「後現代街頭塗鴉藝術」導入文化創意產業流行消費之研究

The Study of “Post-Modern Street Graffiti” to the Popular Consumption of Cultural Creativity Industry

劉晉彰(Chin-Chang Liu)

指導教授 ： 連德仁

國立臺中科技大學/設計學群/商業設計系碩士班/碩士(2007年)

摘要

近年來，已有許多從街頭藝術（Street Art）衍生之塗鴉藝術相關研究，而愈來愈多的研究分析者，也開始探究街頭塗鴉藝術之台灣本土化的發展，並且產生如文化意涵、文化認同與如何再造塗鴉藝術價值的相關議題。此外，並深入分析塗鴉藝術的存在意義及塗鴉藝術如何與塗鴉創作者之間生活和自我的價值產生連結。本研究即以文化詮釋研究中客觀的角度，探尋一個外來文化的引進與台灣環境下的文化轉變。再者，秉持嚴謹的研究態度專研台灣街頭塗鴉藝術未來發展的多元性，亦是本研究的核心價值。

在日常生活中，可以體會到有許多「視覺符碼化」的存在，而「視覺符碼化」也存在著許多文化意涵與藝術形式的深層價值，倘若以多元面向的藝術觀點來看待，這些視覺符碼是有存在的必要性。所謂的大眾化藝術是豎立在生活藝術的殿堂之上，距離生活是愈來愈近的。而本研究所探究之「視覺符碼化」主要鎖定在後現代街頭塗鴉藝術的現狀與未來發展，因此，本研究以產業行銷為主軸，以「後現代街頭塗鴉藝術」與「文化創意產業」二者之間關係的結合探討，藉由原創、流行動向、商品化與個性化的層面來探究街頭塗鴉藝術表現之現狀。本研究方法是運用文獻分析與深度訪談的探索、歸納與詮釋的過程，整理現今台灣街頭塗鴉的發展與趨勢，希冀藉由時尚流行來帶動全新的文化產業型態。本研究之深?訪談的方式是以四~五位受訪者進?訪談，而訪談對象以「街頭塗鴉創作者」為主，共計有三位受訪，其次，共有二位受訪者接受「流行商品經營」方面之訪談。訪談題目之設定，是就研究中不同層面之議題提出相關問題，企圖從訪談的資訊中得知後現代街頭塗鴉藝術的過去、現在與未來之過程以及消費社會之行銷策略、轉化過程與地區環境的互動關係，且藉此發現再造「街頭塗鴉藝術」產業之發展趨勢與契機。

基於上述原因，本研究共分為五章加以論述，首先，第一章就街頭塗鴉的文化發展與脈絡，第一節塗鴉文化的歷史背景與起源中分為三小節分析，（一）塗鴉文化的源起與定義（研究背景）；（二）當代塗鴉文化流行之特性（研究動機）；（三）當代街頭塗鴉藝術之崛起（研究目的），藉此分析整理出街頭塗鴉的背景、動機與目的。而第二節是說明街頭塗鴉的文化歷史演進，將透過文獻資料剖析街頭塗鴉藝術之呈現風格與形式表現、世界各國街頭塗鴉藝術者之風格表現及台灣街頭塗鴉者之文化認知與詮釋。

其次，第二章是探討後現代街頭塗鴉藝術的場域再現。本章共分為三節，第一節以文獻與理論剖析後現代街頭塗鴉藝術的社會價值觀，此節以二部份分析，（一）後現代街頭塗鴉藝術的文化特性；（二）後現代街頭塗鴉者的藝術創作行為。再者，第二節以詮釋角度探究街頭塗鴉藝術之文化意涵之問題，此節重點以藉由Roland Barthes的神話學、Roman Jakobson的傳播模型論點解析後現代流行神話之街頭塗鴉藝術現象文化存在之價值，透過文化學家論點解讀街頭塗鴉藝術次文化現象。而尤其在現今社會中，塗鴉藝術已成為一股次文化流行的主流，且在透過深入剖析此文化價值與文化意涵等議題。而第三節後現代街頭塗鴉多元文化的文本評價，將資料歸納（一）通俗文化再造街頭塗鴉藝術多元文本的流行炫風及（二）後現代街頭塗鴉藝術多元主義的意識形態。這也說明了文化影響力的趨勢，逐漸在全球化的城市環境中，大量吸引了年輕消費族群。

