Image of Psychological Distance

• Main Authors: Ruei-bin Jhu, 朱瑞彬
• Other Authors: Tzu-lung Chang
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/aw6mxw

碩士 === 國立臺北藝術大學 === 造形研究所 === 97 === Any person who obtains knowledge not from its own experience but can often speak out from its month very often without hesitation, what kind of sensibility such person has? When I am writing the discussion on this essay, I always query myself. In the course of examining and recalling my own work, I try my best to face it honestly. May be my way of saying and the common present condition are incompatible to express my thinking is not all and the work will still reveal the process when you are thinking hardly on the operation. If the present condition of art is diversified and tolerating, then when somebody says that his work is the practice of existing existentialism aesthetics, is it possible that I can turn my head and talk about my holding communion with nature? For the style of my work like this, if I use general cause and consequence to elaborate, I always feel that I cannot touch on the key point. Therefore in “Chapter 1 Preface” I express clearly that my work is visual pondering mode instead of language pondering mode. “Analysis and understanding” make me feel the danger that my artistic work is being smothered by nominal theory. Therefore I query on using knowledge to discuss as the method to understand art creation. “Chapter 2 Non-Rational Analysis” quotes some viewpoints on phenomenology to manifest the fact that many people are doubtful on the present common condition of art. In fact, the concepts of 「observe with concentration of attention」 and「Gestalt」 had already been existed in the early stage. It is just that words I used at that time was what I did 「based on my feeling」. Although under the influence of the practical environment, this kind of attitude swung a few times but finally it came back to the original intention. “Chapter 3 Theoretical foundation of direct perception ” explains what is directly tending toward the things and matter itself and proof is conducted from the viewpoint of Gestalt psychology. This is a kind of viewing method and is a kind of theoretical thinking of creative work. “Chapter 4 Thinking of creative work and form of expression” presents explanation on the simply form of my work and prove the correlation between my work and oriental thinking. Even though 「to do art because of art」 is already an out-dated slogan, yet in my mind this concept still occupies an extremely large share. “Chapter 5 Conclusion” explains and discusses this kind of ultimate objective.