在對當代與早期影像裝置藝術的交叉例示中，本文透過重閱福萊德（Michael Fried）所提出對觀者既迎又拒的「劇場性」，援引梅洛龐蒂（Maurice Merleau-Ponty）的動態「形像－基底」、「自戀」、「象」等理論，以及巴特（Roland Barthes）觀看攝影時兀自涉入的「刺點」，並參酌克羅絲（Rosalind Krauss）所區分的自戀與反身性，將「媒材／媒體」廣義爲作品的整個身體，亦即作品、作者、觀者與展場機制之間的關係。面對觀者在當代藝術中作爲不可避免的成分，而各種精進科技搖身變成作品的勢不可擋之潮流，期望能在作者理念、風格分析與權力關係的剖析之外，發展一種與作品感知直接相關的論述，朝向裝置藝術的場域之現象學。本文的結論是，梅洛龐蒂所言視覺的自戀性與巴特的刺點，都是觀者涉入的一個切口。當作品的自主性不能妥協時，觀者也不是被設定的行爲，他不忘記自己的身體，永遠帶著從這裡出發的觀察角度，這便是觀者參與或互動的深度。
劇場性、形像—基底、自戀、象、刺點、反身性、媒材／媒體、互動
Taking contemporary and early video installations for examples, this paper extends "medium" as the whole bodies of an artwork, that is, the relations between the works, artists, viewers, and the exhibition mechanism. It is completed through rethinking Michael Fried's "theatricality" which denotes some kind of ambiguity viewers experience while facing Minimal Art, and then referring to Merleau-Ponty's dynamic "figure-ground", "narcissism", "Simulacra," with Roland Barthes' "punctum," and finally discriminating Rosalind Krauss, narcissism and reflexiveness. Since the current trend is towards where viewers become inevitable and high technology is turned into art, I try to develop a phenomenology of fields of Installation Art which is an approach directly related to perception of the whole work, different from analyzing artists, styles or power structures. It can be concluded that what Merleau-Ponty called a fundamental narcissism of all vision and what Barthes called punctums are actually dehiscence where viewers enters the works with their own bodies and points of view. Hence they are not passively involved to watch or issue simple commands while the autonomy of art is insisted. And this is how viewers deeply participate or what true interaction is in arts.
theatricality, figure-ground, narcissism, simulacra, punctum, reflexiveness, medium, interaction
