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碩士論文集體記憶 港口城市的機械美學collective Memory Machine

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碩士論文集體記憶 港口城市的機械美學collective Memory Machine 國立臺灣師範大學美術系碩士班西畫組 碩士論文 指導教授：蘇憲法教授 集體記憶──港口城市的機械美學 Collective Memory ──Machine Aesthetic of The Port City 研 究 生 ： 蘇 芷 瑩 撰 中 華 民 國 101 年 6 月 摘要 每個人擁有其獨特性，乃架構在個人心靈與社會脈絡之下，面對自我定位與 價值，除卻探討內心之所向，亦應以外在環境面向切入尋找那份共感之聯繫。 是故，筆者重新檢視個人與土地的關係，基隆，是個港口城市，經由對其歷 史、文化概況、產業發展之了解，加上相關藝術流派的涉獵與學習，筆者將對這 塊土地所產生的感知─藉由機械元件之形式─轉化為藝術表現。創作前期，以客 觀面向展現基隆的在地景物；中期，乃嘗試介入大量材料之物質性，以媒材詮釋 的直接性拉近與觀者的距離；後期，則以正向積極的表現形式呈顯再造之活力與 期盼。希冀藉由此系列創作，能喚起大眾在地的共同記憶，慢慢建構起對地方的 關注與意識。 本文共分為六個章節加以論述與延伸。第一章乃說明研究之動機與目的，以 了解主題選擇之脈絡原由；第二章闡述個人的創作理念與背景元素，面對工業社 會的發展與機械時代的來臨，進而偏好結構性之表現形式；第三章透過藝術社會 學、機械美學等相關學理探討以及藝術家之觀點分析，除了深化創作的思考層面， 亦強化作品呈現之精確度；第四章將創作內容、架構、方法詳加記錄，以了解創 作過程的實際經歷；第五章即以系列作品各自論述其欲傳達之概念；第六章則為 整體創作研究作一總結，並表述心得收穫。 關鍵字：集體記憶、機械美學、工業化 2 Abstract Everyone has the uniqueness, which is framed by the personal spirit and social context. With regard to self-positioning and self-value, we should seek the connection between the inner aspiration and the outer environment. Therefore, the author reviewed the relationship between individuals and the land. Keelung is a port city. Through knowing its history, cultural and industrial development, and studying correlative art movements, the author tried to transform the perception of this land into artistic representation via the form of mechanical elements. In the early period, the author portrayed the local scenery from an objective aspect. In the middle period, attempting interfering with a great number of materiality to bring viewers closer by means of medium immediateness was the main way. In the later period, applying the positive form of expression manifested the activity and expectation of civic reconstruction. The author hoped to arouse popular memories by these serial creations, and gradually construct the concern and consciousness to the region. This thesis is divided into six chapters to discuss the topics. The first chapter: to introduce the motive and purpose of the research for comprehending the context of themes. The second chapter: to clarify personal idea and elements of background, facing the development of industrial society and the coming of Machinery Age, then inclined to constructive form of presentation. The third chapter: to explore correlative theories, as sociology o f the arts and machine aesthetic etc., and analyze the