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題名 以圖研圖－畫說圖像中的相似性感知
A Study of Pictorial Likeness Through Pictures作者 錢昱昕
Chien, Yu-Hsin貢獻者 林玲遠
錢昱昕
Chien, Yu-Hsin關鍵詞 感知
視知覺
相似性
漫畫
身體感
Perception
Visual perception
Likeness
Comics
Sensory experience日期 2022 上傳時間 5-Oct-2022 09:12:42 (UTC+8) 摘要 本研究乃是以漫畫形式書寫的學術論文，屬於藝術本位之研究取向（arts-based research），研究者希望融合理論與圖像創作實踐，以全面與及互動的方式來表達研究問題。藝術本位研究是將藝術創作的原理融合至學術研究中，其類型非常多樣化，但基本信念皆相信藝術在人類的知識活動上扮演重要角色，主張藝術能提供一種通往傳統研究難以觸及之研究目標的途徑（Leavy, 2015／陳怡倩、謝宛玲譯，2019）。藝術本位研究看重感官、情緒、知覺、動作與想像等前語言的認識途徑；因此，當研究者的目的是探索描述、喚起或激發時，藝術本位的研究通常是合適的（Leavy, 2017／鐘玉觀等譯，2020，頁12）。 本研究主題在探討人對圖像與對象相似性的感知，起源於研究者本身在圖像實踐中所發現的疑惑。本研究之目的除了想了解觀者如何判斷圖像與對象之間的相似性，更重要的是希望從生態感知（ecological perception）的角度，探討畫者如何捕捉其對象；藉由這樣的理解，思考新穎繪畫之可能。為了了解人如何感知圖像與對象之間的相似性，本文從James J. Gibson (1904–1979) 的視知覺理論中的不變性（invariant）概念出發，結合Jakob Johann von Uexküll（1864–1944）的環世界（Umwelt）理論，並以案例探討來逐步延伸、擴充概念，以闡明有機體與環境之間的相生相依關係。最後回歸繪畫的溝通本質，認同繪畫是一種發現而非發明，並以視野頻譜的切換實驗（Riley, 2016）之概念與其他畫者共勉之。
In accordance with the idea of art-based research (ABR), this research is an academic dissertation presented in the form of comics. The researcher aims to address the research question in a more holistic and engaged way in which theoretical inquiry and graphic narrative are intertwined. ABR entails incorporating the principles of the creative arts into a research endeavour. It can take a variety of forms, but the underlying premise is that arts play a significant part in human intellectual activity and that arts are able to access that which is otherwise out of reach (Leavy, 2015). Preverbal modes of knowing, such as sensory, emotional, perceptual, kinesthetic, and imaginal knowledge are valued in this kind of research. When the researcher`s purpose is to explore, describe, evoke, provoke, or unsettle, ABR is generally appropriate (Leavy, 2017).This study aims not only to comprehend how viewers evaluate the similarities between images and objects, but also to investigate how image-makers capture their subjects from the standpoint of ecological perception, and to consider the innovative possibilities in imaged-making. To understand the perception of physiognomic likeness, this thesis begins with the concept of invariant in James J. Gibson`s (1904-1979) visual perception theory, combined with Jakob Johann von Uexküll`s (1864-1944) Umwelt theory, and gradually extends and expands the concept with illustrated examples to clarify the interdependent relationship between organisms and their environment. In the end, the thesis returns to the communicational nature of art, asserting that image-making is about the discovery of stimulus that is similar to the referent in some ways, rather than an invention of arbitrary language. Following this, the experiment on switching "channels of vision" (Riley, 2016) is described and shared with readers who are engaged in image-making practice.參考文獻 一、書籍朱浩一譯（2017）。《漫畫原來要這樣看》。臺北市 : 愛米粒出版。（原書McCloud, S. [1994]. Understanding comics: the invisible art. New York, New York : Harper Perennial）沈語冰、賀玉高譯（2017）。《知覺的懸置：注意力、景觀與現代文化》。南京：江蘇鳳凰美術出版社。（Crary, J. [1999]. Suspensions of erception: attention, spectacle, and modern culture.）邱瑞鑾譯（2020）。《論老年》。臺北市 : 漫遊者文化出版。（原書Beauvoir, S. [1970]. La vieillesse. Paris : Gallimard）楊晴譯（2015）。