| Summary: | 碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 89 === In the twentieth century, images could be vastly replicated. Each work of art no longer exists uniquely in the universe at this moment. With the development of the biogenetics engineering, people attempt to challenge God’s will. However, the occasional occurrence of the natural disaster implies that the hard working which people do for their own existence is likely to be defeated by the tiny variation in the universe.
The position of the creator always lies on the edge of ideal and reality. Doubting about the reality of life and the meaning of creation, creators, with repeated practices of theories, with the development of exploring and establishing questions, and with a series of thinking and creating, expect to discover another descriptive way for time and space in the universe.
Time and space, which exist or pass away in accordance with people’s experiential perception, could present a concrete capacity of existence. Nevertheless, People’s more complex minds, inclusive of the worship toward unknown spirits, of the imagination of computer-assumed time and space, and of repeated remembrance and forgetfulness, form the stretch and fold of the existence of the life.
The freedom and uncertainty of art correspond to the existence of the unknown fields in the universe. On the road of looking for the reality of life, we should examine the correspondence between human beings and the universe instead of being mankind-centric. The body in existence is interlocked with time and space. Through the line of time, the gap between active “I think” and passive “I am” will be sutured. Then, time and space invade into the limited body and create again the breaking power for self-pursuit. Finally, through the inner antagonism, it will be united or disunited again. This action is the connection between automaticity and perceptivity, as Deleuze says, “. . .as the doubling in sewing, it is a flowing interlocked with disunity and unity, uncovering and covering.
Reality itself is a process in which strengths fight with one another and an everlasting interaction among multiple powers, which is a reversal, informal and differential repetition. This is the very energy of time and space which the creator presents in the picture. Such an interaction constructs “dehors”. During the occasional contact with things, “thoughts” start to stretch, make everything paradoxical and problematic, and are forced to rethink. In the extreme folding of the thinkable and unthinkable points, a farthest as well as nearest transition occurs, emancipates another time and space in the body and vitality, and compresses the past, the present and the future into “dehors.” This is the “transcendental field,” which can’t be seen and felt immediately but exists in reality.
Thoughts in dehors are just like creators’ inner variant functions. Life starts here, and more possibilities of creation also sprout hare.
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