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| October 2010 |
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14 |
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| 視覺‧文本Text Image |
| 為影像賦與聲音：傳意在視覺和口述之間 |
| Sounding the Image: Between Visuality and Orality |
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| 作者 |
葛海崙、歐陽檉 |
| Author |
Helen GRACE, Shing AU-YEUNG |
| 摘要 |
「技術性圖像（technical image）的洪流是令人無法抵擋的：沒有任何藝術、科學或政治活動不是為了技術性圖像而設；沒有任何日常生活活動不希望被拍攝成為照片、影片或錄像。可以被永遠記住或重播，變成了人的一種渴求。現在每一件事件的目的都是為了可以給電視、電影銀幕、或照片保存下來 。結果是每一次行動或事件都失去其獨特的歷史性格，變成一種魔術儀式，一種永無休止的重複動作。技術性圖像的世界，包圍着我們、也充實了時代，令行動和煩惱循環不息。」（Flusser, 2000: 20）
「地方、時間加上精力互動，就成韻律。」（Lefebvre, 2004: 15）
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| Abstract |
This article and the accompanying image set are part of an on-going study of camera phone photography in Hong Kong. The case study discussed here outlines an everyday and relatively casual image-making practice by a camera phone user who is a professional illustrator. Camera phone photos, due to their hyper-production and seemingly ephemeral nature, are often regarded as insignificant in themselves, and their aesthetic/affective features are often overlooked. Previous camera phone studies have focused on the human-computer interaction (HCI) aspect, but not on the user-created content itself. Our case studies, on the other hand, adopt a micro-level close reading and ethnographical perspective, focusing on the users’ image-making practices and the meaning of the images in themselves. In this article, through an in-depth interview with the user, we uncovered the circumstances of the images’ production, registering additional information from an oral account of the images, including the user’s feelings and sentiments, the rhythm of life, and the use of a common aesthetic framework, based around colloquial expressions such as mouh liuh, dāk yi and leng. Because the meaning of such images cannot be read from an objective observation of the images or from formal considerations alone, our research problematizes the notion of the universal communicability of visual language. We also find that users apply deliberate and sober aesthetic choices and judgments in taking camera phone photos by interacting with mechanic capabilities in a closely collaborative manner. At the same time, the presence of photographic themes such as light, shadows and reflections can be seen as a connection to very early photographic practices, refreshed within the contemporary regime of the technical image. The research suggests that visuality cannot be separated from orality in understanding everyday image practices within a generalized aesthetic sense we are calling general aesthesia.
本文引用格式
葛海崙、歐陽檉（2010）。〈為影像賦與聲音：傳意在視覺和口述之間〉。《傳播與社會學刊》，第14 期，頁191–206。
Citation of this article:
Grace, H., & Au-yueng, S. (2010). Sounding the image: Between visuality and orality. Communication & Society, 14, 191–206.
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