| •訊息來源：媒體傳設計學系、設計學院 |
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主辦單位：媒傳系、設計學院
時 間：104年12月4日（五）09:00-17:00
地 點：實踐大學M/N棟圖資大樓B2國際會議廳、NB201-206 |
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| 專題演講（一）Keynote Speech (I)： |
| 意圖．圖．設計－從東亞細亞（漢字文化圈）之中發起的設計概念再構築 |
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| 演講人： |
長澤忠德 校長NAGASAWA, Tadanori
日本武藏野美術大學校長President, Musashino Art University |
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| 陳振貴校長開場。 |
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| 日本武藏野美術大學長澤忠德校長演講。 |
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| 專題演講（二）Keynote Speech (II)： |
| 無邊界的圖形語言 |
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| 演講人： |
林家陽 教授Jiayang Lin
上海同濟大學設計藝術研究中心主任
Professor, Art & Design Research Center of Tongji University
中國教育部職業教育藝術設計教學指導委員會主任
Professor, Ministry of Education for Art and Design Vocation |
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| 謝孟雄董事長結語。 |
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| 上海同濟大學設計藝術研究中心主任林家陽教授演講。 |
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| 各領域論文發表Presentation： |
媒體傳達設計學系Department of Communications Design
建築設計學系Architecture Department
工業產品設計學系Department of Industrial Design
服裝設計學系Department of Fashion |
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| 設計學院章以慶院長介紹本次研討會。 |
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| 演講問與答。 |
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| 研討會主題： |
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| 當盧米埃兄弟第一次讓火車進站（ |
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d'un train en gare de La Ciotat），在場 |
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| 的觀眾無不被朝著他們衝過來的火車所驚嚇；透過感官，人類不斷從事複製完美的典型。我們相信真實的確存在著，但無法被言明；人們透過感官所感知到的，乃是真實的表層。形式上，「複製」說明了人們不斷的將自我認知中的完美提取並且再製，也是創作者所追求的極致。而「複製」也同時意味著創作者投射於作品的自我：我們不斷的將自己的一部分透過書寫加以重現，保留了自己的片段予與載體，讓作品保有其鞣製的軌跡。 |
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| 這種複製的行為成為不同個體之間突出點的碰觸，讓媒體成為中介，更多閱聽者得以融入或排除自我身置於討論的整體：我們或許回應這種複製的行為；或許反駁，或許讚嘆，或許透過再次的複製來深化這個情感，或許因此自嘆弗如。與之對話的經歷則是對於複製的吟詠，是對於天才致敬，同時也是站在巨人的肩膀上朝著相同的目的前進。 |
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| 複製的傳誦乃是「賦智」，意味著後人循著足跡，羅織智能成為龐大的知識體系。 |
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| 人們相信了影像的真實性，媒體也再次回應了真實的生產。然而媒體卻也透過不斷重複的吟詠混淆了真實，擾弄人們所願意相信的真實：扭曲了創作者的複製，同時也扭曲了賦智的吟詠。創作者掏空自我：靈光在不斷機械式的歌頌中逐漸被稀釋，而閱聽者彷彿接受了藥的成癮性；也或許創作者的自我在一開始就缺席，未經思考的臣服只是讓自我身置於茫然。 |
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| 「複製的賦智 」（re-endowment）在字面上的意思是再次給予天賦時代意義；除了再次相信創作者的自我能力，同時也指出當代創作情境中知識體系所扮演的角色；本研討會的目的作為一種批評的形式，在於提示創作者在複雜且交錯的自我與知識體系關係中，自我批判並且提出應對之道。 |
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| d’un train en gare de La Ciotat), he fear was all over our eyes. Human beings continually replicate perfect paradigms. The real existence is understood, but it can never be articulated. What is perceived through senses is the surface of the truth. |
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| Formally, ‘duplicate’ indicates that the perfection in self-perception is continuously extracted and reproduced. ‘Duplicate’ likewise means the ego that creator project on the works: We constantly reappear part of ourselves through writing. Our fragments are retained in carriers, so the works maintain part of our souls. |
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| This replication behavior becomes a touch of the protrusions of different individuals. Media become an intermediary, and more audiences can exclude or integrate themselves into the whole discussion. The ways we respond to this replication behavior might be refuting, admiring, feel amazed, or perhaps again through replication to deepen our emotions. Experiment of such dialogue is a compliment to replication, a tribute to genius, and is also standing on the shoulders of giants and advancing toward the same direction. |
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| Duplicate is widely read as endowment intelligence, it means that the footprints are followed to build up a huge epistemic system. |
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| The facticity of image is believed, the real production has once again responded by the media. Yet the media garble the true through repeated glorification, they manipulate the trues that people are willing to believe, they distort the real meaning of such duplication and the praise for endowment intelligence. Creators empty themselves, their inspiration is being diluted through constant mechanical praises, and the audiences seems accept the addiction of that praises. Perhaps the self of the creators is absent from the very beginning, such thoughtlessly surrender is ignorant, is losing their ways. |
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| “re-endowment” literally signifies giving meaning to the present epoch, abilities of creators are again trusted, and the role of current epistemic system is revealed. As a form of criticism, the purpose of this conference is reminding that in the complex epistemic system, creators should have self-criticism and ought to have ways to respond it. |
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