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本研究以傳統古經《易經》、《易傳》和歷代具代表性的易學專著爲主要研究對象，分析考察《周易》哲學的思維特徵和思維方式；再以經典醫籍《黃帝內經》和其後的《難經》、《傷寒雜病論》以及歷代具代表性的中醫古籍爲主要參照內容，分析歸納傳統中醫理論中的哲學內涵和思辨模式；然後從圜道觀和時位觀兩個方面，通過比較分析傳統中醫理論與《周易》哲學在哲學理念、思維方式等方面的先後承授關係，確定和闡釋《周易》哲學的認識理念和思辨模式對傳統中醫理論形成和發展的影響。 　　《周易》認為“圜道＂是天道，周而復始的圜形運動是天道的基本特徵。在《周易》圜道觀的影響下，傳統中醫確立了以十二經脈為主幹的經絡循行理論、以五行生克為框架的臟腑功能理論和以氣運循環為基礎的五運六氣學說等理論學說。 　　《周易》按是否得時、是否當位進行推理，通過審時度勢來論斷事物吉兇。在《周易》時位觀的影響下，傳統中醫確定了“因時制宜＂、“因地制宜＂等治療法則。 　　易道和醫道相通，易理和醫理相通。本研究結果表明，《周易》哲學思想與傳統中醫理論之間確實存在著淵源關係。 本研究為進一步深入探討《周易》哲學思想對傳統中醫理論的影響奠定了良好的工作基礎。 In this study, for analyzing and summarizing the philosophy and thinking mode of “The Book of Changes”, ‘I Ching’, ‘Ten Wings’ and other representative books of ‘Zhou Yi Study’ were used as the main resources, and for studying the philosophy and thinking mode of Traditional Chinese Medicine, ‘The Yellow Emperor’s Internal Classic’, ‘Classic on Medical Problems’, ‘Treatise on Febrile and Miscellaneous Diseases’ and other ancient classic books of Traditional Chinese Medicine were used as the main resources. The two philosophy concepts of ‘Won Taoist’ and ‘Concept of Time and Space’ in “The Book of Changes” were used to comparatively analysis the relationship between Traditional Chinese Medicine and the philosophy of “The Book of Changes”, thus to explain the influence of “The Book of Changes” on the theories development of Traditional Chinese Medicine. “The Book of Changes” has indicated that ‘Won Taoist’ is the Tao of Heaven, Won Shaped movement is the basic characteristics of Heaven. Under the influence of the concept of ‘Won Taoist’ in “The Book of Changes”, Traditional Chinese Medicine has established the theories of Twelve-Meridians, Viscera theories of five organs and the theories of doctrine of five evolutive phases and six climatic factors. ‘Right Time’ and ‘Appropriate Position’ are the two main rules in “The Book of Changes” for making judgments of good or bad for all things. Under the influence of the ‘Concept of Time and Space’, Traditional Chinese Medicine has established the theories for treatments that follow the law of ‘Change with Time’ and ‘Change with Region’. Tao of Changes and Tao of Medicine are interconnected, the philosophy of “The Book of Changes” and Traditional Chinese Medicine are also interconnected. The results of this study have shown the existence of historical origins and relationships between “The Book of Changes” and Traditional Chinese Medicine. This study has laid a good basis for the work to further explore the influence of the philosophy of “The Book of Changes” on the theories development of Traditional Chinese Medicine. / published_or_final_version / Chinese Medicine / Master / Master of Philosophy

Thesis (Ph. D.)--University of Pennsylvania, 1983. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 392-423) and index.

Thesis (M.A.)--Guo li Taiwan da xue, 1965. / Reproduced from typescript, on double leaves. Includes bibliographical references.

Thesis (M.A.)--Guo li Taiwan da xue, 1965. / Reproduced from typescript, on double leaves. Includes bibliographical references.

