擺盪於動靜間的非敘事影音：以黑川良一《流變：五個視野》為例

Abstract

非敘事影音是同時藉由聲音與影像傳達訊息，且不具敘事功能的藝術形式。它是藝術家拋棄敘事所進行的聲影實驗。在藝術與音樂史中，從色彩鍵盤樂器、抽象動畫、錄像藝術、類比電腦動畫到數位藝術，都可見它的蹤跡。不為敘事服務的非敘事影音，在影音設計上有更自由的表現，也更能挑動視聽人的感官知覺。 然而，非敘事影音研究尚不如敘事影音研究悠久健全。不像敘事影音研究中，有如希翁（Michel Chion）和庫克（Nicolas Cook）著作般有系統的分析文獻，非敘事影音分析文獻仍以短小而分散的期刊文章為主；且尚未有人觸及，以非敘事影音為題的歷史追溯與作品分析。非敘事影音在發展過程中形成了何種特質？此種特質可以何種方法分析？在本文中，筆者藉梳理與非敘事影音相關之歷史文獻，歸納出非敘事影音的特質。另一方面，以黑川良一《流變：五個視野》為例，演示一種能剖析作品內在結構的分析方法，揭露隱藏其中的非敘事影音特質。

The non-narrative audiovisual is an art form which doesn’t tell a story, and conveys ideas by sound and images simultaneously. The non-narrative audiovisual is an artistic audiovisual experiment beyond the function of narration. In the history of art and music, it has been leaving traces on the color keyboard, abstract animation, video art, analog computer animation and digital art. Without the constraint of narration, the non-narrative audiovisual has more possibilities for its design, and is more capable of exciting the senses. However, the development of the non-narrative audiovisual study is not as long and buoyant as the narrative audiovisual study. Unlike the narrative audiovisual study, which is supported by abundant systematical literatures, such as the books written by Michel Chion and Nicolas Cook, the non-narrative audiovisual study is comprised mainly of short and dispersed journal articles. Moreover, in the narrative audiovisual study, the issues of the historical survey and the analysis method have yet to be fully explored. What are the traits of the non-narrative audiovisual forming during its development? What is the analysis method could we employ to reveal these traits? In this paper, I suggest there are three traits of the non-narrative audiovisual, and discuss these traits through reviewing the historical literature about the non-narrative audiovisual. On the other hand, by analyzing Ryoichi Kurokawa’s Rheo: 5 Horizons, I seek to shed light on the internal structure of the non-narrative audiovisual, and reveal the traits hidden within this structure.