研究生: |
蔡鯉鍵 Tsai, Li-Chien |
---|---|
論文名稱: |
身體的變異形態之藝術創作研究 A Practical Study of the Mutated Body in Art |
指導教授: |
黃進龍
Huang, Chin-Lung |
口試委員: |
陳眖怡
Chen, Kuang-Yi 廖仁義 Liao, Jen-I 高榮禧 Gao, Rong-Xi 蘇憲法 Su, Hsien-Fa |
口試日期: | 2021/01/19 |
學位類別: |
博士 Doctor |
系所名稱: |
美術學系 Department of Fine Arts |
論文出版年: | 2021 |
畢業學年度: | 109 |
語文別: | 中文 |
論文頁數: | 296 |
中文關鍵詞: | 身體的變異形態 、現象身體 、怪誕 、鏡像 |
英文關鍵詞: | mutated body, phenomenal body, grotesque, mirror image |
研究方法: | 主題分析 、 內容分析法 |
DOI URL: | http://doi.org/10.6345/NTNU202100572 |
論文種類: | 學術論文 |
相關次數: | 點閱:151 下載:56 |
分享至: |
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
本研究主要探討解析當代藝術中以身體為媒介,具有「變異形態」的身體構成,文中涉及「身體」相關的現象學、怪誕、鏡像等研究觀點與思辨架構,透過案例的引證,審視當代藝術中使用「身體的變異形態」之影像構成與視覺語彙的脈絡和表現,剖析潛在的思想邏輯和隱喻意涵。藉由研究探索和實踐分析,審視藝術作品視覺語境所涵蓋的諸多層面,開展文本意義和闡釋的衍生與關係。
本論文共有七個章節:第一章「緒論」,概述研究動機目的與範圍架構;第二章「當代藝術中的身體意象」,探究身體意象於社會文化、流行消費、空間科技以及變異形態的發展脈絡和表現形式;第三章「身體意象概念的探究」從現象身體觀、其他身體論述及怪誕意識的探索,延展闡釋「身體的變異」之性質與涵義;第四章「鏡像符徵及相關論述」研究自我形成與他人的「主體間性」等相互關聯,呼應第三章的身體論述,表述使用鏡像的觀點與形式;第五章「變異形態身體-作品創作理念與形式分析」,簡述筆者創作理念,從圖像抽象化構成分析推理變異形態身體作品的邏輯規律性;第六章「變異形態的身體詮釋-作品解析與說明」主要分析與解說筆者的作品與創作;第七章「結論」,總結以身體的變異形態作為媒介與議題的創作,思考省察其視覺意義與研究觀點。
本研究透過文本的研究和具體的創作實踐,以「身體的變異形態」作為筆者藝術創作的主軸和特質,藉由筆者身體思想的詮釋和轉譯,梳理筆者創作中使用「身體的變異」之視覺轉化所反映的時代性關聯。此外透過圖像構成邏輯規律的分析對於變異形態研究的增補,企圖於身體的變異形態之藝術中探尋新的表現視角和創作維度。
關鍵字:身體的變異形態、現象身體、怪誕、鏡像
This research explores and analyzes the transformation and development in contemporary art of the body as a medium that has a “mutation.” The article includes a discussion about concepts and ideologies of the human body such as the perspectives of the phenomenal body, the grotesque, the mirror image, and so on, and sorts out the image function, life connection, metaphorical meanings, and invisible aspects of the “Mutated Body” in some works of art. Through speculation and practical analysis, this study examines various meanings and contexts of the visual works in question and develops the derivation relationship of textual meaning and interpretation.
