藝術學研究

《藝術學研究》第二十二期（JOURNAL OF ART STUDIES 22）

巫佩蓉

2018年06月

目次
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學術論文

001複製與諧仿的界線：
十九世紀法國「漫畫版沙龍」源起之探討

楊尹瑄

061龍成于野──
1970年代末香港功夫電影中的城鄉對立與日常微觀

黃猷欽

099微話語、語句戲局與布局機器：
即時演算生成剪接系統中的隨機函式美學

陳蕉

Contents
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Articles

001 The Boundary between Reproduction and Parody: A New Study on the Emergence of the Salon Caricatural in Nineteenth-Century France

Yin-hsuan Yang

061 Becoming a Dragon in the Fields: Everyday Life and the Urban-Rural Differences in the Kung Fu Movies of Hong Kong in the Late 1970s

Yu-chin Huang

099 Micrology, Games of Sentences and Dispositive: Aesthetics of Random Function in Real-time Algorithmic Generative Editing Systems

Chiao Chen

複製與諧仿的界線：十九世紀法國「漫畫版沙龍」源起之探討

The Boundary between Reproduction and Parody: A New Study on the Emergence of the Salon Caricatural in Nineteenth-Century France

/ 楊尹瑄 Yin-hsuan Yang

關鍵字：漫畫版沙龍、諷刺畫、官方沙龍展、藝評、複製畫、諧仿畫 Salon caricatural, caricature, the Salon, Art criticism, Reproduction of Art, Parody of Art

◎ 點閱：55 ▼ 下載：108

檔案下載：複製與諧仿的界線：十九世紀法國「漫畫版沙龍」源起之探討.pdf

十九世紀中葉在法國插畫報刊界廣受歡迎的「漫畫版沙龍」，是以官方沙龍展覽作品為主題的諧仿諷刺漫畫。除了十八世紀後半的一個先例外，其系列形態最早出現在 1842 年《喧鬧報》的複製畫系列中，運用諧仿的手法詮釋品，刻意挪用了複製畫的概念增加詼諧效果，同時也能和藝評以及大眾輿論互相呼應、連結。本文從諷刺畫報的發展脈絡、出版策略、複製畫與諷刺畫在畫報中所扮演的角色與採用的形式等角度來檢視漫畫版沙龍的源起，並分析其類型概念與形式特色，如何在 1840年代初期成為後來流行的沙龍主題漫畫原型。作為一種不同於文學性藝評的圖像式評論與獨特的諷刺畫類型，漫畫版沙龍為十九世紀藝術接受度的研究提供了新的史料與思考面向。

The comic genre known as “le Salon Caricatural” (Comic Salon or Caricatured Salon) consisted of graphic parodies of art works shown at the annual official Salon in nineteenth-century Paris. The first Comic Salons appeared in the illustrated satiric press Le Charivari in the early 1840s, and soon became a popular caricature genre in the Second Empire. Before its 1843 publication as an independent series, the Comic Salon, in fact, already emerged in 1842. The four earliest examples of the genre can be found among the lithographic copies of Salon paintings, confusingly and ironically pretending to be “reproductions”. By tracing the historical context and the journal's publishing strategy of these initial and prototypical Comic Salons, this paper tries to clarify the differences between the two interpretative print images of art, which, though published in similar forms, had different aims and characters. If the editors of the reproductions were principally concerned with the appreciation of art and cultivation of taste, the authors of caricatures consciously connected their graphic humoristic interpretations to art criticism, though mostly in a negative way. As an important part of Salon imageries, the Comic Salon and its role in art criticism merits reassessment in our studies of reception of art works that were, traditionally concerned chiefly with textual criticism.

龍成于野──1970 年代末香港功夫電影中的城鄉對立與日常微觀

Becoming a Dragon in the Fields: Everyday Life and the Urban-Rural Differences in the Kung Fu Movies of Hong Kong in the Late 1970s

/ 黃猷欽 Yu-chin Huang

關鍵字：成龍、功夫電影、城鄉對立、道具、日常生活 Jackie Chan, kung fu movies, urban-rural differences, props, everyday life