《看漫畫了解腦神經科學》。臺北市：商周出版。（原書, Farinella, M. Dr./ Ros, H [2013]. Neurocomic. London, England : Nobrow Press ）郭小平，翟燦譯（1992）。《藝術心理學新論》。臺北市 : 臺灣商務印書館。（原書Arnheim, Rudolf. [1986]. New essays on the psychology of art. Berkeley, California: University of California Press）陳宜秀譯（2020）。《設計的心理學 : 人性化的產品設計如何改變世界 》。臺北市：遠流。（原書Norman, Donald A. [2013]. The design of everyday things. New York : Basic Books）陳怡倩、謝宛玲譯（2019）。《藝術本位研究的9堂課》。長沙：湖南美術出版社。（原書 Leavy, R. [2015]. Method meets art: arts-based research practices. New York: Guilford Publications.）陳怡錚譯（2019）。《現代藝術的故事》。臺北市：大是文化。（原書 Gompertz, W. [2012]. What are you looking at? 150 years of modern art in the blink of an eye.）賴以威譯（2019）。《平面國：向上而非向北》。臺北市：木馬文化。（原書Abbott, E. A, [1987]. Flatland: a romance of many dimensions (Vol. 22). London: Penguin Books.）錢麗娟譯（2021）。《藝術、知覺與現實》。臺北市：木馬文化。（原書, Gombrich, E. H., Hochberg, J., & Black, M. [1972]. Art, perception, and reality (Vol. 1970). Baltimore: JHU Press.）蔡佩君譯（2007）。《觀察者的技術：論十九世紀的視覺與現代性》。臺北市：行人出版。（原書 Crary, J. [1992]. Techniques of the observer: on vision and modernity in the nineteenth century. Massachusetts: MIT press.）嚴安若譯（2018）。《非平面》。北京：北京聯合出版公司。（原書 Sousanis, N. [2015]. Unflattening. Cambridge, Massachusetts: Harvard University Press）鐘玉觀等譯（2020）。《研究設計：量化、質化、混合方法、藝術本位與社區本位參與研究取向》。臺北市：雙葉。（原書 Leavy, R. [2017]. Research Design: quantitative, qualitative, mixed methods, arts-based, and community-based participatory research approaches. New York: Guilford Publications）Butler, J. (1990) Gender trouble: feminism and the subversion of identity. New York: Routledge.Da Vinci, L. (2014). A treatise on painting. UK: Read Books Ltd.Foucault, M. (1984). Neitzsche, genealogy, history’ in P. Rabinow (Ed.), The Foucalt Reader （pp. 76-99). New York: Pantheon Books.Gibson, J. J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.Grosz, E. (1994). Volatile bodies: toward a corporeal feminism. Bloomington: Indiana University Press.Koenderink, J. J. (2015). Gestalts as ecological templates. In J. Wagemens (Ed.), The oxford handbook of perceptual organization (pp. 1046-1062）. UK: Oxford University Press.Marr, D (1982). Vision: a computational investigation into the human representation and processing of visual information. Cambridge, Mass.: MIT PressBarry, A. M. S. (1997). Visual intelligence: Perception, image, and manipulation in visual communication. SUNY Press.Massironi, M (2001). The psychology of graphic images: seeing, drawing, communicating. UK: Psychology Press Ltd.Molyneaux, B. L. (2013). The cultural life of images: visual representation in archaeology. Routledge.Rosch, E. (1996). The environment of minds: toward a noetic and hedonic ecology. In Cognitive ecology (pp. 3-27). Academic Press.von Uexküll, J. (2010).A foray into the worlds of animals and humans, with a theory of meaning. Trans. J. D. O`Neil. Minneapolis: The University of Minnesota Press.二、期刊論文：游曉貞、陳國祥、邱上嘉（2019）。〈直接知覺論在產品設計應用之審視〉。《設計學報》。11（3） : 13-27。