artists’ viewpoints, for deepening the thinking and strengthening the preciseness. The fourth chapter: to record the content, frame and methods for realizing the process of painting. The fifth chapter: to explain the serial works severally for conveying the concepts. The sixth chapter: to summarize the research and make a conclusion. Key words: Collective Memory, Machine Aesthetic, Industrialization 3 摘要…………………………………………………………………………………...2 Abstract…………………………………….……………………………….................3 目次…………...…………………………………………………………………….…4 目次 第一章 緒論………………………………………….……………………………………….7 第一節 創作研究動機與目的……………………….…………………………..………………….7 第二節 創作研究範圍與限制……………………….…………………………..………………..10 第三節 名詞釋義…………………………………………………………………………………………12 第二章 創作理念與背景元素……………………………………………………….15 第一節 現代工業社會發展………………………………………………………………….………15 第二節 機械美學的啟發…………………………………………………………………………..…19 第三節 拼貼與組構概念探尋…………………………………………………………..…………23 第四節 基隆港在商業與工業的角色………………………………………………………….28 第三章 創作之學理基礎………………………………………………………………31 第一節 學理基礎之文獻探討………………………………………………………………………31 一、藝術社會學……………………………………………………………………………………………..31 二、機械美學…………………………………………………………………………………………………33 三、藝術之個人精神與時代面貌………………………………………………………………….38 第二節 西方相關藝術家之統整探究………………………………………………………….45 一、弗拉基米爾‧塔特林(Vladimin Tatlin) ……………………………………………..……45 4 二、費爾南‧雷捷 (Fernand Leger)……………………………………………………………….47 三、查爾斯‧席勒 (Charles Sheeler).................................................................49 四、傑昂‧唐格里 (Jean Tinguely)....................................................................52 第三節 西方藝術家與個人作品之相關性.………………………………………………….54 第四章 創作內容、形式、技法與媒材…………………………………….….58 第一節 工業社會機械物件………………………………………………………………………….58 一、巨大機械物……………………………………………………………………………………………..58 二、工業文明產物…………………………………………………………………………………………59 第二節 情感表現與拼貼實驗……………………………………………………………………..61 一、情感表現性………………………………………………………….………………………………….61 二、拼貼實驗與概念………………………………………………….………………………………….62 第三節 創作技法與媒材………………………………………….………………………………….63 第五章 系列作品自述………………………………………………………………….67 一、《手繪機械時代》………………………………………………….…………………………………….67 二、《前夕》............................................................................................................69 三、《Working》.......................................................................................................71 四、《Fading》..........................................................................................................73 五、《發電廠》........................................................................................................75 