之後 Afterwards | 誠品線上

之後 Afterwards

內容簡介

內容簡介 《之後》 持續出現的人形「背影」，讓看似平靜的社會鏡像，淡淡言說著，潛藏在對象背後黑暗的故事、被政治性掩蓋的事件。 錯落在系列中的「小黑方塊」，以數位科技中最小單元的形貌，斷斷續續闡述： 人工智慧高科技「機器.電腦人」無止盡的擔憂； 網路駭客近身的威脅，個資安全普遍性崩壞的「科技壞軌」夢靨。 斷續浮現的頁碼，抹消了原本標註的本質， 讓緊靠著影像的「數字」猶如「科技壞軌」 與系列中未知、不可預測的「小黑方塊」相對應。 前後頁影像的「虛擬並置」， 藉由小標來緊扣之間的關係。 大的空白頁，不擔任四連頁作品的邊框重任， 而是鄰近影像中泛白內容(天空、衣物......)的氛圍外延 ――無像的作品。 直視攤平書本的中間，來回閉左眼、右眼， 斷裂閱讀的經驗，浮現出現實的縐褶感， 那是， 黑白的時空折痕 《之後》光鮮亮麗、細節豐富的彩色影像，表徵科技文明的憧憬；去色彩的數位黑白影像，則意圖淡化拍照活動對現實的寫實印象。 無色彩的黑白影像，把握鏡像擬真的外貌，但反向操作了過往類比的黑白照片，對非真實感的技藝常規。 新作，日常性內容的黑白鏡像，淡化了整體的反差，泛白了亮部的細節， 讓高明度、微柔焦、暈眩的飄動感，削弱鏡像對現實物質性的映照。 數位黑白的視野，科技去對象的色彩，不作消逝對象的緬懷。 數位黑白的五彩，心智劃開了眼花繚亂，淨無色的感知。 數位黑白照像，眼前感動的言說。 打開《之後》彩色、黑白影像交錯，真實、虛幻同存。 光明、正向、理想國的彩色影像，非單一的色彩或對象，豐富的視覺資訊， 滿滿的影像質感，無止境的視覺韻律，在時間中竄流。 黑白的日常景致，露餡了: 現實瞬間變動的不可控，過往理想不存在的矛盾與遺憾。 翻動《之後》 被紙刮傷的手指，感傷鋪天蓋地的假信息。 濛濛、沒有淚珠的雙眼，忘了真實世界本該有的觸動。 實景中不預期的小黑塊，反轉了靜寂。 前頁、後頁黑白殘像中，時間流動了。 合上《之後》無力的社會經脈，纏繞著孤單的信念。 疲憊的心智，難以辨識高科技與人工智慧對未來的衝擊。 轉身，向東?面西?坐南?朝北? 不動，不想動，其實是動不了的覺悟。 ◎代理經銷 白象文化

作者介紹

作者介紹 游本寬曾任國立政治大學傳播學院專任教授、特聘教授，現任國立政治大學傳播學院兼任教授，致力於台灣攝影藝術教育三十五年，曾在台灣、中國、日本、韓國、美國、英國、法國、德國等地舉辦個展或參與聯展逾百場，作品並經台北市立美術館、國立臺灣美術館、國家攝影文化中心等機構典藏及私人收藏。2020年更獲選收入於國立臺灣美術館的《臺灣攝影家》專書中。 自《游本寬影像構成展》(1990)起，極力倡導美術攝影，不但持續發表作品並積極出版「攝影藝術書」，二十多年來已發表過《真假之間》(2001)、 《台灣新郎》(2002)、《有人偶的群照與聖誕樹》(2008)、《台灣公共 藝術──地標篇》(2011)、《游潛兼巡露──「攝影鏡像」的內觀哲理與 並置藝術》(2012)、《《鏡話 臺詞》，我的「限制級」照片》(2014)、 《五九老爸的相簿》(2015)、《超越影像「此曾在」的二次死亡》(2019)、 《口罩風景》(2020)、《招 術》(2021)、《既遠又近……》(2022)、 《釘地》(2023)，以及今年新作:《之後》(2024)。 除每年提出新概念的攝影藝術書外，近年亦結合網路平台發表系列小品並限量出版《太太的義大利照相簿》(2023)、《烏克蘭》(2023)、《馬丘比丘，遲》 (2024)、《色》(2024)、《停一下》(2024)、《油漆風景》(2024)。 另著有《論超現實攝影》、《美術攝影論思》、《「編導式攝影」中的記錄思維》等學術著作，並曾策劃《手框景 ‧ 機傳情──政大手機影像書》(國立政治大學)、《紀錄攝影中的文化觀》(國立臺灣美術館)等專書出版。

