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第六章 預約一個教育最美的樣子
Figure 53．March Lin 拍攝於 2017 ART TAIPEI 國際藝術博覽會，層疊作品氳成特殊景色。
所有事物皆有其表象與隱喻，就連一隻螞蟻也能有牠複雜的英雄旅程，但人 們渴求唯一真相，卻經常不可得，因理性而困頓的心，無法接受混沌曖昧的藝術 性，也導致靈性的失神。研究者探究當代攝影的本質與人們的觀看之道，有相似 的困境，攝影求紀實，但紀實的真相性備受考驗，若不拋擲舊想法，攝影師與攝 影術也將宣告死亡。而就在台灣實驗教育發展二十年正值遍地開花之際，研究者 認為更需要新紀實視野，無論傳統體制或另類教育，任何教育型態都應該得到尊 重與發展，因為我們的孩子也有千百樣，任何形式的統一或凋零，都可能會傷害 到某一個孩子的受教權，總持無分別心的教育，教育才能讓每一個人都感受到自 己最美的樣子。
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靈性生態學述說的是萬物一體的存在美學，本研究期待教育者能以批判教育 學所稱的轉化型知識份子的角色、神經美學家的角色、藝術家與畫布的互為彼 此，在人類生命、生成與生態皆具有限性的個體化歷程中，通過利他的合作美學，
揚起受教育者的「原型認同」但不要令自我膨漲導致自以為神，接引受教育者的 社會歸屬感但不要使其受限於「人格面目」而自以為奴。
大腦的神經性能代表心智嗎？藝術性用草圖能代表嗎？靈性只表現在夢想 裡嗎？敘說流變可以不要精神兩字嗎？基於教育美學研究取徑，本研究從龐大複 雜的神經科學領域中探究神經美學一派，為的就是瞭解大腦如何與內外的心像起 共鳴，所謂心智（mind）就是能夠理解自我與周遭人們處境的能力，心智不能代 表整個大腦神經性網絡，但神經性的反射之中必需有心智地圖。藝術家從草圖到 繪畫實踐的過程中，經常不被理解其中所經歷的曖昧與混沌所具備的正向意義，
就如同受教育者成長過程經歷著各種改變與模擬兩可，教育做為一種等待生成的 藝術，草圖具有生猛的藝術性與教育美學隱喻，提取草圖理論並不是為了指稱藝 術的全體，而是提供教育美學研究一種類比歷程的觀看之道。至於靈性應不會只 表現在夢想裡，但擁抱夢想的人較具有將個人潛意識推動到客體心靈交接的邊緣 地帶，這也就是榮格學派所稱的「心靈內的功能常引發一連串的夢」，這可以讓 個體「有能力去理解他人的複雜性，並瞭解自身內在的其他部份」，在很多藝術 作品與文學作品中都能看到。本研究為教育美學三性研究，馮氏嘗言，教育美學 即在「創造感動、呈現希望與守護夢想」，若流變敘說中沒有精神（指心理狀態 或事物的意義）導入心智地圖、藝術化草圖以及夢想藍圖之中，是否人將如同川 上之夫，僅能喟嘆外在世界變遷，卻遺忘自我存有的意義。
身為一個人最美的樣子，應該充滿力量，充滿光，充滿夢想，而教育成人之 美不該只是一句空想或空談，何謂教育最美的樣子？研究者認為是：讓人能夠感 受成長之美、苦痛之美、孤獨之美、命運之美，以及利他之美。
導論中研究者曾提問：「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？」
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後現代教育美學，在新紀實視野裡，通過神經性、藝術性與靈性的共鳴，就 是希望尋回一個人最美的樣子，希望教育讓人有力量、有光芒、有夢想。本研究 並非不求紀實與真實，而是希望以一種新紀實的視野去接納更多真實來參與演 化。新紀實，以善變、善於等待、善用隻眼、善解的多元目光，做為一種觀看之 道的演化，換句話說，就是以多元真實化解僵局，以等待意義現身引入更多意義，
以無分別心對待眼前人事物，如是作皆是為了達到人與萬物生態之多相多元多義 的精神真實。
若我們能從教育美學三性再往靈性生態學推進，訴求我們的島嶼教育美學，
更加關注這個土地上的每一個孩子、每一位教師、每一種文化，那麼這就是本研 究目前未能達到的限制，也是未來教育美學三性可以繼續探討的方向。
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「一旦我們的目光觸及這些筆觸，就會被深深地吸引：裂變、冰片、碎片、無為、
破壞、災變、脆弱、薄片，一次次疊加，形成一個獨特的疊筆，擠壓中形成苔影 或影痕般的靈暈厚度，在這些影痕中：風光水氣全瀰漫其間，恍惚的影子，帶著 迷影或幻影，迷離或出離，迷惑中尋找，還有著迷茫或蒼茫的隱痛。」──劉國 夫畫展〈影痕的靈暈〉2017 ART TAIPEI 專刊
Figure 54．March Lin 攝 2017 ART TAIPEI 劉國夫畫作專刊
後記：在 2017 國際藝術博覽會拍攝本研究作品時，研究者被劉國夫充滿迷 離氣息的畫作吸引，駐足良久後忍不住向所屬藝廊經理詢問是否可以購買畫家專 刊，意想不到我指著那接待桌上唯一本厚重的精美畫冊的同時，藝廊經理直接說 送給我，我知道這類畫冊通常要價數千元，何況他們從香港來帶的本數應該有 限，但對方懇切相贈，我就歡天喜地抱著這貴重的心意離開。那時研究者的神經 性、藝術性與靈性都受到震顫，對於劉國夫，邂逅、投契與參化，瞬間成永恆。
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