霸權‧科技的變異－張翊峰水墨創作論述

Abstract

本研究以水墨創作的形式探討人與晶片、半導體、數位科技霸權之間的關係，從歷史觀出發，與科技和社會互相對話。從敘事的角度呈現科技異化及其權力現象並予以批判，啟發反思。當代數位科技對人類社會的影響，似乎正複製秦國從富強到異化，再從霸權到滅亡的相似路徑。筆者以秦兵馬俑霸權意涵來說明，晶片與半導體科技的進步，使數位科技從一個單純的工具，發展成為主宰人們精神、思維、行為的權力，產生無所不在的霸權空間。筆者的疑問是，當人們愈發仰賴於機器，科技霸權的發展是否終會出現新智慧，又會帶給人類怎樣的未來？本文第一章說明研究動機、目的和方向；第二章反映筆者在成長與工作歷程中對權力的觀察，探討科技的本質和價值以及新型意識形態的理論；第三章梳理科技的權力發展與文化之間的關係。文化是精神與思想的結合，科技的介入使人不知不覺的順從了權力，成就科技的霸權世界。筆者對藝術作為人對抗霸權的力量寄予期待。第四章闡述個人的創作思維與模式，創作形式、方法、和展覽場域的規劃；第五章呈現《秦蹤》、《秦語》、《晶圓》、《科技戰》、《權力》、《文明．毀滅》、《足跡》等七個作品系列並分別解析；第六章列舉筆者的回顧以及對未來可持續發展的方向。This creative research uses ink creation to explore the relationship between people/society and the hegemony of chip, semiconductor, and digital technology. It attempts to connect and engage in dialogues among technology, history, and society based on historical perspectives and author’s personal experiences. By adopting narratives and chronological method, this article presents and criticizes the phenomenon when the technology is alienated and how its power is exerted on people. This research intends to arouse people’s reflection and vigilance about this technology hegemony.Based on the research and comparison, it is found that today’s digital technology is gradually replicating the similar path of the Qin Kingdom from prosperity to alienation, and then from hegemony to collapse. The author attempts to use the hegemony connotation revealed by Qin-Shi-Huang's Terracotta to illustrate that the advancement of chip and semiconductor has gradually made digital technology from a simple tool to become a hegemonic space surrounding people, and an effective power which dominates people's spirits, thinking patterns, and behaviors. Final questions raised by the author is, when people become more and more dependent on machines, will new intelligence emerge from the extreme development of technology hegemony? How will the civilization advance, and what kind of future will it bring to mankind?This article is divided into six parts. The first chapter explains the purpose and direction of the research, including the academic foundation and similar critical works. Chapter 2 reflects the author’s observations on power during his life and working experiences in science and technology, and explores the nature and value of science and technology as well as the process of technology alienation as a new ideology. Chapter 3 focuses on the power relationship between technology and culture. Culture represents the combination of human spirit and thought. The involvement of science and technology makes people obey the power unconsciously, thus achieves a hegemonic world dominated by it. The author explores the theoretical basis and places his expectations on art as a counterforce against hegemony. Chapter 4 elaborates on the author’s creative thinking and patterns, discusses his creative forms, methods, symbol selections and exhibition venue planning. Chapter 5 presents the author’s concepts and the analysis of his creative works in six series, including Qing’s Footprint, Qing’s Wisper, Wafer, Power. Technology War, Civilization-Extermination, and Trace. Finally, Chapter 6 lists the directions in which the author can continue to develop in the future after this creative research.