六、《記憶的片段畫面》.........................................................................................77 七、《破壞Ⅰ、Ⅱ、Ⅲ、Ⅳ》................................................................................79 八、《Interior Ⅰ》...................................................................................................83 九、《Interior Ⅱ》...................................................................................................85 十、《Interior Ⅲ》...................................................................................................87 5 十一、 《巨大勞動者》..........................................................................................89 十二、 《藍調勞動者》..........................................................................................91 十三、 《機械組構時代》.......................................................................................93 第六章 結論……………………………………………………………………………………95 參考書目…………….………………………………………………….97 一、中英文書目…..………………………………………………………………………………………………..97 二、期刊論文………………………………………………………………………………………………………..98 三、網路資料………………………………………………………………………………………………………..99 6 第一章 緒論 第一節 創作研究動機與目的 個人若是沒有「記憶」，就連「自我」也將無法建構。 ──史奎爾(Larry R. Squire) &. 肯戴爾(Eric R. Kandel)1 記憶是受社會制約的，每一種記憶都有其社會的關聯性、社會的脈絡。 ──阿布瓦希(Maurice Halbwachs, 1877-1945)2 從社會學的角度切入，可知環境對於人的成長、認知有著莫大的影響，筆者 自小便在基隆長大，基隆的特殊景觀與經歷過往，或許在筆者小時候那模糊的記 憶裡並無感受到多麼巨大的影響與變化，但隨著年齡的成長，聽著老一輩的人述 說著這城市的傳奇，閱讀著書冊記錄的點滴，在此其中便潛移默化了筆者對創作 的感受與發展。 基隆素有「雨都」之稱，尤其在冬季的東北季風，冷意中帶著不停歇的雨水， 灰濛濛的一片世界，儘管生活中造成了許多不便，但也有種詩意中的美，成為了 每位在地人共同的記憶；而基隆位於台灣東北方位，面海靠山占據重要的地理位 置，在歷史上有著無數的戰爭在此上演，因此有了許多的砲台及紀念碑，隨著台 灣的政治轉變、經濟發展，基隆的重要地位從軍事上轉移至經濟面向，港口的出 入帶來了許多人潮湧入這塊地方，然而就像船隻一般，人群亦是來來去去，在這 塊土地上留下深耕的卻寥寥可數…… 時過境遷，筆者所在的這塊土地，不再是人們心中的避風港、搖錢樹，在這 1史奎爾、肯戴爾合著，洪蘭譯(2001)。《透視記憶》。台北市：遠流，p.19-20。 2Jan Assmann and John Czaplicka, Collective Memory and Cultural Identity, New German Critique, No. 65, Cultural History/Cultural Studies (Spring - Summer, 1995), pp. 125-133. 7 興衰過程中不免多了些惆悵感，然而過去生活的痕跡卻是不可抹滅。即使現今社 會偏好快速刺激的生活步調，擁抱數位科技的日新月異，傾向資本主義的消費文 明，但如老子所說：「致虛極，守靜篤，萬物並作，吾以觀復：夫物芸芸，各復 歸其根。」3當一切回歸原點，懷抱著對生命與土地的單純情感─這曾帶給大家 生命動力的港口城市─嘗試藉由系列創作將此集體記憶留下，帶著人們省視這真 實的存在。 由此而問，如何確立基隆為創作起點？這可回溯到筆者大學時期第一次至外 地求學的經驗，即使基隆─台北之間的地理距離並不遙遠，然而台北的城市氛圍、 快速的現代步調、新式的都會景觀在在讓從小皆於基隆成長的筆者有著某種程度 的疏離感，心中猶記得當時第一次返家，搭乘國道客運經過中山高速公路的最後 一脈黑暗長廊──大業隧道，撲迎視線的是─那依舊灰濛濛、有些緩慢、有些無 序、有些落寞─一直沉在心中的故鄉景象，熟悉感與歸屬感油然而生，那時，才 了解到原來即使在同一塊土地上，每個人還是有屬於自己的根，那個可以安定你 心靈的所在。 托爾斯泰(Leo Tolstoy, 1828-1910)在判定藝術真假時曾言：「區分真藝術時， 有一個不可懷疑的標誌，那便是藝術的感染性……藝術感染性的程度，決定於下 列三大要件：(1)依其所傳達情感的個別性(Individuality)之大小；(2)依其傳達情感 方式的清晰性(Clearness)之大小；(3)依據藝術家本身的誠心(Sincerity)，也就是藝 術家自己對其所傳達情感的力量之感受度」。