上傳式鏡像─論二十一世紀鏡像場域之新型結構

The Mirror Image of Uploading Mode：New Structure of the Mirror Image in the Twenty-first Century

10.3966/101562402016010030001

陳怡君(Yi-Chun Chen)

主體間性 ； 鏡像 ； 光學儀器 ； 攝影 ； Intersubjectivity ； mirror image ； optical instruments ； photography

藝術評論

30期（2016 / 01 / 01）

1 - 39

繁體中文

「鏡像」一詞在光學領域是指物體在鏡面所反射之像，是把立體實物直接轉換成二維影像的地點，可說是最原始的光學儀器，人可以在鏡前直接擠壓出色彩逼真的身影。為傾情凝視這倒影，人不斷地研發出各種輔助「視見」的工具。為此，本文將探索促使機械進化的需求與被影像記錄機器所誘發的各種欲望。此照相機器讓主體分裂成兩種存在的地點與時態相互對視，當光學儀器與光纖網路技術徹底融合，身影經一種｢上傳｣路徑在象徵界反射出無數鏡像，現代人要如何在鏡像迷宮中整合出同一的身形？攝影術所捕捉的是最完善的複本嗎？此疑惑將成為本文的重要命題。書寫方式採變焦手法，把焦距調整在人與機、人與照片、人與拍照行為之間，讓攝影場域的各種｢間性｣浮現。單面鏡的反射模型已不足以描述透射螢幕或光在網路的激發現象，本文將以拉岡「鏡像階段」的理論作為視域框架，觀察感光銀像與螢幕影像兩系統的對比，分析主體構型與主體位置是否因成像系統而產生變化，並試圖勾勒出當代鏡像場域的新型結構。

A “Mirror image” refers to an object reflected in a mirror in the optical field, where the object is transformed directly from a three-dimensional object into a two-dimensional image. This can be said to be the most primitive optical instrument. People can squeeze out the vivid color of a realistic figure in the mirror. In order to gaze at this reflection, people continue to develop a variety of auxiliary “visual tools”. This paper will explore the demand encouraged by technical development and the variety of possibilities provided by image recording apparatus. Cameras used for mirror images split the subject into two distinct locations and times which gazes at each other. When the optical instruments and optical fiber network technology are fused completely, the figure reflects countless mirror images by way of a symbolic “uploading”path. How did modern people integrate the same figure into the mirror maze? Does photography capture the most perfect copy? These issues are the main focus of this paper. The Writing method of this paper is zooming, focus adjustment between man and machine, man and photographs, and man and snapshots behavior, so there emerge a variety of “between” in the photography field. The single mirror reflection model has been inadequate to describe the phenomenon of the transmissive screen or the amplification of light in networks. This paper uses Lacan’s “mirror stage” theory as a framework of research, observing the contrast between a photosensitive silver image and a screen image. It analyzes whether configurative power and subject position change due to the imaging system, and tries to outline the new structure of the contemporary mirror image.

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