本论文研究影像衰变如何通过错视现象 (apophenia) 和痕迹的相互作用产生新的视觉形式。在艺术领域传统学科界限消融的背景下, 当代版画已发展成为跨媒体创作实践, 超越了传统艺术的限制。本研究不是着眼于传统版画的版次制作, 而是采用多种方法降解同一印刷图像的表面图层, 以此探讨当图像降解与动态影像编辑技术结合时如何产生新的美学成果。

在研究方法上, 本研究对版画和动态影像的材料特性、表面特征和时间维度进行比较分析。通过反复的印刷循环、实体印刷图像的再造、拍摄和重印, 图像逐渐衰变并积累了多层转变。这个过程解构了原始图像, 产生了新的视觉模式和含义, 这得益于错视现象的运用———一种在随机或模糊数据中产生意义并形成模式的艺术探索方法。通过有意降解图像的过程, 残留的痕迹和碎片形式刺激观众的想象力, 让观众感知新的美学想象, 扩展媒介的创作潜力。

本研究将动态影像编辑整合到图像衰变过程中, 展示了如何将版画的静态特质转变为集版画和时间艺术特征于一体的“印刷动态影像”。动态影像编辑过程捕捉了图像衰变的每个阶段, 再以数字编辑工具给图像创建时间轴。这种融合挑战了版画和动态影像之间的传统区分, 突显了数字时代版画的演进和多样性。

本研究发现, 衰变过程与动态影像编辑相结合后创造了一个既独立又富有整体性的视觉语言表达系统。本文强调“版画”不仅是静态实体, 还可以演变为“印刷动态影像”, 以此连接静态版画和动态影像两个概念。这种方法扩展了当代版画领域, 运用多种视觉语言和实践以呈现版画这一艺术媒介的跨学科潜力。研究强调了图像衰变作为艺术实践变革过程中一个重要的实践方法, 即是将衰变视为解构和重构的方式, 鼓励艺术家以此释放新的创作潜力。

研究强调在当代语境中重新定义传统艺术方法的重要性, 为当代艺术中有关数字文化和图像演变的广泛讨论做出贡献。以错视现象和痕迹的相互作用为重点, 本研究丰富了艺术界内的对话, 为艺术及相关领域的探索提供新的思考。版画和动态影像编辑的融合挑战了传统艺术的范围, 发掘了版画的动态性质, 为数字时代的艺术表达提供了新的可能性。

This paper investigates how the decay of images can generate new visual forms through the interplay of apophenia and trace. In the context of the dissolution of traditional disciplinary boundaries in the arts, contemporary printmaking has evolved into a cross-media creative practice, transcending conventional limitations. By focusing on the reproduction process—not through traditional editioning in printmaking but by employing various methods to degrade the surface of the same printed image—the study examines how image degradation can produce new aesthetic outcomes when combined with moving image editing techniques.

The methodology involves a comparative analysis of the material properties, surface characteristics, and temporal dimensions of prints and printed moving images. Through iterative printing cycles, physically altering the printed image, photographing, and reprinting, the image undergoes gradual decay, accumulating layers of transformation. This process deconstructs the original image, allowing for new visual patterns and meanings facilitated by apophenia—the tendency to perceive meaningful patterns within random or ambiguous data. By intentionally degrading images, the residual traces and fragmented forms stimulate the viewer' s imagination to perceive new connections, expanding the medium' s creative potential.

Integrating moving image editing into this decaying process demonstrates how the static nature of prints can be transformed into dynamic “printed moving images” that embody print and time-based media characteristics. The moving image editing process captures each stage of image decay, manipulating them using digital editing tools to create a temporal sequence. This fusion challenges conventional distinctions between printmaking and moving images, highlighting printmaking' s dynamic and evolving nature in the digital age.

The core findings reveal that the decaying process, combined with moving image editing, creates an expressive system of visual language that is both independent and integrative. The study emphasizes that a “print” is not just a static entity but can evolve into a “printed moving image, ” bridging static prints and dynamic moving images. This approach expands the field of contemporary printmaking, demonstrating its potential for interdisciplinary crossover by employing multiple languages and actions. It underscores the transformative potential of image decay as an artistic practice, where embracing decay as a form. of deconstruction and reconstruction allow artists to unlock new creative potentials.

Contributing to the broader discourse on the evolution of images in contemporary art and digital culture, the research highlights the value of reconceptualizing traditional artistic methods within contemporary contexts. By engaging viewers through the interplay of apophenia and trace, the study enriches dialogues within the art community and paves the way for future explorations in art and beyond. This fusion of printmaking and moving image editing challenges conventional distinctions and exemplifies the dynamic nature of printmaking, offering new possibilities for artistic expression in the digital age.