照片雖然可以做假，但是，它意味著高度社會性的特質，在觀看的過程中讓痛楚的極限，轉化為自我解放的狂喜。照片如何藉由身體痛楚呈現恍惚與狂喜的非理性狀態？在凝視照片的過程中，是否產生較繪畫、雕刻更激動的情緒？兩個看似十分主觀性的問題，是否可能透過邏輯、理性的研究，獲得一些肯定的答案？本研究先由多面向的文獻著手，彙整宗教儀式、大腦神經系統、哲學、心理學與文學藝術等與此議題相關之論述，然後以超現實攝影與編導式攝影為理論基礎，探討照片如何表現苦難、攝影者面對災難現場的狂喜經驗與觀者凝視照片過程的瘋狂，最後以陳界仁《魂魄暴動》作品為引證，闡述照片施展如招魂與攝魂般的法術，令攝者、被攝體與觀者在操控與凝視身體痛楚極致而產生的恍惚、狂喜現象。 The photo image could be factitious; however, it implies significant social traits. While viewing the horrific photo graphics, the extreme of agony is transformed into the ecstasy of self-liberation. How does photo image reveal the irrational state of trance and ecstasy via physical agony? Does gazing at the photo image arouse an emotion that is more intense than that aroused from gazing a painting or a sculpture? Can we obtain objective answers from a logical and rational analysis of this seemingly subjective comparison? This research work proceeds with discussions on multi-faceted articles and also considers arguments related to religious rituals, neurophysiologic system, Philosophy, Psychology, literature and arts. Thereafter, on the basis of theories of Photo Surrealism and Fabricated Photography, an investigation is made into the photographic expression of sufferings, the experience of ecstasy of the photographer on the scene of disasters, and the madness of the viewer while gazing at horrific images. In concluding remarks, the artwork of ＂Revolt in the Soul & Body＂ by Chen Chieh-Jen is excerpted as evidence and this research elaborates how photo image could deploy spiritualism-like magic so that the photographer, the subject, and the viewer are in the state of trance and ecstasy while manipulating or gazing at extreme bodily agony.