產品目錄

產品目錄 The Age of Endless Sadness 背影，距離的透視轉身前轉 轉身《之後》黑道 白說:時空的折痕好看的數位圖象 影像視覺張力之謎照像，遠離「生活格式塔」生活色彩學 看見「心裡不存在」的顏色記住顏色有多難?心靈配色 「色彩」在數位影像中的充分條件色彩對「影像真實」干擾的省思 黑白攝影的心智灰階 試說黑白照像的「殘像補色」藝術無色彩影像的形式消減鏡頭，一知半解的明度拍照，有「像」不見「圖」? 感性照像?猜，影像的「精彩」從動人的故事開始 「照像.非紀錄」自然、輕鬆.有真實細碎資料的真實感攝影家「官能質感」的筆觸影像筆觸看出細節，拍得主題個人簡介作品目錄 〈白黑之間〉black or white (p. 4-7) 〈應該選甚麼魚〉which fish do I want? (p. 8) 〈一定要扣緊〉keep it tight (p. 9) 〈看啥〉what’s wrong? (p. 10-13) 〈急凍不成〉not frozen (p. 18) 〈緊盯著〉watching (p. 19) 〈接下來〉then? (p. 20-21) 〈謝謝關心〉staying close (p. 22-25) 〈向左〉to the left (p. 28) 〈向右〉to the right (p. 29) 〈暫停一下〉timeout (p. 32-35) 〈邊看邊想〉seeing and thinking (p. 36-37) 〈不合了〉ill-fitting (p. 38) 〈觀望〉let’s see (p. 39-46) 〈想要一個家〉home sweet home (p. 47) 〈並肩齊步〉side by side (p. 48) 〈紅訊飛揚〉red everywhere (p. 52 54) 〈不過度期望〉no expectation, no harm (p. 55-58) 〈不用等我〉without me (p. 58-61) 〈尋尋覓覓〉searching for nothing (p. 62-63) 〈低頭〉head down (p. 68-71) 〈下課了〉class dismissed (p. 72) 〈下一個目標〉aiming for the next (p. 73) 〈看我的面子〉for my sake (p. 74) 〈撿起來〉pick up (p. 75) 〈眾說紛紜〉they say (p. 76-81) 〈不能走〉can’t leave (p. 81-84) 〈就是找不到〉nowhere to be found (p. 85) 〈各有所好〉to each their own (p. 86-87) 〈定位中〉positioning (p. 88) 〈從長計議〉future planning (p. 89-92) 〈現在還可以〉for now (p. 92-95) 〈各自討論〉separate discussions (p. 95-98) 〈向前看〉looking forward (p. 99-100) 〈福多多〉lucky (p. 101)

商品規格

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自序 : ◎
手持數位相機
體悟，透視壓縮空間的現實，快門截斷持續性的時間，鏡像平面化對象的本質。
接受，親臨現場照像，不再是數位鏡像的必要條件。
順應，簡易成像、大量複製、快速傳播的現實環境，小心翼翼的改變和觀眾互動的距
離。
正視，任何影像構成的元素：色彩、反差、細緻度 ......只是充分、非必要條件的科技
事實。
牢記，即使承續類比攝影美學加入動人的故事，仍難有紀錄真實的說服感。

放下數位相機
省思，觀眾即使不知道拍攝者是誰?仍保有拍照「來自於人」的活動本質。
把握，成像和現實對象之間擬真的圖象特質，
從時間的哲學出發，誘發觀者共有的情感經驗。

2000 年《不經意的記憶》
讓家人日常中不自覺的肢體語言，真情「自動化」成像在環境中。
2024 年新作《之後》
生活照像，迴避循環儀式的留影，不複誦紀念性的綵排， 淡化故事中的成員在事件核心的紀念狀態。

《之後》無意識於編碼的影像：
躲閃，具有過去式印象的社會符號(老街、古董，緬懷的視覺語言)。
鏡頭，回絕了文字可以精準表述的社會符號(蛋糕、蠟燭、獎杯......)；
視角，即興的框取了鏡頭前最大量的訊息，轉譯細碎、繁複的影像細節，
仿現雙眼對現實世界的感知印象。
快門，不刻意表述顯見的生活感動，小心翼翼翻開「家的背影」一頁頁的劇場筆記；
凸顯，當下剛剛發生，零散、不經意的移動和轉動情境。
底片，隨性散記了周遭陌生人，在現實中呼吸的斷面。

《之後》稀鬆平常的片刻，
讓鏡像、觀眾、攝影者原本隱微的界線， 更模糊了。

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內文 : ◎The Age of Endless Sadness
An Age of Erratic Beliefs
We live in an era of polarized values between democratic ideals and iron-fisted authoritarianism. People increasingly align themselves with political ideologies in conflict with their core beliefs. The pendulum swings left and right, never settling in the center.
An Age of Regional Turmoil
Endless cries from wounded soldiers echo among the heated disputes at economic summits. Battle cries resound, fighting for the impoverished, for power, and for the noble.
An Age of Moral Decay
False information masquerades as truth, failing to conceal the greed inherent in human nature. Greed for gold, for silver, and even more so for wealth itself.
An Age of Growing Wealth Disparity
Human goodness is gone. As the gap between social classes increases, generational rifts and misunderstanding erupt within the home.
An Age of Artificial Intelligence
An AI future is increasingly out of sync with human-centric values and the purported microchip renaissance is not to be trusted. Personal data security is dictated by policy set by industry and the government. Speed, satisfaction, desire. Infinite sadness will become the greatest common factor of humanity.
Wind remains unseen, its silent presence unnoticed in the absence of a storm.
Scenery, overlooked by the mind, is omnipresent.
Viewing the land, a heartwarming story awakens my absentmindedness.

