| Summary: | 碩士 === 台南科技大學 === 美術研究所 === 96 === The formation of this creative production is based on imagination, the drawing pieces accomplished from 2004 to 2008. This thesis attempts to explore the influence of visual media—comic books, animated cartoon, TV and movies—on the author’s works. This thesis also tries to examine the relationship between the mass communication media and the author. The finding shows that the drawing mode is formed by the habitual process of watching these media. In Chapter 2, imaginative contents and media influence will be explored. Imagination first needs to be well-liked and it, then, remains in the mind. Through illusion, the author, skittering away from the present moment, draws images on the canvas. As Merleau-Ponty stated, his body works as a medium and perceives whatever the living world offers. The contents of his works are his world; in other words, I exist in the works (the tableau). This is what he calls “le corps proper”.
The previous chapter, Imagination and No Position—Visual Sensitivity, is the foundation of the thesis development. The first chapter is the introduction. The second chapter is imagination interaction. The first section of Chapter 2 introduces how animation influences the author and analyses how the author feels and perceives the animation. The second section of Chapter 2 explains how mass communication media influence the author, the analyses of work producing based on the concept of information-processing theory of learning. Several elements are concerned in the analysis: visual stimulus, sensory register, gazing, memory, encoding, transformation, individual habit, imagination needs, author’s body, decoding, and product outputs. In fact, there is a sense of overlap—compound concept—between chapters and the author’s works, any piece of work containing the above-mentioned concept.
For the author, the third section of Chapter 2 brings out the most crucial drawing concept, imagination logic. There is no logic while imaging. The author savors the contents and process that stories give. With my life experience, the author is inspired by the animation to form my own imagination. In other words, the surroundings are transformed into nutrients of imagination. Chapter 3 focuses on the work producing methods. The analyses of materials, quality, and effects will be included to relate to creative imagination and meanings. Drawing cannot be thoroughly defined. It depends on how you think about it. I offer a drawing channel where drawing for me is a medium of communicating the inner thoughts to create an impossible interesting space, a space where I exists and containing the works that are my world—that is, the tableau of my whole works.
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