Yolaine Escande (EHESS, Paris)
"Multiculturality and Materiality in Painting: the Case of Szeto Lap"
Abstract:
Szeto Lap has fled from China and settled in France in 1975. He is the first Chinese contemporary artist whose artworks have been exhibited in Pompidou Centre for a solo exhibition, as soon as 1982.
He has learned oil painting, the symbol of new China during the Maoist period, in the Academy of Fine Arts, in Hangzhou. Since 1991, he goes back to China every year for teaching in this school.
Szeto Lap refers to Song dynasty painting as well as to the Twenty-Four States of Poetry (Ershisi shipin) written by Tang dynasty Sikong Tu (837-908), to Cézanne and to European phenomenology. Therefore, this artist wishes to reconcile ancient and modern, East and West, in expressing inner feelings, senses and emotions into his pictorial approach. But doing so, he has to face the materiality of pictorial practice.
The paper will examine the way this artist, who is also a theoretician, takes advantage in his pictorial and theoretical experience of the contributions of European philosophical and pictorial practice, and of Chinese classical, poetical and pictorial tradition. It will try to show in which matter this artist expresses multiculturality in his artistic creativity and in his theorisation.
〈繪畫的多元文化性與質料性：以司徒立的案例〉
司徒立1975年離開中國撲到法國並居住在巴黎。他是第一位二十世紀當代中國藝術家在蓬皮杜中心，早在1982年，開個人展覽。
他首先在文化大革命的時候在杭州美術學院訓練象徵“新中國”的油畫，然後從1991年起每年都在杭州美院教授油畫。
司徒立在他的畫中借指宋代畫與唐代司空圖（835-908）的《二十四詩品》，同時也參考塞嗓畫與歐洲現象學。他想要把歐洲現象學與中國古典詩畫一起容納，即是通過油畫的實踐表現中西的心情和境界。由此，他遇到畫實踐的質料性。
本文會探討這位藝術家與理論家如何在他的藝術與理論實踐中借用歐洲哲學與繪畫以及中國的傳統書詩畫的貢獻。並且，本文將要指出司徒立畫作與理論如何表現多元文化性。
CHU Yin-Hua/朱盈樺 (National Taipei University of Education, Cultural and Creative Industries Management)
"Layering Canon: The Transformation of Media in Contemporary Book-Zine Practice" (正典的疊加：當代書誌實踐中的媒介轉化)
Abstract:
本研究以近年在台灣藝文場域的「藝術書市集 Art Book Fair」為書寫對象，計畫建構當代書誌實踐的美學判斷可能性。「當代書誌」定義是指2010年以後，以「書本」為創作本體擴展延伸的活動，包括小誌（zine）、藝術家創作書（artist’s book）、藝術書（artbook）、攝影書（photobook），以及相關的展演、市集、論壇等。2006年起在紐約由非營利出版單位Printed Matter於MoMA PS1所舉辦的NY Art Book Fair，集結國際藝術團體、獨立出版、藝術家與設計師等，開啟國際藝術書市集相關活動。在台灣，大眾傳播的發展、網際網路的資源與全球流行文化流通等原因，年輕世代的出版文化，強調的是文本產製的獨立特質與創意自由。目前台灣相關實踐多元豐沛，這樣狀況的形成原因，包括POD隨需印刷技術的普及降低出版門檻，數位媒介提供創作者更多合作管道，製書者不僅能藉由網路宣傳與其他國家的創作者合作，電子商務發展出的網路集資與社群經營培養的分眾讀者，形塑特定社群的文化認同。數位科技所帶動社會整體的轉變，包括文化思想、經濟模式、閱眾體驗等。對於「數位原生」（digital natives）而言，在成長過程中習慣使用電子產品、社交場域含括網路世界、全球化與在地的界線模糊、影像與圖像成為溝通語言的一種。新媒體所構築的生活情境反映在近年來的文化現象中，不同型態的媒介相互交織，需要面對的不僅是「新」媒體與「舊」媒體的跨界，更是數位科技進入生活中所擴展開的多元選擇。進一步而言，藝術書市集的閱眾大多屬於數位原生世代，在成長過程的網路使用經驗中培養超連結的閱讀思維，習慣資訊視覺（data visualisation）與大量的圖片影像，「書本」形式不僅是內容的載體，更是文本資訊的起點。
FAN Meng Ying/樊梦莹 (University of Toronto, Department of East Asian Studies)
"Rethinking Hakuin's Zen Painting: An Multicultural Aspect"
Abstract:
This essay will unfold the problematics of multiculturality as an aesthetic element of Zen painting by exploring the paintings of Japanese monk painter Hakuin Ekaku (1686-1769). Hakuin was a crucial figure in the modern Japanese Zen Buddhism, whose works and activities in the monastic revolution have become the chief guidance for constituting the approach toward Zen and the way of practices in modern Rinzai Zen monasteries. In Japanese art history, his works were designated to represent the artistic innovations of Buddhist art in the Edo period (1603-1868). This essay aims to reread Hakuin’s paintings beyond the scope of Japanese art and examine Hakuin’s Zen and Zen painting from a multicultural aspect. I will centre on Hakuin’s three paintings—Bodhidharma (Daruma) kept in Manju-ji Temple, Avalokitesvara (Kannon) and the Sixteen Arhats in Horin-ji Temple, and Visual Representations of Heaven and Hell in Seibon-ji Temple—and discuss the paintings’ Indian and Chinese elements, which are found by comparing Hakuin's paintings to art pieces such as Indian and Chinese Bodhidharma/Avalokitesvara portraits and illustrations of sutras in Dunhuang. By also paying attention to the philosophical discourse of Zen presented in Hakuin’s texts, this essay will ask how did different cultural elements correlate to manifest Hakuin’s pictorial “Zen”? Is it possible to tag Hakuin’s paintings other than Japanese art? The second part of this essay will enquire into the problem of relationship and difference between multiculturality and internationality of Zen painting. In different regions of East Asian cultures, the idea of Zen has divergent connotations. However, how do people from Japan, East Asia, and the world perceive Hakuin’s paintings, and what new understandings of Zen and Zen painting would these varying recognitions bring? Can Hakuin’s paintings represent East Asian art for people in East Asia and the world, respectively? Are there other aesthetic constituents in Hakuin’s paintings other than those of East Asian cultures?
HUANG Kuan-Min/黃冠閔 (Academia Sinica, Graduate Institution of Literature and Philosophy)
"Transformation and Materiality in Landscape"
Abstract:
A landscape is not just a scene existing in itself nor a pure artifact made for human beings. In it, the natural and the cultural intertwine together under the model of chiasm. Even though paintings and photos have the power of catch a moment of landscape in some certain frames, the temporality is still a factor that cannot be ignored in the experience of landscape. The temporality works in landscape itself and in human perception. Far from being static, landscape is always on the move. While getting through landscape, human beings are affected to reach their aesthetic and mental transformation. Ways of sensing the world could be changed by some typical landscapes. The material aspect reveals the bodily foundation of human sensations. Human bodies exist with the material things, treating the latter either as background or as objects of concern. In Chinese landscape paintings, it seems that the objects are arranged randomly by the artistic insights, but they are in fact the irreducible factors giving structure of the scene. Through the materiality, we can better understand that the ideal of transformation must be embodied in the concrete situations. In the era of climate change and digital environment, the real world experience of landscape suggests a possibility for human beings not to be equalized to abstract and qualitative entities. Through transformation, human existence is connected to the world.
