文化迷因與個體的自我實現：周姿廷的繪畫創作

從網路時代出發，筆者在與他人的互動過程，以及在網路平臺的圖像上，發覺了與自身相似的某種需求意象，而這個意象和個體，和網路平臺上的圖像的關係，尤為讓筆者想要藉由藝術創作梳理清楚，那就是個體與自我實現的關係，以及文化迷因在其關係中所扮演的角色，當中筆者借用集體無意識、基因、挪用理論、傳播學和圖像學，對論題進行差異比較和佐證說明，並將這些文獻發現與筆者的藝術創作相互碰撞，產生出研究論述和創作實踐相互循環轉換的思考方式，且藉由該思考方式發展出一套回應個體與自我實現的關係，以及回應文化迷因在關係中的力量所帶給筆者的啟示與考驗。第一章說明動機和目的，加之以逐章概要的方式說明各章節內容，為通篇研究進行大致的研究方向呈現；第二章則詳細論述自我實現和文化迷因在筆者處的意涵，接著是藉由集體無意識的比較，談及文化迷因的表徵和力量，然後由文化迷因的傳播問題，進入科技圖像對文化迷因的操作性解說，並且實際舉例進行操作性的說明，最後是從華人本土心理學切入華人個體處的自我實現內涵；第三章從膠彩語彙切入，詳細說明膠彩語彙在日本、在台灣的發展狀況，以及其與論題的交互關係；第四章則總結第一章和第二章的學理爬梳，以創作理念、創作方法中的概念挑揀、抽取轉換和統合對應、創作手法中的平塗敷色與物質性、逐層刷洗與共同清晰和輪廓線與個人圖像，最後是實際的創作步驟與作品分析，完整出筆者以創作實踐回應論題的姿態；第五章結論以簡述的方式進行研究成果的統整與回顧。

關鍵字

自我實現；概念挑揀；抽取轉換；文化迷因

並列摘要

Through social interaction and online images, some form of desire imagery, which is similar to the author’s experience, is discovered in this digital era. The relationship between the imagery, individuals, and online images, or specifically the relationship between individuals and self-actualization as well as how cultural memes act in this relationship, is explicated by means of artistic creation. Literature findings including collective unconscious, genetics, appropriation, communication studies, and iconology are applied to compare and demonstrate various issues and more importantly, the author’s artistic works. A methodology is then generated of the mutual conversion between research descriptions and creating practicing, and thereby develops an answer to the aforementioned relationship in which culture memes play a significant role between individuals and their self-actualization. In this dissertation, chapter 1 specifies the origin and the purpose of the research. The main idea is also roughly presented by listing the essential contents of each following chapter. Chapter 2 first details the nature of self-actualization and cultural memes in the author’s perspective. Compared with collective unconscious, the manifestation and power of cultural memes are well discussed. With problems over the transmission of cultural memes, how technological images are functioning toward cultural memes are explained by real-life examples. The essence of Ethnic Chinese individuals’ self-actualization is then examined by Chinese indigenous psychology. In Chapter 3, we can see how the phrase “Eastern Gouache” derives and evolves in Japan and Taiwan, and how the history of Eastern Gouache is connected to the research topic. Integrating the literature reviewed in Chapter 1&2, Chapter 4 illustrates pick of concept, extraction and transformation, along with integration and correspondence in terms of creating image and context. Three creating techniques are reflected and embodied in the steps and analysis of the author’s works, which echoes the creative practicing stated in the dissertation topic. A conclusion is briefly drawn in Chapter 5, where the research results are organized and reviewed.