尋找現代化的樣子－1980年代MIT(Made in Taiwan)運動與國家形象建構

設計除了以其專業參與經濟活動之外，在近代國際貿易日盛之下也常常成爲國家對外展示形象的媒介；因此，現代設計與國家認同兩者形影不離；也成爲設計史研究課題。這個主題放在1980年代（迄今）的台灣，尤其值得探討。台灣在冷戰時期中，向以出口導向換取經濟成長。而當80年代以來此一政經結構開始鬆動，台灣在國際政治舞台上，頓然失所。就在此時，台灣經濟活動中最為旺盛的經貿部門，相繼面對三個重大的難題：一、美國開始重視台灣仿冒現象，並逐步升高壓力；二、對日貿易逆差逐漸擴大，甚至在1991年首度超越對美順差，國際貿易出現缺口；三、MIT產品在國際市場上缺乏競爭優勢，始終停留在次級品的印象中，在國外買主的削價下，無法獲得更高利潤。這三個問題，關鍵在於MIT產品在國際市場上被認爲形象不佳；就此，設計應政策所需而被國家召喚，致力於改善產品形象，以扭轉連帶而來的不利局勢。本研究對這些經貿政策的文化過程提出分析，揭露台灣地處邊緣、復被全球化轉輪所催逼，國族國家如何藉由塑造MIT的產品形象，進行自我建構。此一過程並且揭櫫了第三世界國家對於現代化的想望身成，以及設計在過程中所扮演的角色。據此，本研究進一步論證，80年代由MIT論述所推動的「台灣現代設計運動」，乃是透過一連串的經貿政策所實現；而平行於美學形式的主張，此一運動也是一場國族主義的運動。最後，無論現代設計、或是國族主義運動，終將爲資本主義經濟理性的盤算所超越，成爲泡沫化的意識型態。

關鍵字

台灣製造；經濟發展；現代化；自創品牌；工業設計

並列摘要

Since the eighties, the most vigorous world trade department in the economic activity of Taiwan, faced three great difficult problems in succession: First, U.S.A. began paying attention to the imitation of Taiwan's industries, raised the pressure progressively and asked holding 'Chinese and U.S protecting the intelligence proprietary meeting' regularly every year after 1984. American can take 'special 301' as a reprisal measures in case of necessity. Second, Taiwan's trade deficit to Japan increased gradually, even surmounted the favorable balance to American in 1991 for the first time. Taiwan foreign trade gap appeared. Third, MIT products kept the impression of the secondary product all the time and lacked the competition advantage in the international market. Under abroad buyers cutting prices, Taiwan companies were not able to obtain higher profits. To improve the image of the MIT products in the international market was the thorough solution for these three difficult problems, in order to turn back the unfavorable situation. This paper analyzes the cultural contents of these economic and trade policies, and reveals how Taiwan, a marginal state forced by the wave of globalization, constructed national identity by improving product image of MIT. Furthermore, this straitened process demonstrates the desire of being a 'modern' nation in the Third world. Basing on the above, this paper argues that 'Taiwan modern design movement' in the 1980s was promoted by MIT discourses through a succession of economic and trade policies. Besides declaring for the aesthetic form, this movement also was one kind of nationalism movement. However, whether modern design movement or nationalism movement, both would be transcend by the calculating out of capitalist economic reason, and become ideological bubbles finally.