主編語
Editor-in-chief’s Note

主編語

Editor’s Note

王柏偉 Wang Po-Wei

摘要

九〇年代迄今，由於解嚴的關係，威權政治意識形態加諸在人民日常生活上的桎梏逐漸瓦解，前此積累的社會能量循著不同的管道迸發出來，身體與以身體為媒介的社會運動、行為藝術與戲劇或舞蹈展演沛然莫之能禦地找尋各種實現的樣態。邱誌勇的〈替身操演：數位表演藝術中的「異體」與「機器/ 人」〉從「偶」與「機器人」的角度回頭思考「身體」、主體化了的個體與機器三者間的關係，並以張徐展、在地實驗與黃翊的三件作品為例，認為人與機器間有逐漸融合的趨勢。

Abstract

Since the 1990s, due to the lifting of martial law, the shackles imposed by authoritarian political ideology on people’s daily life has been gradually breaking down. The accumulating social energy has burst out through different pathways, while the body and social movement, performance art, theatrical performance, or dance that take the bodies as the medium tremendously search for various forms of presentation. Chih-Yung Aaron CHIU ponders the relationship among “body,” subjectivized individuals, and mechanical devices from the perspective of “puppets” and “robots” in his article, “Avatar Acting: ‘variants’ and ‘robot/human’ in digital performances.” With the examples of works of Zhang Xu-Zhan, ET@T, and Huang Yi, Chiu believes that there is a trend of integration between humans and machines.

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替身操演：數位表演藝術中的「異體」與「機器／人」[1]

Stand-in Performance: The “Variant” and “Machine/Human” in Digital Performing Arts

邱誌勇 Chih-Yung Aaron CHIU

國立清華大學藝術學院學士班教授

Professor, Interdisciplinary Program of Technology and Art, College of Arts, National Tsing Hua University

摘要

1980 年代以降，藝術創作開始大量融入媒體科技，並發展出一種獨特的類型。在眾多前衛且具實驗性的創作中，「替身」、「偶」與「機器人」的元素便不斷地出現在表演藝術的場域之中。有鑒於此發展趨勢中顯著的特質，本研究以張徐展的「紙人展」系列、在地實驗的「梨園新意・機械操偶計畫―《蕭賀文》實驗表演」，以及黃翊的《黃翊與庫卡》三件系列作品中的「紙紮偶」、「機械偶」與「機器手臂」為例，檢視當代數位藝術中的「異體」與「機器／人」的文化顯意。在本文分析的三件系列作品中可見，偶的物質性身體及其主體性因科技得以被延伸、被挑戰、被重新認識；最終，人類與機器之間無可避免地存在著融合（convergence）的關係。

Abstract

Since the 1980s, performing arts have systematically harnessed the power of media technologies and thereby evolved a sui generis genre. The consequence has become apparent in the continual appearance of several elements such as “stand-in,” “puppet” and “robot” in a multitude of performances as avant-garde as experimental. In light of the salient feature of this trend, this paper seeks to examine the cultural implications
of “variant” and “machine/human” in contemporary digital performances by dint of three case studies, including the “paper puppet” in Hsin Hsin Joss Paper Store Series by Zhang Xu Zhan, the “mechanical puppet” in New Vision Liyuan – Automated Marionette Project: Hsiao Ho-Wen by Et@t, and the “robotic arm” in Huang Yi & KUKA by Huang Yi. The findings of these three case studies revealed that these puppets’ respective material bodies and subjectivities were extended, challenged and rediscovered thanks to technologies, prompting us to see the ultimate convergence of humanity and machine as inevitable.

關鍵字：偶、異體、機器／人、「紙人展」系列、梨園新意・機械操偶計畫―《蕭賀文》實驗表演、黃翊與庫卡

Keywords: Puppet, variant, machine/human, Hsin Hsin Joss Paper Store Series, New Vision Liyuan – Automated Mar

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