再者，第三章是分析以消費文化檢視塗鴉商品化的流行意識，此章探究分為為三節，第一節以瞭解街頭塗鴉文化商品之品牌銷售議題性不足之處，藉由訪談整理街頭塗鴉流行服飾品牌商品符號的行銷現狀，與後現代街頭塗鴉消費文化的商業作為模式與應用。第二節後現代街頭塗鴉文本流行文化之產業認同，探討重點以（一）後現代街頭塗鴉文本商品化消費之行銷經營；（二）經營者藉由塗鴉文本導入商品產業之價值。而第三節以後現代全球消費品味之多元塗鴉商品化現象，藉此瞭解（一）後現代街頭塗鴉應用於個性化商品行銷；（二）後現代街頭塗鴉品牌商品行銷對經營者之影響。基本上，本研究藉由文獻分析瞭解街頭塗鴉商品化的起源，是由Harlem於1986年所成立的「普普商店（Popular Shop）」開始販賣塗鴉藝術商品，其實是為了延續自身的藝術作品而轉向運用商品來銷售，亦藉與大眾文化和生活議題保持著密切關係。換言之，塗鴉文化的演進與風格表現，大部份都是受到當時期流行文化與藝術的影響，因此，本研究將歸納流行消費的議題討論塗鴉商品的發展性。

接著，第四章的部份是探討街頭塗鴉商品消費的發展型態與未來契機，此章根據上一章所探討的研究問題，而第一節進一步歸納後現代街頭塗鴉藝術導入產業化經營之消費型態，因而探究（一）後現代消費傾向對塗鴉流行商品之品牌誘因；（二）後現代街頭塗鴉藝術運用於文化流行商品之發展。其次，第二節經由訪談整理，以後現代街頭塗鴉符號消費做為一種溝通管道，並提出（一）建立後現代街頭塗鴉完整性的消費文化指標以及（二）後現代街頭塗鴉次文化的新生活藝術典範。第三節論述後現代街頭塗鴉藝術消費社會的全面籠罩之發展現況。值得注意的是，街頭塗鴉是受到外來文化之影響，塗鴉創作者透過流行的風氣，運用另類表現手法與素材，在城市的每一個角落作畫，已成為台灣流行的風潮，更使此流行走向「文化產業型態」的層面。相對的，流行商品的開發與獨特性最重視視覺意象的傳達，流行商品的成功，以視覺化的導入對產業的開發是功不可沒。因此，街頭塗鴉藝術已浮出於視覺化流行商品價值的各個層面中，從此點可看出，有不計其數的塗鴉藝術家活躍在街頭藝術創作中，並紛紛建立起自我的品牌形象與銷售商品，如服裝、玩具、極限運動用品和代表另類生活方式的個性化商品，與此同時也更顯現出一股不斷擴張的文化產業經濟力量。

最後，第五章為結論，本研究針對街頭塗鴉藝術導向文化創意產業發展的趨勢，就創意產業與品牌行銷之間的關係進行研究，以釐清台灣文化創意產業的行銷現況與特質，並藉以提出街頭塗鴉藝術如何提升文化創意產業於品牌行銷上的參考基準及可行性條件，而本章就前述各章節之論述總其成歸納結論。本研究發現，由於「塗鴉文化」的產業發展是一條艱辛的路，或許藉由文化創意產業的可行性發展研究，結合後現代街頭塗鴉藝術應能找到未來兼具文化藝術及產業發展永續經營之路。

關鍵字

街頭塗鴉 ； 後現代主義 ； 流行文化 ； 消費社會 ； 文化創意產業

並列摘要

In recent years, many studies related to graffiti derived from street art exist. An increasing number of researchers start to explore the Taiwanese localization of graffiti, and related issues such as cultural essence, cultural identification and rejuvenation of graffiti values. In addition, they also deeply analyze the significance of graffiti and the link with the life and self-value of the creator. This study explores the introduction of foreign culture and cultural transformation in the Taiwanese environment from an objective angle of cultural interpretation. Furthermore, the rigorous manner to study the polymorphism of future development of Taiwanese graffiti is also the core value of this study.