CHENG Kai-Yuan/鄭凱元 (National Yang-Ming University, Institute of Philosophy of Mind and Cognition), Georg Northoff (University of Ottawa), LIN Yu-Hsiu/林鈺修 (Ren’Ai Hospital)
"Art, Brain, and Psychiatry: A Spatiotemporal Approach to Paint Therapy"
Abstract:
The main aim in this combined empirical-theoretical paper is to apply Kandinki’s spatiotemporal approach to painting to paint therapy in psychiatry. For that purpose, we review briefly some of the main features of Kandinski’s aesthetic theory in the first part. That will be followed in the second part by showing in a case study how we can apply Kandinski’ spatiotemporal approach to analysis of paintings in paint therapy. Finally, the third part will focus on framing both Kandinski’s spatiotemporal approach and our case study results in the spatiotemporal context of the brain’s spontaneous activity. We conclude that such neurobiological framing can open the door for the development of a truly brain-based paint therapy in psychiatry that, as based on the brain and its objective markers, may be more efficient.
WANG Yun/王芸 (University of Toronto, Department of East Asian Studies)
"Washing-Dining Etiquette 盥饋禮: An Iconic Power Transformed from Material Surface to Discourse ---- on Re-reading the Tomb Murals of Northern Song and Sima Guang’s Miscellaneous Etiquette for Family Life"
Abstract:
Re-identifying pictorial contents as the practices of daily rite etiquettes, such as “morning inquiries” and “evening wishes”, this paper attempts firstly to explore a new possibility of reading Northern Song tomb murals, then to anchor its ritual connotations of filial piety as the vital determinant to program the schema of tomb interiors, and also to reveal how routine engagements within households were ritualized in order to convey the message of filial piety. To argue, rite etiquettes of washing-and-dining function as the vehicle to connect one’s lifetime in their mundane living, supported by the junior generations, with their afterlife underneath, sustained continuously by visual mimeses in the murals. Meanwhile, a vertical “filial path” is created through the pictorial presentations, not only mirroring their everyday life framed by etiquettes of washing-and-dining at the mural bottoms, but more significantly, endorsing its creditability by exemplary filial models rendered among middle register to reinforce the filial conducts in the reality, and eventually awaking the invitations from the immortality in top registers. Consequently, filial piety is showcased and deployed as a workable toolkit, both supporting the elderly alive and escorting their journey towards immortality after death. Equally efficient, all such strategic intents to fabricate the societal control and secure ethical hierarchy are embodied in all banal, trivia but significant contexts of everydayness. Hence, the material surface of murals, picturing dietary utensils and dining-washing scenes, can be deployed as a rhetoric channel, sending and receiving both symbolic and instructive messages as an iconic sign, or ‘carrier of ideas’. Thus, this re-reading results in a new re-interpretation that a ritualised filial space was endorsed and reinforced repetitively by the means of pictorial murals, projecting and introducing the agency to order and act. Or, in the form of various visible material surfaces, either verbal instructions, or pictorial presentations, or actual dietary utensils, invisible ritual connotations not only manifest to invite and construct a ritualized filial space inside and outside of tombs, but also facilitate Song Confucianists to materialize their envisions and expectations of a virtue-ordered society for their Song contemporaries.