The dissertation consists of seven chapters. Chapter I: Introduction, summarizes and includes the motivation and purpose of the study; it also addresses the issues of the content and scope of the research. Chapter II: Body Image in Contemporary Art, explores the development and interpretation of body image in social systems, consumption culture, space, and technology, and touches on the evolution of mutated forms to bring out the main theme of the thesis. Chapter III: The Research on the Concept of Body Image, interprets the essence, and possible meanings of the mutated body from the perspective of the “phenomenal body” as well as other philosophical body points, and explores the grotesque. Chapter IV: The Symbolic Representation and Related Discussions of Mirror Image, expounds on the interrelationship between self-formation and the “intersubjectivity” of others, extending the argument of the third Chapter while also interpreting ideas and forms of mirroring. Chapter V: Mutated Body: Analysis of Forms and Artist Statement, interprets the author's artist statement and interrogates the logical regularity and expressiveness of the mutated body from the perspective of scientific abstract analysis. Chapter VI: The interpretation of the Mutated Body: Analysis and Explanation of Works, mainly focuses on the relationship between ideas, illustrations, imagery, and creativities of the author's work. Chapter VII: Conclusion, summarizes the proposed opinions and relations of using the mutated body as the representative medium and examines its visual interpretation and research viewpoints
Through textual research and practical study, this thesis uses the Mutated Body as the main creative theme and essence reflected in the artworks under discussion. It sorts out the associations of the “Mutated Body” including the visual transformation of the author's interpretation and the “translation” of the body. In addition, this study attempts to explore new perspectives and creative dimensions in the artistic expression of the mutated body forms by analyzing the principles and logic of image formation.
KEYWORDS: mutated body, phenomenal body, grotesque, mirror image
中文書籍
尤昭良著,《塞尚與柏格森》,桂林:廣西師範大學出版社,2004。
朱立人主編,《舞蹈美學》,台北:洪葉文化事業有彥公司,1994。
朱崇儀,《伊瑞葛來Luce Irigaray-堅持性別差異的哲學》,台北:台大出版中心,
2014。
李嗣涔,《靈界的科學》,台北:三采文化股份有限公司,2018。
汪民安、陳永國編,《後身體-文化、權力和生命政治學》,長春:吉林人民
出版社,2003。
吳汝鈞,《胡賽爾現象學解析》,台北:台灣商務印書館,2011。
周麗昀,《現代技術與身體理論研究》,上海:上海大學出版社,2014。
林文欣,《生命解碼》,台北:八方出版股份有限公司,2017。
胡易容,《圖像符號學-傳媒景觀世界的圖式把握》,成都:四川大學出版社,
2014。
南野,《結構分析學的電影哲學話語》,北京:人民出版社,2012。
陳懷恩,《圖像學-視覺藝術的意義與解釋》,台北:如果出版社,2008。
張穎,《意義與視覺-梅洛龐蒂美學及其他》,北京:北京時代華文書局,
2017。
劉勝利,《身體、空間與科學-梅洛龐蒂的空間現象學研究》,南京:江蘇
人民出版社,2015。
