《路徑：迷失與找尋》

此篇文論是作者畢業製作《路徑：迷失與找尋》錄像系列作品之創作論述。此系列作品中作者處理的是將自我生命路徑之迷失與找尋之經驗，在創作中實踐其心理感知的再現，以動態影像作為媒介，錄像投影作為形式，完成創作內容的傳達與呈現。論述中第一章緒論為創作背景之簡述；第二章鋪陳此系列作品之創作觀念；第三章簡要敘述西方藝術史中錄像藝術的發展脈絡，舉例美國錄像藝術家維托˙阿孔奇（Vito Acconci）、實驗電影創作者史坦˙布萊克希區（Stan Brakhage）之作品參照。第四章對《路徑：迷失與找尋》中6件動態影像作品做整理分析，包括內容、形式以及製作方式。其中引用哲學家柏格森(Henri Bergson)及文學評論家班雅明(Walter Benjamin)的理論來談論在人文學中對時間、空間經驗的看法，對應相關作品討論。第五章重點討論作品之特色。第六章為結語，回應主題，同時後記創作、撰寫論述期間的歷程以及學習收穫。

關鍵字

路徑；迷失；找尋；錄像藝術

並列摘要

This essay manifest context of the author’s graduate production video works“el camino: Finding the Way”. Mentioned works are dealt with author’s experience as a person on lost and finding the way. She manipulates moving image as the medium, to practice visualization of her psychological perception, and through this way to communicate with viewers on such thoughts and topics. In this context, the first chapter narrates the background of the author and the production; second chapter states the concept of the works. Chapter III briefly review the history of video art in Western art world, with 2 examples to be comparative context: one is American video artist Vito Acconci, another is experimental filmmakers Stan Brakhage. Chapter IV gives detail descriptions on contents/form/process of the six video works which to compose "el camino: Finding the Way", as well with referred theory of philosopher Henri Bergson and literary critic Walter Benjamin to discuss experiences of time and space, within the humanities fields. From these perspective is considered away to interpret the mentioned video works. Chapter V states the distinguishing feature of the woks, and the last chapter makes conclusion responding to the subject matter, and further to state a postscript on the writing process and learning gains.