| Summary: | 碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 90 === My attempt of this thesis is to seek a possible way to feel art or express art methodically and theoretically through Heidegger, Derrida, Husserl and Merleau-Ponty's viewpoints, and using Cezanne's artworks as examples. What is the possibility of art? If art is not only because it is restricted to the subjective consciousness, then, how the objectiveness of art is secured, at the meanwhile, it doesn't submerge into the inference from the irreality of subjective logical thinking. I think that the possibility of art is rooted in "difference." One work has the artistry, which comes from the happening of the difference. Art, as an expression, and as a movement of signification, it must involve the movement of difference. In it, the artworks are presented as some kind of form of "split". The split, on the one hand, leaks the message of self-consciousness, and on the other hand, brings out the remainder of body phenomenon in the movement of expression. Art can be felt is because of tearing a split from the movement of body or from the movement of consciousness, and continuing to maintain the split. The sense of reality of the works is manifested by the split, at the same time, the self-consciousness won't withdraw from the reality, and dissolve into the unknown or unperceivable ideal world. Only in this way, the artworks are possible to interweave the clues of being-in-itself into the sense of reality, to agitate the reactions of body, make an expression, to exist as a phenomenon of perception between the movement of consciousness and the movement of body. Thus, what art manifests is the difference between the logic of body and the logic of consciousness. And artworks accommodate the conflict led by the differences between both of them in a peculiar spatial form.
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