Landscape photography is simple for me because I am immersed in it. With compassion, I appreciate the thoughtfulness that people have devoted to the small, intimate corners of their lives as I move closer to a subject and focus a bit more. In a larger environment, I create a longer distance between myself and single subjects, such as a mountaintop, allowing my heart and eyes to perceive the vastness of the natural world.
I once heard a novelist say, “People feel estranged due to excessive closeness; with distance, because of longing, the heart feels closer.” The active movement of shooting must imitate prose, alternating between near and far, to pull the heart forward.
While most landscape photography depends upon photographers traveling to and seeking out extraordinary scenes, my images are discovered during casual walks.
‘Afterwards’ Artist Statement
My new work, ‘Afterwards’, explores themes of daily life. I have purposefully avoided photographing momentous occasions such as birthdays, graduations, and weddings, to minimize the prominence of any one individual. Ordinary moments blur subtle lines between the image, the audience, and the photographer, rendering them even more indistinct.
Bypassing nostalgic representations of culturally historic
old streets and antiques, my lens rejects what words can
illustrate more precisely.

From a spontaneous perspective, the camera maximizes
information within the frame, translating intricate and rich
detail that mimics how our eyes perceive the real world.
Black/White: The Philosophical Translation of Images
The vivid and richly detailed color images in ‘Afterwards’ signify a longing for an advanced high-tech society in the future. The de-saturated black-and-white images aim to reduce the photorealistic impression of the photographic process. The black-and-white images represent reality but challenge the tonal aesthetic of traditional film-based photography. Overall contrast is softened in the black- and-white images, highlights are intentionally overexposed, focus is softened, and a dizzying sense of motion is created which diminishes a connection with reality.
In ‘Afterwards,’ the recurring profile of a person’s back subtly narrates thedark stories and politically obscured events hidden behind the subjects, through seemingly tranquil images. Scattered throughout the series, small black squares, representing the smallest units in digital technology, illustrate the relentless pressure of artificial intelligence “machines and computer people" and the imminent threats from cybercrime and cyberwarfare. A nightmarish scenario.
Opening ‘Afterwards’
Color and black-and-white images intermingle, where reality and illusion coexist. The color images, symbolizing brightness, positivity, and an ideal state, are not confined to a single hue or subject. They are brimming with rich visual information, full of textural depth, and possess an endless visual rhythm that flows through time. The everyday black-and-white scenes expose the uncontrollable, fleeting changes of reality, revealing the contradictions and regrets of past ideals that no longer exist.
Flipping through ‘Afterwards'
Fingers cut by paper, overwhelmed and saddened by pervasive false information. Misty, tearless eyes fail to remember the sensations evoked by the real world. Amid the black-and-white remnants of the front and back pages, time flows, silence is reversed, panic is diluted, and memories begin to emerge from the depths of the heart.
Closing ‘Afterwards'
Solitary beliefs are constrained by the powerless veins of society.
A weary mind struggles to grasp the impact of artificial intelligence on the future.
Turn away, which direction should I look?
Motionless, unwilling to move, it is the realization of an inability to move.
Turning Away
A woman, dressed in casual shoes and white blouse, leans over the glass counter of a watch shop owner and says, “Boss, this is a 20-year-old wedding anniversary watch. Can you replace the strap with American alligator leather then see if it can run for another 20 years?”
That summer, our family biked along Taiwan's east coast. On a steep slope, my younger son stopped, turned his back to us, and nodded to two nearby Taiwanese water buffalo, saying hello.
After the ritual, Jigong took off his Daoist robe, put on blue and white slippers, and walked into the temple under renovation. With his hands crossed behindhis back, he counted the gods he could see and those he couldn't: Guanyin,Lü Dongbin, Mazu, Jade Emperor, Dongyue Great Emperor, Xuantian Shangdi, Heavenly Mother, Shennong Great Emperor, Baosheng Dadi, Three Mountain Kings, Water Immortal Honoured King, Kaizhang Shengwang, Guangze Zunwang, Linshui Lady, Five Manifestations Great Emperor, Central Altar Marshal, Lords, General of the Masses, Righteous People, City God, God of Wealth, Kitchen God, Wenchang Emperor, and Kui Star...
On the platform heading to the Metropolitan Museum in New York, my wife, draped in a white short coat, leans against a large steel pillar with her arms crossed. The two brothers, avoiding eye contact, pause their conversation. Facing away from the direction of the incoming train, the three of them formed a triangle of familial space, each lost in our own thoughts, quietly awaiting the sound of the approaching train.

最佳賣點

最佳賣點 : ◎以破壞影像的「小黑方塊」，闡述「科技壞軌」的夢靨，斷續卻相連的「虛擬並置」影像，大膽挑戰視覺的觀念攝影。

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