巨大無名物

The Gigantic Unknown – Exploring the Connection between the World of Perception and Reality via Creative Practice

魏澤(Wei, ze)

指導教授 ： 陳淑華

國立臺灣師範大學/藝術學院/美術學系/碩士(2011年)

摘要

本研究以釐清自身認知世界的方式為構思起點，目的在以創作實踐為途徑，同時藉由文字撰寫分析創作理念與創作過程中的思考，探討繪畫將無形的知覺世界具現至現實世界，此過程中的轉化環節與成果，由高空視覺經驗啟發所繪製的系列作品與其創作過程，則為此論文探討的案例與研究對象。
　　對於知覺的分析方面由現象學角度切入，以自身詮釋世界的方式為主軸，提出「無名物」與「看見」、「事件」與「元素」這四個要點進行探討。「看見」（seeing）並非單純意指由視覺感官所得之觀看經驗，作為動詞是追求「無名物」的方法，意指自發地改變自身對世界的認知，以破除人對世界慣常使用的詮釋方式；作為名詞則是尋求另類可知覺詮釋所達到的境界，為探討「無名物」的目的。
　　在詮釋自身生活經驗方面，筆者以「事件」的理解觀點，作為自整體角度掌握知覺詮釋的方式；另外以「元素」，及連結「元素」使成為「元素群集」的「關係鎖鍊」概念，做為將前述知覺詮釋拆解，並轉化為創作零件的方法。此知覺中「元素」經過轉化，成為創作中構成畫面的要素。
　　平面繪畫媒材作為連結知覺與現實世界的載體，其特質具體表現在畫面所呈現的繪畫語言系統。此處以符號學觀點加以探討，並將繪畫與文字語言系統的知覺運作方式互為比較。對自身系列創作進行剖析時，則更進一步將作品中的繪畫語言系統歸類為「造型」、「線條」、「色彩」與「視角」。此四要素分別象徵作品的體、骨、膚、眼，論文前半部所探討知覺詮釋與創作意識，則可比擬為賦予作品生命的靈魂。

關鍵字

看見 ； 事件 ； 元素 ； 繪畫語言 ； 俯瞰視角

並列摘要

This research starts from the clarification of the methods how one perceives the world and, by means of creative practice as well as analytical writings about the creative ideas and thoughts during the process, aims to explore the transformation stages and outcomes of how painting actualizes the invisible world of perception into reality. The series of works inspired by the visual experience at high altitudes and the creative process are the cases studied in this project.

The analysis of perception is carried out from the angle of phenomenology, focusing especially on the method of how an individual interprets the world. The discussions are directed at four topics: the unknown, vision (or “seeing”), events and elements. Vision does not simply refer to the visual experience obtained by visual perceptive organs. As a verb, it is the method to pursue “the unknown ,” which means to actively change the way in which one perceives the world in order to challenge the conventional interpretations about the world; as a noun, it refers to the purpose of pursuing “the unknown”, the realm reached by the pursuit of alternative perceptible interpretations.

As it comes to interpreting personal experience, the author takes “events” as the viewpoint of understanding the perceptive interpretations from an overall angle. In addition, with the concepts of “elements” and “chains of relations,” which connect “elements” to make “element sets,” the aforementioned perceptive interpretations are dismantled and transformed into creative parts. Having been transformed, the “elements” in perception become the essentials of creative production.

Plane painting media have the quality of a vector which connects perception and the real world and is explicitly revealed in the painting language system presented in the pictures. Semiotics is applied here in the discussion, which also includes the comparison of the perceptive operations between the language systems of paintings and words. In the analysis of the serial works, the painting language systems in the paintings are further classified into “shapes”, “lines”, “colors” and “viewpoint”. The four essentials symbolize the body, bones, skin and eyes of the creative works, whilst the perceptive interpretations and creative ideas could be seen as the life-giving spirit of the works.

並列關鍵字

seeing ； event ； element ； painting language ； aerial view

參考文獻

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Husserl, Edmund 著，李光榮 編譯：《現象學》，四川：重慶出版社，2006。