Pub Date : 2022-10-01DOI: 10.53106/207035892022101500001
董維琇 董維琇
自2019年開始的跨國計畫「海洋中心形式的社會參與式藝術：批判思考與重新想像黑潮地帶間的文化交流」，試圖透過跨領域藝術的共創，由藝術工作者、研究者以及跨國孩童們的參與合作，連結人們與海洋有關的故事。本文之研究目的在探討透過參與式藝術創作，來喚起關於人與人、人類與黑潮文化地帶、海洋物種之間「真實關係的建構」與「有形、無形的連結和社群共感」的跨文化交流，轉化為對海洋環境的關懷之歷程，本文對此計畫在台灣漁光島和日本沖繩的實踐提出觀察與反思。期許這個以海洋為中心的社會參與式藝術計畫，不僅是對當前歐美學者觀點的延伸思考，更提出亞洲獨特的脈絡與重要貢獻，其所凸顯的是在亞際文化激盪之間與真實關係的經歷下所獨具的藝術生產、傳遞溝通與世代傳承的能力。 Since 2019, the international project “Sea-centric Forms of Socially Engaged Art (SEA): Critical Re-Imagination of Intercultural Flow in the Kuroshio Current” has attempted to instill interdisciplinary art collaboration by artists, researchers, and children from different countries to bring together people’s stories about the ocean. The purpose of this paper is to explore how the project, by introducing participatory art creation, has facilitated the “building of real relationships,” whether tangible or intangible, as well as cross-cultural "community empathy" that has transformed into care for the marine environment. This paper observes and analyses the implementation process of this sea-centered socially engaged art project. It critically reflects on the extent to which the project not simply applies views put forward by European and American scholars, but also offers a uniquely important contribution within its own context. Through the experience of real relationship induced by socially-engaged art practice, the project highlights the inter-Asian cultural flow as well as creates the unique power for artistic productions, modes of communication and transmission to be passed on across generations.
自2019年开始的跨国计划「海洋中心形式的社会参与式艺术：批判思考与重新想像黑潮地带间的文化交流」，试图透过跨领域艺术的共创，由艺术工作者、研究者以及跨国孩童们的参与合作，连结人们与海洋有关的故事。本文之研究目的在探讨透过参与式艺术创作，来唤起关于人与人、人类与黑潮文化地带、海洋物种之间「真实关系的建构」与「有形、无形的连结和社群共感」的跨文化交流，转化为对海洋环境的关怀之历程，本文对此计划在台湾渔光岛和日本冲绳的实践提出观察与反思。期许这个以海洋为中心的社会参与式艺术计划，不仅是对当前欧美学者观点的延伸思考，更提出亚洲独特的脉络与重要贡献，其所凸显的是在亚际文化激荡之间与真实关系的经历下所独具的艺术生产、传递沟通与世代传承的能力。 Since 2019, the international project “Sea-centric Forms of Socially Engaged Art (SEA): Critical Re-Imagination of Intercultural Flow in the Kuroshio Current” has attempted to instill interdisciplinary art collaboration by artists, researchers, and children from different countries to bring together people’s stories about the ocean. The purpose of this paper is to explore how the project, by introducing participatory art creation, has facilitated the “building of real relationships,” whether tangible or intangible, as well as cross-cultural "community empathy" that has transformed into care for the marine environment. This paper observes and analyses the implementation process of this sea-centered socially engaged art project. It critically reflects on the extent to which the project not simply applies views put forward by European and American scholars, but also offers a uniquely important contribution within its own context. Through the experience of real relationship induced by socially-engaged art practice, the project highlights the inter-Asian cultural flow as well as creates the unique power for artistic productions, modes of communication and transmission to be passed on across generations.
