本文探討新媒體的概念、認知與形式如何影響傳統媒介，造成當代攝影書的後數位轉向。研究案例為不同版本的攝影書《不多不少》(2018)，該計畫初始為蘇文（Thomas Sauvin）蒐集的肖像相冊，再由小池健輔（Kensuke Koike）解構並重塑圖像，最後則由三間分別位於法國、義大利與中國的出版社，於相同期限內以相同素材限量製成攝影書。以上述事實作為文本，分析的開展則以「再中介」理論為基礎，並從「直感性」和「超媒介性」等概念討論中，揭示出二十一世紀讀者影像閱讀經驗的「介面」協商，在完成一種藝術實踐與關係美學的積極意義與物質性影響。

This paper seeks to investigate how concept, cognition and form in new media affected traditional media and led to the post-digital turn of contemporary photobook practice. No More No Less , the subject of the case study, is the result of a project carried out by two artists. Thomas Sauvin collected ready-made portrait albums for Kensuke Koike to deconstruct and reconstruct the images. They provided identical materials to three publishers in France, Italy, and China, respectively, and commissioned them to produce limited copies of photobooks by the same deadline. This paper employs the theory of “remediation” as well as the concepts of “immediacy” and “hypermediacy” to analyze the case of No More No Less. This paper demonstrates that, in the reading experiences for the 21st century viewers, the interface negotiation is to fulfill certain aspects of the active meaning and the influence of materiality in art practice and relational aesthetics.

再中介; 後數位; 新媒體; 攝影書; 關係美學

remediation; post-digital; new media; photobook; relational aesthetics