臺灣博碩士論文加值系統

本研究以赫胥黎（Aldous Huxley）的兩本著作｀眾妙之門＇(Doors of Perception）和｀天堂與地獄＇（Heaven and Hell）所描述的幻象視覺經驗結合自己的用藥體驗，來指引導入在服用精神活性物質（魔菇、MDMA/快樂丸、K他命、大麻）後，其視覺感官下所看到的形體變化和色彩作為服裝設計之創作意象。將不同用藥下所產生的幻象，其所看到的抽象形變與色彩觸感轉換為實際服裝形式的線條與用色。
本研究創作將透過（一）創作意象：探討幻象視覺下物件之不同形變與服裝形式之連想；（二）創作理念：以平面設計四元素作為平面版型與立體形式之演練；（三）創作手法：運用摺紙之形式及技法；以此三大方向作為研究與創作實驗。
（一）創作意象：探討幻象視覺下物件之不同形變與服裝形式之連想
服用不同精神活性物質下所看到的形式變化如下：在服用魔菇其幻象視覺下所看到的幾何形變與平面轉立體的形變；服用快樂丸下的色彩形變；K他命幻象下由簡入繁或由繁入簡的形式變化；服用大麻後其幻象所見之多重影像/影像重疊/流動影像的抽象線條；藉由幻象視覺下物件之不同形變，來作為服裝設計之表現形式。
（二）創作理念：以平面設計四元素作為平面版型與立體形式之演練
運用平面設計四元素作為基本架構：在概念元素裡，以點、線、面來作為平面服裝版型之構成元素，進而在二次元平面織布與三次元立體造型之間作服裝線條演練；在視覺元素裡，則探討形狀、色彩與肌理對服裝形式之影響；在關係元素裡，以服裝穿著方向、位置與空間場合來探討服裝不同形式變化；而實用元素裡，則以意義與功能性來回歸創作之原本意涵。
（三）創作手法：運用摺紙之形式及技法
幻象在服裝設計上之具象表現，以摺紙的概念為出發點。以二次元空間（平面織布）轉三次元空間（立體服裝形式）之不同形變，來作為服裝設計之基本架構。並試著從摺紙藝術中的不同技法 （如切割、折疊、重疊配置、穿折嵌入）來尋找可用的元素：以幾何線條作為服裝版型之構圖；並以｀一塊布＇之材質大小的形式限制，以及形式相同的多塊平面片狀體的不同組合方式，來探討平面轉立體的形式變化；或運用材質本身可穿折嵌入的特性來演練由簡入繁或由繁入簡的形式。
進一步探討相同的織布在常態視覺下，其原色呈現與在UV紫光燈下之顏色變化，輔以誘導幻象材料之使用，來呈現幻象色彩；或重疊形式相同的不同織布，因重疊的方向與數目之不同，所形成不同的肌理與厚度，在UV紫光燈下與影像結合，來呈現幻象視覺下之抽象線條形變。
本研究結果，在創作意象則探討「服裝設計形式」與「幻象視覺下物件之不同形變」疊合操作之可能性；此外，以平面設計元素作為創作理念，非以傳統式版型‘文化式’來架構；並輔以摺紙概念與技巧為創作手法；藉此探討服裝之不同表現形式。

Drawing from my own substance-use experience and the depictions of hallucinogenic visions in Doors of Perception and Heaven and Hell by Aldous Huxley, this research delves into creative imagery of fashion design as inspired by the variation of colours and forms in psychoactive substance (such as magic mushrooms, MDMA/ecstasy, Ketamine and marijuana) induced visual experiences. Hallucinogenic visions of metamorphosis and feels of colour are subsequently transformed into the patterns and colours of clothing design.
This creative study investigates and experimentally creates in the following three dimensions: First, the creation of images, which looks into the connection of various form-distortions in hallucinogenic visions to styles in fashion; second, the creation concept, which exploits the four elements of graphic design for studying two dimensional patterns and three dimensional forms; and finally, creation method employs paper folding techniques and styles.
1. Creation of images – the connection of various form-distortions in hallucinogenic visions to styles in fashion :
The visually experienced metamorphoses of shapes and forms under the influence of different psychoactive substances include the following: geometric distortion and transformation of 2-D shapes into 3-D forms, brought forth by taking magic mushrooms; colourful transformation affected by use of ecstasy; progression of simple and complex patterns into each other in Ketamine influenced hallucination; Marijuana users see a multiple or overlaying of images, in addition to the flowing images of abstract lines. Images of things altering forms under hallucinogenic visions develop into expressions of clothing design.
2. Creation concept –four elements of graphic design for studying 2D patterns and 3D forms :
The principal structure is derived from the four elements of graphic design: In conception, point, line and surface are the basic elements of design patterns, which provide for further study and practice of lines, both on the surface of clothing and in 3D forms; in terms of visual elements, emphases are placed on the effects of shape, colour and texture on forms and styles; relational elements concern changes in clothing forms being examined with respect to different dressing directions, positions and contexts; in practical elements,the significance and purpose of creative intentions are revisited.
3. Creation method –paper folding techniques and styles :
Formal expressions of hallucinogenic images in fashion design are developed from concept of paper folding. The transformation of two-dimensional space (fabric surface) into three-dimensional space (clothing forms) serves as the fundamental designing structure. The attempt is to explore applicable elements in paper folding techniques (e.g. cut, fold, petal fold, and slip/slot): Geometric lines make up the design pattern; transformations of 2D surface into 3D body are explored with the limitations of size, shape and texture of “one piece of cloth”, or with arranging in different combinations flat pieces of the same shape and size; additionally, the properties of certain fabric enable it to slip and slot, which is useful for the study and practice of inter-changing simple forms and complex forms.
Further investigations probe into how hallucinogenic colours may be conjured up, while a piece of fabric made with light-sensitive materials may produce different perceptions in the textures of colour, in normal light and in ultraviolet light; or, by overlaying different pieces of cloth, which are of the same size and shape, in various directions and quantities, different textures and volumes would form accordingly. These in turn can be integrated with projected images under UV light to represent abstract line transformation in hallucinogenic vision.
In conclusion, different expressions in fashion are investigated with the possibility of cross-manipulating forms in clothing design and the hallucinogenically visual metamorphoses of things. Moreover, the concept of creation draws from elements of graphic design instead of conventional structure. Finally, ideas and techniques of paper folding are applied in the approach to creation.