{"title":"以海洋為中心的社會參與式藝術實踐—探索黑潮地帶間的跨文化流動與對話","authors":"董維琇 董維琇","doi":"10.53106/207035892022101500001","DOIUrl":"https://doi.org/10.53106/207035892022101500001","url":null,"abstract":"\u0000 自2019年開始的跨國計畫「海洋中心形式的社會參與式藝術：批判思考與重新想像黑潮地帶間的文化交流」，試圖透過跨領域藝術的共創，由藝術工作者、研究者以及跨國孩童們的參與合作，連結人們與海洋有關的故事。本文之研究目的在探討透過參與式藝術創作，來喚起關於人與人、人類與黑潮文化地帶、海洋物種之間「真實關係的建構」與「有形、無形的連結和社群共感」的跨文化交流，轉化為對海洋環境的關懷之歷程，本文對此計畫在台灣漁光島和日本沖繩的實踐提出觀察與反思。期許這個以海洋為中心的社會參與式藝術計畫，不僅是對當前歐美學者觀點的延伸思考，更提出亞洲獨特的脈絡與重要貢獻，其所凸顯的是在亞際文化激盪之間與真實關係的經歷下所獨具的藝術生產、傳遞溝通與世代傳承的能力。\u0000 Since 2019, the international project “Sea-centric Forms of Socially Engaged Art (SEA): Critical Re-Imagination of Intercultural Flow in the Kuroshio Current” has attempted to instill interdisciplinary art collaboration by artists, researchers, and children from different countries to bring together people’s stories about the ocean. The purpose of this paper is to explore how the project, by introducing participatory art creation, has facilitated the “building of real relationships,” whether tangible or intangible, as well as cross-cultural \"community empathy\" that has transformed into care for the marine environment. This paper observes and analyses the implementation process of this sea-centered socially engaged art project. It critically reflects on the extent to which the project not simply applies views put forward by European and American scholars, but also offers a uniquely important contribution within its own context. Through the experience of real relationship induced by socially-engaged art practice, the project highlights the inter-Asian cultural flow as well as creates the unique power for artistic productions, modes of communication and transmission to be passed on across generations.\u0000 \u0000","PeriodicalId":151347,"journal":{"name":"藝術研究學報","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115764454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-01DOI: 10.53106/207035892022101500003
劉佳宜 劉佳宜
本文關注達彌施對阿西西教堂《聖方濟各的一生》系列壁畫的分析。有別於常見作品分析連貫的論點，達彌施的作品分析結構更顯破碎，議題各自分立。作品分析處理到五個議題：「繪畫作為工具」、構圖問題、壁畫層問題、手勢、風格。第一個議題討論符號理論出發點，第二、三、四議題則是對作品組成因素的功能探討，第五個議題論「風格」，並不將前面的發現串連為完整的符號解釋，而是一種延伸反思。研究發現，阿西西系列的分析在達彌施藝術符號學中是「句法」的例子，但「句法」不是規則，不是靜態的構圖方式，而是繪畫成形的歷程所透露的組織調度方式。 This essay focuses on Damisch’s analysis of the fresco cycle The Life of St. Francis in the upper church of San Francesco at Assisi. A notable point in Damisch’s treatise is its structure, which is rather fragmental compared to common argumentations. Damisch’s analysis consists of five sections, respectively: the proposition of “painting as an instrument,” discussions on the composition, on the intanaco, an analysis of the usage of “gesture,” and discussions on “style.” The first section concerns the establishment of the semiotic theory framework. The following three parts assess the elements in the frescoes, specifically their function. As for the fifth section, the inquiry of the stylistic aspect does not simply provide a conclusion to the semiotic study. Instead, it applies the discoveries from previous investigations to reconstruct the focusing point of analysis of paintings. The main discovery of this study is that the analysis of the Assisi cycle exemplifies “syntax” in Damisch’s Semiology of Art, yet not by being a static compositional scheme, a code, but by being the manifestation of a process of mise-en-scene.
