“感知—思维”的共生关系:从具身认知出发的影像民族志田野作业

The Symbiotic Relationship between Perception and Thinking:Fieldwork of Ethnographic Film Based on Embodied Cognition

在现代科学的研究体系和哲学基础带来的唯智主义倾向下,影像民族志被长期定义为一种纪录现实的工具和研究文化的方法,强调一种“墙上苍蝇”式的客观观察和纪录。而胡塞尔现象学影响下的电影现象学和感官人类学理论暨实践的发展,为影像民族志的生产提供了另一种从感官感知出发、呈现个体经验的表达途径。本文从影像民族志的感性转向出发,以认知心理学科和脑神经学对身体影响思维的“具身认知”研究切入,着重探讨多重感官感知和思维之间的共生关系,以及具身经验应该如何通过视听语言来呈现,并通过田野作业现场拍摄者—摄影机—被摄对象之间存在的电、化学力场解析,探讨拍摄者把摄影机当作身体的控制方法。

Under the influence of the research system and philosophical foundation of modern science,ethnographic film has long been regarded as a tool for recording reality and a method for studying culture,emphasizing an“objective observation and documentation”approach akin to a“fly on the wall”perspective.However,the development of film phenomenology and sensory anthropology theory and practice under the influence of Husserlian phenomenology has provided another way of expressing individual experiences by starting from sensory perception in the production of ethnographic film.This article starts from the shift towards sensibility in ethnographic film,using the research on“embodied cognition”by cognitive psychology and neuroscience on the impact of the body on thinking,and focuses on exploring the symbiotic relationship between multiple sensory perception and cognition,and how embodied experiences can be represented through audio-visual language.It also analyzes the electrical and chemical field existing among the filmmaker,the camera,and the subjects during fieldwork,and discusses how the filmmaker uses the camera as a method of bodily control.