量子意識與繪畫的極至感知--江世民的繪畫實踐研究

Abstract

量子意識與繪畫的極至感知涉及量子力學、精神分析和藝術理論。量子意識的假說以量子力學描述微觀物質來理解大腦運行的意識，如彭羅斯的理論。謝林、弗洛伊德和拉岡都揭示意識/無意識的面紗。從朗吉孥斯、伯克、康德和李奧塔的崇高內涵，到新媒體藝術新的可能性，「sublime」(崇高)依字義和當代意涵譯為「極至」，南希、蕭、艾亞、莫利探討了當代的極至和內在精神性。精神性是感官的官感經由辯識來感知，是美感理解的核心，具神聖和超感官感知的意識意義。貝爾區分繪畫的表現與再現；傅柯的異相空間分析意識、畫作與觀者間的多元視覺意義；而超現實主義者如達利、馬格利特等人探討繪畫的本質，並將量子力學帶入作品中。梅洛龐帝分析塞尚的意識把主客體融合在可見/不可見的視覺纏結中；約翰考克和查理頓說明了這種主客關係的纏結如同波粒特性和羅斯科作品中的內外兩極；而生命的纏結包括物種的垂直和水平關係。最後，我個人的創作實踐將「量子意識」、「永和日常」和「生命纏結之樹」三系列作品，將精神性那種難以捉摸的感質，以抽象/具象的形式轉化為圖像，將意識提升到精神性體現，來呈現極至的符旨，是主體在極限處情感的意識模式，也是日常平凡生活中既熟悉又陌生的不平凡。The perception of sublime in quantum consciousness and painting involves quantum mechanics, psychoanalysis and art theory. Quantum mechanics describes microscopic matter and may be able to understand the operation of consciousness. Quantum consciousness may arise from quantum effects in the brain's neurons due to the collapse of the wave function that creates consciousness or from the encoded information of the electromagnetic fields in the brain, as theorized by Penrose or McFadden. Freud and Lacan discussed consciousness/unconsciousness. From the sublime connotations of Burke, Kant and Lyotard to Nancy, Shaw, Arya and Morley, it illustrates the spirituality of the contemporary sublime. "Sublime" is translated as "up to the limit" according to its literal and contemporary meanings. Spirituality is the sensation of the senses, such as color perception, which is perceived through recognition. It is the core of the understanding of aesthetic and can hold the meaning of consciousness of divine and extrasensory perception. Bell distinguished between expression and representation in painting; Foucault analyzed the diverse visual meanings between consciousness and paintings of heterotopia; while Surrealists such as Dali and Magritte explored the nature of painting and brought the concept of quantum mechanics into their works. Merleau-Ponty investigated Cézanne's consciousness as fusion of subject and object intertwined the visible and invisible in visual art; John Cocker and Charlton illustrated this subject-object entangled relationship as the wave-particle nature of Bohr and the outward and inward poles in Rothko's works, respectively. The entanglement of life includes the vertical and horizontal relationship of species. Finally, the painting practice and analysis of the three series of works, Quantum Consciousness, Eternal Daily Life, and The Tangled Tree of Life, transform the elusive qualia of spirituality into images in abstract/figurative forms, elevating consciousness to the level of spiritual embodiment. The representation of the signified of sublime is the consciousness mode of emotion at the limit of subject, and it is the extraordinary of the familiar and unfamiliar daily life.