本論文從藝術的基礎出發，研究藝術、科學與哲學領域裡的「線」。藝術、科學與哲學對於線的運用各不相同，線也在各自領域的思索下衍生各種作用，並流變為各種形象。如果原子核在其周圍電子雲之中，如同一個銅板漂浮於棒球場那麼大的設想是成立的，那麼這個世界上從來沒有真正存在過一條線。所有被看見的線，在微觀的世界下並不實際存有，物質性並不是線存在的必要條件，而思想上的「線」卻具有極大功能性與變異性。

德勒茲與瓜達里視藝術、科學與哲學為三種思想的形象，而混沌是無限速度的生成與消逝。藝術在混沌中匯聚感覺，形成感覺聚合體；科學放棄混沌裡的無限速度，以函數參考點現實化虛擬；哲學在混沌的無限裡，揀選思想的無限運動，充滿著與思想一樣快速的概念。在這些思想形象形成的動作中，「線」總起著相當的作用。

以這三種思想形象，藝術、科學與哲學切過混沌，而「線」在這三種思想形象裡扮演什麼角色？起著什麼作用？它本身在藝術、科學與哲學這三個思想形象裡的形象又是什麼？藝術、科學與哲學以何種姿態，在何種時空生成「線」？

本研究局部呈現藝術、科學與哲學領域裡的「線」，指認「線」在這三個思想形象裡占有時空的各種角色，樣態與作用，圍繞著不確定性，將它們並置論述。在對這類不可捉摸、不易辨識「線」的指認過程中，本研究推進了個人對藝術、科學與哲學間創作生成浮現的認識。

This study aims to analyze the concept of Lines in the respective fields of the arts, the sciences, and philosophy from the perspective of the arts. Each field uses Lines differently; thus during the exploration and expansion of these fields, Lines would also become different applications or morph into various images. If the nucleus in an atom is comparable to a dime in a baseball stadium, then there aren’t actually any real lines in the universe. Every visible line in the world is non-existent in the micro world. Materiality not required for a Line to exist, but the concept of Lines in thought is infinitely malleable and applicable.

Gilles Deleuze and Félix Guattari consider art, science, and philosophy to be three distinct images of thought, and chaos as birth and disappearance occurring at infinite speeds. Art functions in chaos, converging sensations to form the bloc of sensations; science gives the virtual a point of reference within the infinite chaos with mathematical functions; philosophy acts as a sieve, separating infinite movement of thought from the infinite chaos, filled with consistent particles as fast as thought. In these movements of images of thought, Lines always have significant influence.

Slicing through chaos with the three planes of thought: art, science, and philosophy create the respective Chaoids. What role do Lines play in these three images of thought? What influence do they have on thought, if any? What are the images of Lines take in each of the respective images of thought? In what forms are Lines created in art, science, and philosophy? In what variation of time space are they created?

This study focuses on specific instances of Lines found in the fields of art, science, and philosophy. Analyzing the role, shape, and function of Lines within the time space of these three images of thought. Also noting the uncertainty that surrounds the Lines themselves. In the process of identifying these unattainable, unrecognizable Lines, this study helps us to better understand the emerging creativity between the arts, the sciences, and philosophy.

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（四）中文期刊論文
丁福寧，〈斯多噶學派的視為己有（Oikeiōsis）〉，《國立臺灣大學哲學論評》第46期，頁1-52。（臺北，2013. 10）
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丹尼爾森（Dennis Danielson）、葛藍尼（Christopher M. Graney）著，〈科學家也反對哥白尼？〉，甘錫安譯，《科學人雜誌》，第144期（臺北，2014. 2）
李建漳，〈「大政治」及「未來哲學」的同一性—對尼采整體哲學的一個詮釋〉，《台大文史哲學報》第七十三期（臺北，2010. 1011）
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