Please use this identifier to cite or link to this item:

Title: 創作作為自我觀照之實踐-(un)stable創作論述
Practice-based research as self-understanding : the creation and discussion of (un)stable
Authors: 徐韻軒
Hsu, Yun-Hsuan
Contributors: 林玲遠
Keywords: 自我觀照
Fluid painting
Interactive video installation
Date: 2017
Issue Date: 2017-12-01 12:10:27 (UTC+8)
Abstract: (un)stable 是一個於公共場所進行,結合現場製作流動畫、錄像互動裝置的作品。創作者透過創作歷程了解自身在意的事情,並摸索藝術語彙,希望呈現一種不顧外界干擾,以專注的心,把身心帶回此時此刻的平靜。流動畫的形式隱藏著行動繪畫以偶然對抗理性、進步的因子,在這樣以有意識的行為擴散無意識於色彩的創作過程,反映了,創作者想逃離他執著於控制的心。創作者將現場製畫結合互動錄像裝置,以聲音具象化在視訊上的雜訊狀態,象徵其想逃離的那些價值與時間觀。錄像中,不斷被影響的創作者的鏡像,作為他的另個自己,與現場製畫的創作者做對比,(un)stable的括號在此展現其意義:平靜或不平靜,不在於環境,在於自身以怎樣的心態面對。本論述以線性時間為次第,盡可能有條理呈現真實的作品發展過程,以自我觀照輔以理論、媒材的討論,將創作脈絡呈現。在流動壓克力與墨流的技法部份,目前並沒有太多文獻討論,創作者透過自身經驗、整理技法的實踐要點,希望能給有志於此的創作者一點參考。
(un)stable is a mixed-media performance which combines live fluid painting show with interactive video installation. Reflecting on previous works, the creator found that the anxiety of existence had been her significant concern. In this project, therefore, she tries to figuratively represent her thoughts about the antidote of existential anxiety: living in the present is the only way to bring people to peaceful state. The creating process of fluid painting, similar to Action Painting, is characterized with randomness and fortuitousness, which reflect the creator’s idea of getting beyond the grasp of our control desire. During the performance, the creator focused completely on the painting process to reach a state of peacefulness. The changing image of the fluid painting was captured and shown on the screen. Using software, which could transmit sound into visible signals, the content of the video kept being disturbed by the noise of surrounding world in a real-time fashion. The contrast was established between the creator’s calmness and the fidgety of the resulted video, underlying the core concept of this work: no matter how annoyed the world is, living in the present can always bring us to a peaceful state. In this thesis, the creator tries to present the creating process truthfully. With her reflection on previous works, readers can clearly see the creating context of (un)stable. Additionally, there are not many references discussing Fluid acrylic or Suminagashi, so the creator sorts out of techniques based on her study for people interested in it.
Reference: 中文部分
朱穎譯(2007)。《無為而活Wabi Sabi Simple》。新北:人本自然。(原書:Powell, Richard [2004]. Wabi Sabi Simple: Create beauty. Value imperfection. Live deeply. Avon, MA: Adams Media Corp.)
林雅琪、鄭惠雯譯(2010)。《在藝術終結之後:當代藝術與歷史藩籬》,台北:麥田。(原書:Danto, A. [2014] After the End of Art: Contemporary Art and the Pale of History. Princeton, NJ: Princeton University Press.)
何冬妹(2004)。波洛克行動繪畫的心理分析。遼寧師範大學學報:社會科學版, 27(1):52-53.
陳永賢(2005)。互動式媒體藝術創作觀念之探討。藝術學報,77: 51-66。
陳永賢(2007)。試論錄像藝術的發展類型與風格。藝術評論,(17): 81-112.
Mindfulness. (2017, June 15) Retrieved from BBC 6 minute English Web site:
Pickert, K. (2014, February 03) The Mindful Revolution. Time. Retrieved from,33009,2163560,00.html
Pollock Chronology(n.d.)Retrieved from MoMAWeb site:
Menkman, R. (2011). The glitch moment (um). Amsterdam: Institute of Network Cultures.
Scrivener, S. (2000) Reflection in and on action and practice in creative-production doctoral projects in art and design. Working Papers in Art and Design, 1.
Killingsworth, M. A., & Gilbert, D. T. (2010). A wandering mind is an unhappy mind. Science, 330(6006), 932-932.
Frayling, C. (1994). Research in Art and Design. Royal College of Art Research Papers, 1(1).
Michèle Anne De Mey&Jaco Van Dormae (Producer). 2014. Kiss & cry [stage drama]. Canada.
石川高、山崎阿彌、中山晃子(2015,July). Ko Ishikawa × Ami Yamasaki × Akiko Nakayama。[YouTube video] Retrieved from :
Description: 碩士
Source URI:
Data Type: thesis
Appears in Collections:[傳播學院傳播碩士學位學程] 學位論文

Files in This Item:

File SizeFormat
016101.pdf18476KbAdobe PDF781View/Open

All items in 學術集成 are protected by copyright, with all rights reserved.

社群 sharing