主編語
Editor-in-chief’s Note

主編語

Editor's Note

邱誌勇 CHIU Chih-Yung

摘要

2018年國際博物館協會（ICOM）以「超連結博物館：新方法、新公眾」 （Hyperconnected museums: new approaches, new publics）為命題，皆是當代藝 文館舍與科技介入的未來。早期，科技被美術館當成工具，利用其科技特 質，以數位形式重現典藏品的風華，並重塑文化展示機制。如今，在美術館2.0的概念開始，新媒體與數位科技導入到美術館已經成為全球美術館發 展的趨勢。一方面應用展示科技的互動性、數位性與新穎性，拉近了館舍 與參觀者間的距離，使得美術館有更生動的呈現方式；另一方面，數位形 式藝術創作的多元性、能動性與開放性，也成為挑戰傳統白色方塊（white cube），甚至是黑盒子（black box）的建築空間。例如：大英博物館（British Museum）於2015年推出「虛擬實境週末」（Virtual Reality Weekend）活動， 率先採用虛擬實境新展覽科技，邀請觀者戴上Samsung Gear VR裝置，瞬間進入3500年前的青銅器時代，面對一座大門敞開的圓頂屋，觀者可以自由進入並近距離觀看3D掃描的青銅文物，耳畔還有柴火燃燒與鳥鳴，這次大英與三星集團的合作在短短兩天就吸引超過1200人次來訪，成效卓著。

在這波趨勢之下，台灣的國立故宮博物院、台北市市立美術館、國立台灣美 術館等大型館舍也紛紛引進新媒體藝術或科技藝術類型的展覽，期盼以新型態的藝術展演，重塑美術館的特質。由此，美術館與科技之間的共生關係已不言而喻。有鑑於此。本期專題以巨觀的「美術館與數位科技」為命題，探討當 代新媒體數位科技與美術館的共生關係。本期共收錄兩篇主題徵稿文章，鄭欣昀的〈重演儀式與解構官方歷史―許家維《鐵甲元帥》及其策略（20122016）〉以英文書寫，探究許家維在其結合影像、文字與裝置所創製出的三 部曲中反映出的當代藝術民族誌轉向，透過作品分析鏈結區域文化網絡連結 的思考路徑。李昞燁的〈關於繪畫衍生層的實踐與省思：像素介面與風格轉移〉從科技藝術的視角出發，討論繪畫在影像科技中的呈現，從中理解繪畫 以光、像素、運算作為欣賞途徑的現象，並提出繪畫被影像科技所賦予之「衍 生層」，書寫當今人類繪畫與影像介面不可逆的相互依存關係。 

此外，在一般徵稿方面亦收錄兩篇文章，分別針對攝影與雕塑進行個別藝術 家創作脈絡的探析。呂筱渝的〈母職的煉金術：汪曉青攝影作品析論〉從汪 曉青的攝影創作出發，分析其將母親繁衍與撫育的生命創造意義，拓展至藝 術領域的創造，也將單向的（母生子）生產，轉變成雙向的（母與子）衰老 與成長之間的映照、消長、循環的生命敘事歷程。而張晴文的〈以「間距」 思維探求自然之道：薩璨如雕塑創作研究〉則以薩璨如1990年代之後的創 作為對象，解析其創作中的「東方意識」，透過法國學者朱利安（François Jullien）所提出的「間距」思維，區辨薩璨如的創作觀與台灣抽象雕塑論域 中強調身分認同的東方化論述之差異，並論述其創作中「東方意識」的內涵。

總體而言，儘管本期的專題徵稿在文章主題與數量上無法巨觀地映射出美術 館與科技間的複雜關係，但仍可提供讀者在不同面向上的思考。

Abstract

In 2018, the International Council of Museums took "Hyperconnected Museums: new approaches, new publics" as its theme, which the future engaged with contemporary art and cultural institutions and technologies. In the early days, art museums considered technologies a tool, taking advantage of its characteristics to represent museum collections' splendor in digital form, and reshape the cultural presentation mechanism. Today, at the onset of museum 2.0, the introduction of new media and digital technologies into museums has become a global trend in museums' development. On the one hand, the interactive, digital, and novel applied display technology has shortened the distance between museums and visitors, allowing museums to present more vividly. On the other hand, the diversity, dynamism, and openness of digital artistic practices have become architectural spaces that challenge traditional white cubes and black boxes. For instance, the British Museum launched the "Virtual Reality Weekend" in 2015, adopting virtual reality technology in exhibitions. When visitors wore the Samsung Gear VR, they were immediately transported to the Bronze Age, 3,500 years ago. Facing a dome with an open gate, visitors can enter the space and see the 3D-scanned bronze artifacts closely, hearing the wood-burning and birds chirping. The collaboration exhibition between the British Museum and Samsung attracted more than 1,200 visitors within just two days, which was significantly successful. 