In this thesis, I argue that traditional Chinese thinking and its manner of approaching art can be successfully expanded onto a different platform: digital media art. My research (both in theory and practice) shows how this transformation expands the notions of time and space and forges new interdisciplinary correlations by addressing traditional Chinese culture in four different but interrelated manifestations: the philosophy of Dao, calligraphy, painting and sculpture. As a result, I claim that digital media can shift the notions of time and space from traditional Chinese thinking into contemporary digital art. Conversely, the digital concept of time and space can be interpreted by an analysis of (i) the traditional Chinese philosophy of Dao, so as to understand how ancient Chinese perceived the universe of time and space; (ii) four areas of Chinese art addressed in my theoretical and practical research (as elaborated in subsequent chapters). For example, a new understanding of ‘scroll format’, ‘play-appreciation’ and Chinese digital art has been introduced through my own practice. In fact, this direction has not been sufficiently dealt with in the past, and deserves more attention in the future. The thesis demonstrates how my practical research was heavily influenced and contextualized by my theoretical research, while the result of my practical artwork applies, expands and transforms that theory. This thesis aims, both theoretically and practically, at providing the reader with a new experience – the perception of the notions of time and space inherent in traditional Chinese thinking – by combining these concepts with digital technology.  Many different methods used in traditional Chinese scroll painting and calligraphy have in their day investigated and developed new ideas of time and space – e.g. multiple perspectives, binary visual modes, visible and invisible spaces, reversed images and inverted vision. All of these concepts could be further extended through digital moving images and interactive art in order to provide the audience with a new spatiotemporal dimension as an enhancement of visual experience and knowledge.

Through my experimental practice (i.e. interactive art, moving images, workshop and exhibitions), I have illustrated how digital art and digital technology can build on the notions of guan (觀; ‘to observe’), and you (遊; [1] ‘to tour’, ‘to travel’; or [2] ‘to roam’, ‘to saunter’). Furthermore, digital art can help viewers use the notions of play and appreciation – wan shang (玩賞, ‘play-appreciation’) – in Chinese context exhibition spaces. By exploiting this new dimension of experience, contemporary Chinese artists will, it is hoped, be able to introduce the spirit of traditional Chinese thinking to digital platforms, creating a guide that not only broadens the notions of time and space for digital media artists and audiences, but also forges new correlations between the various disciplines of philosophy and media art.

This thesis, therefore, rests on three investigative pillars: (1) contextual analysis through the history of Chinese art and – to a lesser extent – Western art; (2) the possibilities of modern digital media art; (3) analysis and application of the Chinese philosophical tradition (art theory and the notion of time and space) to elucidate and develop the interface between traditional Chinese and modern digital art. The result of my research has shown that what emerges from – and also motivates – the investigation is an understanding that digital art (moving images and interactive art) is an appropriate and effective medium for the communication and deepening of Chinese cultural awareness. My research structure and development is divided into six steps as follows: Firstly, in developing this thesis, I posit that the ideas of time and space [Chinese terms and terminologies: shi jian (時間,‘time’), kong jian (空間, ‘space’), and yu zhou (宇宙, ‘the universe’)] have been handled in traditional Chinese scroll painting and calligraphy through the application of multiple perspectives, binary visual modes, visible and invisible space, the passing of time, and non-linear narratives. When these potentials are reproduced by media artists, novel insights, experiences and knowledge about time and space are re-interpreted for their audiences, while the history of time and space tends to collapse. Secondly, I examine the idea of the ‘Yellow Box’, whose original aim was to suggest a novel approach to the understanding of the relation between contemporary Chinese artworks and museum-based exhibition space. I argue, however, that such a direction does not consider the potential of digital media art, and my practical projects demonstrate that the ‘Yellow Box’ idea still has room for further development in its application to digital art history. Moreover, the analysis of time and space offered here in the context of my own media-art production process (custom software and hardware) can benefit other researchers and artists. The attempt to illustrate Chinese art theories and to document and reflect upon different ways of perceiving the position and role of the audience can provide a unique and fruitful insight into the incorporation of Chinese thinking and manners into media art practice. Thirdly, I analyse the correlation between traditional art and contemporary digital media art in relation to time. I first illustrate how multiple spatiotemporal experiences merge into one pictorial space in terms of non-linear narrative in some significant traditional Chinese art pieces, and then argue that digital art can actually help to re-interpret the traditional Chinese notion of time in a modern dimension. The results of my study reflect how the notions of (1) cycle, (2) non-linear narrative, and (3) ‘play-appreciation’ in ancient Chinese art correlate to the elements of ‘looping’ and ‘layering of content’ in digital art, which allow viewers to have real-time experience of ‘time passing and transitioning’. My analysis, however, also indicates that some contemporary Asian digital artworks (all relating to time transition) have not yet considered the viewer’s spatiotemporal experience in relation to such idea as ‘play-appreciation’ through viewers’ bodily engagement. Fourthly, I examine the spatial correlations between Chinese and media art, and argue that there are many correlations between the past and contemporary Chinese art in the ways in which viewers’ virtual and physical experiences have been applied. I analyse how the idea of ‘two different positions of the viewer’, through painting, reliefs and gunpowder in China, correlates with digital media art today. Such correlation allows the artist to play with the idea of ‘multiple identities’ through digital media (e.g. dual and multiple screens). The results of the analysis reveal a strong correlation between traditional art forms and modern digital media art that permits the artist and the viewer to manipulate the idea of ‘multiple identities’ through dual and multiple screens in both real and virtual spaces. 
Reflecting this, my practical project demonstrates how pictorial and virtual space function as part of one’s cultural identities through viewers’ bodily engagement. For example, in line with my experience of multiple-identities in relation to my own Indonesian-Chinese background on the one hand, and the ‘upstairs culture’ of Hong Kong on the other, I combined a series of fragmentary stills and moving images in the ‘Upstairs / Downstairs’ project (2004-2012) to demonstrate how digital technology can help visualize the notions of multiple viewpoints through multiple screens. From there I went on to ask whether my Asian cultural background could help transform traditional visual experiences onto a digital platform by integrating a sense of ambiguity and multiple identities.

