| Summary: | 碩士 === 東海大學 === 美術學系 === 98 === Mandarin Phonetic Symbols are the symbols of the Chinese phonetic notation. After the implementation of the scheme of Chinese phonetic alphabets and stop of the promotion and use of the Symbols in Mainland China in1958, Taiwan has become the only country that sticks to the use of the Symbols. Due to the geographic nature (island country), Taiwan has shaped its own strong regional characters. Therefore, in my creative thinking, the use of Mandarin Phonetic Symbols became a projection of self-identity and produced a unique communication model with the audiences in Taiwan.
From 2008 to 2010, I created three series of works: “Dou-Dou Gan (do, vilify or fuck) the World” describes the possible occasions and the meaning when the male speak the word “Gan”. That is my alternative declaration for the situation of the male from the angle of generations; “Dou-Dou See the World” re-view the current reality from the angle of people who grew up in 1980s and further to look my own inner world; “Black Humors” writes about the relationship between the identity of nation and individual. In the repeated acts of writing, it conducts the zero process and extracts the human spirit.
“Writing” is a very personal behavior that includes the expression and reorganization of the emotions. If we consider “writing” as a verb, it is an instinct of no skill; through the touch, frottage and grattage by tactile sense, the thought forces the production of inspiration and the promotion of thinking function that it goes back to the primitive behaviors in recording things by human beings.
With “Black Humor” as the main, the thesis analyzes various aspects of the use of Mandarin Phonetic Symbols, changes of colors, type of work, creative techniques and method of views in the scope of creation context. The author also made reference of the definition of black by anarchism, formal thinking by Kasimir Malevich in “Black Square” and the concept of restoration by Minimalism.
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