@article{oai:toyama.repo.nii.ac.jp:00015415,
 author = {小松, 研治 and 小郷, 直言 and 小松, 裕子 and 林, 良平},
 journal = {GEIBUN : 富山大学芸術文化学部紀要, Bulletin of the Faculty of Art and Design University of Toyama},
 month = {Mar},
 note = {application/pdf, At first glance, the traces such as a mark, a scratch and dirt that human beings have left and the art aiming at making our circumstances beautiful and happy are two extreme poles in their values and meanings.However, in this paper, we would like to bring them as closely as possible by the perceptual theory. Instead of using magic tricks, we attempted to apply the concept of ectopic simultaneity that derives from the perception phenomenological interpretation of the traces, in order to explore in depth an artist’s creative process. As a result, we have found that the traces are used in the artistic production process. Apparently, it is only explicable as the "idea from the traces" in the production process. If this is the case, you can take advantage of the traces in art education, and legitimately claim the need to arrange a learning environment for the use of the traces. The sustainability of the traces not only represents the past, but also holds a value of preparation for the future. The traces are efficacious because they enable us to look at an area that is beyond the current time and place. The traces are in the emptiness beyond reality, which may not have been touched yet; they are waiting to be discovered in order to appear as a new reality., Article, GEIBUN : 富山大学芸術文化学部紀要, 11号, 2017.03.31, Page 38-50},
 pages = {38--50},
 title = {痕跡学の芸術教育への可能性},
 volume = {11},
 year = {2017}
}