劉效鵬,《亞里斯多德詩學論述》,台北:秀威出版社,2010。
蔡淑惠、劉鳳芯編,《童年、記憶、想像:在生命無限綿延之間》,台北:書
林出版社,2012。
鄭剛,《身心與綿延-柏格森哲學中的身心關係》,北京:人民出版社,2014。
嚴澤勝,《穿越我思的幻象-拉康主體性理論及其當代效應》,北京:東方出
版社,2007。
龔卓軍,《身體部署》,台北:心靈工坊,2015。
史作檉著,《藝術的終極關懷在哪裡?》,台北市:水瓶世紀文化,2001。
(Alberto Manguel) 阿爾維托.曼谷埃爾著,薛絢譯,《意象地圖-閱讀圖像中
的愛與憎》,台北:台灣商務印書館,2002。
(Carl Gustav Jung) 卡爾.榮格著,《人及其象徵:榮格思想精華》(Man and His
Symbols),龔卓軍譯,新北市:立緒文化事業有限公司,2014。
(Dylan Evans) 迪倫.伊凡斯著,劉紀蕙、廖朝陽、黃宗慧、龔卓軍譯,《拉
岡精神分析辭彙》,新北市:巨流圖書公司,2009。
(Donna J. Haraway) 唐娜.哈洛威著,張君玫譯,《猿猴、賽伯格和女人:重
新發明自然》,台北:群學出版,2010。
(David George Haskell) 大衛.喬治.哈思克,《樹之歌:生物學家對宇宙萬物的哲學思索》,商周出版,2017。
(Deepak Chopra、Menas Kafatos) 狄帕克.喬布拉、米納斯.卡法托斯著,蕭斐譯,《意識宇宙簡史》,台北:橡實文化,2018。
(Emmanuel Alloa) 艾曼努埃爾.埃洛阿著,曲曉蕊譯,《感性的抵抗-梅洛
龐蒂對透明性的批判》,福州市:海峽出版發行行,2016。
(Friedrich Nietzsche) 尼采著,林建國譯,《查拉圖斯特拉如是說》,台北:遠
流,1989。
(Gary Zukav) 蓋瑞.祖卡夫著,廖世德譯,《物理之舞》,台北:方智出版公
司,1991。
(Gilles Deleuze) 吉爾.德勒茲著,周穎、劉玉宇譯,《尼采與哲學》,北京:
社會科學文獻,2001。
(Gilles Deleuze) 德勒茲著,陳蕉譯,《法蘭西斯.培根:感官感覺的邏輯》,
台北:國立編譯館/桂冠圖書,2009。
(Henri-Louis Bergson) 亨利.柏格森著,彭海濤譯,《道德和宗教的兩個來源》,
北京:北京時代華文書局,2018。
(John O’nell) 約翰.歐尼爾、張旭春譯,《五種身體》,台北:弘智文化,2001。
(Jacques Lacan) ) 雅各.拉康著,褚孝泉譯,《拉康選集》,上海:上海三聯書
店,2001。
(Jacques Lacan, Jean Baudrillard, etc.) 雅各.拉康、讓・鮑德里亞等人著,吳瓊
主編,《視覺文化的奇觀》,北京:中國人民大學,2005。
(James Hall) 詹姆斯.霍爾著,王燕飛譯,《自畫像文化史》上海:上海人民
美術出版社,2017。
(Maurice Jean Jacques Merleau-Ponty) 莫里斯.梅洛龐蒂著,姜志輝譯,《知
覺現象學》,北京:商務印書館,2001。
(Maurice Jean Jacques Merleau-Ponty) 梅洛龐蒂著,龔卓軍譯,《眼與心》,台
北:典藏藝術家庭股有限公司,2007。
(Mark O’Connell, Raje Airey) 馬克.奧康奈爾、拉杰.艾瑞著,余世燕譯,
《象徵與符號》,廣州:南方日報出版社,2014。
(René Descartes) 笛卡兒著,錢志純編譯,《我思故我在》,台北:志文出版社,
1973。
(René Descartes) 笛卡兒著,關文運譯,《哲學原理》,北京:商務印書館,1986。
(Robert Stam) 羅伯特.斯坦著,陳儒修、郭幼龍譯,《電影理論解讀》,台北:
遠流出版,2008。
(Sigmund Freud) 佛洛伊德著,葉頌壽譯,《精神分析隱論精神分析新論(二冊
合訂本)》,台北:志文出版社,1988。
(Sigmund Freud) 西格蒙德.佛洛伊德,羅生譯,《精神分析學引論・新論》,
南昌:百花洲文藝出版社,1996。
(Stephen William Hawking) 史帝夫.霍金著,許明賢、吳忠超譯,《時間簡史》
A Brief History of Time,台北:藝文印書館,2002。
(Sean Homer) 西恩.霍默爾著,李新雨譯,《導讀拉康》,重慶:重慶大學出
版社,2014。
(Susan Sontag) 蘇珊.桑塔格、陳耀成譯,《旁觀他人的痛苦》,台北:麥田出
版,2014。
(Steven Z. Levine) 史蒂夫.Z.來文著,郭立秋譯,《拉康眼中的藝術》,重慶:
重慶大學出版社,2016。
(Sean Carroll) 蕭恩.卡羅爾,蔡承志譯,《詩性的宇宙:一位物理學家尋找
生命起源、宇宙與意義的旅程》,新北市:八旗文化, 2017。
(Wassily Wassilyevich Kandinsky) 康丁斯基著,吳瑪俐譯,《藝術的精神性》,
台北:藝術家出版社,1985。
名倉真紀、今野紀雄著,洪萬生審訂,衛宮紘譯《拓樸學超入門:從克萊茵
瓶到宇宙的形狀》,新北市:世貿出版,2020。
釣浩康著,簡瑞宏譯,《與愛麗絲同遊奇妙的數學世界》,台北:時報出版,
2003。
中文期刊論文
胡易容,〈論鏡像:意義奇點與符號演繹〉,收錄於《中外文化與文論》第
30期,2015。
哈鐵軍,趙海,蘇威積,〈人體經絡複雜網絡路由問題的求解〉,收錄於《東
北大學學報》(自然科學版)第27 卷,第11期,11月, 2006。
孫喜靈等,〈中醫理論體系的數學科學基礎研究〉,收錄於《世界中醫藥》
第9卷,第12期,10月,2014。
陳怡君,〈上傳式鏡像-論二十世紀鏡像場域之新型結構〉,收錄於《國立
台北藝術大學藝術評論》第30期,2016。
陳恆安,〈科學史可以怎麼讀 :從閱讀科學史反省知識架構的嘗試〉,收錄於
《科學發展月刊》第527期,2016。
張期敏,〈城市的閾限空間:迪立羅的大都會之探討〉,收錄於《文山評論:文
學與文化》第8卷,第 2期,國立政治大學英國語文學系,2015。
張明強,〈拓樸相變和拓樸物質〉,收錄於《物理雙月刊》第38 卷,第 6 期,
12 月,2017。
