集體記憶──港口城市的機械美學

Collective Memory──Machine Aesthetic of The Port City

蘇芷瑩(Chih-Ying Su)

指導教授 ： 蘇憲法

國立臺灣師範大學/藝術學院/美術學系/碩士(2012年)

摘要

每個人擁有其獨特性，乃架構在個人心靈與社會脈絡之下，面對自我定位與價值，除卻探討內心之所向，亦應以外在環境面向切入尋找那份共感之聯繫。
是故，筆者重新檢視個人與土地的關係，基隆，是個港口城市，經由對其歷史、文化概況、產業發展之了解，加上相關藝術流派的涉獵與學習，筆者將對這塊土地所產生的感知─藉由機械元件之形式─轉化為藝術表現。創作前期，以客觀面向展現基隆的在地景物；中期，乃嘗試介入大量材料之物質性，以媒材詮釋的直接性拉近與觀者的距離；後期，則以正向積極的表現形式呈顯再造之活力與期盼。希冀藉由此系列創作，能喚起大眾在地的共同記憶，慢慢建構起對地方的關注與意識。
本文共分為六個章節加以論述與延伸。第一章乃說明研究之動機與目的，以了解主題選擇之脈絡原由；第二章闡述個人的創作理念與背景元素，面對工業社會的發展與機械時代的來臨，進而偏好結構性之表現形式；第三章透過藝術社會學、機械美學等相關學理探討以及藝術家之觀點分析，除了深化創作的思考層面，亦強化作品呈現之精確度；第四章將創作內容、架構、方法詳加記錄，以了解創作過程的實際經歷；第五章即以系列作品各自論述其欲傳達之概念；第六章則為整體創作研究作一總結，並表述心得收穫。

關鍵字

集體記憶 ； 機械美學 ； 工業化

並列摘要

Everyone has the uniqueness, which is framed by the personal spirit and social context. With regard to self-positioning and self-value, we should seek the connection between the inner aspiration and the outer environment.
Therefore, the author reviewed the relationship between individuals and the land. Keelung is a port city. Through knowing its history, cultural and industrial development, and studying correlative art movements, the author tried to transform the perception of this land into artistic representation via the form of mechanical elements. In the early period, the author portrayed the local scenery from an objective aspect. In the middle period, attempting interfering with a great number of materiality to bring viewers closer by means of medium immediateness was the main way. In the later period, applying the positive form of expression manifested the activity and expectation of civic reconstruction. The author hoped to arouse popular memories by these serial creations, and gradually construct the concern and consciousness to the region.
This thesis is divided into six chapters to discuss the topics. The first chapter: to introduce the motive and purpose of the research for comprehending the context of themes. The second chapter: to clarify personal idea and elements of background, facing the development of industrial society and the coming of Machinery Age, then inclined to constructive form of presentation. The third chapter: to explore correlative theories, as sociology o f the arts and machine aesthetic etc., and analyze the artists’ viewpoints, for deepening the thinking and strengthening the preciseness. The fourth chapter: to record the content, frame and methods for realizing the process of painting. The fifth chapter: to explain the serial works severally for conveying the concepts. The sixth chapter: to summarize the research and make a conclusion.

並列關鍵字

Collective Memory ； Machine Aesthetic ； Industrialization

參考文獻

5. 胡正光(2007)。〈從柏格森到阿布瓦希：論集體記憶的本質〉。政治與社會哲學評論，21，147-201。

11. 劉巧楣(2011)。〈色彩與文化：蒙德里安與戰後巴黎的「回歸秩序」論〉。國立台灣大學美術史研究集刊，30，279-350。

8. 張通榮、張志清、林光、林財生(2010)。〈基隆港市共同發展策略〉。航運季刊，第19卷第3期，67-85。

14. Charles Brock(2006)。《Charles Sheeler: Across Media》。University of California Press。

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