記憶碎片－洪筱筑創作論述
Abstract
本論文為作者的創作《記憶碎片》系列的完整創作論述，作品建立在作者對於記憶個人而感性的看法上。這系列作品從追求記憶的真實開始。「客觀」的真實太難定義，建構在心理時間上的記憶隨著心理時間的忽快忽慢捉摸不定，就連客觀測量的時間也不是絕對；而心理學也說明了記憶是經由人腦主觀處理過後的產物。於是我所追求的是「主觀」的真實。也就是我自己的「發酵記憶」的真實。 記憶就像釀酒，當經驗輸入頭腦之後，就會在腦中隨著生命不斷發酵變化，而我的作品就是從攝影影像開始，模擬記憶的發酵。我將影像做線條化處理，讓攝影保存下來的客觀外貌具有更多動態與想像空間，線條化的影像成為記憶發酵過程中紀錄與想像的融合：保留影像對於指涉物的描述性，同時建立主觀想像所具有的流動感以及生命力。
作品中的記憶碎片就是從這個處理過的攝影影像切割下來，我用十分感性隨機的方式去切割選擇我要的記憶碎片。雖然心理學有許多記憶建構的研究去探討記憶在我們腦海中去留的原因，但這些研究都是一種普遍性的狀況，實際的記憶卻有許多在這些研究之外的「意外」。他們存在佛洛伊德所謂的潛意識區域中，記憶的保留與遺忘，似乎都無法用理性邏輯去解釋。而拆解重組這些記憶碎片，就如後結構主義作品中隨機的拼接，製造一個模糊的界線，打破原來的符號與意義框架，變成無結構中心的零碎視點。同時這些充滿記憶碎片的作品，因為不存在任何可辨識的記憶內容，而是著重在主觀情感上的記憶狀態，於是產生的一個能讓觀者自行佔據的主角空缺位置。
記憶碎片在畫面中形成各式各樣的狀態，呈現如意識流小說般的時空交錯與意識流動。作品中的記憶碎片在某個能量場域中不斷聚散、離合，他們擁有生命。時而清晰，時而模糊；正在生長或是正在消逝；正在成形，或被吞噬成為虛無，或被吐出，以一種獨特的姿態在生命中不斷地循環。
This thesis presents the creative concepts of Fragments of Memory, works based on the author's personal and affectionate views of memory. These works start out from a pursuit of the truth of memory. The objective truth is too hard to define, and memories, being established based on psychological time, are unstable and elusive; even the measurement of time is not absolute. Psychology informs us that memories are products of subjective process. Accordingly, the truth that I am pursuing is a subjective truth. In other words, it is the truth of my own fermented memory. The construction of memory is similar to the fermentation of wine. Once experiences enter the brain, they begin fermenting and reshaping according to developments in our life. Thus, my works are created from photographed images in order to simulate the fermenting of memory. I converted the original images to line-drawings, to open up more possibility for motions and imagination, and to enable fusion of photographic documentation and imaginations in the process of memory fermentation. The images preserve descriptions of their referents while at the same time construct the fluidity and vitality of subjective imagination. The fragments of memory in my works are severed pieces of the processed images, chosen at random according to the emotional perceptions of the author. There is much psychological research on the causes of the retrieval and loss of memory, but their focus is mostly on general situations, and often cannot explain the many exceptions in real-life memories. Memories are preserved in the subconscious, and their retention and loss seem unaccountable in any logical way. Like the arbitrary splicing in poststructuralist works, Fragments of Memory disassembles and recombines these fragments of memory, blurring the distinct boundaries and breaking the original frameworks of symbolic meaning, forming a viewpoint with no structured center. While filled with fragments of memories, these works retain a vacant place for the viewers to occupy, because the works contain no identifiable memories, but focus on the state of subjective feelings in the memory. The memory fragments in the works form a variety of states that show the intertwining of time and space as well as flows of human consciousness, like a stream-of-consciousness novel. These fragments assemble and disperse in an energy field. They are alive; sometimes clear, sometimes blurred; perhaps in development or in dissipation; taking shape or being engulfed, or spit out, cycling continuously in life with its uniqueness.
This thesis presents the creative concepts of Fragments of Memory, works based on the author's personal and affectionate views of memory. These works start out from a pursuit of the truth of memory. The objective truth is too hard to define, and memories, being established based on psychological time, are unstable and elusive; even the measurement of time is not absolute. Psychology informs us that memories are products of subjective process. Accordingly, the truth that I am pursuing is a subjective truth. In other words, it is the truth of my own fermented memory. The construction of memory is similar to the fermentation of wine. Once experiences enter the brain, they begin fermenting and reshaping according to developments in our life. Thus, my works are created from photographed images in order to simulate the fermenting of memory. I converted the original images to line-drawings, to open up more possibility for motions and imagination, and to enable fusion of photographic documentation and imaginations in the process of memory fermentation. The images preserve descriptions of their referents while at the same time construct the fluidity and vitality of subjective imagination. The fragments of memory in my works are severed pieces of the processed images, chosen at random according to the emotional perceptions of the author. There is much psychological research on the causes of the retrieval and loss of memory, but their focus is mostly on general situations, and often cannot explain the many exceptions in real-life memories. Memories are preserved in the subconscious, and their retention and loss seem unaccountable in any logical way. Like the arbitrary splicing in poststructuralist works, Fragments of Memory disassembles and recombines these fragments of memory, blurring the distinct boundaries and breaking the original frameworks of symbolic meaning, forming a viewpoint with no structured center. While filled with fragments of memories, these works retain a vacant place for the viewers to occupy, because the works contain no identifiable memories, but focus on the state of subjective feelings in the memory. The memory fragments in the works form a variety of states that show the intertwining of time and space as well as flows of human consciousness, like a stream-of-consciousness novel. These fragments assemble and disperse in an energy field. They are alive; sometimes clear, sometimes blurred; perhaps in development or in dissipation; taking shape or being engulfed, or spit out, cycling continuously in life with its uniqueness.
Description
Keywords
記憶碎片, 影像再製, 發酵, 意識流, fragments of memory, image reproduce, ferment, stream of consciousness