本文关注达弥施对阿西西教堂《圣方济各的一生》系列壁画的分析。有别于常见作品分析连贯的论点，达弥施的作品分析结构更显破碎，议题各自分立。作品分析处理到五个议题：「绘画作为工具」、构图问题、壁画层问题、手势、风格。第一个议题讨论符号理论出发点，第二、三、四议题则是对作品组成因素的功能探讨，第五个议题论「风格」，并不将前面的发现串连为完整的符号解释，而是一种延伸反思。研究发现，阿西西系列的分析在达弥施艺术符号学中是「句法」的例子，但「句法」不是规则，不是静态的构图方式，而是绘画成形的历程所透露的组织调度方式。 This essay focuses on Damisch’s analysis of the fresco cycle The Life of St. Francis in the upper church of San Francesco at Assisi. A notable point in Damisch’s treatise is its structure, which is rather fragmental compared to common argumentations. Damisch’s analysis consists of five sections, respectively: the proposition of “painting as an instrument,” discussions on the composition, on the intanaco, an analysis of the usage of “gesture,” and discussions on “style.” The first section concerns the establishment of the semiotic theory framework. The following three parts assess the elements in the frescoes, specifically their function. As for the fifth section, the inquiry of the stylistic aspect does not simply provide a conclusion to the semiotic study. Instead, it applies the discoveries from previous investigations to reconstruct the focusing point of analysis of paintings. The main discovery of this study is that the analysis of the Assisi cycle exemplifies “syntax” in Damisch’s Semiology of Art, yet not by being a static compositional scheme, a code, but by being the manifestation of a process of mise-en-scene.
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Pub Date : 2022-10-01DOI: 10.53106/207035892022101500002
張恭領 張恭領
數位在陶藝的創作不是要直接以數位的方式製造出陶瓷，取代人為主體，如此便是分斷了人與物互動的動覺智能。相較於工業化，生產連結著特定知識，然而身體勞動卻與生產是分斷的，沒有立即的動覺智能。本研究以筆者的陶藝作品與數位工具使用之關係切入，目的在於檢視主體意識、動覺智能與特定知識三者間之關係，以此建立工藝精神之探討架構；探討結果發現，數位工具的使用，雖然脫離了物性與技術限制，但若能適度地運用直覺捏塑方式則有助於美感的經驗發展，當再次接觸陶土實作時，數位經驗的潛移特性，更將有助於造型的體悟與精進。最後，數位工具的使用理當回歸創作者主體意識的探討，結合特定知識與動覺智能，更能激發更多創作的發展。 Digital tools are not meant to replace the subjective in ceramic creations. By comparison with industrialization, production is linked to specific knowledge, whereas physical labor is ceased from the production process, and there is nothing about subjective consciousness and bodily-kinesthetic intelligence.This study examines the relationship between subjective consciousness, kinesthetic intelligence, and specific knowledge based on the ceramic works and the use of digital tools, to establish a theoretical framework. The results of the discussion found that if the intuitive kneading method with digital tools can be used moderately, it is conducive to the aesthetic experience without the restriction of physical properties and skill limitations, and when the clay is applied again, the experience of digital kneading would be transferred, which is conducive to the realization of the clay modeling. The use of digital tools should return to the discussion of the creator’s subjective consciousness, combined with specific knowledge and kinesthetic intelligence, which can stimulate the development of creations.