張維忠,〈論數學與藝術的關聯〉,收錄於《 數學傳播 》第28卷,第3期,
9月,2004。
楊凱麟,〈考古學空間與空間考古學-傅柯的異質拓樸學〉,收錄於《中國
文哲研究通訊》第15卷,第3期。
齊偉先,〈權力的身體與消費的身體:以身體為媒介的考察〉,收錄於《政治
與社會哲學評論》第25期,中央研究院人文社會科學,2008。
蔣興儀,〈拉岡主體理論及其教育意涵之研究 第二章、鏡子階段:自我之
形塑〉,台北:台北國立政治大學教育學系博士論文,2005。
謝明憲,〈抽象藝術之時代意義〉,收錄於《稻江學報》第四卷,第2期。
西文專書
Adolf von Hildebrand,The Problem of Form in Painting and Sculpture, G. E.
Stechert & Company, 1907.
C.G. Jung, translated by R.F.C. Hull ,The Archetypes and the Collective
Unconscious , Routledge, 1968 second edition, 2014.
Clifford A. Pickover, The Möbius strip : Dr. August Möbius's marvelous band in
mathematics, games, literature, art, technology, and cosmology, New
York, Thunder’s Mouth Press,2006.
Diane Fortenberry &Jane Ace etc., Body of Art, Phaidon Press Inc., 2015.
Edmund Husserl,translated by Richard Rojcewicz and André Schuwer, Ideas
Pertaining to a Pure Phenomenology and to a Phenomenological
Philosophy, Part II, MA, U.S.A.,Kluwer Academic Publishers,
(1989)2000.
Frances S. Connelly, The Grotesque In Western Art and Culture-The Imager at
Play, Cambridge University Press, New York, 2012.
Giorgio Vasari, translated by Louisa S. Maclehose, VASARI ON TECHNIQUE ,
London, J.M.DENT Company, The original of this book is in Cornell
University Libraray,1907.
Jack Burnham, Beyond Modern Sculpture: The Effects of Science and Technology
on the Sculpture of this Century, George Brazilier, 1969.
James R. Munkres, Topology.(Second Edition)NJ: Prentice Hall, 2000.
Martin Heidegger, Introduction to Metaphysics, Yale University Press,2000.
Maurice Merleau-Ponty, The Visible and the Invisible ,New York, Northwestern
University Press,1968.
Nietzsche F.W.,edited and translated by Walter Kaufmann, The Portable
Nietzsche : Thus Spoke Zarathustba, Penguin Books, 1982.
Paul J.Cruzen, Earth System Science in the Anthropocene,The Anthropocene,
Springer-Verlag Berlin Heidelberg,2006.
Reiner Schürmann, translated by Andrew W. Mellon Foundation, Heidegger On
Being and Acting:From Principles to Anarchy,Indiana University
Press,1990.
Sally O’Reilly, The Body In Contemporary Art, London, Thames & Hudson
Ltd, 2018.
Spinello, Richard Arthur, Nietzsche’s Conception of the Body ,New York, Fordham
University Ph.D., 1981.
西文期刊論文
B. de Smit and H. W. Lenstra Jr., “Artful Mathematics: The Heritage of M. C.
Escher:Celebrating Mathematics Awareness Month”The Mathematical
Structure of Escher’s Print Gallery, NOTICES OF THE
AMS,Vol.50,4,p447.
Jung, C., “Colleered Works of C. G. Jung”, Vol. 9, Part 2. 2nd ed., Princeton
University Press,1968.
Martin Kemp ,“A knowledge of the five Platonic solids was essential for
anyone who claimed competence in cosmology.”節錄自, The Science
of Art , Yale University Press, 1990.
