《窗，逐光》影像創作

Abstract

本研究之影像設計主軸為依據周哈里窗理論意識與潛意識兩大領域，透過實體展場象徵周哈里窗框架顯現於外在的本我意識，並以虛擬世界方式呈現超現實感，象徵周哈里窗框架隱藏於內在的超我潛意識，實體與虛擬空間混合，呈現虛實混合影像展示設計。本研究以周哈里窗理論引出：藝術創作與自我認同定位的關係。周哈里窗理論把人的心境畫分為四個象限，是一個2×2的矩陣，也是一個有趣的窗戶，代表著自我包含有四個部份，研究者用九張影像作品表現開放我的部分、盲目我的部分用十二張作品表現、隱藏我的部分用十張作品表現以及用十張作品表現未知我的部分。本創作以周哈里窗理論為文本，透過影像敘事手法及運用不同攝影技巧擷取畫面，捕捉呈現出攝影中文本的價值，完整呈現在生命過程中的自我覺察、成長與蛻變，並開啟新的視域與對話的可能。透過觀者回饋以及自我省思後，研究者發現，本創作回歸自我，以認識自我為出發點，藉由影像作為詮釋的載體，理解影像媒材在生命故事的價值，並透過影像的展示將追尋自我的歷程調配成一種有系統的敘事邏輯，拍攝者及觀看者皆以「我」的觀點來觀看，並引發個人回觀與反思更理解生命歷程中痛苦及愉悅的意義。在與作品反覆的對話及詮釋過程中，進而融合了自我，突破生命的困境。

The main focus of the image design in this study is based on the two major fields of consciousness and subconsciousness of the Johari Window. The physical exhibition space symbolizes the external ego consciousness of Johari Window and presents the hyper-reality in the form of virtual world to symbolize the hidden subconsciousness of the superego, mixing the physical and virtual space to present a blended virtual and physical image of the display.In the study, the Johari Window is used to introduce the relationship between artistic creation and self-identity orientation. This theory divides the human mind into four quadrants, a 2x2 matrix or a titled window, which represents the four parts of the self. The researcher uses nine images to represent the open self, twelve images to represent the blind self, ten images to represent the hidden self, and ten images to represent the unknown self. With Johari Window's theory as the source text, different techniques of photography were used to capture images and express the value of the text in images, to express the self-awareness, growth, and transformation in the process of life, and to open up the possibility of new perspectives and dialogues. Through the feedback from the viewers and self-reflection, the researcher found that the creation returns to the individual self-understanding as the starting point, utilizing the image as the carrier of interpretation with the understanding of the value of the visual medium in the life story. In addition, through the display of the images, the journey of pursuing the self is formulated into a systematic narrative, where both the photographer and the viewer adopt the"I" point of view to watch and induce personal retrospection and reflection, and better understand the meaning of miseries and pleasures in life. In the process of repeated dialogues and interpretations of the works, both the photographers and the viewers will further integrate themselves and break through the difficulties of life.