published_or_final_version / History / Master / Master of Philosophy

In this dissertation, I lay the foundations for the development of a unique ethical theory, titled “Ethical Harmonism,” on the basis of the early Confucian Xunzi’s thought. First, I attempt to understand Xunzi’s fundamental ethical position centered on his thought of the ideal state for humans. Second, I explore the nature of two attitudes that one should develop in order to create and maintain the ideal state for humans. Xunzi’s ethical position is characterized primarily in terms of “the final good” that it requires one to seek to attain. For Xunzi, the final good is a certain holistic state that every human has reason to create and maintain cooperatively, namely what I call “harmony.” Harmony is the ideal state in which all humans form a well-unified whole in such a way that they interact with one another by properly recognizing various kinds of persons and by appropriately responding to each kind. I also provide a preliminary reconstruction of Xunzi’s view by raising questions concerning whether his holistic view can reasonably accommodate part of contemporary individualistic ethical sentiments, especially, that associated with such a notion as human rights. This reconstruction is intended to serve to develop “Ethical Harmonism,” which is a working-label for the most defensible Xunzian position that is currently in the development stage. For Xunzi, the creation and maintenance of harmony depend on all humans’ proper development of two attitudes, qin (love) and zun (respect). For Xunzi, all humans should control their naturally unlimited desire by cultivating love and respect; and, by adopting these two attitudes in interaction with one another, they can jointly bring about harmony in society. I develop theories of these two attitudes especially by clarifying how each of the two attitudes is understood as a distinctive way of responding to certain kinds of person. I further explain how these two attitudes work cooperatively in ways that promote harmony. My study will provide a new systematic interpretation of two central concepts in Confucian ethics that are grounded in love and respect, namely ren (widely translated as humanness) and yi (widely translated as righteousness).

In this dissertation, I lay the foundations for the development of a unique ethical theory, titled “Ethical Harmonism,” on the basis of the early Confucian Xunzi’s thought. First, I attempt to understand Xunzi’s fundamental ethical position centered on his thought of the ideal state for humans. Second, I explore the nature of two attitudes that one should develop in order to create and maintain the ideal state for humans. Xunzi’s ethical position is characterized primarily in terms of “the final good” that it requires one to seek to attain. For Xunzi, the final good is a certain holistic state that every human has reason to create and maintain cooperatively, namely what I call “harmony.” Harmony is the ideal state in which all humans form a well-unified whole in such a way that they interact with one another by properly recognizing various kinds of persons and by appropriately responding to each kind. I also provide a preliminary reconstruction of Xunzi’s view by raising questions concerning whether his holistic view can reasonably accommodate part of contemporary individualistic ethical sentiments, especially, that associated with such a notion as human rights. This reconstruction is intended to serve to develop “Ethical Harmonism,” which is a working-label for the most defensible Xunzian position that is currently in the development stage. For Xunzi, the creation and maintenance of harmony depend on all humans’ proper development of two attitudes, qin (love) and zun (respect). For Xunzi, all humans should control their naturally unlimited desire by cultivating love and respect; and, by adopting these two attitudes in interaction with one another, they can jointly bring about harmony in society. I develop theories of these two attitudes especially by clarifying how each of the two attitudes is understood as a distinctive way of responding to certain kinds of person. I further explain how these two attitudes work cooperatively in ways that promote harmony. My study will provide a new systematic interpretation of two central concepts in Confucian ethics that are grounded in love and respect, namely ren (widely translated as humanness) and yi (widely translated as righteousness).

Thesis (doctoral)--University of Chicago, 1999. / Typescript. Includes bibliographical references. Also available on the Internet.