本論文試圖引進感官剝奪的概念，一種抽離外界刺激的過程，進而提出議題關切於存有的變異狀態與本體論的差異證據，其個體的特殊境況與行為傾向，是如何發生在此過程之中。本論文的目的為給予一個概論式的感官剝奪疆界知識，包括感官上的扭曲與超載。為了提供一個廣泛理解感官剝奪概念的重要性，本研究的討論範圍從哲學的概念、文學的例子，到文化的現象。

藉由重新思考德勒茲從尼采與史賓諾莎的概念所發展出的身體理論，第二章內文謹慎地定位尼采的束縛式動力與史賓諾莎的被動身體感，認為兩者的概念皆為人類身體的基本特徵範疇，為最初階段的基礎以揭示世界與判斷訊息。進一步釐清感官剝奪的疆界知識，尼采與史賓諾莎皆指出起初人類感官的限制與被動的階段，德勒茲也間接地傳達他的悲觀看法。這些看法使得感官剝奪的知識能夠展開探索感官扭曲、感官超載與存有的變異狀態之現象。

第三章利用三種方向討論肉體真實的概念：文學地理學、限制式環境研究、與科幻小說。首先運用列斐伏爾的空間理論與艾倫‧金斯堡的革命式詩學空間，定位肉體真實的概念，接著用以約翰‧利利的漂浮描述來指出限制式環境研究的重要性。最後，藉由討論科幻小說的例子，肉體真實的概念得以擴大它的意涵，指向創造一種新的知覺器官，新的感官世界才能能夠誕生，並且是以一種感官的共生起源的方式，協同合作於文化物質。

第四章討論兩個人類的主要感官：視覺與聽覺，以電影的圖像與音樂的聲音為實例。感官剝奪過程的作用在此類比為圖像的情動力，揭示出此種暫時性的非個人情動力，減少或抹去指涉系統的固定意義；內文同時討論電影《百年癲狂》，藉以點出的此部電影特殊的男性轉瞬情動力。在討論感官超載的聽覺部份時，藉由壯美觀理論、聲音機器的組裝過程與性虐狂的戀物傾向，來討論噪音音樂以及它與性虐狂的連結。

為了揭開心靈與身體的神祕連結，感官剝奪的概念是一個重要的方法，以掌握社會實踐內容的肉體真實與存有的變異狀態。此種由人類感官與社會實踐交互影響所展示出的感官剝奪的複雜產物，實體化人類制約行為的機制、與壓制感官的政治、社會宣傳與風俗，就此勾勒出人類活動的限制與逾矩，其中主體化過程與人類知覺所交織成的存有的變異狀態，皆經由潛藏的感官剝奪過程所引起。

This thesis explores the idea of sensory deprivation, the withdrawal of external stimuli, in relation to issues raised concerning altered states of being and ontological differences evident in a subject’s resultant condition and orientation while undergoing this process. The purpose of the thesis is to develop a general idea of boundary knowledge of sensory deprivation, including sensorial distortion and overload. In order to provide a comprehensive significance of the idea of sensory deprivation, the range of this investigation extends from philosophical and literary discourse to the study of cultural phenomena.

By reconsidering Deleuze’s body theory, which builds upon ideas from Nietzsche and Spinoza, Chapter Two examines Nietzsche’s ideas of reactive force and Spinoza’s idea of passive affection as a fundamental basis for revealing the world and judging reception at the first stage. Toward the clarification of a boundary knowledge of sensory deprivation, both Spinoza’s and Nietzsche’s ideas are shown to indicate the starting point of human sensation in the reactive and passive stage. Deleuze’s pessimistic view is also situated within the discourse. This approach offers a first step in understanding how knowledge of sensory deprivation begins to unveil itself in exploring phenomena such as sensory distortion, sensory overload and altered states of being.

