電玩失序–鄭力文創作論述

2018年世界衛生組織（WHO）正式把電玩失調（Gaming disorder）列入正式的精神疾病後，迫使人們正視這個廣及不同族群的成癮問題。但隨著近年來電競產業的蓬勃發展，電玩從純粹的休閒娛樂變身為經濟與社交體系中緊密的一環，人們每天都與電玩共處，如何抑制成癮問題就成為一項複雜與困難的任務。高速網路時代的資訊爆炸與電腦科技快速的進步與發展下，在看似可靠卻不確定真實性的網路資訊洪流所建構的新文化，電玩世代看似一種標籤，但卻可能扎根永固，沉淪在新舊、內外、真假的逼迫交感之中。本創作論文奠基於馬克•格里菲思（Mark D. Griffiths, 1966 -）提出的成癮行為六大組成元素，挪用（Appropriation）古典/當代藝術作品與電玩元素作為媒介，並且結合台灣人文風景與肖像畫，投射自身想像。藉由成癮要素、藝術語彙下深層的內涵與自我反射所建立的圖譜，呈現島國民族的新風貌。

關鍵字

電玩美學；挪用；大眾文化；電玩成癮

並列摘要

After the World Health Organization（WHO）officially has listed the gaming disorder in mental diseases this year, every country around the world has to rethink this addiction seriously. However, how to overcome gaming addiction becomes more complicated today as video games have intertwined into daily life, video games turned into a channel of social functions, and the gaming industry is booming. In the era of information explosion with high-speed network and the practice of Moore’s law, a new culture was constructed seemingly real yet unreal. The culture of video games looks like a tag; however, it may has rooted in our society, between the new and the old, the intrinsic and the extrinsic, and the genuine and the fake. Based upon psychologist Mark Griffiths’ theory in gaming addiction, this thesis tries to discuss the methods of creating artworks by combining the components model of addictive behavior, two genres of art: classic art and contemporary art, and characters of video games. Besides, the creations project these imagination while merging the landscape of Taiwan and the portrait to present a new style of landscape and portrait.