臺灣博碩士論文加值系統

本篇論述是以筆者的生活經驗、情感和內心狀態為出發點，經由自我觀察、發掘、與自身對話而產生為個人創作靈感。靈感有時來自生活中的負面狀態所衍生出來的習慣和想法，例如:筆者會因為分離焦慮與不安感而胡思亂想，因此產生個人面對這些狀態時所做出的儀式與紀錄，就像是面對內心的恐懼、對物件本身的強烈情感與依賴等，也會因為生活中感受到愛和歸屬感而觸發的想法，這些都會存入個人腦中內化為靈感，並將腦海內的畫面和感覺透過創作呈現出來。創作的過程對筆者來說是一個療癒心靈和填補空洞的過程，個人以此方式來瞭解自己並抒發內在的情緒，這是筆者在生活中不可或缺的行為。

這些記錄自己內心狀態找尋靈感的過程中，會使自己更深入的觀察並放大之中的種種細節，例如：情感上的細節、身體感官上的痛覺與舒適感，以及觀看事物的細節等，在挖掘自己這些內心的狀態和情感時，發現自己時常在處理一些看起來與他人行為一致，但分析後會發現心態是完全不同的狀態，就像觀看的各種形式，還有收藏與囤積的行為。這些行為模式看似類似，但內心的狀態與心態還有目的都不相同，這是屬於內心中很微小細緻的差別，必須實際深入的去分析和比較後才會發現。在這樣的過程中能使個人更加瞭解自己，同時將這些主觀意識延伸至作品當中，來傳達個人的思維及內心狀態。

本篇論文第一章緒論內容包含研究動機及方法，第二章敘述觀看的方式，並細分為五小節，每一小節描述著各種觀看的形式，再加入筆者自身的觀看經驗，試圖表達每種觀看方式的不同型態。第三章是解剖個人內心的狀態，紀錄從小到大的情感經驗、心靈層面，慢慢的向內剖析，述說著找尋自我、瞭解自己的過程，再切入到第四章，因為有了前述的過程後所衍生出的靈感，分成四個狀態的系列，和創作過程必須使用的媒材和技巧，最後是第五章的結論，將所有過程中學習或領悟到的所有事物做總結。

This thesis is based on my life experience, emotions, and inner state, through self-observation, discovery, and self-dialogue to generate personal creative inspiration. My inspiration sometimes come from habits and ideas derived from negative states in life. For example, I will think wildly because of the separation of anxiety and restlessness, and therefore, when facing these states, the rituals and records made by myself are like face directly to the fear of my heart, or having strong feelings and dependence on the object itself. And I will come out so thoughts triggered by feelings of love and belonging in life. These will be stored in my brain as inspiration, and I will put the images and feelings come out by creating artworks. To me, the process of creation is a process of healing my soul and filling the void. l get to know more about myself and can express my inner emotions through this way. This is an indispensable behavior of my life.
In the process of recording my inner state and searching for inspiration, these will make myself observe more deeper and zoom in on the details, such as: emotional details, physical and sensory pain and sense of comfort, and details of viewing things. When digging these inner states and emotions, I find that I often deal with things that seem to be consistent with other people's behavior, but after the analysis, I figure out that the state of mind is completely different, just like various forms of viewing, and the behavior of collection and hoard. These behavior patterns seem similar, but the inner state, mentality, and purpose are different. This is a very small and nuanced difference in the inner heart, which must be discovered after in-depth analysis and comparison. In this process, I can embrace myself better, and at the same time, I can extend these subjective consciousnesses into the artworks to convey my thought and inner state.
The first chapter of this thesis contains research motivations and methods. The second chapter describes the ways of viewing, which is divided into five sections. Each section describes various forms of viewing, and then my own viewing experience is added in to express each different types of viewing methods. The third chapter is to dissect my inner state. It records my emotional experience and spiritual level since childhood, and slowly analyzes inward. It describes the process of finding and understanding myself. Because the inspiration, which is derived from the aforementioned process, chapter four is about my artworks come out a series of four states, and the media and techniques that must be used in the process. Finally, the conclusion of Chapter five summarizes everything I learned in these processes.

謝誌..............................................I
摘要.............................................II
Abstract........................................III
目次.............................................IV
第一章、緒論.......................................1
第一節、動機.................................1
第二節、研究目的和方法........................2
第二章、觀看的方式..................................3
第一節、一眼瞬間Look..........................4
一、看..................................4
二、看起來像............................4
三、刺點(Punctum).......................5
第二節、電光火石的觀看See......................6
第三節、無效的觀看Watch.......................7
第四節、劇場式觀看Regard......................8
一、視覺排他性..........................8
二、眼睛自動對焦........................8
第五節、凝視Gaze........................... 10
一、慢慢看.............................10
二、審視生命............................10
第三章、解剖記.....................................12
第一節、日常微觀.............................12
一、日常紀錄...........................13
二、平息焦慮感所衍生出的儀式.............13
第二節、自我解剖.............................15
一、物件官感............................18
二、收藏和囤積………….......................19
第三節、紀錄記憶..............................21
一、物件................................21
二、空間................................23
三、符號................................25
第四章、觀察記 .....................................26
第一節、媒材運用、風格.........................26
一、技法.................................26
二、紙版印製效果表........................28
三、材質............................................29
四、媒材工具........................................30
第二節、私觀察................................35
一、 解剖產物............................35
(一)幾手認知...........................35
(二)腦不停場景組.......................38
(三)誤讀系列..........................40
(四)私藏物............................42
二、 好好愛人系列........................60
三、旅行產物.............................67
第三節、感知與感官分類表.......................70
第五章、結論........................................71
參考文獻............................................72
附錄...............................................73

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