本創作論述報告內容包含以下部分：創作緣起、相關學理探討、創作論述（包含主題、概念、內容和技巧）、作品呈現、以及結論與貢獻。共五個章節。目的乃針對本專題製作內容之相關創作背景及創作主題，做一概念性的陳述。 本專題製作之表現媒材為「純文字」創作。 主題是「告白」。 本創作之目的乃希望藉由文字的書寫，與長時間不斷思考、敘述的過程，儘可能地捕捉，並且探究個人生命的各種可能性。藉以反思個人的內在自我本質，人我之間的關係，乃至於宇宙生命的終極意義。作者從日常生活出發，從對不起眼事物的觀察，對事物不同的觀看角度開始，透過不斷地感受、沉澱，經過時間，不斷地沉思、冥想、釋放、篩選，或者經由夢境，經由實地訪查、與探勘取材的過程，最後通過實踐，接連數月不斷書寫的過程，記錄了這個時代，紀錄了做為一個人、一段時光、哪怕僅僅是一個當下的某種突如其來的生活樣貌與思想片段，也記憶了一段已然失落的曾經。 / Overall, there are five chapters covered in this statement and discussion of the creative work. They are: 1) initiation, 2) discussion of related theories, 3) discourse about the themes, concepts, contents, techniques, 4) work presentation, as well as 5) conclusion and recommendation. The objective is to construct a conceptual statement for the creative background and subject of the masterpiece. The media is a creation of pure writing. The topic is proclamation, declaration, and pronouncement. (At the end of the day, advertisement is all about making a statement, isn’t it?) This particular work of art is to, hopefully, discover and reveal various possibilities of individual human being through literature writing, continuous reflection and narration. Accordingly, we get to ponder the nature of individual inner self, the relationship between self and others, and the ultimate meaning of the universal life. Starting with his everyday life, the author observes the very obscure things from different angles. He then documented this period of time, being an individual, the snapshots of some hasty life events and passages of thoughts, as well as memorized a long-gone past. All the above has been realized via continual experiencing, serenity, contemplation, introspection, liberation, screening, dreaming, site visit, and exploring which have all been put together in the author’s persistent composition during the past few months.

This work is the presentation of a personal philosophy. Form of video addresses the issues of themes: love, addiction, future, suicide, transience. It is processed with a digital camera in full HD format. I offer no solutions to problems, I displaying only subjective reality.

La question de l’effectivité de la sanction pénale fait régulièrement débat. La sanction pénale serait, bien souvent, partiellement effective. Il faut dire que selon une acception classiquement répandue, l’effectivité de la sanction pénale correspondrait au taux d’application de la sanction prononcée et au rapport de conformité entre la sanction prononcée et la sanction exécutée. Tout écart entre ces deux pôles serait la manifestation d’une situation d’ineffectivité. Cette approche de l’effectivité est réductrice, elle ne permet pas d’appréhender cette notion dans sa globalité. Considérant comme effectif « ce qui produit un effet », l’étude de l’effectivité de la sanction pénale ne peut se limiter à une simple vérification de la correspondance entre la sanction prononcée et la sanction exécutée, elle s’étend à l’appréciation des effets produits par la sanction. L’effectivité, qui est un état, ne peut se confondre avec l’exécution qui correspond à l’ensemble du processus permettant d’y parvenir. Au cœur de la recherche de production des effets de la sanction, l’exécution est alors source de l’effectivité recherchée. Selon toute probabilité, la sanction exécutée produira des effets. Pourtant, sauf à vider de son sens la notion d’effectivité, il n’est pas possible de considérer que tous les effets que la sanction est susceptible de produire relèvent de son effectivité. Seuls les effets conformes à la finalité qui lui est assignée intègrent cette notion. Tout en distinguant l’effectivité de l’efficacité, l’effectivité de la sanction s’appréciera à l’aune des effets qui contribuent au maintien de la paix sociale. / The question of the effectiveness of criminal sanction is the cause of great debate. The criminal sanction would be, so often, partially effective. It must be said that according to common thinking, the effectiveness of criminal sanction corresponds to the rate of application of the pronounced sanction and to the relation of conformity between the pronounced sanction and the executed sanction. Any difference between these two poles could be seen as the demonstration of a situation of ineffectiveness. This approach of the effectiveness is simplistic, it does not make it possible to apprehend this notion in its entirety. Considering as effective “what produces an effect”, the study of the effectiveness of criminal sanction cannot be limited to simply checking the correspondence between the pronounced sanction and the executed sanction, it extends to the evaluation of the effects produced by the sanction. The effectiveness, which is a state, cannot nevertheless be confused with the execution which corresponds to the whole of the process making it possible to reach that point. At the core of the search for the production of the sanction’s effects, the execution is then the source of the required effectiveness. In all probability, the executed sanction will produce effects. However, unless we empty the notion of effectiveness of its meaning, it is not possible to consider that all of the effects which the sanction is likely to produce concern its effectiveness. Only the effects in conformity with the finality which is assigned to it integrate this notion. While distinguishing the effectiveness from the efficacy, the effectiveness of the sanction will be assessed in light of the effects which contribute to the maintenance of social peace.

Useless things. I normally use trash things like pattern in painting still life. My father suffers from obsessive compulsive disorder – accumulation of things. In addition to painting, I also work with objects themselves. My interest also closely related to how the concepts of the subject, object and artifact are appliing in contemporary art. There are the tradition of imitation fact, principle of ready-made, the issue of technical reproducibility and virtual reality of things in history of art. As a central theme of my thesis, I selected the part of bodywork Tatra 613, which carries all the testimony about ,,useless and hopeless "situation in which it is located. It is also an object monumental and visually very aesthetic. Yet it is not my intention to settle for the principle of redy-made. Asked about artwork as intermediaries art and its seemingly useless producing and reproducing, I want to try to create another such usless situation. That's why I make a cardboard copy (1: 1) of this object. I also make video with motive 3D copy of the same object. I like to create some voltage between that useless object and valuable art practice. I think, it does not just mean such futility when these objects will be viewed as an art.