The existence of a large amount of visual symbolization can be realized in the daily life, and the symbolization also entails many in-depth values of cultural meaning and the art form. The existence of these visual symbols is necessary in terms of multi-faceted artistic viewpoint. The so-called popular art is based on the palace of life art, and is closer to real life. The symbolization in this study is primarily dedicated to the status quo and future development of post-modern graffiti. Therefore, this study takes the industrial marketing as a main axle, and discusses the relationship between the post-modern graffiti and the cultural creativity industry. The exploration into the status quo of graffiti is through the originality, fashion, commercialization and customization. The research method is utilizes the document analysis, in-depth interview, the induction and the annotation process. It also reorganizes the status quo of graffiti in Taiwan and the development in the near future. There are four to five participants. But visits the object "to spread the crow creator by the street corner" primarily, total some three receives visits, next, altogether has two participants to accept "the popular commodity management" visit the aspect. Hypothesis the topic, is from the research subject of the different stratification plane proposed the correlation question, attempts after in the visit conversation information to know the modern street corner will spread crow art marketing strategy, the conversion process and the local environment the past, present and the future process of as well as the expense society interaction relations, Also takes advantage of this the discovery to make "the street corner to spread the crow art" again development tendency and the turning point the industrial.

Based on the above reason, this research altogether divides into five chapters to elaborate. The first chapter introduced the cultural development and the historical background of street graffiti. It divides into three parts：(1) the origin and the definition of graffiti (research background), (2) the characteristics of contemporary graffiti (research motive), (3) the beginning of contemporary street graffiti (research goal), herewith the background, the motive and the goal is analyzed. The second part focused on the cultural development of street graffiti. It analyzed the discussion of the form of street graffiti all over the world and the interpretation of Taiwanese graffiti society through document analysis.

Next, the second chapter focuses on the field representation of post-modern street graffiti. It divides into three parts：(1) the social value of post-modern street graffiti, (2) the implication of street graffiti and the discussion of Roland Barthes’s mythologies and Roman Jakobson’s dissemination model, (3) the multi-culture evaluation of post-modern street graffiti. This also explained the culture influence tendency, gradually in the globalization urban environment, massively has attracted the young expense race group.

Furthermore, the third chapter is the analysis of sense of graffiti product which made with consumption. The first section includes the deficiencies of brand consumption of street graffiti product. With the in-depth interview, the study concludes current market of street graffiti product and post-modern street graffiti consumption. The second section discusses (1) the management of post-modern street graffiti consumption, (2) the value of graffiti text applies to product. The third section concerns (1) the application of personalized graffiti product, (2) the influence of post-modern street graffiti product to the operators. Basically, the study realizes that the origin of graffiti product is caused from Popular Shop which operated by Harlem in 1986. It not only last the value of art work, but also applied art with popular life. In other words, the form and development of graffiti nowadays were influenced by the culture and style around that time.

In addition, the fourth chapter discusses the consumption of street graffiti product. The first section includes (1) the cause of post-modern consumption into street graffiti product ;(2) the development of post-modern street graffiti oriented product. The second section covers the result of in-depth interview which states visual symbolization as the mean to consumption and it briefly focus on (1) build the model of post-modern street graffiti consumption (2) build a brand new life model for post-modern street graffiti which considers as a subculture. The third section states the consumption situation of post-modern street graffiti society. We have to notice that street graffiti is influenced by foreign culture. And it has become a popular trend in Taiwan. On the contrary, the communication of visual image is very important for development of popular product. It has to be distinctive and significant. It also relates to the success of product. Therefore, street graffiti has been applied to the value of all kinds of popular product. There are many street graffiti artists has created their own personalized product and brand, such as clothes, toys, and athlete product. It shows that the economy among culture industry is increasing gradually.

At last, the fifth chapter is the conclusion; the study focuses on the trend of post-modern street graffiti to the popular consumption of cultural creativity industry. It not only clarifies the current situation and significances of cultural creativity industry in Taiwan, but also states several ways to develop the application of street graffiti into cultural creativity industry. To sum up, the study explores that unites post-modern street graffiti and cultural creativity industry can be the most potential way to be managed and developed in the near future.

並列關鍵字

graffiti ； post-modernism ； pop culture ； consumer society ； cultural creativity industry

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