Abstract When asked to reflect on their own creative practice, contemporary artists in Osaka would frequently invoke images of movement. In lieu of a preformed mental image or plan, they would emphasise the processual and emergent nature of creating a work of art and the importance of moving one's body, likening the gradual and meandering nature of their understanding to a “path.” At the same time, they would often compare their own lives to a path, albeit one with a far less visible endpoint than that which lay ahead of practitioners of the traditional Japanese arts. Along this particular life path, one must move without a clear idea of where one is headed; the path is laid down as one moves along it. “Feeling with the world” and sensing in collaboration with others, emerges as a mode of knowing.

中文翻译：

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“我动我的手，然后我看到它”：与日本年轻艺术家的感知和认知

摘要 当被要求反思自己的创作实践时，大阪的当代艺术家经常会提到运动的形象。代替预先形成的心理形象或计划，他们会强调创作艺术作品的过程性和突发性，以及移动身体的重要性，将他们理解的渐进性和曲折性比作“路径”。与此同时，他们经常将自己的生活比作一条道路，尽管这条道路的终点远不及日本传统艺术实践者所看到的终点。在这条特殊的人生道路上，人们必须在不知道自己要去哪里的情况下前进；当一个人沿着它移动时，路径就被铺设好了。“感受世界”和与他人合作感知，作为一种认知模式出现。