◎ 點閱：26 ▼ 下載：67

檔案下載：龍成于野──1970 年代末香港功夫電影中的城鄉對立與日常微觀.pdf

李小龍的拳腳功夫片為1970年代的香港帶來革命性的中國武術表演風格。有別於刀劍武俠電影，李小龍使用快速運動的方式將身體變成了致命的武器；作為他接班人的成龍，在 1970 年代末則創造出極為不同的功夫喜劇類型電影。
本文認為成龍電影透過巧妙的編排，大量挪用日常生活的物件作為訓練與再現拳腳功夫的道具。透過對這些平凡無奇的物的操作，也讓成龍在形象塑造上較李小龍更令人感同身受。換言之，李小龍的直接和成龍的迂迴形成了面對日常生活態度的兩種風格對比，而這種差異實與電影中再現城市與鄉村的二元對比模式有關，其中城市武術訓練的制式風格與物質享受，明顯有別於鄉村師徒訓練的隨創風格與物件挪用方式，呈現出成龍刻意展現有別於李小龍的反英雄形象，暗示著鄉村具有潛在樸質而雜融的洪荒之力。

In the 1970s, Bruce Lee brought Hong Kong and the whole world a revolutionary performing style of martial arts with his hand-combat films. In contrast to the sword fetish that existed in most martial arts movies, Bruce Lee turned his body into a lethal weapon through high speed movement, symbolizing the liberation of humankind from a world dominated by external powers. Jackie Chan, a successor to Bruce Lee on the big screen, developed a novel kung fu comedy genre in the late 1970s built upon a quite different personal style.
This paper argues that Jackie Chan, through ingenious action
choreography, adeptly made various objects in everyday life appropriate for the use of kung fu training and practicing. The audience may feel more related to Jackie than to Bruce as a function of his interactivity with these quotidian items. Most importantly, there exist two representational styles for facing everyday life in Bruce Lee's straightness and Jackie
Chan's detour. In these movies, Jackie Chan is trained by his wacky master via one-on-one tutorship and interacting with various everyday objects in the countryside, a method which is very different from the formal training in city martial arts schools. Jackie Chan's becoming a kung fu master subtly implies that true force of nature dwells only in rural
simplicity.

微話語、語句戲局與布局機器：即時演算生成剪接系統中的隨機函式美學

Micrology, Games of Sentences and Dispositive: Aesthetics of Random Function in Real-time Algorithmic Generative Editing Systems

/ 陳蕉 Chiao Chen

關鍵字：即時生成剪接系統、生成藝術、隨機函式、微話語、歧論、布局機器、隨機性、資料庫 Real-time algorithmic generative editing system, generative art, random function, micrology, differend, dispositive, database aesthetics

◎ 點閱：43 ▼ 下載：58

檔案下載：微話語、語句戲局與布局機器.pdf

這篇論文的研究目的在於探究當今數位科技持續變動的圖景中，藝術家與即時演算生成剪接系統之間的遇合，究竟如何持續形塑著隨機性在藝術中的多變樣貌。藝術家的主體性與隨機性之間的關係是否仍然如同過去一樣，呈現一種消長關係，亦即隨機性是否仍主要被用來作為一種去藝術家主體性的創作策略？藝術家如何透過其感性之眼，以一種超出隨機函式的方式來理解隨機性，並讓機器的自主性與藝術家的主體性交匯出種種「語句戲局」？本文將主要從 JeanFraçois Lyotard 理論中的「微話語」、「歧論」概念，以及 Giorgio Agamben 的「布局機器」等角度，以許家維的《飛行器、霜毛蝠、逝者證言》（2017）、Delphine Doukhan 和 Antoine Schmitt 的《碎形電影》（ Fractal Film ）（ 2013 ）、 Thierry Fournier 的《預示》（Precursion）（2014）這三件使用了即時演算生成剪接系統的作品作為分析對象，試圖回答上述問題。

This paper attempts to portray how, in the shifting landscape of digital technology, the convergence of artists and real time algorithmic generative editing systems shapes ceaselessly morphing randomness in the arts. Do artist subjectivity and randomness still situate themselves at opposite poles, that is to say, is randomness used as a strategy to disavow the artist's subjectivity, as was the case in the past of art history? This article explains how the sensitive eyes of the artists bring a vision of randomness beyond the scope of random function in programming and therefore marry the autonomy of the machine with the subjectivity of artist to produce diverse games of sentences. Three recent art creations based on the real time algorithmic generative editing system are examined to help provide the answers to the above
questions: Testimony of the Drones, Frosted Batsand Deceased (2017) of Hsu Chia-Wei, Fractal Film (2013) of Delphine Doukhan & Antoine Schmitt and Thierry Fournier's Precursion (2014). The main references supporting our analysis are Jean-François Lyotard's “micrology” and “differend”, as well as Giorgio Agamben's “dispositive.”