2016-08-012024-05-17https://scholars.lib.ntu.edu.tw/handle/123456789/691138摘要：本計畫將嘗試討論自拍及自拍所牽涉的可見性、不可見性如何使新媒體成為可辨識的知識型。單純的自拍使可見性折返於拍攝主體與客體的凝視之間，然新媒體工作者若以資訊視覺化技術，集結龐大數量的自拍照，重新組裝、配置，則可繪製出某種關於數位全球的圖像，為當代性提供進一步的可見性──本計畫將稱其為「後設可見性」，關於可見性的可見性。然此多重可見性亦錯雜著種種不可見性：資訊視覺化的另一面向即是數位全球時代下的人經常僅以資料方式存在，對於自身的認識非透過科技無法達致，而握有資訊後製技術的少數人可能使後設資料成為新形態的知識暴力。媒體理論家曼諾維奇（Lev Manovich）所主持的新媒體計畫《自拍城市》（Selfiecity, 2014）便是視覺化工程的重要例子。本計畫將以其做為主要分析對象，檢視新媒體在知識論層次的意涵，以及新媒體科技的辯證性可能。計畫將帶入班雅明的「姿勢」、「可引用性」概念，探究從自拍到後設視覺化的過程中，意義假使延遲發生，此延宕性是否反而能衍生出創造性的觀看。<br> Abstract: This project seeks to broach the epistemic intelligibility of new media by examining the selfie and the matrix of visibility and invisibility surrounding it. In addition to the practice of the selfie in general, I will use as an example the new media project Selfiecity, created and designed by Lev Manovich and his team. Selfiecity employs techniques of information visualization and reorganizes in various visual forms thousands of selfie images culled from Instagram geo-tagged in five cities across the world at a particular time. My argument is that visualization initiatives like Selfiecity render visible what is otherwise invisible in the digital globe we inhabit today—I will call this “visibility about visibility” metavisibility. On the other hand, however, such metavisibility advanced by digital technologies may pose the danger of epistemic violence, a myth of total knowledge. This project intends to ponder these issues theoretically, drawing on, in particular, Walter Benjamin’s concepts of gesture and citability with a view to weighing the validity of approaching new media dialectically.自拍新媒體知識型視覺化可見性可引用性selfienew mediaepistemevisualizationvisibilitycitability