蔡芷芬Tsai Chih-Fen何彥樵Ho Yen-Chiao2020-12-102013-7-112020-12-102013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0699600251%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115534　　在大眾媒體時代中重構繪畫之創作研究。提出「深度」與「淺薄」的媒體思維，「文化」與「繪畫」的精神是「深度」的，「大眾媒體」的精神是「淺薄」的。「深度」是文明教條的充實狀態，理性、客觀、精確、反省欲望的思維方式，它也是義意的賦予；「淺薄」是社會道德的低限狀態，感性、主觀、浪漫、順應欲望的思維方式，它也是義意的解放。其後，提出「第三者」的媒體關係，「第三者」並非只是混合狀態，而是一個新的個體，不隸屬於其組成的任何關係，而對其組成的產生不同的解讀與義意，創作的過程即「第三者」的實踐。另外，提出「感性的目的意識」，它是創作者藉由各種媒體引起觀眾產生感性意識的目的意識，觀眾所引起的「內在的感性意識」是先於文字、口說、言詞的，是較複雜的情緒、態度、心理反應，以此說明政治性藝術的感性內在意識。臺灣的媒體與社會的視覺文化現象，提出一些關鍵字：文化因素──漢人民俗的核心價值「圓滿」、「一致」、「熱鬧」。地理因素──海洋文化的「流動」、「綜合」。重工業資源的「缺乏」、天災威脅的「不安」。歷史積累的海盜心理原型「掠劫」、「貿易」、「榮耀」。東亞當代社會情境「壓縮的現代化」。因此臺灣的大眾媒體呈現無休止的「喧囂」。即便臺灣脫離了殖民時期，臺灣人依舊摸索著自我的樣貌與尋求國際的認同，它的政權與文化被多重影響，文化呈現「找尋」、「協商」、「融通」的模式。在創作中汲取臺灣文化模式的經驗，使「繪畫」與「大眾媒體」互為，產生「背畫」與噴墨印刷結合的工具模式，賦予「繪畫－影像」的身份，影像與材質共同解讀，使觀眾在「沈默」中觀看「喧囂」，產生有如「無感」與「抽離」的內在感性意識，進而對於「大眾媒體」與「繪畫」權力的思考與反省，作為創作的政治性實踐。This thesis is a study of reconstructuring Painting in the era of Mass Media. It explores the disambiguation between two thoughts present in the media: “Depth” and “Superficiality”. The essence of “Culture” and “Painting” is “Depth”, while the essence of “Mass Media” is “Superficiality.” “Superficiality” is the minimal state of social moral, perception, subjectiveness, debauched, complying with desire, and disintegrating meanings. “Depth” is the full state of civilized creed, rational, objectivity, precision, self-reflection of desire, and raising meanings. This thesis put forth “The Third Party” relationship with media. “The Third Party” is not only a combination, but a new one. It is absolutely not subordinate to its original compositions, instead brings them other definitions and meanings. The processes of creation are the practice of “The Third Party”. This thesis also explored the concept of “Sense of Mentality Purpose.” It is the purpose that an author raises viewers’ mentality consciousness by various media. The viewers’ “Inner Mental Consciousness” happens before written words, speech, and expressions. It is the complex of emotions, attitude,and psychological reaction. The researcher explains the inner mental consciousness of political art by this term. For the phenomenon of visual culture in Media and society in Taiwan, these key words are used: factor in culture - Han Chinese people’s core cultural value is “perfection,” “consistency,” “lively”; factor in geography - “fluid” and “integration” in ocean culture. Its “lack” of natural heavy industry resources and “agitation” arises from the threat of natural disaster. Taiwanese have the “pirate” psychological archetype caused by history – “freebooting,” “trade” and “honor.” The situation of “modernization under pressure” reflects the developing contemporary society of East Asia. Therefore, Mass Media in Taiwan shows endless “noise.” Even though Taiwan has departed from colonization, Taiwanese grope for cultural self-concept and seek international identification. Regime and culture here are multifarious influenced. It shows the becoming type of “seeking,” “conferring” and “integration.” This creation derived from the mode of culture experience that make “Painting” restructured from “Mass Media” and the form of integrating “Reversed Drawing” with inkjet print. “Painting – Image” the identity has been given, so image and material could be decoded together and make viewers gaze “noise” from “mute” then “induction less” and “detached” inner mental consciousness arise. And then think over and self-reflect for the force of “Mass Media” and “Painting” as the political practice in this creation.媒體文化認同政治性藝術第三者感性的目的意識mediumcultural identitypolitical artthe third partysense of mentality purpose