蕭嘉猷老師的Blog

[ 中文摘要 ]

本研究創作在探討「時間」這種無形卻又具體存在的概念，在平面圖像中是依循何種條件存在，又是依照何種表現形式讓觀看者去知覺與意識到的。解釋圖像中表現時間作用的狀態，需要藉由觀看者的認知出發，這種個人的認知具有普遍性也有獨特性，皆源自每個人的生活經驗、體驗、文化、知識、生活習性等等多種構成因素。創作在文獻中統合彙整可能觸及到的層面，將視覺的表現形式分類應用，用具體的攝影圖像做為有計劃設計創作的素材，讓研究創作能用直觀的表現方式呈現，進而讓觀看者辨別與驗證。而研究時間存在平面圖像中的表現形式，其目的在探討當我們在觀看圖像時，抽象或概念性的表現型態，能有較具體的依據來做為視覺的分析與邏輯的依循。創作作品的論述，則排除一些藝術與設計的意識形態，將圖像解釋的重點放在圖像與時間的關聯當中。
研究彙整時間的視覺形式內容架構中，由創作出發，來回歸圖像裡的抽象概念，期望觀看者得到視覺上真實感受的時間，雖然這種圖像可能無法具有延續過去或是展現未來的能力，但這能顯示當下環境與時代中的圖像。就是創作的時間內容只是在創作的這段時間過程中產生，這並不表示這些創作就帶有特殊的革命意義，或是它就具有劃時代的結構意念。創作表現企圖打破自足的視覺結構和固定的視覺意義，因創作的產生源自於創作者所接觸到的環境背景中，這都和他的文化與生活息息相關，創作作品只是意圖誘發觀看者在欣賞此圖像的感受時，除了直觀所見的圖像形式之外，更能連結圖像創作主題「時間」存在的視覺經歷。
「時間」的概念可以用物理、科學來做解釋，也可用生物的層面來看待時間的問題，亦可將時間運用在心理、哲學、宗教來做探討，而在平面圖像中時間的表現形式則區分出四大面向：1、時間與空間型態的表現，2、時間中運動狀態的表現，3、圖像的特性的時間表現，4，觀看者對時間的認知。這四大面向裡1、2是時間的本質作用，3是圖像特性的本質，4則是圖像傳遞給觀看者演繹的感受作用。這四種面向概括了圖像在單一靜態的狀況下表現「時間」的視覺表現形式。 
[ 英文摘要 ] 
The research artistic creation was to explore “time”—the invisible but concretely existing concept, what kind of condition it follows to exist in a two–dimensional image, and according to what kind of expressive form it makes the audience perceive and sense. To explain the state showing the time function in an image must start from the audience’s cognition. This kind of personal cognition has universal quality as well as uniqueness, and it originates from various constituent factors such as everyone’s life experience, culture, knowledge, and habitual behavior of life. The artistic creation integrated and merged the aspects that one might touch in the literature, classified the visual expressive form to apply, utilized concrete photographic image as the source material of artistic creation of planned design, enabled the research artistic creation to present in an intuitional expressive way, and let the audience identify, test, and verify further. The purpose of researching the expressive form of the time’s existing in the two-dimensional image is to probe into the abstractive or conceptive expressive pattern when we watch the image, so that we can have a more concrete basis for visual analysis and logic. The exposition of the artistic creation excluded some ideology of art and design, and the focal point of image interpretation was put in the connection between image and time.

The content framework of visual form of time merged by the research started from artistic creation to regress to the abstract concept in the image, expecting the audience to get the true feeling time of vision. Although this kind of image may not have the ability of continuing the past or displaying the future, it can exhibit the image in the instant environment and at the times. Namely, the time content of artistic creation only produced during this period of time of artistic creation. However, it neither meant that these artistic creations had special revolutionary significance, nor indicated that it had an epochal structural idea. The artistic creation expression attempted to smash the self-sufficient visual structure and fixed visual significance, because the production of artistic creation originated from the environmental background that the creator touched, and all of these were closely linked with his culture and life. The intent of creating the artistic work was to induce the audience’s feeling when appreciating the image, so that, besides the image form that they saw intuitionally, it could connect to the visual experience of the image’s artistic creation theme—the existence of “time.”
The concept of “time” can be explained by physics or science; we can also use the biological aspect to treat the issue of time, as well as apply time to the fields of psychology, philosophy, and religion to do exploration. Time’s expressive form in the two-dimensional image can be divided into four major dimensions: 1. The manifestation of the time pattern and spatial pattern; 2. The manifestation of the moving status in time; 3. The time expression of the image’s feature; 4. The audience’s cognition to the time. Among the four major dimensions, 1 and 2 are the time’s functions of innate character, 3 is the nature of the image’s feature, and 4 is the feeling function of deduction that the image transmits to the audience. These four dimensions generalize the image’s visual expressive form of showing “time” under single static status.
 
[ 論文目次 ] 
一、緒論 1
1-1創作背景與動機 1
1-2創作問題與目的 2
1-3 創作範圍與限制 3
1-3-1 研究範圍 3
1-3-2 研究限制 3
1-4 創作方法與步驟 4
1-4-1 創作方法 4
1-4-2 創作架構 5
二、時間概念文獻探討 6
2-1 時間的概念 6
2-1-1 時間的定義 6
2-1-2 物理與科學的時間 7
2-1-3 生物時間 11
2-1-4 心理時間 12
2-1-5 時間與空間 14
2-2 時間的詮釋類型 15
2-2-1時間哲學 16
2-2-2 宗教生命的時間觀 21
2-2-3 基督教的上帝與時間 22
2-2-4 佛教的因果輪迴 24
2-3 時間小結 29
三、圖像中時間的表現形式類型分析 30
3-1 圖像與認知理論論述 30
3-1-1 感覺與知覺 (Sensation and Perception) 30
3-1-2 圖像訊息與認知 (image message and Cognitive) 34
3-1-3 圖像與記憶( image and Memory) 37
3-1-4 完形心理學 (Gestalt psychology) 39
3-2 時間與運動 41
3-2-1 變化表示運動 41
3-2-2 數量計算運動 42
3-2-3相對性的運動 43
3-2-4運動的形式 44
3-3空間中的時間 45
3-4圖像存在的時間意涵 49
3-5圖像之時間具像化 51
3-6宗教圖像的時間表現 54
3-7繪畫中的時間表現形式 56
3-8圖像認知小結 63
四、圖像表現時間之創作論述 64
4-1創作理念 64
4-1-1創作架構 65
4-1-2攝影圖像創作概念 66
4-1-3 創作形式與元素 66
4-1-4 影像創作工具 67
4-2創作內容說明 68
五、結論 81
5-1平面圖像表現時間之視覺形式研究結論 81
5-2 後續研究 84
六、參考文獻 85
6-1 書籍 85
6-2 譯書 86
6-3 學位論文 86
6-4 網站 86
七、附錄 87