課程目標與內涵
《當代創論研究（二）：語言、文字、科學、精神》是一門聚焦於當代藝術與知識論交界地帶的理論課程，旨在引導學生穿越藝術實踐背後更深層的思想結構與知識體系。本課程從語言與文字的形式性探討出發，連結至現代科學觀的影響與精神性探索，關注藝術如何在這些看似離散的領域中尋找對話與生產的可能性。透過跨學科的閱讀與作品分析，學生將學習如何辨識當代藝術中隱含的語言策略、文本結構、科學隱喻與精神向度，進一步培養創作與思辨的整合能力。

本課程共劃分為四大核心軸線：「語言的結構與崩解」、「文字與書寫的現代性」、「科學視角與藝術觀念的交錯」、以及「精神性與不可見的實踐」，這些軸線將交織引導學生深入理解當代藝術與思想的互動邏輯，並透過實際案例與理論文本進行批判性閱讀與討論。

課程目標（共六項）
理解當代藝術與語言、文字、科學、精神等多重知識領域的關聯性
學生將學習分析藝術作品中所蘊含的語言性結構與思想體系，並理解不同知識領域如何滲透藝術實踐與創作策略中。

掌握語言與符號學在當代藝術批評與創作中的應用方式
學生將探討語言哲學（如維根斯坦、德希達）與符號學理論（如巴特、皮爾士）如何影響當代藝術作品的形式與意義生成。

分析當代表現中「書寫」與「文本」概念如何重塑視覺與觀念藝術的界線
透過文本性作品與以文字為主體的創作實例，學生將培養對書寫性藝術（scriptural art）與語意遊戲的敏感度。

認識科學知識與科技媒介如何參與當代藝術的構想與批判
本課程將涵蓋從量子物理、資訊理論、生物科技到數位模擬技術如何進入藝術語彙，並形塑新的觀察方式與表現框架。

探討精神性、感知與心靈結構在當代藝術中的象徵與實踐方式
從禪學、精神分析、現象學與新靈性運動等角度出發，學生將學習如何理解作品中潛在的精神性語境與不可視的象徵系統。

培養跨領域整合與批判性思維，發展具哲思深度的創作觀點與論述能力
學生將透過課堂討論與書面分析，鍛鍊將理論轉化為個人藝術語言的能力，並進一步提升其創作與論述的邏輯性與深度。

課程內涵
一、語言的結構與崩解
語言作為人類認知與世界建構的基本工具，其在當代藝術中的角色遠超過溝通媒介的功能。從語言學轉向（linguistic turn）以來，語言不再是透明的，而是被視為限制與創造現實的機制。課程將探討語言的結構（索緒爾的能指與所指、巴特的符號神話）、語言的不穩定性（德希達的差異概念、解構主義）如何成為藝術創作的概念資源。我們也將觀察語言在當代表現中如何被拆解、擾亂、或轉化為視覺形式，例如在具觀念性質的文字藝術、語音作品、語言遊戲型裝置中，語言如何不再服務於清晰傳達，而是成為對語意本身的質疑。

二、文字與書寫的現代性
從20世紀初的未來主義、達達主義詩學，到後現代文字藝術（如Jenny Holzer、Barbara Kruger、Xu Bing），「文字」在藝術中逐漸從描述工具轉化為創作主體。課程將探討現代書寫觀念的轉變，包括文字的物質性、書寫與身體、書寫與權力的關係。我們也會檢視「文本性」（textuality）如何在藝術中成為一種觀看方式與創作方法，例如文本拼貼、視覺詩、書寫性繪畫、編碼與解碼的藝術操作等，進而拓展對「平面媒介」的重新認識。

三、科學視角與藝術觀念的交錯
在當代藝術中，科學知識與方法不再只是參照對象，而是積極介入藝術概念的生產方式。課程將介紹幾個核心科學視角：時間與相對性、混沌理論、演化論、生物模擬、數位計算與人工智慧等，如何在藝術實踐中化為思辨資源與媒介實驗的材料。學生將學習如何從科學方法中借鑒分析架構，並思考科學語言所建構出的現代世界觀如何影響藝術家的感知、創作策略與倫理關懷。

