鏡我 擴增實境藝術創作研究

Abstract

本創作研究主要是從自我審視為出發點，藉由對自我鏡像的觀察，來觸動參觀者與自我意識及心靈的重新對話。法國精神分析學家雅各•拉岡(Jacques Marie Emile Lacan, 1901-1981)的「論鏡像階段」中所說到：「主體透過自己的鏡像，產生了對自我的認識，確認了自我身體的同一性（杜聲鋒，1997）」。拉岡所指的鏡像不光只是鏡中的影像，他人的存在也是一種鏡像。美國社會學家顧里（Charles Horton Cooley,1864-1929）的「鏡中之我」理論中說到，自我是社會的產物。社會就像一面鏡子，他人的眼光形塑了自我（宋鎮照， 1997）。然而這些由他人影響所產生的各種自我鏡像，是一種想像與虛幻的存在，也是一種他者就是自我的誤認。本創作研究中嘗試利用擴增實境技術，將虛擬的影像擴充到參觀者的真實影像之上。以虛擬鏡像的形式去表現與論述這種自我的他者化現象。並嘗試利用Arduino控制板開發互動裝置介面，藉由互動裝置的刺激讓參觀者去參與作品並對自我重新探討。探索及實驗利用擴增實境技術從事互動科技藝術創作的新形式。 本論文共分五章 ，第一章緒論，研究背景、動機、目的、研究範圍與限制及研究架構之探討以及名詞釋義。第二章文獻探討，以拉岡的「鏡像階段」論，探討自我的產生與自我他者化的現象。並以顧里的「鏡中之我」理論，探討社會對自我的影響。從中衍生出本次創作研究之議題探討與分析。接著探討當代科技藝術的定義、發展、特性與案例分析。第三章創作研究，是針對擴增實境技術、互動程式環境與互動裝置介面的探討，以及擴增實境商業應用的案例分析。第四章創作論述，創作理念與形式論述、創作歷程說明、作品說明及展示設計說明。第五章：結論，本研究的主要價值是以科技藝術的形式對自我的議題進行探索。利用擴增實境將虛擬影像擴增到現實影像的形式去表現及陳述自我的本質。並利用互動裝置藝術的形式，使參觀者親身參與作品，讓藝術作品的多重文本意義得到探討與呈現。並期望本創作研究可作為科技藝術創作、藝術教學研究、商業廣告創作，商業互動設計等相關層面上的可行模式之基礎探討。Self-examination forms the basis of this study. Observation of one's specular image stimulates a new dialogue between the observer and their self-awareness and spirit. In his work the Mirror Stage, French psychoanalyst Jacques Marie Emile Lacan (1901-1981) states that, ' The specular image of the subject produces self-awareness, which confirms the unity of the body (Du Sheng-Feng, 1997). The 'specular image' referred to by Lacan doesn't just include the image in the mirror; the existence of others is also a kind of specular image. In his theory of the 'looking glass self,' American sociologist Charles Horton Cooley (1864-1929) posits that the self is a product of society. Society resembles a mirror, and a person's self is shaped by the perceptions of others (Song Zhen-Zhao, 1997). Furthermore, these various kinds of self image, which result from the influence of others, point to the existence of a kind of imagination and illusion – as well to self-awareness as constituted by the other. This study attempts to employ augmented reality to extend a virtual image to the observer's actual image. It uses the virtual image to express and deliberate the phenomenon of the 'otherness' of the self. It also attempts to use the Arduino control panel to develop an interactive device interface that encourages the observer to participate in the work, and which also promotes new discussion of the 'self.' The study explores and experiments with the use of augmented reality technology to engage in a new form of artistic creation through interactive technology. This study is divided into five chapters: Chapter One is an introduction, and describes the background to the research, its motives, objectives, scope and limits. This chapter also includes a discussion of the research framework and definitions of terms used. Chapter Two discusses the literature relating to this field, and, using Lacan's Mirror Stage, discusses the production of the self and the phenomenon of the otherness of the self. Furthermore, using Cooley's theory of the 'looking glass self,' it discusses the influence of society on the self. From this are derived the discussion and analysis of the topics of this study. Chapter Two then discusses definitions, development, characteristics and case analyses of contemporary techno-art. Chapter Three focuses on the discussion of augmented reality, interactive programming environments, and interactive device interfaces, as well as case analyses of the commercial applications of augmented reality. Chapter Four includes a discourse on concept and form, a process explanation, a work explanation, and an explanation of exhibition design. Chapter Five is the conclusion. The main value of this study lies in its exploration of the 'self' through the use of technology. It uses augmented reality to extend virtual reality to actual images and express and state the essence of the 'self.' Furthermore, through the use of interactive device technology, it permits the observer to personally take part in the work, allowing the discussion and realization of the multiple textual meaning of the artistic work. We also expect that this research will form a basic discussion of practical models of related levels of techno-art creation, art teaching and research, commercial advertising, and commercial interactive design, etc.