数位在陶艺的创作不是要直接以数位的方式制造出陶瓷，取代人为主体，如此便是分断了人与物互动的动觉智能。相较于工业化，生产连结著特定知识，然而身体劳动却与生产是分断的，没有立即的动觉智能。本研究以笔者的陶艺作品与数位工具使用之关系切入，目的在于检视主体意识、动觉智能与特定知识三者间之关系，以此建立工艺精神之探讨架构；探讨结果发现，数位工具的使用，虽然脱离了物性与技术限制，但若能适度地运用直觉捏塑方式则有助于美感的经验发展，当再次接触陶土实作时，数位经验的潜移特性，更将有助于造型的体悟与精进。最后，数位工具的使用理当回归创作者主体意识的探讨，结合特定知识与动觉智能，更能激发更多创作的发展。 Digital tools are not meant to replace the subjective in ceramic creations. By comparison with industrialization, production is linked to specific knowledge, whereas physical labor is ceased from the production process, and there is nothing about subjective consciousness and bodily-kinesthetic intelligence.This study examines the relationship between subjective consciousness, kinesthetic intelligence, and specific knowledge based on the ceramic works and the use of digital tools, to establish a theoretical framework. The results of the discussion found that if the intuitive kneading method with digital tools can be used moderately, it is conducive to the aesthetic experience without the restriction of physical properties and skill limitations, and when the clay is applied again, the experience of digital kneading would be transferred, which is conducive to the realization of the clay modeling. The use of digital tools should return to the discussion of the creator’s subjective consciousness, combined with specific knowledge and kinesthetic intelligence, which can stimulate the development of creations.
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The purpose of this article is to study Jean Baudrillard’s thought processes and his path of thought of “illusion” in the article Aesthetic Illusion and Disillusion. The article is composed of four main sections, focusing on the evolution and replacement of the concept “illusion” by illustrating different domains in the contemporary world demonstrated in Baudrillard’s article: the “disillusion” of art and films, the “simulation” of images, the “advertisement” of objects and the “ideas” of art theories. Through excerpts and analysis, it comes to a conclusion that Baudrillard seems to be utilizing the relationship between art and “illusion” to respond to the problems of contemporary art, but in fact he uses the concept of “illusion” to connect the flow and changes of the entire contemporary world.
本文旨在研究法国思想家尚˙布希亚（Jean Baudrillard）于《美学的幻象与去幻象》（Illusion, désillusion esthétiques）书中的思考方式及其「幻象」的思维路径。本文中的四个主要章节，分别聚焦在布希亚书中所演示的当代世界中各个不同范畴的概念对于「幻象」概念的流变与取代：艺术与电影的「去幻象」、影像的「拟像」、物的「广告」以及艺术理论的「理念」。透过摘录与分析，归纳出布希亚看似在利用艺术与「幻象」的关系来回应当代艺术创作的问题，实则是利用「幻象」的概念，串连起整个当代世界的流动与变化。 The purpose of this article is to study Jean Baudrillard’s thought processes and his path of thought of “illusion” in the article Aesthetic Illusion and Disillusion. The article is composed of four main sections, focusing on the evolution and replacement of the concept “illusion” by illustrating different domains in the contemporary world demonstrated in Baudrillard’s article: the “disillusion” of art and films, the “simulation” of images, the “advertisement” of objects and the “ideas” of art theories. Through excerpts and analysis, it comes to a conclusion that Baudrillard seems to be utilizing the relationship between art and “illusion” to respond to the problems of contemporary art, but in fact he uses the concept of “illusion” to connect the flow and changes of the entire contemporary world.
