像與技術想像之關係，進而凸顯兩者如何影響著數位趨勢下新的攝影實踐以及影像思考。相對於代表再現觀點的傳統影像，Flusser的技術圖像及其相關的裝置與程式化等概念開啟了運算的影像思考，並將影像視為裝置程式化投射的結果。同時，技術想像的概念則是人類為了回應新形式的影像媒介之自動化技術條件下，必須開展出的新想像能力。在人類社會愈來愈仰賴裝置程式化與自動化的數位技術時代，本文除了在理論上揭示Flusser技術圖像思考的重要性，更透過不同影像範例的分析來印證新的技術想像既是一種對抗裝置的批判性能力，更能夠以創意的姿態而製作出資訊學上預期不到的計算影像。終究，在無可避免的人機關係裡，技術圖像與技術想像之概念指向了新的人類視域之可能性。

Contemporary digital technology has brought forth Flusser’s universe of technical images, designating the zero-dimensional level in his ladder of abstraction through media history. For Flusser, this alternative world of images emerging from digital apparatuses consists of nothing but abstract dot elements or pixels. Thus, the new status of images becomes a movement from the abstract to the concrete, as seen in the simulation process of whirling points into images in the film“Simone.”When Flusser developed his idea of technical images forty years ago, he did not foresee the extent to which image production would evolve. However, his visionary thinking on digital computation has almost been realized in today’s social media practices. This paper mainly explores Flusser’s critical thinking on the ontological and epistemological status of technical images and their impact on shaping the production and consumption of signification in this world of digital apparition. The relationship between technical images and techno-imagination is further examined to understand how both concepts change our photographic practices and perception of the world. Lastly, we analyze several photographic and simulated images to demonstrate that Flusser’s theory is helpful for present- day discussions about digital and algorithmic cultures. Of particular importance is his suggestion to respond critically and creatively in this new stage of media development.