doi:10.6381Gibson, J. J. (1971). The information available in pictures. Leonardo, 4(1)：27-35.Goodman, N. (1971). On J. J. Gibson`s new perspective. Leonardo, 4(4)：359-360.Kadihasanoglu, D. (2018). A discussion of James J. Gibson’s theory of visual perception in the context of embodied cognition. DTCF Dergisi, 58(2), 1788-1810.Latour, B. (1986). Visualization and cognition: thinking with eyes and hands, in Knowledge and Society, 6, 1-40.Lambert, E. B. (2006). Can drawing facilitate problem-solving? An exploratory study. Australasian Journal of Early Childhood, 31(2), 42–47.McCabe, V. (1982). Invariants and affordances: An analysis of species-typical information. Ethology and Sociobiology, 3(2), 79-92.Oliver, M. (2005). The problem with affordance. E-Learning and Digital Media, 2(4), 402–413.Riley, H. (2016). Seeing into drawing: perception and communication. Art & Perception, 4(1-2), 57-71.von Uexküll, J. (1992) A stroll through the worlds of animals and men: A picture book of invisible worlds. Semiotica, 89 (4), 319-391.Windsor, W. Luke. (2004). An ecological approach to semiotics. Journal for the Theory of Social Behaviour, 34(2), 179-198.三、碩博士學位論文徐晟軒（2021）。《 似顏繪的像與不像—圖像創作的感知研究》。政治大學傳播研究所碩士論文。黃嘉彬（2006）。《知覺缺口跨越之環境賦使：準確度、預測因子與年齡效應》。臺灣師範大學體育研究所碩士論文。 描述 碩士
國立政治大學
傳播學院碩士在職專班
105941019資料來源 http://thesis.lib.nccu.edu.tw/record/#G0105941019 資料類型 thesis dc.contributor.advisor 林玲遠 zh_TW dc.contributor.author (Authors) 錢昱昕 zh_TW dc.contributor.author (Authors) Chien, Yu-Hsin en_US dc.creator (作者) 錢昱昕 zh_TW dc.creator (作者) Chien, Yu-Hsin en_US dc.date (日期) 2022 en_US dc.date.accessioned 5-Oct-2022 09:12:42 (UTC+8) - dc.date.available 5-Oct-2022 09:12:42 (UTC+8) - dc.date.issued (上傳時間) 5-Oct-2022 09:12:42 (UTC+8) - dc.identifier (Other Identifiers) G0105941019 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/142115 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院碩士在職專班 zh_TW dc.description (描述) 105941019 zh_TW dc.description.abstract (摘要) 本研究乃是以漫畫形式書寫的學術論文，屬於藝術本位之研究取向（arts-based research），研究者希望融合理論與圖像創作實踐，以全面與及互動的方式來表達研究問題。藝術本位研究是將藝術創作的原理融合至學術研究中，其類型非常多樣化，但基本信念皆相信藝術在人類的知識活動上扮演重要角色，主張藝術能提供一種通往傳統研究難以觸及之研究目標的途徑（Leavy, 2015／陳怡倩、謝宛玲譯，2019）。藝術本位研究看重感官、情緒、知覺、動作與想像等前語言的認識途徑；因此，當研究者的目的是探索描述、喚起或激發時，藝術本位的研究通常是合適的（Leavy, 2017／鐘玉觀等譯，2020，頁12）。 本研究主題在探討人對圖像與對象相似性的感知，起源於研究者本身在圖像實踐中所發現的疑惑。本研究之目的除了想了解觀者如何判斷圖像與對象之間的相似性，更重要的是希望從生態感知（ecological perception）的角度，探討畫者如何捕捉其對象；藉由這樣的理解，思考新穎繪畫之可能。為了了解人如何感知圖像與對象之間的相似性，本文從James J. Gibson (1904–1979) 的視知覺理論中的不變性（invariant）概念出發，結合Jakob Johann von Uexküll（1864–1944）的環世界（Umwelt）理論，並以案例探討來逐步延伸、擴充概念，以闡明有機體與環境之間的相生相依關係。最後回歸繪畫的溝通本質，認同繪畫是一種發現而非發明，並以視野頻譜的切換實驗（Riley, 2016）之概念與其他畫者共勉之。 zh_TW dc.description.abstract (摘要) In accordance with the idea of art-based research (ABR), this research is an academic dissertation presented in the form of comics. The researcher aims to address the research question in a more holistic and engaged way in which theoretical inquiry and graphic narrative are intertwined. ABR entails incorporating the principles of the creative arts into a research endeavour. It can take a variety of forms, but the underlying premise is that arts play a significant part in human intellectual activity and that arts are able to access that which is otherwise out of reach (Leavy, 2015). Preverbal modes of knowing, such as sensory, emotional, perceptual, kinesthetic, and imaginal knowledge are valued in this kind of research. When the researcher`s purpose is to explore, describe, evoke, provoke, or unsettle, ABR is generally appropriate (Leavy, 2017).This study aims not only to comprehend how viewers evaluate the similarities between images and objects, but also to investigate how image-makers capture their subjects from the standpoint of ecological perception, and to consider the innovative possibilities in imaged-making. To understand the perception of physiognomic likeness, this thesis begins with the concept of invariant in James J. Gibson`s (1904-1979) visual perception theory, combined with Jakob Johann von Uexküll`s (1864-1944) Umwelt theory, and gradually extends and expands the concept with illustrated examples to clarify the interdependent relationship between organisms and their environment. In the end, the thesis returns to the communicational nature of art, asserting that image-making is about the discovery of stimulus that is similar to the referent in some ways, rather than an invention of arbitrary language. Following this, the experiment on switching "channels of vision" (Riley, 2016) is described and shared with readers who are engaged in image-making practice. en_US dc.description.tableofcontents 謝誌 I摘要 II目錄 IV前言 001第一章 相似性的體驗是一種變與不變的複雜感知 005第二章 生物皆以對自己有意義的方式與環境互動 029第三章 視知覺不只是生理的也是歷史的 051第四章 創作者在當下情境反覆偵測尋找對的感覺 084第五章 在拓展溝通的極限中發現感知上的新趣味 109更多資訊 120後記 140參考書目 146 zh_TW dc.format.extent 147870393 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0105941019 en_US dc.subject (關鍵詞) 感知 zh_TW dc.subject (關鍵詞) 視知覺 zh_TW dc.subject (關鍵詞) 相似性 zh_TW dc.subject (關鍵詞) 漫畫 zh_TW dc.subject (關鍵詞) 身體感 zh_TW dc.subject (關鍵詞) Perception en_US dc.subject (關鍵詞) Visual perception en_US dc.subject (關鍵詞) Likeness en_US dc.subject (關鍵詞) Comics en_US dc.subject (關鍵詞) Sensory experience en_US dc.title (題名) 以圖研圖－畫說圖像中的相似性感知 zh_TW dc.title (題名) A Study of Pictorial Likeness Through Pictures en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 一、書籍朱浩一譯（2017）。《漫畫原來要這樣看》。臺北市 : 愛米粒出版。（原書McCloud, S. [1994]. Understanding comics: the invisible art. New York, New York : Harper Perennial）沈語冰、賀玉高譯（2017）。《知覺的懸置：注意力、景觀與現代文化》。南京：江蘇鳳凰美術出版社。（Crary, J. [1999]. Suspensions of erception: attention, spectacle, and modern culture.）邱瑞鑾譯（2020）。《論老年》。臺北市 : 漫遊者文化出版。（原書Beauvoir, S. [1970]. La vieillesse. Paris : Gallimard）楊晴譯（2015）。《看漫畫了解腦神經科學》。臺北市：商周出版。（原書, Farinella, M. Dr./ Ros, H [2013]. Neurocomic. London, England : Nobrow Press ）郭小平，翟燦譯（1992）。《藝術心理學新論》。臺北市 : 臺灣商務印書館。（原書Arnheim, Rudolf. [1986]. New essays on the psychology of art. Berkeley, California: University of California Press）陳宜秀譯（2020）。《設計的心理學 : 人性化的產品設計如何改變世界 》。臺北市：遠流。（原書Norman, Donald A. [2013]. The design of everyday things. New York : Basic Books）陳怡倩、謝宛玲譯（2019）。《藝術本位研究的9堂課》。長沙：湖南美術出版社。（原書 Leavy, R. [2015]. Method meets art: arts-based research practices. New York: Guilford Publications.）陳怡錚譯（2019）。《現代藝術的故事》。臺北市：大是文化。（原書 Gompertz, W. [2012]. What are you looking at? 150 years of modern art in the blink of an eye.）賴以威譯（2019）。《平面國：向上而非向北》。臺北市：木馬文化。（原書Abbott, E. A, [1987]. Flatland: a romance of many dimensions (Vol. 22). London: Penguin Books.）錢麗娟譯（2021）。《藝術、知覺與現實》。臺北市：木馬文化。（原書, Gombrich, E. H., Hochberg, J., & Black, M. [1972]. Art, perception, and reality (Vol. 1970). Baltimore: JHU Press.）蔡佩君譯（2007）。《觀察者的技術：論十九世紀的視覺與現代性》。臺北市：行人出版。