Bowie ⁽³⁴⁾

Trans｜張新

"The storytellers have not realized that the Sleeping Beauty would have awoken covered in a thick layer of dust [...] Meanwhile dismal sheets of dust constantly invade earthly habitations and uniformly defile them." - Georges Bataille

Trans｜張新

A dancer enters a dark space from the back and cuts through the crowd sitting on the ground. The dancer seems to carry something heavy on her back, and the crowd makes way for the dancer to come slowly forward. Soon, a dazzling whirlwind of body gestures. The crowd begins to merge with the dance; we are no longer gazing at a proscenium stage from our individual positions but transformed into a dancing, contagious human flow. As the dancer glides through the spectators and brings chaos along her way, we are lost in the middle of a storm, bumping accidentally into each other, relocating, not knowing where to look or where to go. As if falling in love, we become nervous, sweaty, vertiginous, and uncertain, fretting and enjoying this contradictory tension as our presupposed body positions lose any sense of relevance.

Trans｜張新

Flat screens are flooded with information every day, all trying to influence us. They shock us, make us laugh, or want to go shopping, as they eagerly seek our attention. Fragmented messages on social media platforms like Instagram, Line, YouTube, and Facebook strive toward “affecting” us. They exploit the information anxiety of modern people, attempting to brainwash us, transform us, and make us different (usually by consuming things) — that’s right, this article you’re reading now is no exception.

Trans｜Cheng Ting Ting

Where is our body when we watch movies in the cinema? What is the body that views a video installation at the museum? How does the connection of “image-installation-viewer” form an ecological network of objects?

強調慢下來的標題，讓人直覺想到坊間各種生活風格的建議，把慢當作一種儀式、療癒或態度，以對立於不斷加速與物欲橫流的消費社會。然而，本書的慢，不是數位科技加速的現代生活，也不是強調對立於快速消費的慢活，更不是加速主義者頌揚的瘋狂加速。而是直面「當下」的緩慢美學—不穩定的陌生感以及複雜感知的敞開，而不是加速穩固的日常。面對這種詭異體驗，我們也得動用身體去感知複雜的現實。

「開始認識到身體變成詭異：雙生的產生、分解肢體、窒息的幻想與活埋的恐懼聯繫在一起，自我一分為二，不再聚攏自己的器官，而是看著它們，像是置身事外。」——羅莎琳·克勞斯（Rosalind Krauss ）^[1]

在媒體影像過剩與大量合成影像搞得虛實不分的今天，到底如何呈現真實？暴力、死亡與暗黑跟真實之間的關係為何？如何重構「案發現場」？如何打破連續性記憶（媒體與歷史）的假象，召喚地理般崎嶇又不穩定記憶？

我想提出的「攝影生態學」，可以從Matthew Fuller的《媒介生態學：藝術與技術文化中的物質能量》以及許煜的《機器與生態學》當中看出端倪，儘管他們主要在處理更廣的技術媒介問題，但我想以他們的思路為起點，更聚焦攝影的問題。同時，本研究也將融合「歷史爭辯」、「數位演繹」與「新紀實」在台灣當代攝影的形構論述，進而結合西方「後媒介」以及「擴延的攝影」重估攝影理論。最後，我將以蘇郁心、李浩與陳以軒的作品為例，生成在地的「攝影生態學」。

「講故事的人沒有意識到睡美人醒來的時候身上可以蓋著厚厚的一層灰......同時，可怕的粉塵經常侵入人類居所，均勻地弄髒他們。」——巴塔耶（Georges Bataille）^[1]

在黑暗空間中席地而坐的人群，被從後方進入的舞者劈開，為了讓看似揹負重袱的舞者緩緩前行，人群不得不讓位。隨後，一陣炫風的身體姿態席來，人群跟舞者的界線開始滲交織，我們離開鏡框式舞台個人的凝視位置，化身為共舞與身體感染的人流。隨著舞者不段穿梭在觀者之間引起的風暴，我們偶發地推擠、腳步移動、不知道事件在哪、不知道該何去何從，我們全部在暴風中失去位置，仿若愛情般地緊張、發汗、暈眩與不確定性襲來心頭，原訂預設好的身體位置也隨之失效，讓人感到既不安焦慮又享受其中的矛盾張力。