4他認為任何真藝術一定能夠使欣賞 者在不知不覺中受到感染，其作用一方面使創作者與欣賞者在精神上連結在一起， 另一方面使欣賞者們之間的距離及隔閡逐漸消失，而個別性是指所要傳達情感的 特質性，清晰性則是指其藝術形象或形式的美感性，最後的「誠心」是托爾斯泰 特別重視的一點，其乃指藝術創作者是否對其情感，具有一種強烈的感受，而覺 3 源自老子‧《道德經》第十六章：「致虛極，守靜篤。萬物並作，吾以觀其復。夫物芸芸，各歸其根，歸 根曰靜，靜曰復命，復命曰常，不知常，妄作凶。知常容、容乃公，公乃王，王乃天，天乃道，道乃久， 沒身不殆。」 4 Leo Tolstoy, What is Art? and Essay on Art. Aylmer Mande trans. London: Oxford University Press, 1962. p. 228. 8 得有種不得不表達的壓力，換言之，任何偉大的藝術創作其感動皆來自其內心情 感的壓力與衝動。 回歸至一開始的那段話──記憶建構了自我，而筆者的記憶所及與心中的感 動，許多皆來自原鄉的依託，因此在此系列創作研究中筆者以基隆的城市重心─ ─基隆港，作為一個起點，延伸至相關的主題面向，希冀能透過創作過程中題材 的選擇、形式的表現、整體氛圍的營造，來訴說筆者對於「基隆」各個階段的感 受與期待，亦期盼能帶領觀者了解這塊土地的風貌變換。 9 第二節 創作研究範圍與限制 以出生地的港口城市基隆為出發點，有著許多可陳述的面向，在此之中，筆 者特別關注巨大的港口機具，因為它們在城市景觀中是非常醒目的標的物，如同 無名英雄般孜孜矻矻地工作著，但從旁而過的民眾卻容易無視其存在，記錄無名 物與關注其缺席(absence)之現象，此乃決定了筆者起初在題材上的選擇，加上父 親職業與之有相當性的關聯，在筆者的心中，這些巨大機具辛勤運作維持著基隆 的經濟脈動就如同父親辛苦工作維護著家庭，亦或許是這般的移情作用，使筆者 對於港口景物更加關注與留心。 以此為中心，延伸至基隆各處所易見之標的物、機具或一些不引人注目卻重 要的物件，如：發電廠、電塔、起重機、貨櫃、鍊條、管線等等，嘗試將城市特 質以不同方式呈現與表達。 由此可知基隆地方的特點、樣貌、生活條件、發展背景等等，或許因為天候 的灰茫、經濟發展的落寞，慢慢地讓人覺得這城市垂垂老矣，但生活仍真實進行、 生命仍迴旋延續，能為這塊土地重新注入活力與深層耕耘，實是每個人需要省視 之處。 然而，在此創作研究中，仍有部分限制在於文章標題所強調之「集體記憶」， 此語雙向溝通之對象，若以廣義而言，或許可以將台灣民眾納入範疇，因大眾在 地理上同屬一個國度，從歷史的脈絡上可知基隆這塊土地的興衰起伏，在意識上 能同理本研究中所提出之創作觀點；但若以狹義而論，地域上的限制使其最為聚 焦並具認同之對象，乃指真實生活於基隆地區的群體，在成長過程中深刻地體驗 到此港口城市的面貌與氛圍，如同羅蘭‧巴特(Roland Barthes, 1915-1980) 在《明 室》中對影像所提及的兩種詮釋方法：「知面」(Studium)與「刺點」(Punctum)， 知面即是受到文化影響的影像解讀方法，它詮釋了照片中的符號，刺點則會引起 不同的回應，刺點既非刻意營造，也無法歸類，它是影像中一個感性的點，刺痛、 10 碰撞並擾亂特定觀者，讓他們脫離慣常的觀賞習性5，亦如阿布瓦希所言：「我們 的回憶(recollections)就本身而言屬於每一個人；但回憶的連貫性或是排列卻只屬 於我們自己，只有自己才能理解它們並召喚它們到心靈中。」因此，此創作研究 限制在於面對不同環境的生活群體，其感受到的「記憶」與「痕跡」，相對也有 不同程度的差異，以基隆地區或海港城市居住的民眾，對於此系列創作較易有生 活上的共感與移情作用，連結至其生命經驗應可延伸至更多不同面向層次的觸動， 相對於其他城市文化，相關的體驗可能就少了許多，此乃此系列於未來創作時有 待進一步探討。 5 Gillian Rose 著，王國強譯(2006)。《視覺研究導論：影像的思考》。台北市：群學，p.107-108。 11 第三節 名詞釋義 一、 集體記憶 (Collective Memory) 集體記憶，或集體回憶，是一種概念，最初由法國社會學家阿布瓦西(Maurice Halbwachs, 1877-1945)在 1925 年首次完整提出，以跟個人記憶區分開，集體記憶 是在一個群體裡或現代社會中人們所共享、傳承、以及一起建構的。阿布瓦希的 「記憶」是「概念6」與「圖像」所構成，並具有下列三個特徵：(1)記憶的「時 空關聯」(Raum- und Zeitbezug)，記憶必然在某個時間綿延7內發生，這段時間是群 體共同體驗的綿延。(2)記憶的「群體關聯」(Gruppenbezug)，記憶會依附在某些 人的形象上，是與某些實在的、活生生的人的互動經驗。(3)記憶的「重構性」 (Rekonstruktivität)，記憶並不保存原本的過去，而是依照不同的框架重構。 二、 機械美學 (Machine Aesthetic) 「機械美學」(Machine Aesthetic)一詞最早出現在建築評論家班漢( Rayner Banham, 1922-1988)於 1955 年一篇有名的文章標題中，更早之前，在 1921 年都斯 柏格(Theo van Doesburg, 1883-1931)已說道「機械性美學」(mechanical aesthetic)，意 謂一種基於機器的新興可能性所呈顯之現代美學表現。一般而言，「機械美學」 包含特定現代藝術家、建築師和設計師對機器─如未來主義者對奔馳汽車的頌揚
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