目錄
中文摘要 III
英文摘要 V
論文目錄 VIII
圖目錄 X

第一章 緒論 1
1-1 研究背景與動機 2
1-2 研究目的 4
1-3 研究架構 5
1-4 名詞解釋 6

第二章文獻探討與理論分析 8
2-1 精神活性物質下所產生的幻象視覺在各美學領域之探討 9
2-1-1 文學與詩所敘述的幻象視覺經驗 11
2-1-2 幻象與視覺藝術 16
2-2 形變在各美學方面應用與相關理論之探討 23
2-2-1 以不同美學領域的摺紙應用來探討常態視覺下之形變 25
工藝領域：摺紙的立體秘密與應用 25
藝術領域：摺紙技巧在藝術創作之運用 26
建築空間：摺紙技巧“切割”在建築空間之運用及
光所造成的幻象與空間形變 28
產品設計：摺紙技巧在產品設計之運用 29
服裝設計：摺紙技巧在服裝設計之運用 31
表演藝術：摺紙技巧在舞台服裝設計之運用及光的形式張力 33
2-2-2 幻象視覺下所看到的2D/3D之形變：
談藝術領域中2D轉3D之不同表現形式 34
2-2-3 幻象視覺下錯置與物件之變位所造成之形變–
談服裝錯置與變位所造成之形變 37

第三章 實際操作與轉換 39
3-1 魔菇（Magic Mushroom）所造成的幻象視覺：
論幾何形變與2D轉3D形變 48
3-2 MDMA/快樂丸下所造成的幻象視覺：論色彩形變 62
3-3 K他命所造成的幻象視覺：論由簡入繁或由繁入簡的形式變化 73
3-4 大麻所造成的幻象視覺：論多重影像 79

第四章 幻象視覺下之形式轉換與創作作品呈現 87
4-1 幻象視覺下之幾何形變轉為服裝創作之具象呈現 90
4-2 幻象視覺下之2D轉3D之形變轉為服裝創作之具象呈現 93
4-3 幻象視覺下之色彩形變轉為服裝創作之具象呈現 97
4-4 幻象視覺下之由繁入簡與由簡入繁之形變轉為服裝創作之具象呈現 110
4-5 幻象視覺下之多重影像轉為服裝創作之具象呈現 114

第五章 結論與建議 124
附件

參考文獻 128

圖目錄
圖 2.1 Di Chirico 《La camera dell’artista sul mediterranero,1928》
(De chirico, gli anni Venti)
圖 2.2 Valesley
圖 2.3 Valesley 《Catch, First phase of abstraction》
圖 2.4 Jimmy Woo’s custom designed lighting system
圖 2.5 水晶燈
圖 2.6 D-Edge/São Paulo,Brazil , Muti Randolph, June 2003
圖 2.7 Fabio Novembre, October 2001《Divina Disco》Milan, Italy
圖 2.8 3 deluxe , 《Cocoon Club》,Frankfurt, Germany , July 2004
圖 2.9 Nirvana’s basement Club
圖 2.10 3 deluxe , 《Cocoon Club》,Frankfurt , Germany , July 2004
圖 2.11 Concrete , 《Supper clubcruise/Amsterdam, Netherlands, Oct 2003 》
圖 2.12 Desgrippes Gobé Group, April 2001 《XL,New York, USA》
圖2.13 餐巾布的折紙《Lady’s slipper》
圖2.14 立體折紙《木架》
圖2.15 Frank Stella 1993 習作及1992‘Earl Childress’
圖2.16 Arman 作品 《Subida al cielo》, 1961
圖2.17 G..Matta Clark 《Splitting》，1974
圖2.18 T.Ando 《chiesa Ibaraki》，Tokyo，1970
圖2.19 自攝作品
圖2.20 Ingo Mauer GmbH/德國《吊燈片燈》
圖2.21 Simon Karkov 《Norm69》
圖2.22 Britt kornum 《Norm 03》
圖2.23 Hussein Chalayan，Afterwords/Autumn/Winter 2000
圖2.24 足袋，取自朝倉直已著的《藝術、設計的立體構成》
圖2.25 Issey Miyake ‘Eskimo’A-POC，1999-2000
圖2.26 川久保玲 《Spring Summer 1996 / Pants》，1996
圖2.27 Eiko Ishioka《The singer appears onstage emerging from a rotating triangular prop that opens up to reveal her triangle-shaped costume》
圖2.28 喬托《Storie Di San Francesco》
圖2.29 畢卡索《The bull》
圖2.30 Anish Kapoor 《Unititled》，1995
圖2.31 Hussein Chalayan，Fashion Show，1998
圖2.32 Hussein Chalayan， Fashion Show，2000
圖2.33 《Vogue Italia N.631, March 2003》
圖3.1 傳統式版型 – 文化式
圖3.2 Nanni Strada 《人體筒狀分析圖》