本創作的「移動」,意旨在生態系統中,動植物非自然/自願性的移動—即指因 人為活動或需求所造成的移動,在動植物被不同規模的移動後,形成一種隱而難 見的新秩序,這些因人為能力所造成的新移動景象,則為移動過後的痕跡。 這是一份討論人與自然最初關係的創作,藉從「移動」的觀念,觀看城市中 的生態日常。本創作分創作論述與攝影集作品兩部份進行,創作論述從「生態資 本主義」出發,建立作者所提出的「移動」觀念;攝影集作品則以新紀實攝影作 表現手法,再現作者所欲強調的「移動」影像。 本創作價值不以提倡人與自然應和諧相處作最終解答,而是從「移動的痕跡」 影像中,理解人類所創造的移動能力已出乎我們所想像,對於城市中日常的生態 景觀,應開始發展另一種觀看的方式。 「移動的痕跡」攝影集（網路版本）：http://issuu.com/mesyeux/docs/movefinal / “Moving”, in this work, means the movement of animals and plants which is made by human beings rather than by the free will of the moved objects. In other words, the movement is caused by people's activities and demands. After the movement in various scales, a new and obscure order is formed. These newly-formed visions then act as the evidences of artificial movement. This work is about the discussion of the original relationship between mankind and ecosystem by re-observing everyday activities with the point of view of “moving”. This work is composed of two parts: the thesis and the photo album. The thesis part, based on “ecological modernization”, introduces the concept of “moving”; while the photo album part, adopted the new documentary photography style, is the medium to visualize “moving”. The value of this work is not to recommend a harmonious way of living between mankind and ecosystem, but to remind the readers that " moving " made by all mankind has been far beyond our imagination. Therefore, we should re-define our way of seeing the daily life. Traces of Moving (online version) : http://issuu.com/mesyeux/docs/movefinal

「當代的教育有被多數人當成一項藝術來實踐嗎？我們的教育有美嗎？教育如何成人之美？我們又如何觀看教育之美？」本研究採用藝術家、教師與教育研究者三位一體的研究取徑a/r/tography（art-based forms of educational inquiry）並混合多元研究方法、跨領域理論交互辯證以及表達性藝術實踐行動，旨在試圖超越目前科學家、藝術家、心理分析學家與教育家各自觀看世界的方式。本研究戮力創新教育美學研究取徑，以跨領域對話回應研究提問。 本研究借喻近代攝影史上最重要的變革演化：新紀實（The New Documentary），將其預設並倡議為一種後現代背景下之教育美學的多元視野（長鏡頭），以做為「教育的生命（神經性）、生成（藝術性）、生態（靈性）」的觀看之道。研究者並創作一系列新紀實攝影作品，期以多元真相涵化單一紀實的缺陷，改以不完美的長鏡頭與檔案的中性特質，一方面認清教育紀實的虛妄無明，另一方面則從教育的限制裡生出另隻眼。 教育美學所揭示的實踐智慧，大多來自「人如何描述眼前的世界」，故本研究深入梳理近二十年的神經科學對於視覺腦（visual brain）與靈性冥想（meditation）活動的研究成果，探究藝術家的實踐歷程以及進行藝術評論文本分析，並依多年田野經驗重新設計了一系列合作式彩繪曼陀羅（Cooperative Mandala Coloring）表達性藝術活動，以求能更充份反映榮格學派（Jungian Psychology）之共時性（synchronicity）理論與推演新時代靈性生態觀點，最終援引本質直觀的現象學（phenomenology）進行詮釋。 本研究成果特別關注青少年處於神經美學、藝術實踐與靈性成長之間精神流變（spirit flux）歷程，建議首先提供真誠友善的安全空間（safe space）、引入神馳（flow）的靈性體驗、以藝術活動滿足個體化的表達性需求（expressed needs）、在人我關係中創造利他的美感經驗。新紀實視野下的後現代教育美學倡議「自我陶養」、「德美一致」與「三性一體」，教育必需讓人有力量、有光芒、有夢想，始能真正啟動教育最美的樣子。 / This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.