符號消費理論應用於設計藝術創作之研究

工業藝術家(industrial artist)跨越工業產品與藝術創作之間的界線，這些工業藝術家大多擅長操作符號消費因子，成提升專案價值。設計藝術(design-art)興起，這個現象也因此愈來愈受到重視，工業藝術家以符號交換，作為新的生產力象徵與控制的消費特徵。本研究以布希亞(Baudrillard)的符號消費理論為基礎，為讓創作者更有效了解、操作各符號消費因子之間的關係，本研究以文獻、訪談…等方式切入設計藝術議題，進行符號消費理論應用於設計藝術創作之實做、訪談、實驗展覽，藉由獲得的數據資料，描述有無設計專業背景觀賞者之差異。創作者案例運用混亂符號因子，將專案命題建立在一個原始事物的基礎之上，並且拒絕與本身的客觀型態相同，形成一種既破壞又生產的結構，如果專案之符號消費因子與專案之表現形式曖昧不明，非設計背景觀賞者相較於設計背景觀賞者，較容易對專案概念產生認同。

關鍵字

符號消費理論；設計藝術

並列摘要

Industrial artists cross over the line between industrial design and artistic creation. Most of these industrial artists are good at operating the factor of symbolic consumption, and succeed in promoting project value. Due to the power of Design-Art has been raised, this phenomenon is considering more and more important. The industrial artists exchange the symbol with others to form a new productivity symbol and a controllable consumption characteristic. This research based on Baudrillard’s Symbol Consuming Theory, in order to let the creators understand and operate the relation in every symbolic consumption factor. This research began with documents researching and interviewed some industrial artist in connecting with Design-Art field. Researcher held an experiment exhibition to put the Symbol Consuming Theory into practice on the field of Design-Art creation and interviewed the viewers. By using the obtained data, this research is tried to define the difference between the viewers with design background or not. These projects use the factors of Symbol Consuming Theory, and set up the meaning as basic things. It refuses the objective and forms a kind of structure that destroys as well as produces. When the meaning of project is different than project’s form, the non-design background viewers are much easier to approve the concept.