經由接觸多元跨域的相關藝術作品分析以及配合數位靜/動態影像之創作訓練與思辨，期望啟發學生創作
的深度與廣度︒本創作課程成果：期中與期末各發表一件影像創作計劃︒第一學期的單元議題藝術作品分
析將集中討論以影像媒材本質為中心的作品，例如牽涉到機具︑時間性︑空間性︑影像裝置的藝術家作
品︒第二學期課程會更進階地討論藝術作品中的跨域議題，例如性別︑敘事︑檔案等等。Through exposure to the analysis of diverse and cross-domain related art works and creative training and thinking with digital still/moving images, we hope to inspire students to create
The depth and breadth of this creative course. The results of this creative course: one video creation plan was published in the mid-term and the final. The first semester’s unit topic art works are divided into
The analysis will focus on works centered on the nature of video media, such as artists’ works involving machinery, temporality, spatiality, and video installations.
The second semester course will discuss cross-disciplinary issues in art works in a more advanced way, such as gender, narrative, archives, etc.
本課程屬創作實踐課程。在創作課程中引入當代影像議題單元，與相關當代藝術家作品分析。整體上課方式將以『小型研究會』（Seminar)的模式進行理論思維與個人藝術創作的深度對談。此課程雖為創作課程，但鼓勵學生閱讀或觀看相關文本與藝術作品，並以團體討論模式（Group Art Critique)，期望達到多元創作想法的流通,以開發學生獨立創作的深度與可能性，並且去思考當代影像藝術如何成為一種介入當代現象的方式。
This course is a creative practice course. Introduce a unit on contemporary imaging issues into the creative course and analyze the works of relevant contemporary artists. The overall class method will be a "Seminar" model for in-depth discussions on theoretical thinking and personal artistic creation. Although this course is a creative course, students are encouraged to read or watch relevant texts and works of art, and use a group discussion mode (Group Art Critique) to achieve the circulation of diverse creative ideas to develop the depth and possibility of students' independent creation, and To think about how contemporary video art can become a way to intervene in contemporary phenomena.
(ㄧ)專書
1. Roland Barthres著，許綺玲譯，《明室‧攝影札記》，台北：台灣攝影，1997
2. Susan Sontag著，黃燦然譯，《論攝影》，台北：麥田，2010
3. Maurice Merleau-Ponty著，龔卓軍譯，《身體現象學大師梅洛龐蒂的最後書寫：眼與心》，台北：典藏
藝術家庭，2007
4.陳永賢著，《錄像藝術啟示錄》，台北：藝術家，2010
5. Celia Lury, Prosthetic Culture: Photography, Memory and Identity, (New York: Routledge 1997)
6. Laura Mulvey Death 24x a second: stillness and the moving image. (Reaktion books,2006)
7. Elwes, Installation and the Moving Image, Location No. 2637, [Kindle version].
（二）期刊論文與訪談
1.藝術觀點ACT
2.孫松榮, 〈美術館與電影：從投映到展示的「當代性」〉，《今藝術》，第188期，5月號︒頁170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology &
Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
（三）線上資料庫
1. 台灣當代藝術資料庫
2. 英國Lux, Artists’ Moving Image
(ㄧ)Special book
1. Roland Barthres, translated by Hsu Chi-ling, "Camera Camerata - Photography Notes", Taipei: Taiwan Photography, 1997
2. "On Photography" by Susan Sontag, translated by Huang Canran, Taipei: Wheatfield, 2010
3. Maurice Merleau-Ponty, translated by Gong Zhuojun, "The Last Writings of Merleau-Ponty, the Master of Body Phenomenology: Eyes and Hearts", Taipei: Collection
Art Family, 2007
4. Written by Chen Yongxian, "Video Art Revelation", Taipei: Artist, 2010
5. Celia Lury, Prosthetic Culture: Photography, Memory and Identity, (New York: Routledge 1997)
6. Laura Mulvey Death 24x a second: stillness and the moving image. (Reaktion books,2006)
7. Elwes, Installation and the Moving Image, Location No. 2637, [Kindle version].
(2) Journal articles and interviews
1. Artistic point of view ACT
2. Sun Songrong, "Art Museums and Films: "Contemporaneity" from Projection to Exhibition", "Art Today", Issue 188, May︒Page 170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology &
Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
(3) Online database
1. Taiwan Contemporary Art Database
2. Lux, Artists’ Moving Image, UK
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席率出席率 Attendance |
60 | |
| 上課態度上課態度 Attitude in class |
40 |