WANG Wei-Chih/王威智 (National Tsing Hua University, Institute of Taiwan Literature)
〈文化他者的內在涵化：90年代臺灣現代劇場的混雜美學考崛〉
Abstract:
臺灣現代劇場的美學論述與史觀建構幾乎停留在1990年代，少有更新。然而如此現象並不代表眾人對於廣義現代戲劇在臺灣的文化演繹已經取得共識，而是表示無法以彼時既有主流之詞語來詮釋劇場藝術之流變。諸如「後現代」、「西潮」、「身體論」等語彙，雖然仍然影響現時論者回顧1990年的觀看視角，但其詮釋力已受到質疑。1990年代劇場實踐因為政治情境的紛紛擾擾，未能充分將臺灣現代劇場的政治路線與美學風格分別思考。本文主張，在21世紀的當前，隨著臺灣1980、1990年代劇場史料的相關建制已見初步規模，已是時候重探該時現代戲劇的美學內涵。表演，誠如表演研究學者泰勒（Diana Taylor）所言，既是實踐亦是認識論的一種，既與記憶與政治相關，又與如何理解世界緊密連結。本文認為，劇場演出實為一種臺灣美學的探索手段及在地意識的建構基礎，而考掘該時期劇場相關論述將會對於發展未來劇場美學的探討甚有助益。由此，本計畫擬蒐集1990年代現代劇場相關討論，包括但不限於王墨林《骨迷宮》裸體」演出的糾紛、人間劇場引起的「收編論」、「小劇場已死說」、1996「現代劇場研討會」等論述，對照既有之，並進行文化及美學闡釋，考察現代劇場相關爭議背後的立場命題以及認知基礎。本文不擬進行歷史的改寫，而是視現代劇場在臺灣為政治及藝術的混雜實踐，企圖揭示臺灣現代劇場爭議的洞見與侷限，開展其美學複雜性與在地情境的重層鏡像。
CHENG Ming/程明 (National Taiwan University, Graduate Institute of Musicology)
"First Records' The Great Wall Ballad Recording Session: A Preliminary Attempt onto the Musicology of Studio Production" (第一唱片《長城謠》錄音事件—一個錄音室音樂學的初探)
Abstract:
1978年底，台北第一唱片的葉進泰、葉垂青父子策劃了一場錄音實驗。他們利用當時位於大直的韻德錄音室與一台捐贈自美國的多聲軌錄音座，邀請了數十位台籍的古典、流行音樂演奏家、以及日籍錄音師平田義一與編曲家青木望來台，將以〈長城謠〉為首的多首台灣與中國民謠，改編為管弦樂與流行樂團的編制，進行一場他們聲稱為台灣「最大編制交響樂錄音」、「第一次的多聲軌同步錄音」的實驗。最後的成品《長城謠》專輯，除了在商業上獲得了不錯的成績之外，也讓葉氏父子確定了多聲軌的錄音方式適合當時台灣的整體音樂環境。隨後，他們投資重金，交由日本設計規劃與技術指導，在三重建設了號稱全台灣最頂級的白金錄音室，開創了接下來亞洲流行音樂的新紀元。然而，本研究的焦點並不完全在《長城謠》專輯本身，同時欲以是次錄音實驗為標的，著眼在錄音室、錄音室內的機器、操作機器的錄音師、參與錄音的人們與錄製下來的聲音，爬梳文獻並參照當時的社會、政治與文化等種種客觀條件，考察這些人與非人參與者彼此之間的種種交互關係，並思考未來一種關於錄音室製作的音樂學（musicology of studio production）的可能性。筆者希望，藉由分析《長城謠》錄音事件，能夠有助於研究者釐清，錄音室作為錄音事件的發生場域，如何能與流行音樂與現代社會的發展、擴散、衝突或改變關聯起來。
LIN Jerry Chi-yu/林祈佑 (National Taiwan University, Graduate Institute of Taiwan Literature)
"Healthy Realism and the Promise of Infrastructure"
Abstract:
This essay investigates the healthy realist film by Bai Jing-rui. Considering healthy realist films as products of vernacular modernism (a la Miriam Hansen), this essay addresses the materiality of film production and the so-called “promise of infrastructure.” Healthy realist films are often quasi-propagandist, and in the case of Pai’s Home, Sweet Home (1970), the film promises the construction of Zengwen Dam and the lively travel lives of TSA (Taipei Songshan Airport). “Material infrastructures...are dense social, material, aesthetic, and political formations that are critical both to differentiated experiences of everyday life and to expectations of the future” (Anand et al 3), and in the film the promise is about the paradox of American life, professionalism, and, most importantly, the Nativization of Republic of China. TSA in this film no longer serves as the infrastructure of American life, but as the turn-around grid that calls for contributing to motherland (and family), and such contribution is embedded in the construction of key infrastructures. Moreover, not only the film represents the promise of infrastructure, but as the filmic production shows, Healthy Realism itself can be considered the apparatus of such promises too.