影像的當代特性：論「鏡像」與「映像」如何涉及「面向遼闊景觀」

The Quality of Contemporary Image: On the Engagement of Specularity and Reflexivity with Facing the Vast Spectacle

本文以邱誌勇於國家攝影文化中心策劃之「鏡像．映像：80後的當代影像藝術」展作為評論對象，展開以「鏡像」和「映像」如何作為影像的當代特性，以及此影像的知識論如何在策展中形成思辨。本文透過三個面向：第一、當代媒體技術的變革，第二、影像實踐技術的轉向，第三、影像性質的變化，來討論視覺文化的影像轉向。同時，展覽與「面向遼闊景觀」系列座談亦提供了影像公共化與檔案化的運思程序。那麼，本文認為以「鏡像．映像」為性質所構建的理論軸線，確實可以梳理、更新並拓展當代影像的理論體系。最後，本文也就論證了「鏡像．映像」如何完成了影像當代轉向的理論可能。

 

This article takes the exhibition entitled “Specularity/Reflexivity: Contemporary Image Arts after 1980s” curated by Chih-Yung Chiu at the National Center of Photography and Images as the object of art criticism, and expands to how the concept of “Specularity” and “Reflexivity” are the characteristics of contemporary images, and how the epistemology of the image is implemented in dialectic discussions formed in the exhibition. This article attempts to discuss the transformation of images in visual culture through three aspects in terms of “the transformation of contemporary media technology,” “the transformation of image practice technology,” and “the transformation of image quality.” At the same time, series of forum under the topic of “facing the vast spectacle” also provide a process of thinking regarding the publicization and archiving of images. As the result, this article considers that the theoretical axis constructed with the nature of “Specularity/Reflexivity” can indeed summarize, renew, and expand the theoretical system of contemporary images. Finally, this paper also demonstrates the theoretical possibility of how “Specularity/Reflexivity” completes the shift of contemporary images.