顯影.現聲:台灣影視聽文物展
策展人/王君琦
展覽概述
從結繩、繪畫、到書寫,從壁畫、甲骨、到紙張,人類自古以來不停地創造出各種不同的形式與媒介用以印證記憶與承載想像。電影、電視、及廣播的發明與遠播,使之成為追溯二十世紀大至國家歷史文化、小至個人生活思考的重要憑據。
日新月異的工具滿足各種感官與智性的慾望,黑白到彩色、無聲到有聲、光化學反應到數字位元,以視聽覺為經緯的技術形構,巧妙穿引虛實象限,調度(不)可見與(不)可聽,現實游移在傳遞與建構之間,而我們的認知既被召喚,也被形塑。
技術的流變不只探索感知與認知交互作用的各種可能、開拓時空邊界,更讓想像力的實踐徹底草根化。隨時隨地人手一機,解構了權威,也帶來資訊的爆炸和混淆。臺灣的影視聽史軌跡,揭示了意識與工具主客位移的歷程,自威權時期麻痺制約與鬥爭覺醒的二元拮抗,到如今多元價值與論述的百家爭鳴。透過保存與修復重現的記憶,是此際正在開展的下一個百年如何構築、如何書寫,不可或缺的存在。
日新月異的工具滿足各種感官與智性的慾望,黑白到彩色、無聲到有聲、光化學反應到數字位元,以視聽覺為經緯的技術形構,巧妙穿引虛實象限,調度(不)可見與(不)可聽,現實游移在傳遞與建構之間,而我們的認知既被召喚,也被形塑。
技術的流變不只探索感知與認知交互作用的各種可能、開拓時空邊界,更讓想像力的實踐徹底草根化。隨時隨地人手一機,解構了權威,也帶來資訊的爆炸和混淆。臺灣的影視聽史軌跡,揭示了意識與工具主客位移的歷程,自威權時期麻痺制約與鬥爭覺醒的二元拮抗,到如今多元價值與論述的百家爭鳴。透過保存與修復重現的記憶,是此際正在開展的下一個百年如何構築、如何書寫,不可或缺的存在。
Recapturing the Past: An Exhibition of the Film and Audiovisual History of Taiwan
Human beings have created a variety of forms and media, such as mnemonic knots, wall painting, and the act of writing on oracle bones and papers, to keep memories and express imaginations. The inventions of film, television, and radio have provided the most important threads to trace the macro- and microhistories since the twentieth century.
The technologies of film, television, and radio have gone through different stages since their inceptions, most notable of which are the transitions from black and white to color and from analog to digital. What remains consistent is their ontological aptitude for audiovisual manipulation that blurs the boundary between what is real and what is imagined. Expanding the mind and broadening the perspective, media representations not only reflect but also shape individuals’ sense of self and worldview. Nevertheless, the interpellation is never complete, and human agency is involved.
The growing individual access to media technology, due to technological development, disintegrates authority and democratizes history making. Taiwan’s audiovisual history reveals how people have struggled to own the tools to fight political repression and to empower social minorities that creates a diverse society. It is currently unknown how the history of the next hundred years will be written, but conserving the past is imperative to envisioning the future.
The technologies of film, television, and radio have gone through different stages since their inceptions, most notable of which are the transitions from black and white to color and from analog to digital. What remains consistent is their ontological aptitude for audiovisual manipulation that blurs the boundary between what is real and what is imagined. Expanding the mind and broadening the perspective, media representations not only reflect but also shape individuals’ sense of self and worldview. Nevertheless, the interpellation is never complete, and human agency is involved.
The growing individual access to media technology, due to technological development, disintegrates authority and democratizes history making. Taiwan’s audiovisual history reveals how people have struggled to own the tools to fight political repression and to empower social minorities that creates a diverse society. It is currently unknown how the history of the next hundred years will be written, but conserving the past is imperative to envisioning the future.