本文試圖探討當代藝術裡紀錄影像與檔案文件之間的變化關係，以及其在當前社會中所衍伸出來的紀錄美學課題。從歷史的見證與儲存機制、傳統的影像紀錄報導、系列性的多張攝影、具類型學系統的視覺檔案、甚至是近代的數位化檔案等等，這些日漸多元的紀錄方式，一方面代表的是檔案文件可以使用多元化的影像觀念，能成為是計畫性、系列性、或是系統化的自由形式。另一方面，當代影像紀錄行為的原始態度與特質已有所改變，這轉變的重點在於，他們已從單純的紀錄事實和報導真相轉向了更自由、更多想像力的觀念性文件與計劃性檔案；也可以說，當代檔案文件是試圖去製造一種批判性的位置與前瞻性的視野，將紀錄性力量從單純的製造影像，轉移成一種有著時間性的實際經驗和計畫，也是存在於紀錄藝術價值之外的任何文化、社會、政治中具有實際訊息的文本與論述。
紀錄態度、檔案、攝影影像、攝影報導主義、紀錄性計畫、類型學
This essay attempts to explore the transforming relationship between documentary image and archival document, in contemporary arts, as well as the new documentary aesthetic derived from it in the current society. From historic testimony and mechanism of conservation to traditional photojournalism, series photographes, typological visual archives, even modern digital archives, those ever pluralizing documentatory forms, on the one hand, indicate that document can use pluralized new photographic concepts, and can become planned, serial, or systematic forms; on the other hand, the original attitude and characteristic of contemporary image documentary have undergone some changes. The focalo point of this transformation lies in the fact that they have been transformed from pure facts documentation and truths reporting to more liberal and imagination conceptual documents and planned archives. In other words, contemporary archives attempt to create a kind of critical position and forward-looking filled of vision, and thus transforming documentary power from pure uses of making images to a kind of timely practical experiences and projects, also the texts and treatise containing practical information existing in any culture, society, and polities beyond the value of documentary arts.
documentary attitude, archive, photographic image, photojournalism, documentary project, typology
