「空間」與「時間」相互模塑。在當代影視藝術中，「空間」的感知乃是藉由場景的時間序列所建立；而「時間」則是藉由將自身擠進空間的經驗中而得以豐碩。然而，在當代社會中，藉由數位媒體科技的引導，讓人們觀影經驗中的時間感知可以是加速、減緩、反轉、與物理時間並進，或產生皺摺。場景的併置在觀影者的心中產製出關聯性的影像意涵；同樣的，不同的時序亦可以被擠壓在同一個影像文本的區間。因此，不同的情感感知也附著於空間的位置，或上、或下、或前、或後。毋庸置疑地，正如維希留（Paul Virilio）指出，當代影像科技所造就的速度感是種權力的象徵，無論如何，征服便是領先；抓住速度，便是掌控權力，維希留稱此種因速度所產生的權力支配形式為「速度政權」（dromocratie）。

 

簡言之，速度政權清除所有事物／景物；同時也消除人與人之間的社會關係。在「速度即是環境」的景況中，意味著時空距離的感知被數位媒體科技改寫。維希留把「加速」視為是科技進展的核心要點，從時間面向來說，資訊的傳遞時間縮短到極致；從空間的面向來說，幾乎所有物理空間都可以透過傳播科技到達，「彼地」，因而彼地也轉化為「此地」。意即：當代媒體科技決定性地改變人們對時間與空間的觀念，此改變更是一種致命性地對時間與空間感的磨滅；以致，時空感知不再是人們慣常性的認知。本展以「頓點」做為命題，闡述「頓點」做為敘事暫時凝結之景況，轉折後每個敘事、場景，或位置的方向都不盡相同，而分岔路的前方又有什麼在等著人們？展出的作品以不同的「破敘事」策略，扭曲整體影像語藝（visual rhetoric）的完整性以及當時的語境，造成特異的停頓與綿延（Duree），透過參展作品對活動影像作為「流動詩學」的創造，讓觀者體驗特殊語段及語義的關係，以在影像實踐中展現時空的頓挫感。

 

“Space” and “time” modify each other. In contemporary video art, perception of “space” is established by the chronological sequence of scenes. “Time”, meanwhile, is enriched by cramming it with spatial experience. In modern society, however, perception of time, as part of any video-viewing experience, can be accelerated or decelerated, reversed or dwelt upon, vaulted in each direction. The juxtaposition of scenes produces associative visual images in the mind of the viewers. Likewise, several sequences of time may be compressed into a single visual text. As a result, different emotional sensations are attached to spatial positions -- moving upward, downward, frontward or backward. Undoubtedly, as demonstrated by Paul Virilio, the sense of speed created by modern video technology is a symbol of power. Conquest promises outright supersession; speed secures commanding power. Such command of power, obtained by speed, is what Virilio called dromocratie. Put simply, dromocratie sweeps away everything (scene). It also erases the social connections between people. Against a "speed-is-all" backdrop, perception of temporal and spatial distance is re-measured by digital media technology. Virilio considered "acceleration" as the core of technological advancement. On temporal dimensions, transmission of information is shortened to the extreme. On spatial dimensions, almost all physical spaces can be reached via communication technologies. "The other place" easily becomes "another place". That is to say, modern media technology has decisively altered our perception of time and space, which has fallen victim to destructive obliteration. Consequently, our sense of time/space is no longer the same. Titled Pause in Time and Space, this exhibition explores "pause" as a temporary suspension of a narrative process. After each transition, every narrative, scene and position becomes somewhat different. What awaits us at the crossroads ahead? Adopting various "fragmentary narrative" strategies, all artworks distort the entirety of the visual rhetoric and narrative context, forming peculiar pauses or durées in different directions. Through the creation of "flowing poetry," made possible in these artworks with moving images, viewers are able to read the distinct syntactic and semantic relations so as to feel the discontinuity in time and space.