The Power with Contradiction of Visual art , Music and Sound arts Culture : A case study of Sound Portrait

• Main Author: 郭佩奇
• Other Authors: 王福瑞
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/gvm3b4

碩士 === 國立臺北藝術大學 === 新媒體藝術學系碩士班 === 106 === Based on the “Sound Portrait” series as a starting point, this thesis analyzed the creative processes and studied the relationship between history, culture, and arts. By examining the development of visual and sound art. In Chapter Two, the creative context of applying concepts to other interactive installations was explained from the perspective of visual arts, with the work “Sound Portrait” as an example. How can music be expressed in the form of visual arts and what is the relationship between music and visual arts? How should the ambiguity between music and sound art be interpreted? How can they be integrated? How do cross-disciplinary works facilitate the creation of diverse works? The process of Sound Portrait’s transformation from a visually artistic installation into an actual concert performance is also described. From the collective memory of icons, Chapter Three discusses the awareness of time that is demonstrated by contemporary music and visual arts culture. That is namely the collective memory of social and personal interactions with time under the transfer of political power since Taiwan’s takeover by the Nationalist government in 1945. All of the literature for this series of creative works were compiled together, including all related musical notations, lyrics, visual signs, relationship between history, politics, and power, as well as stagnations in people’s psychological states and memory. The meaning and ideology represented by the symbols and collective memory in the work were studied by using conflicted relationships as the work’s core concepts. Taiwan’s current state with a confused self-identity was used as the core questions for artistic creations. How do we perceive the past, present, and future under historical contexts? Where is the foothold for artistic creations? How can other interactive installations be developed from it? What does “interaction” mean in interactive installations? What does “interaction” represent in the works? The possibilities of utilizing new modes of creative methods were considered, as well as the meanings and values of introducing different elements into the process. The significance of interactions between technology and humans in my series of work is discussed in Chapter Four. As examples, the following five interactive installations—“Button,” “The Pride of Taiwan,” “Turn the Fortune Around,” “Disorder,” and “Five Hearts Flag,” deconstructed the symbols of national awareness to reflect the chaotic awareness about national identification; they also sustained understandings and imaginations about social and political conditions. Through these works, the significance of creative works in life and the imaginations and possibilities about being an artist were also reflected.