四、精神性與不可見的實踐
儘管當代藝術多被視為批判性與理性主導的領域，但實際上有一條強烈的精神性地下水脈貫穿其內部。從約瑟夫·博伊斯的社會雕塑與能量思維，到近年興起的冥想藝術、生態神祕主義、與新靈性實踐，藝術逐漸回應人類對於內在結構、精神修復與宇宙連結的渴望。課程將從現象學、榮格心理學、佛學、薩滿視角出發，思考藝術如何以非語言性、象徵性或儀式性實踐回應人類精神需求。我們也將分析作品如何在觀者身上引發一種超越日常的感知經驗。

教學方法與評量方式簡介
課程將以每週主題式講授為主，輔以文本導讀、影片觀賞、作品分析與同儕討論，部分課堂設有簡單創作反應練習。期末需繳交一份個人研究報告或創作提案，針對課程探討之一主題提出個人觀點或創作實驗。評量將綜合考量出席參與（20%）、文本閱讀與討論表現（30%）、期末報告或提案內容（50%），強調學生的思辨深度與跨領域整合能力。

Course objectives and connotation
"Contemporary Creation Research (2): Language, Character, Science, Spirit" is a theoretical course focusing on the interface between contemporary art and epistemology, aiming to guide students through the deeper ideological structure and knowledge system behind artistic practice. This course starts from the formal discussion of language and writing, connects it to the influence of modern scientific concepts and spiritual exploration, and focuses on how art can find the possibility of dialogue and production in these seemingly discrete fields. Through interdisciplinary reading and work analysis, students will learn how to identify the language strategies, text structures, scientific metaphors and spiritual dimensions implicit in contemporary art, and further develop their ability to integrate creation and critical thinking.

This course is divided into four core axes: "The structure and disintegration of language", "Words and the modernity of writing", "The intersection of scientific perspectives and artistic concepts", and "Spirituality and invisible practice". These axes will interweave and guide students to deeply understand the interactive logic of contemporary art and thought, and conduct critical reading and discussion through practical cases and theoretical texts.

Course objectives (six items in total)
Understand the correlation between contemporary art and multiple knowledge fields such as language, writing, science, and spirituality.
Students will learn to analyze the linguistic structures and ideological systems contained in works of art, and understand how different fields of knowledge penetrate artistic practice and creative strategies.

Master the application of language and semiotics in contemporary art criticism and creation
Students will explore how the philosophy of language (such as Wittgenstein, Derrida) and semiotic theory (such as Barthes, Peirce) influence the form and meaning of contemporary artworks.

Analyze how the concepts of "writing" and "text" in contemporary expression reshape the boundaries between visual and conceptual art
Through textual works and text-based creative examples, students will develop sensitivity to scriptural art and semantic games.

Understand how scientific knowledge and technological media participate in the conception and criticism of contemporary art
This course will cover how quantum physics, information theory, biotechnology and digital simulation technology enter the vocabulary of art and shape new observation methods and expression frameworks.

Explore the symbolism and practice of spirituality, perception and spiritual structure in contemporary art
Drawing from the perspectives of Zen, psychoanalysis, phenomenology, and new spiritual movements, students will learn how to understand the underlying spiritual context and invisible symbolic systems in works.

Cultivate cross-disciplinary integration and critical thinking, and develop creative perspectives and exposition skills with philosophical depth
Through class discussions and written analysis, students will develop their ability to translate theory into personal artistic language, and further enhance the logic and depth of their creations and discussions.