Femández, Maria, “Illminating: Rafael Lozano-Hemmer’s Relational Architectures”, Architectural Design, vol.77, no.4, July/August 2007
Simona DRĂGAN, “Abnormality, Deformity, Monstrosity: Body Transgressions
in Contemporary Visual Culture”, Studies in Visual Arts and
Communication: an international journal, Vol 3, No 1, 2016.
Suzanne Anker, “The beginnings and the ends of Bio Art”, vol 34 no 3, Artlink ,
2014.
Steven M. Cahn,Stephanie Ross Sandra L. Shapshay edited , “Aesthetics: a
Comprehensive Anthology”,NJ,John Wiley & Sons, Inc.2020.
Victor Turner, “Liminal to Liminoid, in Play, Flow, and Ritual: An Essay in
Comparative Symbology”,Vol.60, No.3, Rice University
Studies,Houston,1974.
網站資料
王品驊 ,〈死亡場景中的身體影像-陳界仁的創作力場〉
https://baike.baidu.com/item/%E5%8F%8D%E8%BA%AB%E6%80%A7/7835190。[2018/12/20]
〈共軛效應〉,華人百科網站
https://www.itsfun.com.tw/%E5%85%B1%E8%BB%9B%E6%95%88%E6%87%89/wiki-2477655-6732335。[2020/02/11]
多義圖形(ambiguous figure)
https://holoteam.wixsite.com/seemdesign/single-post/2014/04/10/figureground-illusion。[2019/10/12]
李建興,〈寶石學講義〉
http://www.physics.nptu.edu.tw/ezfiles/116/1116/img/192/420745967.pdf
。 [2021/04/23]
吳國平,〈數學對稱美,共軛複數〉
https://kknews.cc/zh-tw/education/x2moo.html。[2020/08/23]
吳如峰,〈數學動腦-馬克杯和甜甜圈一不一樣〉
https://case.ntu.edu.tw/blog/?p=20714。[2019/04/21]
東方隱,〈究竟什麼是共軛變量對〉
http://swarmagents.cn.13442.m8849.cn/swarma/detail.php?id=13208
。[2019/08/15]
黃慶明,〈機械論〉,中華百科全書網站,
http://ap6.pccu.edu.tw/Encyclopedia/data.asp?id=3187&forepage=3。[2021/04/11]
國立台灣美術館,〈感官拓樸:台灣當代藝術體感測〉展覽專輯(2010-10-12)
https://event.culture.tw/NTMOFA/portal/Registration/C0103MAction?useLanguage=tw&actId=52205&request_locale=tw。[2020/10/15]
陳昱景,〈以太〉,科學Online網站
https://highscope.ch.ntu.edu.tw/wordpress/?p=74442。[2020/10/15]
趙越勝,〈生命自由的思想者 柏格森第一節:柏格森其人〉,資料來源:
https://www.rfi.fr/tw/20181118-n%C2%B099%E7%94%9F%E5%91%BD%E8%87%AA%E7%94%B1%E7%9A%84%E6%8E%A2%E7%B4%A2%E8%80%85-%E6%9F%8F%E6%A0%BC%E6%A3%AE%E7%AC%AC%E4%B8%80%E7%AF%80-%E6%9F%8F%E6%A0%BC%E6%A3%AE%E5%85%B6%E4%BA%BA。[2021/02/26]
〈發色團〉,維基百科網站,
https://zh.wikipedia.org/wiki/%E7%99%BC%E8%89%B2%E5%9C%98 。[2021/04/23]
鄭宗龍,〈怪、亂、狂、野的感覺,構成獨特的觀賞體驗〉
https://www.cloudgate.org.tw/cg/dance_production/LunarHalo。[2021/04/06]
〈毛月亮〉編舞家鄭宗龍訪談影片火熱出爐CHENG Tsung-lung on 22˚Lunar Halo 的影片,
https://www.youtube.com/watch?v=LSjfSASvZWw&t=50s。[2021/04/06]
〈轉置與共軛轉置〉,〈共軛變量對〉。
https://ccjou.wordpress.com/。[2019/02/27]
http://swarmagents.cn.13442.m8849.cn/swarma/detail.php?id=13208。
https://kknews.cc/science/pbynv2e.html。 [2019/08/15]
蔡岳霖,〈細說暗物質〉,物理雙月刊網站,
https://pb.ps-taiwan.org/catalog/ins.php?index_m1_id=5&index_id=528 。[2020/11/08]
〈顏色的起源-綻青染料紫外/可見光譜的應用〉
https://www.cyut.edu.tw/~wjchien/pchemlab/lab7_dye.pdf 。[2021/04/23]
Anna M. Rowan,Dasein, authenticity, and choice in Heidegger’s Being and time,
file:///C:/Users/HP/Downloads/LiE_41_platforma_05_Rowan.pdf。[2020/12/26]
Anthropocene: conceptual and historical perspectives, The Rayal
