啟動裝置藝術感知效應與創作者意識及空間想像關係的探討：浪漫台三線藝術季–龍潭區為例

本論文通過藝術季的實際參與過程與相關藝術感知經驗論述的視角來觀察藝術季當中藝術作品的成形過程，並且從文獻評析過程理解藝術史，關於繪畫藝術如何跳出平面，經由創作意識的變遷過渡到現實世界中表現形式的演變，以及在歷史過程中對於藝術作品的創作與呈現方式如何改變藝術創作的定義及其觀者的觀看方式。筆者認為藝術作品在形塑觀者意識的想像時，「繪畫」畫面的物質性表現方式及觀看的方式是討論作品如何定位與如何形塑觀者感知的起點，類比為三度的立體作品或裝置藝術作品，觀看方式所涉及的靜觀或是身體融入作品中，經過移動牽引的劇場性的知覺經驗的觀看方式會影響觀者對於藝術作品的認識與評價。因此，本論文試圖通過藝術史的回溯以及藝術哲學的角度探討：藝術季中裝置藝術作品的成形過程與物質性呈現方式，將如何影響作品的理想呈現以及感知效應。繪畫的定義支配了創作者的意識及創作者對於作品物質性的表現形式。類比三度立體創作的過程，創作者的意識及創作者對於作品物質性的表現形式影響了作品在特定地點呈現所需要的施作過程細節上的修正與調整，然而筆者也認為這些是接近作品最終樣貌呈現的關鍵途徑，深深的影響作品在特定場所引發觀看者的感知經驗與對於作品本身的認識與思考。

關鍵字

浪漫台三線藝術季；裝置藝術；繪畫本體論；透視法；物性；感知效應

並列摘要

This thesis observed the formation of the art works in the art festival through the actual participation of the art festival and other relevant empirical perspectives, and comprehended the art history from the literature, how the painting jumped out of two dimensional through the change of creative consciousness to the progress of expression form in the real world, and the creation and presentation of artistic works has changed the definition of artistic creation and the way of viewing in the historical process. The author believes that when the viewer’s consciousness shaped by the art works, the presentation of the objecthood in painting and the way of viewing were the starting point for discussing how the work is positioned and shaped the viewer’s perception. When moving through the body in a three-dimensional art work, the perceptual experience pro-duced the theatrical will affect the viewer’s perception and evaluation of the art work. Therefore, This thesis attempts to explore the art history and philosophy that how the crea-tive of the installation art work and the presentation of objecthood affected the presentation and perceptual effect of the work in the art festival. The definition of painting dominates the consciousness of the creator and the mani-festation of the materiality of the work. For example, in the process of three-dimensional creation, it affects the application of the work at a specific location and the modification and adjustment of the details of the process. However, the author also believes that these are the key ways to get close to the final appearance of the work, which deeply influences the viewer's perception experience and the understanding and thinking of the work itself in a specific place.