Course content
1. The structure and disintegration of language
As a basic tool for human cognition and world construction, language plays a role in contemporary art that far exceeds the function of a communication medium. Since the linguistic turn, language is no longer transparent but is seen as a mechanism that limits and creates reality. The course will explore how the structure of language (Saussure's signifier and signified, Barthes' myth of signs) and the instability of language (Dercida's concept of difference, deconstruction) can become conceptual resources for artistic creation. We will also observe how language is dismantled, disrupted, or transformed into visual forms in contemporary expressions, such as in conceptual word art, voice works, and language game-type installations. How language no longer serves clear communication, but becomes a questioning of semantic meaning itself.

2. Modernity of characters and writing
From the Futurism and Dadaist poetics of the early 20th century to postmodern word art (such as Jenny Holzer, Barbara Kruger, Xu Bing), "words" have gradually transformed from a descriptive tool into a creative subject in art. The course will explore the changes in modern writing concepts, including the materiality of words, the relationship between writing and the body, and writing and power. We will also examine how "textuality" becomes a way of viewing and creating methods in art, such as text collage, visual poetry, written painting, artistic operations of encoding and decoding, etc., and then expand our new understanding of "flat media".

3. The intersection of scientific perspectives and artistic concepts
In contemporary art, scientific knowledge and methods are no longer just reference objects, but actively intervene in the production method of artistic concepts. The course will introduce several core scientific perspectives: time and relativity, chaos theory, evolution theory, biological simulation, digital computing and artificial intelligence, etc., and how they can be turned into speculative resources and materials for media experiments in artistic practice. Students will learn how to borrow analytical frameworks from scientific methods and consider how the modern worldview constructed by scientific language affects artists' perceptions, creative strategies, and ethical concerns.

4. Spirituality and Invisible Practice
Although contemporary art is mostly regarded as a field dominated by criticism and rationality, in fact there is a strong spiritual underground vein running through it. From the social sculptures and energy thinking of Joseph Beuys to the meditative art, ecological mysticism, and new spiritual practices that have emerged in recent years, art has gradually responded to human beings' desire for inner structure, spiritual repair, and connection with the universe. The course will start from the perspectives of phenomenology, Jungian psychology, Buddhism, and shamanism, and consider how art can respond to human spiritual needs through non-verbal, symbolic or ritual practices. We will also analyze how the work triggers a perceptual experience in the viewer that transcends everyday life.

Introduction to teaching methods and assessment methods
The course will be based on weekly thematic lectures, supplemented by text introduction, video viewing, work analysis and peer discussion. Some classes include simple creative response exercises. At the end of the semester, a personal research report or creative proposal is required, which proposes personal opinions or creative experiments on one of the topics discussed in the course. The evaluation will comprehensively consider attendance and participation (20%), text reading and discussion performance (30%), and final report or proposal content (50%), emphasizing students’ depth of thinking and cross-field integration abilities.

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＊David Salle著，吳莉君　譯，2018，當代藝術如何看，臺北：原點
＊Cynthia Freeland著，劉依綺　譯，2002，別鬧了，這是藝術嗎？臺北縣：左岸文化
＊陸蓉之　著，2003，「破」後現代藝術，臺北：藝術家
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*Pi Li, 2015, From Action to Concept: The Transformation of Late Modernist Art Theory, Taipei: Collection Art Family
*Written by David Salle, translated by Wu Lijun, 2018, How to View Contemporary Art, Taipei: Origin
＊Cynthia Freeland, translated by Liu Yiqi, 2002, Stop making trouble, is this art? Taipei County: Left Bank Culture
* Lu Rongzhi, 2003, "Broken" Postmodern Art, Taipei: Artist
*Tang Xiaolan, 2000, The Origin and Development of Conceptual Art, Taipei: Yuanliu
*Written by Takemi Kusawa, 2012, Contemporary Art Keywords 100, translated by Cai Qingwen, Taipei, Wheatfield Publishing
＊Authors: Ni Zaiqin, Li Sixian, Xu Wanzhen, Fan Junming, An Huaibing, 2015, Taiwan Contemporary Art Guide: Artist Magazine 40 Years Edition, Artist Magazine