Under this trend, major museums in Taiwan, such as the National Palace Museum, Taipei Fine Arts Museum, and National Taiwan Museum of Fine Arts, have introduced new media art or technology-based art exhibitions, aiming to reshape museums' characteristics with new types of art exhibitions. Therefore, the symbiotic relationship between art museums and technology is apparent. This issue will take "Art Museums and Digital Technology" as its theme to explore the symbiotic relationship between contemporary new media, digital technology, and art museums. Two thematic articles are included in this issue: "Reenacting Rituals and Subverting Official Histories―Chia-Wei Hsu's Marshal Tie Jia and Its Strategies (20122016)," written by Cheng Hsin-yun in English, explores the ethnographical turn in contemporary art reflected by Hsu Chia-wei's trilogy works, which integrate images, text, and installations. Through work analysis, the author investigates approaches that connect regional cultural networks by analyzing Hsu's works. From the perspective of technology-based art, Li Ping-yeh discusses the representation of paintings in image technology in his "Experiments and Reflections on Painting’s Derivative Layer: Pixelinterface and Style Transfer" Li tries to interpret the phenomenon that we appreciate paintings through light, pixels, and algorithms and proposes the notion of "Derivative Layer" given to paintings through image technology, writing about the irreversible interdependence between today's paintings and image interface. 
 

Besides, two articles are included through a general open call and analyze individual artists' creative process in photography and sculpture, respectively. In Lu Hsiao-yu's "The Alchemy of Motherhood: An Analysis of Wang Hsiao-ching's Photographic Works," she looks at how Wang Hsiao-ching expands the creative significance of mothering and nurturing to creative artistic practices. Lu also turns the one-way birth (mother to child) to a mutual (mother and child) life narrative process of reflection, growth and decline, and cycle of aging and growth. Chang Ching-wen analyzes the "Oriental consciousness" in Cynthia Sah's works after the 1990s in "Exploring the Way of Nature through the thinking of 'L'écart': An Analysis on Cynthia Sah's Sculpture." With "l'écart" (the gap) proposed by French scholar François Jullien, Chang aims to distinguish the difference between Sah's view of creation and the Orientalized discourses emphasizing one's identity in Taiwan's abstract sculpture; from there, Chang discusses the intention of the "Oriental consciousness" in Sah's works.

To sum up, although the limited amount and topics of articles in this issue cannot reflect the complicated relationship between art museums and technology on a large scale, they can still provide a different perspective to the readers. 

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重演儀式與解構官方歷史:許家維《鐵甲元帥》及其策略

Reenacting Rituals and Subverting Official Histories:ChiaWei Hsu's Marshal Tie Jia & Its Strategies

鄭欣昀 CHENG Hsin-Yun

羅徹斯特大學視覺與文化研究博士班

University of Rochester, Graduate Program in Visual and Cultural Studies, Ph.D. Student

摘要

台灣藝術家許家維（1983-）《鐵甲元帥》（2012-2016）三部曲反映台灣當代藝術 中的民族誌轉向，也提供了區域文化網絡連結的思考路徑，有別於將民族國家視為 整體的模式。本文由「民族誌轉向」與儀式和表演的潛能探討此系列作品。前兩件 作品―《龜島》（2012）與《靖思村》（2013）―經由考察蛙神信仰與儀式，以及 在馬祖龜島與江西靖思村分別進行演唱和儺舞表演，連結兩個看似無關卻因移民而 有共通蛙神信仰的地點。這些跨區域的網絡連結，不僅有別於將台灣或中國視為一 體或兩個完全區分的文化體的觀點，亦反省了戰後台灣與中國由國家權力主導的文 化肅清。藉由重探民間的文化遺產與記憶，前兩件作品分別挑戰了中國共產黨政府 與國民黨政府建構的官方歷史。而第三件作品《神靈的書寫》（2016）則運用當代 虛擬科技探索不可見的神靈與其文化精神性本質。本文著重討論《鐵甲元帥》的兩 大貢獻：一方面，運用民族誌方法解構由上而下的官方意識形態結構，開拓主體敘 事的論述空間。另一方面，強調文化身體記憶與儀式表演的顛覆性潛能―替置與再 造―重新打開歷史詮釋的可能。 