{"title":"布希亞「幻象」的思維路徑","authors":"邱廷浩 邱廷浩","doi":"10.53106/207035892021101400001","DOIUrl":"https://doi.org/10.53106/207035892021101400001","url":null,"abstract":"\u0000 <p>本文旨在研究法國思想家尚˙布希亞（Jean Baudrillard）於《美學的幻象與去幻象》（Illusion, désillusion esthétiques）書中的思考方式及其「幻象」的思維路徑。本文中的四個主要章節，分別聚焦在布希亞書中所演示的當代世界中各個不同範疇的概念對於「幻象」概念的流變與取代：藝術與電影的「去幻象」、影像的「擬像」、物的「廣告」以及藝術理論的「理念」。透過摘錄與分析，歸納出布希亞看似在利用藝術與「幻象」的關係來回應當代藝術創作的問題，實則是利用「幻象」的概念，串連起整個當代世界的流動與變化。</p>\u0000<p> </p><p>The purpose of this article is to study Jean Baudrillard’s thought processes and his path of thought of “illusion” in the article Aesthetic Illusion and Disillusion. The article is composed of four main sections, focusing on the evolution and replacement of the concept “illusion” by illustrating different domains in the contemporary world demonstrated in Baudrillard’s article: the “disillusion” of art and films, the “simulation” of images, the “advertisement” of objects and the “ideas” of art theories. Through excerpts and analysis, it comes to a conclusion that Baudrillard seems to be utilizing the relationship between art and “illusion” to respond to the problems of contemporary art, but in fact he uses the concept of “illusion” to connect the flow and changes of the entire contemporary world.</p>\u0000<p> </p>\u0000","PeriodicalId":151347,"journal":{"name":"藝術研究學報","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116598226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-01DOI: 10.53106/207035892021101400003
吳姍蒲 吳姍蒲
本文旨在揭開菲利普斯的跨文化藝術史學視野。菲利普斯〈美學原始主義的再訪——全球散佈的「原始藝術」與土著現代主義的興起〉一文，極為特殊地以「案例」構成論述主幹。然而，菲利普斯並不透過案例研究重施二十世紀後期探討西方藝術現代主義霸權的激烈批評，而是展現了觸及人類學範疇的、具地方脈絡的跨文化特性。這種以「案例」為核心的書寫方式，無論在藝術史學方法的範疇上或是在曾引發激烈論爭的「現代藝術中的原始主義」議題上，都展現了相當的特殊性。是以，本研究針對菲利普斯的「案例」操作方式分析其思考脈絡，發現「案例」不僅體現了菲利普斯對西方美術中現代主義侷限性的反省，更勾勒了一種具有在地特質的跨文化新藝術史學設想。 This essay intends to reveal the vision of cross-cultural in art history of Ruth B. Phillips. The essay of R. B. Phillips “Aesthetic primitivism revisited: The global diaspora of ‘primitive art’ and the rise of Indigenous modernisms” has the characteristic of using "cases study" to constitute the backbone of the discussion. However, Phillips does not represent the fierce criticism of the hegemony of Western art modernism in the late twentieth century through the “case study”, but instead demonstrates the cross-cultural characteristics that touch the anthropological category and local context. This extraordinary way of writing with "case study" as the core, showing considerable particularity both in the field of art history methods and in the issue of "primitivism in modern art" which has sparked fierce controversy. This research aims at the operation method of Phillips’s "case study" to analyzes the thinking context, finding that the " case study " not only reflects Phillips’ reflection on the limitations of modernism in Western art, but also outlines a new cross-cultural assumption in the history of art with local characteristics.
本文旨在揭开菲利普斯的跨文化艺术史学视野。菲利普斯〈美学原始主义的再访——全球散布的「原始艺术」与土著现代主义的兴起〉一文，极为特殊地以「案例」构成论述主干。然而，菲利普斯并不透过案例研究重施二十世纪后期探讨西方艺术现代主义霸权的激烈批评，而是展现了触及人类学范畴的、具地方脉络的跨文化特性。这种以「案例」为核心的书写方式，无论在艺术史学方法的范畴上或是在曾引发激烈论争的「现代艺术中的原始主义」议题上，都展现了相当的特殊性。是以，本研究针对菲利普斯的「案例」操作方式分析其思考脉络，发现「案例」不仅体现了菲利普斯对西方美术中现代主义局限性的反省，更勾勒了一种具有在地特质的跨文化新艺术史学设想。 This essay intends to reveal the vision of cross-cultural in art history of Ruth B. Phillips. The essay of R. B. Phillips “Aesthetic primitivism revisited: The global diaspora of ‘primitive art’ and the rise of Indigenous modernisms” has the characteristic of using "cases study" to constitute the backbone of the discussion. However, Phillips does not represent the fierce criticism of the hegemony of Western art modernism in the late twentieth century through the “case study”, but instead demonstrates the cross-cultural characteristics that touch the anthropological category and local context. This extraordinary way of writing with "case study" as the core, showing considerable particularity both in the field of art history methods and in the issue of "primitivism in modern art" which has sparked fierce controversy. This research aims at the operation method of Phillips’s "case study" to analyzes the thinking context, finding that the " case study " not only reflects Phillips’ reflection on the limitations of modernism in Western art, but also outlines a new cross-cultural assumption in the history of art with local characteristics.