（原書 Crary, J. [1992]. Techniques of the observer: on vision and modernity in the nineteenth century. Massachusetts: MIT press.）嚴安若譯（2018）。《非平面》。北京：北京聯合出版公司。（原書 Sousanis, N. [2015]. Unflattening. Cambridge, Massachusetts: Harvard University Press）鐘玉觀等譯（2020）。《研究設計：量化、質化、混合方法、藝術本位與社區本位參與研究取向》。臺北市：雙葉。（原書 Leavy, R. [2017]. Research Design: quantitative, qualitative, mixed methods, arts-based, and community-based participatory research approaches. New York: Guilford Publications）Butler, J. (1990) Gender trouble: feminism and the subversion of identity. New York: Routledge.Da Vinci, L. (2014). A treatise on painting. UK: Read Books Ltd.Foucault, M. (1984). Neitzsche, genealogy, history’ in P. Rabinow (Ed.), The Foucalt Reader （pp. 76-99). New York: Pantheon Books.Gibson, J. J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.Grosz, E. (1994). Volatile bodies: toward a corporeal feminism. Bloomington: Indiana University Press.Koenderink, J. J. (2015). Gestalts as ecological templates. In J. Wagemens (Ed.), The oxford handbook of perceptual organization (pp. 1046-1062）. UK: Oxford University Press.Marr, D (1982). Vision: a computational investigation into the human representation and processing of visual information. Cambridge, Mass.: MIT PressBarry, A. M. S. (1997). Visual intelligence: Perception, image, and manipulation in visual communication. SUNY Press.Massironi, M (2001). The psychology of graphic images: seeing, drawing, communicating. UK: Psychology Press Ltd.Molyneaux, B. L. (2013). The cultural life of images: visual representation in archaeology. Routledge.Rosch, E. (1996). The environment of minds: toward a noetic and hedonic ecology. In Cognitive ecology (pp. 3-27). Academic Press.von Uexküll, J. (2010).A foray into the worlds of animals and humans, with a theory of meaning. Trans. J. D. O`Neil. Minneapolis: The University of Minnesota Press.二、期刊論文：游曉貞、陳國祥、邱上嘉（2019）。〈直接知覺論在產品設計應用之審視〉。《設計學報》。11（3） : 13-27。doi:10.6381Gibson, J. J. (1971). The information available in pictures. Leonardo, 4(1)：27-35.Goodman, N. (1971). On J. J. Gibson`s new perspective. Leonardo, 4(4)：359-360.Kadihasanoglu, D. (2018). A discussion of James J. Gibson’s theory of visual perception in the context of embodied cognition. DTCF Dergisi, 58(2), 1788-1810.Latour, B. (1986). Visualization and cognition: thinking with eyes and hands, in Knowledge and Society, 6, 1-40.Lambert, E. B. (2006). Can drawing facilitate problem-solving? An exploratory study. Australasian Journal of Early Childhood, 31(2), 42–47.McCabe, V. (1982). Invariants and affordances: An analysis of species-typical information. Ethology and Sociobiology, 3(2), 79-92.Oliver, M. (2005). The problem with affordance. E-Learning and Digital Media, 2(4), 402–413.Riley, H. (2016). Seeing into drawing: perception and communication. Art & Perception, 4(1-2), 57-71.von Uexküll, J. (1992) A stroll through the worlds of animals and men: A picture book of invisible worlds. Semiotica, 89 (4), 319-391.Windsor, W. Luke. (2004). An ecological approach to semiotics. Journal for the Theory of Social Behaviour, 34(2), 179-198.三、碩博士學位論文徐晟軒（2021）。《 似顏繪的像與不像—圖像創作的感知研究》。政治大學傳播研究所碩士論文。黃嘉彬（2006）。《知覺缺口跨越之環境賦使：準確度、預測因子與年齡效應》。臺灣師範大學體育研究所碩士論文。 zh_TW dc.identifier.doi (DOI) 10.6814/NCCU202201538 en_US
