高重黎《物．像．書》

哪裡有影像，哪裡就有結構於歧視的權力關係。那麽，那裡就會有抵抗！我們如果缺少針對影像這方面的抵抗，那麽！那麼我們就什麼也不是了！抵抗、解放的戰略化戰術就是：積極地發明影像！───高重黎

本書以「可見性的政治經濟動力學」貫穿展開，探討攝影術自發明以來如何藉技術與殖民體系，擴大為全球的「可見性基建工程」與「影像原始積累」。書中集結高重黎近十餘年來的重要論述、訪談、創作筆記，並收錄代表作《幻燈簡報電影：秋刀魚的滋味》與《延遲的刺點：堤2》紙上版等系列與繪稿，全書逾兩百幀圖片，部分為首度公開，廣泛涵蓋影像與感知論題，以及對動畫、攝影、電影與生成式影圖等技術圖像歷史的關鍵分析。本書邀請讀者隨高重黎獨樹一幟的創作理路，對我們自身的視覺精神史進行一次基進考察，拆解影音階級與權力秩序的暴力構造，鑄造奪回感知主權的思想機具和實踐方法！

Thing．Figure．Book is the debut written work by artist Kao Chung-Li. Centered on the "political-economic dynamics of visibility," the book interrogates how photography, since its inception, has expanded into a global "infrastructure of visibility" and "primitive accumulation of images" through technology and colonial systems. The book assembles Kao Chung-Li’s essential essays, an interview, and creative notes from the past decade. It also includes paper-based versions and sketches of his representative series, such as Slideshow Cinema: An Autumn Afternoon and Belated Punctum: La Jetée 2. Featuring over two hundred images—some published for the first time—the volume extensively covers topics of image and perception, providing critical analyses of the history of technical images including animation, photography, cinema, and cinegratography. Readers are invited to follow Kao Chung-Li’s singular creative trajectory in a radical investigation of our own visual spiritual history. By dismantling the violent structures of audiovisual class and power hierarchies, this book serves as an intellectual tool and a method of practice for reclaiming the sovereignty of perception.

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高重黎，1958年生於台北，作品展現感知與影音技術的歷史辨證與拓撲，在創作中進行媒介考古，探討影音機器歷史中的權力結構，並持續在當前的生產體制中尋求解放。他自行產製機械裝置，結合蒐集之圖像、底片與影音工業機具，映現視聽的感知條件，並挑戰著影音技術生產的概念。曾於1984至1988年連續獲頒七項八釐米「實驗」、「動畫」、「紀錄」類電影金穗獎。

Born in Taipei, Taiwan in 1958, Kao Chung-Li is an artist whose oeuvre expresses the historical dialectics and topology between perception and audiovisual technologies. By dint of artistic creation, Kao engages in media archaeology, investigates the power structures in the history of audiovisual machines, and continues his unswerving pursuit of emancipation within the present system of production. He invents and produces his own audiovisual mechanical devices, and combines them with the images, negatives, and audiovisual industrial apparatus he has collected. His approach reflects the perceptual conditions of the audiovisual on the one hand, and challenges the concepts of audiovisual technology production on the other. He won seven Golden Harvest Awards in the categories of 8mm experimental film, animation, and documentary five years in a row (1984-1988).

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