本課程為複合媒體(一)的深碗型課程，以跨領域的藝術形式為課程教授的主軸，引導學生針對不同的主題發展出自身的作品，同時加強對材質、造型及空間的敏感度，並能靈活運用到實際的複合媒體創作計畫之中。深碗型課程的目的為培養較高層次的學習與認知能力，深入學習應用課程內容。鑑於此，此門複合媒體(一)實作的課程設計，在於增加複合媒體(一)課程的實作內容部分，並且配合校牧室所主導每年十二月的「校園聖誕裝置」活動，讓修課學生以分組的方式提出裝置藝術的計畫並且賦予實際的執行，以便在課程執行的深入度以及專精度上獲得更大的助益。This course is a deep bowl course of complex media (I), which uses cross-domain art form as the main axis of course professors, guides students to develop their own works to different topics, while strengthening their sensitivity to materials, shapes and spaces, and can be used in practical complex media creation plans. The purpose of the deep bowl course is to cultivate higher-level learning and awareness skills and deeply learn the content of the application course. In this way, the course design of this complex media (I) practice is to add the practical content of the complex media (I) course, and cooperate with the school clerk's "Campus Saint Device" event in December every year, allowing students to propose the planning of device art in a divided manner and provide practical execution, so as to gain greater help in the depth and precision of the course execution.
以當代觀念藝術家或作品為案例，引導學生學習非關傳統美學及造型的藝術創作觀，以概念為基礎，擴大感知經驗，強調空間脈絡、物件性（Objecthood）、互動性，練習多重媒介混合運用的創作潛力。從指定研究案例的作業發展中，讓學生探討概念藝術與複合媒介的多重表現力，擴大創作概念和非造型性語彙。需涵蓋物件藝術（Object and Found Art）、挪用藝術（Appropriation）、觀念藝術（Conceptual Art）等議題的創作練習。
Taking contemporary concept artists or works as cases, it guides students to learn non-concerning traditional aesthetics and styling artistic creative view, based on concepts, expands perceptual experience, strengthens spatial flexibilities, objectivity, interaction, and practices the creative potential of hybrid use of multiple media. From the development of designated research cases, students are allowed to explore the multiple expressions of conceptual art and complex media, and expand creative concepts and non-modelling language. It is necessary to cover creative practices such as object and found art, appropriation art, and conceptual art.
1. 侯宜人，《自然．空間．雕塑》，亞太圖書出版社，台北，1996
2. Rotzler, Willy. OBJEKTKUNST.《物體藝術》，吳瑪利譯，遠流出版社，台北，1991
3. Sonfist, Alan. ART IN THE LAND.《地景藝術》，李美蓉譯，遠流出版社，台北，1996
4. Atkins, Robert. Art Speak.《藝術開講》，黃麗絹譯，台北，藝術家出版社，2000
5. Matía, Paris. Conceptos fundamentales del lenguaje escultórico. Ediciones Akal, S.A, Madrid, 2006
1. Hou Yiren, "Nature." Space. Sculpture", Asia Pacific Book Press, Taipei, 1996
2. Rotzler, Willy. OBJEKTKUNST. "Physical Art", Wu Mali Translation, Far-Flow Publishing House, Taipei, 1991
3. Sonfist, Alan. ART IN THE LAND. "Landscape Art", translated by Li Meirong, Far-Liu Publishing House, Taipei, 1996
4. Atkins, Robert. Art Speak. "Art Talk", Huangli Translation, Taipei, Artist Publishing House, 2000
5. Matía, Paris. Conceptos fundamentales del lenguaje escultórico. Ediciones Akal, S.A, Madrid, 2006
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席率與課堂表現出席率與課堂表現 Attendance and class performance |
30 | |
| 作業的繳交與呈現作業的繳交與呈現 Transfer and presentation of the industry |
30 | |
| 創作計畫參與的踴躍度及作品呈現創作計畫參與的踴躍度及作品呈現 Creative planning participation and work presentation |
40 |
