影像之今日現實：視覺文化的歷史斷層與在地觀察

Abstract

Art learning nowadays is no longer done with a natural system, but with a direct confrontation of visuals. It concerns reality no more. Significance does not lie in the economic relationship with reality but within the visual itself. An enclosed sign system is therefore formed. Art after the 20th century celebrates those not-yet-beings. The "jamais-vu" leads the way for artists to remap "idea agathou" via visions with the psych of simulating what Genesis has noted, "God saw that it was good." Now the artist's "seeing" turns into a verified affirmation but not an ontological illusion. The potential significance lies in individual values genuinely contributed to the postmodern, within which ethnic suffering is not involved; instead, an affirmed pleasure is to be "displayed" and "exhibited."

Recently, learning from visions broken with origins or from virtual reality is the most converging phenomenon for artists in Taiwan. The physical practices of the new generation are gradually diluted by visual experiences from images and visional communication. When the content of the communication, instead of the real substance, comes into being an accomplished message, an imaginary filling is created. Consequently, a new cultural system is further formed and individual epistemological systems with various interpretative possibilities are allowed to be constructed. While the vision-learning generation is artistically featured with certain Mannerism, the active significance hidden in the reality of this generational horizon needs to be explored.