本文從一個有別於現代主體（modern subject）的角度，探討藝術如何在這個技術統治的世 界中，讓藝術重新成為「超受容性」（transpassibility）的引發物，亦即讓人重新無預設地向著世 界的未知完全敞開。藝術如何讓觀者從影像「事件所使之湧現與展現的可能性來思考自我 性」？人與世界之間如何重新建立起一種「召喚」關係？影像事件如何形成情感內作力？本文 將借用事件哲學家C. Romano 對於事件的相關思考、H. Maldiney 的「超受容性」、「召喚」、「遭 逢」、G. Deleuze 的「情感內作力—影像」概念，以及M. Heidegger 對於技術的追問作為主要的 研究方法，以兩件影像藝術作品： A. Sala 的《一次又一次》和D. Claerbout 的《無題，卡爾與 朱莉》為例，嘗試思考探索這些問題。

From a non-modern subject’s point of view, i.e. a non-substantial perspective on subject, this paper attempts to portray how, in this technocracy-ruling-world, art can trigger anew the “transpassibility” in people, that is to say to enable one to fully open oneself to the unknown without any presupposition. How can art make viewers reflect on their ipseity through the possibilities articulated in world, which are brought into being by the image-event? How can a “call” be created between the human and the world ? How does an image-event produce “image-affection”? Two art creations--Anri Sala’s Time after Time and David Claerbout’s Untitled, Carl and Julie--are examined to help provide the answers to the above questions. The main theoretical references supporting our analysis are: Claude Romano’s thinkings on eventiality, Henri Maldiney’s “transpassibility”, “call” and “encounter” notions, as well as Gilles Deleuze’s “image-affection” concept, and Heidegger’s reflections on technology.