科技樂器之現象學初探

Abstract

摘要

本文透過海德格技術哲學，批判科技樂器並不能僅止於工具論(instrumental perspective)下的討論範疇，應揭露現象本體作為一種『詩的意義創造』而存在，從而推展至科技樂器的實踐與創造。本文亦借鏡Harrison等人於2007年在HCI 領域中極具影響力的一篇論文 “The three paradigm of HCI”的三大派典之研究架構，然本文更就第三派典（現象學）深入地追溯現象學的文本，並透過John Cage的音樂作品－《4分33秒》，闡述樂器、人及現象之間的關連意義，亦就現象本體、意向性、互為主體性、耦合與隱喻，作初步方法論上的探究。最後，實際選定三個科技樂器以伊德四大關係之分析進路並融入科技樂器之感知互動操作模型作一綜合評述，並參照Harrison的三大派典研究觀念架構，區分於設計實務上問題類型所屬之派典方向，並作為後續設計者之問題指引。

透過現象學的視角，科技樂器敞開一種某種意義結構上的多元可能性，即海德格所謂的在世存有(Being-in-the-world)的世界性。在這樣的觀點之下，技術並非僅就於技術層面，而是更進一步地與生活連結，體現出技術的理由與意義。本文亦疏理梅洛龐蒂感知現象學中身體主體(body-subject)的概念，並透過John Cage的《4’33”》進一步闡述梅氏的身體與主體意識的共存體現的狀態，釐清表演者－（身體主體）是一種與音樂藝術一同再現的共同置身者，而非分離於笛卡爾式的科技與音樂的工具理性之操作者。換言之，科技樂器中的「科技」本質即是從身體主體與樂器互動中所開展出來的意義與文化。

關鍵字：現象學、在世存有、身體、工具理性、科技、科技樂器

Abstract

According to Heidegger philosophy of technology presented, this thesis criticizes that Digital Musical Instruments (DMIs) cannot be merely restricted to explore the field of an instrumental perspective. Instead, it should reveal the phenomenon of being as ‘the creation of poetic meaning’ to be existed, so as to be tilted toward the practice and creation of DMIs. In the field of HCI, there is an influential essay ‘The three paradigm of HCI’ presented by Harrison et al. in 2007, which is also perceived as a research framework in this thesis. In addition, the third paradigm (phenomenology) is further traced back to the text of phenomenology to shed light on what the nature of DMIs is and to elaborate on the relationships between instruments, human beings, and phenomena via the music works 《4’33”》created by John Cage. Finally, the object-oriented concept of P. Dourish is applied to link the design thinking of DMIs; the phenomenon of being, intentionality, inter-subjectivity, coupling, and metaphor are explored by a preliminary methodology in this thesis.

Through the perspective of phenomenology, DMIs open the diversified possibility in the structural sense of the universality of so-called ‘Being-in-the-world’ contended by Heidegger. Under this point of view, technology is not only the dimension of the technology, but also further closely associated with life to embody the reason and meaning of technology. The concept of body-subject in the phenomenology of perception proposed by Merleau-Ponty will be delineated in this thesis as well. Furthermore, John Cage’s 《4’33”》will be further elaborated on the state of Merleau-Ponty’s body-subject co-existence to understand performers who are a synthesis of music of art to be performed, instead of the manipulators separating the Cartesian instrumental rationality of the technology and music. In other words, the nature of ‘technology’ of DMIs is developed from the interaction between body-subject and instruments to present the meaning and culture.

Keyword: Phenomenology, Being-in-the-world, Body, Instrumental rationality, Technology, Digital Musical Instruments