Abstract

Taiwanese artist Chia-Wei Hsu’s (1983-) trilogy Marshal Tie Jia (2012-2016) echoes the “ethnographic turn” in Taiwanese contemporary art and provides a pattern of cultural networks opposed to the integrity of nation-state. This article discusses these three works from the dimensions of “ethnographic turn” and the potentiality of ritual and performance. By investigating folk rituals and staging performances in Turtle Island (Matsu, Taiwan) and Jingsi Village (Jiangxi, China), the first two works of Marshal named after the aforementioned villages—Turtle Island (2012) and Jingsi Village (2013)—connects two seemingly unrelated locales that share a folk belief in a frog god, a belief that slowly immigrated from China to the Matsu Islands. These cross-regional networking connections, different from viewing Taiwan and China as a whole or viewing them as two separate entities—reflect on the cultural purges by state powers in the postwar Taiwan and China. By revisiting the folk cultural legacy and memory, these works challenge the authority of the official history enacted by the Chinese Communist government and the Kuomintang government in Taiwan, respectively. The third work, Spirit-Writing (2016), explores the possibility of capturing the spiritual essence and invisibility of a god by using contemporary virtual modeling technology. This article considers two contributions of Marshal Tie Jia: On the one hand, the ethnographic investigation dismantles the top-down structure of official ideology, carving out discursive spaces for subjective narratives. On the other hand, the emphasis of the transformative potentials of ritual performance and bodily memory—replacement and reinvention—reopens the possibility to reinterpret history

關鍵字：許家維、《鐵甲元帥》、民族誌、儀式、身體記憶

Keywords: Chia-Wei Hsu, Marshal Tie Jia, ethnography, ritual, bodily memory

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關於繪畫衍生層的實踐與省思：像素介面與風格轉移

Experiments and Reflections on Painting's Derivative Layer: Pixel-interface and Style Transfer

李炳曄 LI Ping-Yeh

國立臺北教育大學藝術與造形設計學系 助理教授

Assistant Professor, Department of Arts and Design, National Taipei University of Education

摘要

本研究從繪畫在影像科技中的呈現為出發點，理解繪畫以光、像素、運算作為欣賞 途徑的現象，並提出繪畫被影像科技所賦予之「衍生層」，書寫當今人類繪畫與影 像介面不可逆的相互依存關係。此「衍生層」與德希達所提出的「附飾理論」相互 對照，形成本研究的興趣範圍。本研究援引「透過設計的研究方法」，以新媒體技 術組構出多種像素介面與繪畫風格轉移影像，探索繪畫衍生層所能引發的思考與論 述。本研究結論：一、影像介面賦予繪畫的衍生層具有強烈的自主性，也挑戰著藝 術界限的問題。二、在影像科技下的繪畫影像閱讀是互為文本的（intertextual）， 新媒體科技探索繪畫影像在更廣泛的影像文本中的蹤跡，也探索在不同的介面中能 提呈的視覺屬性與閱讀經驗。三、繪畫影像的編碼化造成風格屬性的模組化，也將 產生「風格的不可能性」問題。 

Abstract

This research starts from the presentation of painting in visual technology. It understands the phenomenon that paintings are now appreciated through light, pixels and algorithms, and proposes the concept of “derivative layer” on paintings, which suggests the irreversible interdependences between paintings and visual interface today. This concept of derivative layer overlaps with the “parergon” theory proposed by Derrida, forms an interesting area of study. This research refers to a research-throughdesign methodology. It investigates the various states and discussions when painting is converted to pixel data through new media practice: multiple pixel-interfaces and style transfer images. This research concludes: First, the derivative layer of painting, in the visual interfaces, has a strong autonomous character. It also challenges the issue of the boundaries of Art. Second, the reading of painting images in visual technology is intertextual. That is, new media technology explores the traces of a specific painting image in a wider range of images. It also explores the visual attributes and experiences in different interfaces. Third, the transcoding of painting images also leads to the modularization of style attributes, which will also arise the issue of “impossibility of styles”.

關鍵字：繪畫、衍生層、像素介面、風格轉移、附飾

Keywords: painting, derivative layer, pixel-interface, style transfer, parergon

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母職的煉金術：汪曉青作品攝影析論

The Alchemy of Mothering Analysis of Annie Hsiao Ching Wang’s Photographs

呂筱渝 Lu Hsiao-Yu

法國巴黎第八大學婦女與性別研究博士

Ph.D. Women’s and Gender Studies, University Paris 8

摘要

西方宗教畫常見的聖母子，為世人建立了理想母親形象的典範，其教化目的不言自 明。母職遂成為許多母親的緊箍咒，特別顯現在照顧家庭與發展志業的兩難衝突上。 本文首先引述女性主義與精神分析學對母職成因的分析，釐清生為女人與專司母職 之間的不必然關係；另一方面，再針對哲學概念中孕育生命的「宮籟」一詞，引介 它具有母親、餵養者等之富饒豐沛、取之不竭，用之不盡的含義，表明孕育生命者 在根本意義上的主體性。汪曉青將母親繁衍與撫育的生命創造意義，拓展至藝術領 域的創造，也將單向的（母生子）生產，轉變成雙向的（母與子）衰老與成長之間 的映照、消長、循環的生命敘事歷程。她的攝影創作，不但是一種家庭紀念照式的 紀錄，更是一場母親藝術家的見證。20年來記錄她的生命階段，也記錄孩子的成長 歷程，更印證藝術具有轉換「底片」／「陳套」的能力⸺將繁重的母職實踐，改 造成獨特的藝術實踐。 