Society,2011,
https://royalsocietypublishing.org/doi/full/10.1098/rsta.2010.0327。[2020/8/27]
Anthropocene, National Geographic 網站
https://www.nationalgeographic.org/encyclopedia/anthropocene/。[2020/09/
24]
Angie Kordic, “Consumer Culture Expressed Through 10 Contemporary Art
Pieces” https://www.widewalls.ch/magazine/consumerist-culture-art-10-artworks。[2020-8-29]
Conjugated system, The Editors of Encyclopaedia Britannica, Britannica
https://www.britannica.com/science/conjugated-system。[2019/09/11]
Conjugated Polymer,
https://www.sciencedirect.com/topics/chemistry/conjugated-polymer。[2020/04/21]
Der Loewenmensch-The Lion Man/Lady,Webmaster: Don Hitchcock,2018
https://donsmaps.com/lionlady.html。[2020/11/16]
Despina Karatzias ,The Skywhale - one of our most exciting projects yet!
https://www.globalballooning.com.au/blog/the-skywhale >。[2019/06/30]
David Macintosh explains Platos theory of forms or Ideas, “ Plaro: A Theory
of Forms”, https://philosophynow.org/issues/90/Plato_A_Theory_of_Forms 。[2021/10/02]
David Cross, Some kind of Beautiful The Grotesque Body in Contemporary Art,
https://eprints.qut.edu.au/16277/1/David_Cross_Thesis.pdf 。[2020/12/16]
Erwin Wurn: One Minute Sculptures, Städel Museum, 2014
https://www.youtube.com/watch?v=aDL5NVXwBFI。[2020-8-25]
Ernst Jentsch, Translated by Roy Sellars ,On the Psychology of the Uncanny,
http://art3idea.psu.edu/locus/Jentsch_uncanny.pdf。[2020/12/14]
Escher y el efecto Droste / Escher and the Droste Effect :
https://www.youtube.com/watch?v=9WHdyG9mJaI。[2021/04/24]
Erick Hawkins ,The New York Times,資料來源:
https://www.nytimes.com/1981/09/13/arts/erick-hawkins-celebrating-the-body-and-the-spirit.html。[2021/01/11]
「Free The nipple」Wikipedia:
https://en.wikipedia.org/wiki/Free_the_nipple。[2020-8-25]
Functional Materials, 2012,
https://www.sciencedirect.com/topics/chemistry/conjugated-polymer 。
[2019/04/21]
Gendered Space 網站中Elizabeth Grosz ,“The Spatialities of Lacan’s Mirror
Stage ─ An Essay” 引用自Lacan, 2007, p77
https://genderedspace.wordpress.com/tag/elizabeth-grosz/ 。[2018/6/24]
Grotesque,維基百科網站:https://en.wikipedia.org/wiki/Grotesque,
參考自Giovanni da Udine,the Bridish Museum 網站:
http://im-akermariano.blogspot.com/2014/03/raphael.html 。 [2020/12/07]
Grotesque, Galerie Marc Maison
https://www.marcmaison.com/architectural-antiques-resources/grotesque?utm_content=buffere0634&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer 。[2020/12/08]
Henri Bergson, translated by T.E. Hulme,An Introduction to Metaphysics, New York and London, The Knickerbocker Press, p.65
https://dl1.cuni.cz/pluginfile.php/633796/mod_resource/content/1/348886101-Bergson-Henri-An-Introduction-to-Metaphysics-Putnam-1912-pdf.pdf。 [2021/04/19]
Hirshhorn Museum 於2018年10月30日的藝術家座談,Meet the Artist: Rafael
Lozano-Hemmer - Hirshhorn Museum,Hirshhorn Museum,2018
https://www.youtube.com/watch?v=ZYH5BU4v4A8。[2020-9-8].