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Pub Date : 2021-10-01DOI: 10.53106/207035892021101400002
趙悅如 趙悅如
本文旨在研究堀浩哉與其主導的「美術家共鬥會議」（簡稱「美共鬥」），如何在前衛終結和學運的動盪環境中，扮演他作為美術家的角色。研究重點分為三部分。第一，點出前衛終結的危機，透過回溯美共鬥的形成背景，指出堀浩哉的藝術動機；第二，探討堀浩哉如何形成他的美共鬥經驗，並在多元藝術類型的嘗試中思考創作的可能性，聚焦在堀浩哉1980年前進行的初期藝術實踐；第三，以堀浩哉1980年後的繪畫和行為藝術（performance）發展為重心，延伸並呼應了美共鬥的思想。研究的發現，在於堀浩哉以美共鬥思想對藝術實踐的探索和演進，他的行為藝術也不僅是繪畫邊緣的試探，兩者是獨立且共生的關係。 The purpose of the study was to identify HORI Kosai and the student organization, “Bijutsuka Kyoto Kaigi” (in short, Bikyoto, which means Artists Co-Struggle Council in English), which he initiated; this study also evaluates the important role he played as an artist at the end of avant-garde, and during the instability of the late 60’s student movement. There are three main points to this study. Firstly, to point out the crisis at the end of avant-garde, and through reviewing Bikyoto, we identified HORI’s artistic motive. Secondly, to discuss HORI’s earlier exploration in multiple genres, as well as his experience in Bikyoto, and bring a focus to what shaped his art practice prior to 1980. Thirdly, I’d like to emphasize how HORI’s paintings and performances after 1980 extend the thoughts and ideas of Bikyoto. In conclusion, this study is to examine how HORI used the Bikyoto ideas to explore and progress his art practice, as well as how his performances weren’t merely an extension of his paintings’ boundary, both of which are independent entities, but mutually influenced each other.
本文旨在研究堀浩哉与其主导的「美术家共斗会议」（简称「美共斗」），如何在前卫终结和学运的动荡环境中，扮演他作为美术家的角色。研究重点分为三部分。第一，点出前卫终结的危机，透过回溯美共斗的形成背景，指出堀浩哉的艺术动机；第二，探讨堀浩哉如何形成他的美共斗经验，并在多元艺术类型的尝试中思考创作的可能性，聚焦在堀浩哉1980年前进行的初期艺术实践；第三，以堀浩哉1980年后的绘画和行为艺术（performance）发展为重心，延伸并呼应了美共斗的思想。研究的发现，在于堀浩哉以美共斗思想对艺术实践的探索和演进，他的行为艺术也不仅是绘画边缘的试探，两者是独立且共生的关系。 The purpose of the study was to identify HORI Kosai and the student organization, “Bijutsuka Kyoto Kaigi” (in short, Bikyoto, which means Artists Co-Struggle Council in English), which he initiated; this study also evaluates the important role he played as an artist at the end of avant-garde, and during the instability of the late 60’s student movement. There are three main points to this study. Firstly, to point out the crisis at the end of avant-garde, and through reviewing Bikyoto, we identified HORI’s artistic motive. Secondly, to discuss HORI’s earlier exploration in multiple genres, as well as his experience in Bikyoto, and bring a focus to what shaped his art practice prior to 1980. Thirdly, I’d like to emphasize how HORI’s paintings and performances after 1980 extend the thoughts and ideas of Bikyoto. In conclusion, this study is to examine how HORI used the Bikyoto ideas to explore and progress his art practice, as well as how his performances weren’t merely an extension of his paintings’ boundary, both of which are independent entities, but mutually influenced each other.
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