本文援引德勒茲的相關思維，討論臺灣藝術家吳天章錄像作品中數位與類比語言使用等相關的美學問題。吳天章將自己的藝術美學風格描繪為「無縫之縫」，亦即介於真／假、虛／實、生／死與善／惡等對偶之間，藝術家將兩者縫合，但彼此之間仍留有間隙。此一間隙是吳天章藝術創作的基礎。藝術家以手工方式在此操作，不斷微調，進而發展出一套類比的表現語言與形式，藉此將觀看的視覺空間轉化為手感的觸覺空間。吳天章作品以類比的藝術語言展現歷史與生命等主題，試圖將生機時間從僵化的歷史記憶中奪回，並在虛偽造假的現實中逼現生命的真實。

Drawing on Deleuzian theories on the arts, this paper explores the artistic expressions of Wu Tien-chang’s recent video installation artwork in terms of its digital and analogical languages. Wu describes his artwork as a style characterized by “a seamless seam,” one that sutures together two distinct realms, e.g. true/false, virtual/actual, good/evil, life/death, etc., that leaves a fissure between the opposing dualities. This fissure becomes precisely the basis on which Wu builds up his artwork by developing his artistic style through a mode of modulation, a process of variation that best defines an aesthetic of the analogue, thereby transforming the visual space into a haptic one. Wu’s artwork expresses great concern about life and history through a manipulation of the analogical language, thereby seeking a temporal renewal from putrid historical memoires and a true self in the fabricated reality.