數位藝術已成為台灣藝術的主流,從近年來的展演、各校接連設立相關科系,即可看出它在台灣受到重視的程度。然而,在台灣這股數位藝術熱潮中,卻偏重於以「科技面向」來主導數位藝術,因而導致數位藝術美學理論建構極缺乏。因此,本研究試圖從數位「藝術」的藝術本質與「數位」藝術的科技性來雙向建構數位美學的可能性。本文依三個面向來探討數位藝術: 一、首先,先從藝術的面向中來探討數位藝術的傳承與創新,試圖歸結出數位藝術並非全然是以科技雕塑成形,來自於藝術史的養份同樣重要。並提陳出數位藝術在藝術歷史的演化之下,已非傳統栩栩如生般的視覺畫面,轉而成為以「觀念」為主的「觀念藝術」型態。 二、而數位藝術的另一面向即是科技,朗.伯尼特(Ron Burnett)宣稱數位時代的人與科技已是共生的,而當我們探討當數位藝術以數位科技為主時,「人」與「科技」之間的關係亦不能避免地被談及,所涉及的是一種由數位科技所帶來的新型態互動形式,透過此互動形式彰顯了「觀者」在數位藝品中的重要性,也就是「體現」概念。數位科技除了體現概念需被提陳,本研究更以曼諾威克(Lev Manovich)的新媒體理論來深入數位科技的特性,試圖從特性之中理解數位藝術美學的表現手法。 三、最後試圖以國美館所舉辦的「漫遊者-國際數位藝術大展」、「快感-奧地利電子藝術節二十五年」兩大展做為研究主軸,將數位藝術的探討聚焦於時空的表現手法之上,從時空表現手法中試圖驗證觀念藝術與科技概念的呈現,並從歷史的脈絡發展中,提陳出數位時代新的「穿透性空間」如何反映著數位時代的時空脈動。
In recent years, digital art has become a mainstream art form around the world. This movement also can be observed from the phenomenon of establishing many relating academic programs and departments in Taiwan. However, development of digital art in Taiwan is highly depended on technical-oriented perspective and lacks of cultural or aesthetic sensibilities. To the extent, this thesis attempts to examine the essence of digital art from both perspectives of aesthetics and technicity in order to establish the concept of digital aesthetics. In doing so, there are three dimensions will be discussed: First of all, the thesis departures from the comparative discussion on continuities and discontinuities between modern avant-gradism and digital art movement. This thesis proclaims that digital art is not only a vivid visual representation of traditional art; but it also transfers to the mode of “conceptual art.” Secondly, the symbiotic relationship of human beings and technologies, as Ron Burnett denotes, has represented its significance while discussing the technological essence of digital art from the characteristic of technicity. This dimension refers to a new interactive mode, and through this new type of interactivity, digital art shows extremely different mode of embodied viewing behaviors. Besides, this part of thesis also applies Lev Manovich’s new media theory to examine digital art in order to comprehend the representational techniques of digital aesthetics. Finally, the focus of this thesis is on the concept of spatiality and temporality of digital art by analyzing two nationwide digital art exhibitions entitled Navigator-Digital Art in the Making and Climax-The Highlight of Ars Electronica held by National Taiwan Museum of Fine Arts in Taiwan. By examining the specific works of art exhibited in these two exhibitions, the final part of thesis reveals how the concept of transparency of time and space reflects artistic pulses of contemporary digital era.