illusion (n.)mid-14c..參考字源自Online Etymology Dictionary 網站:
https://www.etymonline.com/word/illusion。[2020/12/11]
Jennifer Dunning, “Erick Hawkins-Celebrating The Body And The Spirit”,The New
J.L.Heilbron, “ Platonic solid”, Encyclopaedia Britannica, Inc.資料來源:
https://www.britannica.com/science/Platonic-solid 。[2020/11/05]
John Hewitsin, “Genetics, DNA, plants and humans”,Science and Plants for
schools,
https://www.saps.org.uk/saps-associates/browse-q-and-a/473-how-much-dna-do-plants-share-with-humans-over-99。[2020/10/12]
Karen Bollermann, Cary Nederman ,John of Salisbury, The Stanford
Encyclopedia of Philosophy, Stanford University , 2016.
https://plato.stanford.edu/entries/john-salisbury/。[2020-8-31].
Magasin III Museum for Contemporary Art 網站。
https://www.magasin3.com/en/artist/gilbert-george-2/ 。 [2020/08/27]
Marisa Gómez, “ Reconceptualizing Body, Space and Place: Telepresence in Art”,interartive/a platform for contemporary art and thought,2015.
https://interartive.org/2015/05/reconceptualizing-body-space-place-telepresence-art-gomez
Martha Graham Center of Contemporary Dance官方網頁,資料來源:
https://marthagraham.org/history/。[2021/04/06]
〈MATH & ESCHER〉,於MATH +ART網站,資料來源:
https://mathinart.weebly.com/escher.html。[2021/04/24]
MoMA(The Museum of Modern Art)官網,Paul Klee , Fire in the Evening, On
view, MoMa Floor 5, 513.
https://www.moma.org/collection/works/34854。[2021/04/29]
Oleg Alexandrov -Vectorized(2010),version Illustration of en:Complex number.
Simplified version of File:Complex conjugate picture.svg,
https://en.wikipedia.org/wiki/Complex_conjugate。[2020/08/23]
Park Night 2015: Marianna Simnett , The Udder, Blood and Blue Roses
https://vimeo.com/138891726。[2020/12/09]
Panayiota Tsatsou, Reconceptualising ‘Time’ and ‘Space’in the Era of Electronic
Media and < Communications
https://www.researchgate.net/publication/41764817_Reconceptualising_'Time'_and_'Space'_in_the_Era_of_Electronic_Media_and_Communications
[2020/12/25]
Pimploy Phongsirivech., Jeppe Hein’s public Presence. Interview Magazine. Retrieved from ( 2016/9/22)
https//www.interviewmagazine.com/art/jeppe-hein。[2018/12/02]。
Plants and Humans are more similar than what you think
https://blog.helix.com/eya-twg-plant-human-similarities/。[2020/11/16].
Richard Pallardy, Eduardo Kac,Britannica網站,資料來源:
https://www.britannica.com/biography/Eduardo-Kac。[2021/01/05]
Sigmund Freud, The Uncanny, First published in Imago, Bd. V., 1919; reprinted in Sammlung, Fünfte Folge. [Translated by Alix Strachey] , p.9,
https://web.mit.edu/allanmc/www/freud1.pdf。[2020/12/14]
Stephanie Lowder, The History of Mirror : Through a Glass,Darkly . (2018)
https://www.furniturelibrary.com/mirror-glass-darkly/。[2018/12/10]
Tess Thackara, Why Contemporary Women Artists are Obsessed with the
Grotesque, Artsy, 2019,
https://www.artsy.net/article/artsy-editorial-contemporary-women-artists-obs essed-grotesque。[2020/12/09]
The Heisenberg Uncertainty Principle is one of a handful of ideas
https://tw.voicetube.com/v3/videos/22379。[2021/04/20]
The Editors of Encyclopaedia Britannica, Shiveta Singh, “Topological Space"
https://www.britannica.com/science/topological-space。[2020/05/12]
Tom Lee , How art merges with maths to explore continuity,
https://theconversation.com/how-art-merges-with-maths-to-explore-continuity-change-and-exotic-states-92503。[2020/03/12]
Victoria Carruthers,Dorothea Tanning-an unusual surrealist with a unique female gaze,The Conversation Media Group Ltd,2020,
https://theconversation.com/dorothea-tanning-an-unusual-surrealist-with-a-unique-female-gaze-131214 。[2020/11/16]