Chapter Three applies the idea of corporeality into three directions: literary geography, restricted environmental studies, and science fiction. It first situates the idea of corporeality by applying Lefebvre’s space theory and Allen Ginsberg’s revolutionary poetic space, then invoking John Lily’s description of the floatation tank in response to the significance of restricted environmental studies. At last, in the discussion of science fiction, corporeality broadens its implication toward creating a new organ of perception where new sensations are born, in mutual cooperation with cultural material in the process of the symbiogenesis of sensation.

Chapter Four deals with the two major human sensations: visual and auditory perception in the discussion of image of film and sound of music. The effect of sensory distortion is compared to the affect of an image, revealing the temporal impersonal affect reducing or effacing the regime of signifying system. In addition, discussion of the film Taxidermia explores its unique shifting masculine affect. In the section discussing auditory perception in sensory overload, noise music and its relation in sadomasochism are examined in terms of the sublime, the process of sound machine, and the fetish inclination of sadomasochism.

In order to unveil the secret bond of mind and body, sensory deprivation is an important approach to gain access to what we call corporeality, and altered states of being into social practices. The complex dynamic of sensory deprivation manifested by the human sensation and social practices instantiates the mechanisms of human behavioral conditioning, and the overwhelming sensational-related political, social propaganda and custom, all of which determine the limitation and the transgression of human activity where subjectification and human perception are entwined to form an alternative state of being through the underlying dynamism of sensory deprivation.

CONTENT
Introduction ............................................................................................................................... 1
Mind and Body Problem .................................................................................................... 2
Scientific Researches and Experiments in Sensory Deprivation ....................................... 4
Experimental Conditions and Problems of Defining Terminology ................................... 5
Hallucinations, Reported Sensations, and Images ............................................................. 7
Scientific Findings and the Beginning of Exploration ....................................................... 9
Summary of Chapters ...................................................................................................... 10
Chapter 2: Bodily Origin of the Reactive and Passive ............................................................ 13
Origin and Mixed Image .................................................................................................. 14
The Problem of the Eternal Return .................................................................................. 17
Priority of the Reactive .................................................................................................... 20
What the Body Can and Cannot Do ................................................................................. 27
Toward a Boundary Knowledge of Mind and Body. ....................................................... 30
Chapter 3: Intoxicated Body, Corporeality and Symbiogenesis in Sensation ...................... 34
1) Literary Geography of Poetic Space: Allen Ginsberg’s Revolutionary Space and
Intoxicated Body ..................................................................................................... 35
Revolutionary Space in Literary Geography ........................................................... 39
Intoxicated body....................................................................................................... 42
2) Corporeality and Perception in Isolation in Restricted Environmental Studies ...... 47
Merleau-Ponty’s and Spinoza’s Body Theory ......................................................... 49
Sensory Deprivation and Corporal Reality .............................................................. 51
3) Symbiogenesis, Human Body and New Perception in Science Fiction ................... 57
Plausible Sensation in “The High Way Code” and “Story of Your Life” ................ 61
Corporeality in Need of a New Perception, a New Organ and a Composite of
Societal Relationship ............................................................................................... 63
Chapter 4: Visual Distortion and Auditory Overload .............................................................. 65
1) Affect and Effacement in Cinema ............................................................................ 66
Affect and Affection-Image ..................................................................................... 67
Effacement and Pessimistic Concern ....................................................................... 69
The Problem of Affect in Presentation, and the Image in Itself ............................... 72
The Different Forms of Masculine Affect in Images and Actions in Distorted
Sensation .................................................................................................................. 74
Effacement and Image in Sensory Distortion .......................................................... 76
2) Violence and the Sublime in Noise Music ............................................................... 78
Sound Machine and Machinic Phylum .................................................................... 79
Noise and the Sublime ............................................................................................. 82
Deterritorialization or Reterritorialization in Noise Music ...................................... 85
Sadomasochistic Structure in Noise Music.............................................................. 87
Noise and Sensory Overload .................................................................................... 91
3) Sensory Distortion and Sensory Overload ............................................................... 92
Chapter 5: Conclusion.............................................................................................................. 94

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