本篇論文主要從賈東．巴舍拉（Gaston Bachelard）白日夢詩學的物質想像專書，譬如：《氣態與夢》、《水與夢》、《白日夢詩學》、《做夢的權力》，及德勒茲（Gilles Deleuze）的哲學理論，尤其：《何謂哲學？》討論藝術家內在性具有超越面向是一種非人情動力流變過程，來探究幾米視覺藝術系列作品屬於童年想像與天際幻想曲，特 別是《森林的秘密》、《謝謝你毛毛兔，這個下午真好玩》、《藍石頭》、《微笑的魚》、《地下鐵》、《月亮不見了》，這些是屬於視覺藝術的詩劇，不應純粹被歸類是兒童文學。幾米是台灣當代一位傑出的藝術家，作品主要以「童真意識」為創作的慾望邏輯，而在這些系列的視覺詩劇作品中展演出童真情懷，這是在成長過程中逐漸消失的純 真意識。巴舍拉詩學中的物質想像在幾米視覺藝術呈現出液態、氣態、高空、礦物體的幻想愉悅，畢竟在幾米的作品中，物質想像事實上是扮演著尋找失落的童真情懷，透過白日夢的高空幻想曲，在幻想中築現對天際與大自然的熱愛，展現一種「童真意識」，這是一種精神晉升的高亢愉悅感。在這些系列作品，故事皆間接地批判僵硬的父權理性社會與意識形態。在這種白日夢童真意識的幻想中，進行各種流變過程的享 樂，譬如：流變成魚、兔子、星球體，這概念與德勒茲思想中的情動力，一種內在性藝術動能創造力有關，這種內在性一個無名他者的藝術動能是藝術創作起始力量。童真意識是這股內在性的情動創造力量，這不是一種心理退行，而是朝向未來的啟蒙意識，也因此喚醒內在性的童真情懷不是一種幼稚思維，卻是開啟未來願景的力量。
情動力、巴舍拉、幾米、白日夢幻想曲、物質想像、流變過程、德勒茲
This short paper interprets a series of poetic picture books by Jimmy Liao, an internationally famous Taiwanese artist, from the perspective of Gaston Bachelard's theories on the imagination of matter and poetic reverie, as presented in Bachelard's Air and Dreams, Water and Dreams, The Poetics of Reverie, The Right to Dream. With reference to Bachelard's ideas, I will attempt to penetrate deeper into Jimmy's Secrets in the Woods, Thank You, Furry Bunny, for a Wonderful Afternoon, The Blue Stone, Sound of Colors, The Moon Forgets and A Fish With a Smile. These works present the recurrent themes of the search for lost innocence and the ecstasy of airy flight, water and the imagination. Bachelard's ideas on the imagination of matter find expression in Liao's The Blue Stone and The Moon Forgets, where images of air, water, stones, the moon and stars all appear in a state of cosmic delight. In Liao's art, this imagination of matter has its central themes of restoring childhood innocence and striving through poetic reverie toward the spiritual ecstasy of nature and the cosmic imagination. His stories are indirect critiques of patriarchy, rigid rationality and rationalist ideology. In the spiritual process of enjoying poetic reverie, the phenomenon of "becoming animals, becoming fish, becoming rabbits, and becoming stars or moon," also corresponds to the Deleuze's theories, in which affect, associated with the creative arts expresses inexhaustible creative immanence as we embrace the Other or the Unknown. This Otherness as childhood innocence is not, in fact, a psychological regression into the past: it refers to a threshold state that opens up into a future life.
affect, Bachelard, Jimmy Liao, poetic reverie, the imagination of matter, becoming, Deleuze
