當代數位互動藝術之特質

Abstract

本論文以海德格(Martin Heidegger, 1889-1976)「技術哲學」的「工具論」與「本質論」為觀念架構，以「控制論」為理論基礎，以新的分析觀點，重新分析藝術史中的藝術與科技、九零年代以後的西方數位藝術研究方向與台灣數位藝術研究方向，提出需透過六零年代藝術與科技活動的歷史回溯，以理解數位互動藝術的根源、觀念與論述，並在此脈絡下，提出數位互動藝術創作具有控制論的基本三種特質：「程式、編碼與執行」、「隨機、自動化與衍生」與「邏輯、程序與系統」，此三種特質不僅呈現於電腦硬體與軟體的媒材之中，也存在於：1、創作者思考的脈絡與執行；2、作品建構中的程序、邏輯與過程；3、觀者與作品的互動、回饋與感知。本論文將透過分析六零年代的藝術與科技活動與論述，提出此三種特質的存在與必要性，同時以國內外藝術家與研究者的作品為例證，分析作品中所具有之數位互動藝術之三種特質，期能提供數位藝術創作者與研究者不同的思考面向。

This dissertation employs Heidegger’s Philosophy of Technology, the instrumental definition of technology, and the essence of technology as its conceptual framework and Cybernetics as its theoretical basis to reexamine art and technology in art history and the direction of Western and Taiwanese digital interactive art research after 1990s from a new perspective. The author suggests that the analysis of art and technology activities in the 1960s can facilitate our understanding of the beginnings and concepts of and discussion surrounding digital interactive art. Also, in this context, the author suggests that all digital interactive art creation can be defined through three basic characteristics of cybernetics, namely: "programming, coding, and implementation," "randomness, automation, and generation" and "logic, procedures, and systems." These three characteristics are not only found in computer hardware and software, but also in (1) the context and execution of the creator’s thinking; (2) the procedures, logic, and process of work creation; and (3) the interaction, feedback, and perception between the viewer and the work. This dissertation proposes the existence of these three characteristics and their importance through the analysis of art and technology activities and discussion in the 1960s. Furthermore, works of artists and researchers both here and abroad are analyzed to exemplify the existence of the three characteristics of the digital interactive art works in an effort to provide alternative perspectives of thinking for digital artists and researchers.