Abstract

With an obvious purpose of enlightenment and cultivation, Madonna and Child depicted in Western religious paintings has produced for all people the paragon image of an ideal mother. Consequently, mothering imposes on many mothers a trammel in particular the choice between taking care of the family and developing personal career. Starting with quotes of cause analyses of mothering based on feminism and psychoanalysis, this essay clarifies that being a woman and being a dedicated mother does not go with the territory. Focused on “chora” a philosophical term refers to conception of the young, the essay further manifests subjectivity of a conceiver with implications of fertility, abundance and inexhaustibleness of that term. 

Expanding the purport of a mother’s life creation in propagation and nurturing to her art creation, Wang’s photographic creations not only record family commemorations, but also witness a mother taking the role of an artist. Photographs of the past 20 years keep track of different life stages of the artist and the growth process of her child. More importantly, transformation of “cliché” by art has also been verified, turning strenuous motherhood practices into unique artistic practices.

關鍵字：母子圖、母職、宮籟、套層密藏、綿延

Keywords: Madonna and Child, Mothering, Chora, Mise en abyme, Durée

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以「間距」思維探求自然之道：薩璨如雕塑創作研究

Exploring the Way of Nature Through the Concept of l'Écart：Study on Cynthia SAH's Sculpture Works

張晴文 CHANG Ching-Wen

國立清華大學藝術與設計學系助理教授

Assistant Professor, Department of Arts and Design, National Tsing Hua University

摘要

薩璨如（1952-）的現代雕塑創作獲得國內外藝評一致的深富「東方意識」之評。在 台灣的現代雕塑論述中，「東方意識」為一重要的議題，然而，薩璨如雖具中國血 統、台灣經驗，但其創作在 1970 年代於歐美養成，1979 年之後更定居義大利，其 創作不應片面地納入在台灣現代藝術史中具有國族主義或本土論色彩的東方論述脈 絡之中解讀。本文以薩璨如 1990 年代之後的創作為對象，從作品解析其創作之「東 方意識」具體內涵，透過取徑法國哲學家兼漢學家朱利安（François Jullien）所提出 的「間距」思維，區辨薩璨如的創作觀與台灣抽象雕塑論域中強調身分認同的東方 化論述之差異，再進一步論述其創作中「東方意識」的內涵。研究指出，薩璨如作 品中所蘊含之「東方意識」與生命經驗相關，其在創作中展現「間距」思維，以自 然之理為宏旨，發展出個人的系列作品。這些形貌相似但各具形態的抽象雕塑，雖有自然物象之喻，卻不限於「形」之模仿或者圖騰再現，而是以虛待的方式回應自 然與我之關係，在平淡中求取平衡的美感。其作品中的「東方意識」，在於其自然觀的展現，透過抽象的形式語言以表達藝術家對於自然的嚮往與理解。

Abstract

Contemporary sculptures created by Cynthia Sah (1952–) are eulogized by the local and foreign critics for the profound “orientality” contained within. In Taiwan, such thought also constitutes a crucial subject regarding contemporary sculpture theories. Although Sah is of Chinese origin and has accumulated substantial practices of creating artworks in Taiwan, then she developed her sculpting skills in the United States and Europe in the 1970s. Since 1979, she has permanently resided in Italy. On this account, her works should not be interpreted solely based on the discourse of orientalitycomposed by the nationalism and the nativism rendered in Taiwanese art history. This essay examines Sah’s works created after the 1990s with a focus on the orientality comprised in her artistic creations. By drawing on the concept of l’ écart coined by François Jullien, I aim to analyze the difference between the orientality presented in Sah’s works, and the orientality that stresses on the complex of national/self-identity, which also has been principally deployed in Taiwanese art discourses of abstract sculpture. On the basis, I furthermore explore the the undertone of the orientallity in Sah’s works. In this regard, my study finds that the orientality conveyed in her work is associated with her life experience; moreover, the concept of l’écart is manifested in her creations. With the concept of nature as her grand theme, Sah has created her own series of works. The resultant abstract sculptures are similar in appearance but exhibit unique forms. They depict natural objects but not simply through imitation of shapes or reproduction of symbols. Instead, they demonstrate the relationship between nature and the self by evincing the concept of the void in an attempt to attain a balance between mundaneness and aesthetic grandeur. In sum, the aspect of orientality in her works is illustrated by the artist and her view of nature. Intriguingly, Sah’s sculptures express the artist’s yearning and understanding of nature by the uses of abstraction.

關鍵字：薩璨如、間距、東方意識、自然觀

Keywords: Cynthia SAH, écart, Oriental thoughts, view of nature

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