數位互動裝置藝術的場域特性研究

A Study of the Features of the field of Digital Interactive Installation Art

林威辰(wei-chen Lin)

指導教授 ： 王雅倫

崑山科技大學/創意媒體學院/視覺傳達設計研究所/碩士(2010年)

https://doi.org/10.6828/KSU.2010.00031

摘要

數位科技的發達，使人類的文化與生活型態產生了改變，在科學的面向，過往的宏大敘事因虛擬世界中文化的多元與資訊的發達而宣告破裂；在藝術文化面而言，觀念藝術的興起使藝術的崇拜價值漸淡，轉而成為展演價值，藝術不再是物品而是過程。數位互動藝術為科技與藝術文化的匯流點，不僅在媒材上出現創新，同樣在欣賞的形式上也由被動的接受改為主動的共同創造，因此藝術場域不再只是作品與讀者雙向的關係，需要我等深入研究，以明瞭1.現今數位互動裝置藝術場域中角色的轉變2.觀者的接受程度與喜好3.觀眾參與創作後的展演效果，以兩年內當代美術館、國家美術館與北美館之作品為主要分析研究對象。
本研究以觀者的角度探討「典範觀者」、作品裝置與場域之間的關係，釐清在台灣的文化與歷史背景之下的觀者如何看待新型態之互動式體驗藝術。研究中以分析數位科技下創作者與群眾思維的轉變、互動的心靈與物理面向與藝術的場域體驗等三類文獻為基礎，輔以觀眾的認知與文件的分析，進而探討互動裝置藝術中典範觀者、虛擬世界與真實場域間的關係，依典範觀者的存在形式，分類剖析場域關係中的潛在意涵，再進行半結構式的深度訪談，本論文歸納大眾的觀察角度對互動藝術作優缺點分析、發現不同類型互動藝術能滿足觀眾不同的心理需求，建立新的數位互動藝術場域分類形式，以利未來學者對互動藝術的剖析。

關鍵字

藝術場域 ； 互動裝置藝術 ； 典範觀者

並列摘要

With a flourishing digital technology, there is a big change in human culture and lifestyle – in science, the great narration declares bankruptcy due to a wide diversity of culture in the virtual world and the development of information; in art, with a rise of conceptual art, the value of art worship becomes faint, turning toward and focusing on display instead, that art is no longer an object, it is a process. Digital Interactive art is the confluence of technology and art in that not only is the innovating media material introduced but the forms of appreciation have changed from passive acceptance to active joint creation. Therefore, in the art field it is not only a two-way relation between the work and the reader any more, but you and I need to probe into it to understand that firstly the change of the role it plays in the digital interactive installation art field, secondly how much the spectator accept and what they like, thirdly the exhibition effect after the participant get involved the art work. This study is focusing on analyzing and researching the recent two-year works of art displayed in Museum of Contemporary Art Taipei , National Taiwan Museum of Fine Arts and Taipei Fine Arts Museum.

From the spectator’s perspective, the study probes the relationships among “Performance Paradigm,” artwork installation and its field, and it also tries to gain a clear idea of how the viewer who are raised under Taiwanese culture and history deal with this new art form that can be interacted and experienced. In this study, it does further research into the relationships among Performance Paradigm, virtual worlds and on-the-spot field on interactive installation art, which are based on the three categories of documents by analyzing digital technology: the change of thinking between the creator and visitors, interactive souls and physical aspect, field participation, plus the viewer’s recognition and the analyzing survey. According to the existent form of Performance Paradigm, it has classified and analyzed the viewer’s opinions, who have participated in the exhibition field; and further, it will have an informal while in-depth interview with some professionals. From the analysis of strengths and weaknesses which are obtained from the visitor’s observation of interactive art, this thesis generalizes a conclusion that different types of interactive art can satisfy different viewers’ psychological need. Hope that digital interactive art fields can be thus place in new categories so that scholars/artists in the future can analyze interactive art accordingly.

並列關鍵字

art field ； interactive installation art ； Performance Paradigm

參考文獻

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