《3.5%》藝術創作中之自我觀照與身體性

本研究透過主體的自我關照，感知生命肌理驛動不安所帶來的尖銳苦痛，並藉 由藝術創作，詮釋主體於內外在自我思辨中，何以達至自我和解與自我療癒。研究 者以反身性觀點為脈絡基礎，體現於美學表現。在此奠基上，本研究結合法蘭克富 學派阿多諾之批判美學及傅柯論述的自我技術，對外在環境與內在修養進行哲學 探討。並利用藝術創作呈現主體內在世界的精神性與實踐性。研究者進一步以柏格 森綿延時間哲學，關切作品中運動性時空維度的內化。最後，依據梅洛龐蒂身體性 現象學論述，汲取身體與空間所釋放出來的詮釋力道。研究者通過社會與自我，時 間與身體，勾勒出經驗、自我反思、時間、身體四大構成原理。輔助主體在感性創 造與理性研究之間矛盾又恆定的存在，從而形構出美學與自我技術的緊密連結性。
本研究創作的作品名稱《3.5%》，內容包括《96.5%》、《眼神》、《我看見 你了》，構成了一系列循環創作。在主體的自我關照中，達至思想淨化及昇華，回 歸自我療癒的柔軟境界。研究中藉由觀念藝術的反身性概念作為發想，運用蒙太奇 創作手法呈現靜、動態的畫面編列，企圖在藝術作品之間的碰撞錯位中，汲取多重 解讀之思考彈性，最終回歸於主體自身，找回內在的安定力量。

Through the subject's self-care, this study perceives the sharp pain brought about by the restlessness of life's texture, and through artistic creation, interprets how the subject achieves self-reconciliation and self-healing in internal and external self-criticism. The researcher's view of reflexivity is the basis of the network, which is realized in the aesthetic expression. Based on this, the study combines Frankfurt School Adorno's critical aesthetics and Foucault's discourse on ego-technique to conduct a philosophical exploration of the external environment and internal cultivation. It utilizes artistic creation to present the spirituality and practicality of the subject's inner world. Further, the researcher employs Bergson's philosophy of durée (duration) to focus on the internalization of the spatiotemporal dimensions of movement within the works. Finally, the researcher draws on Meroponti's phenomenology of corporeality and the interpretive power released by the body and space. Through society and self, time and body, the researcher outlines the four constitutive principles of experience, self-reflection, time and body. The researcher's work is aided by the subject's paradoxical yet constant existence between sensual creation and rational research, thus forming a close connection between aesthetics and self-technology.
The title of this research work《3.5%》 includes 《96.5%》, 《Eyes》 and
《SAWUBONA》, which constitute a series of cyclic creations. Through the subject's
self-care, the work achieves purification and sublimation of thoughts, and returns to the soft realm of self-healing. In the study, the concept of reflexivity in conceptual art is used as an idea, and the montage technique is used to present a static and dynamic arrangement of images, attempting to draw the flexibility of multiple interpretations from the collision and dislocation between artworks, and ultimately return to the subject itself to find its inner stability. The final return to the subject's own self and the recovery of the inner stabilizing power.