(3.239.33.139) 您好!臺灣時間:2021/03/07 23:58
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果

詳目顯示:::

我願授權國圖
: 
twitterline
研究生:伊莉莎白
研究生(外文):Elizabeth Prins
論文名稱:「參與式藝術」在社會變革中的作用
論文名稱(外文):The Impact of Participatory Art on Social Change.
指導教授:黎志文黎志文引用關係
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:美術學系碩士班創作組
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2014
畢業學年度:102
語文別:英文
論文頁數:67
中文關鍵詞:參與式藝術
外文關鍵詞:Participatory Art
相關次數:
  • 被引用被引用:1
  • 點閱點閱:428
  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:3
藉由調查全世界的例子還有台灣當地的慣例,來研究「參與式藝術」在社會變革中的角色與影響。
研究引言:此研究內容將會調查「參與式藝術」的趨勢,及其在社會變革中的影響。
首先,在第一章的地方,我們可以透過看見西方國家的例子來了解到,術語的建立是要能在所有的干預中,社區計畫,和參與式藝術之間得到更清楚,更具體的了解。我將會簡短地敘述這些活動的歷史,還有這些不同的計畫案所表現出來的特性。
在第二章當中,我會簡短地討論現代化的藝術實踐是如何地適應高科技,尤其是越來越多人使用網路,會讓觀眾們由被動的觀看者變成主動的參與者。我也會提到新型媒體的優點與缺點,而這樣的衝擊對於觀眾的參與度帶來怎樣的演變,另外,我也會說明這些對於藝術與表演的形式會有何影響。
藉由觀察潘娉玉和簡吟如等幾位藝術家的風格,我會多著墨於台灣在這些變化中目前的現狀。在第三章裡面,我將會檢視他們運用在不同的計畫當中的方法或方法論,同時也透過參與式藝術來定義正在上揚中的群體意識。
結論的部份,將會是前幾個章節中所做的討論、發現與結果的總結。我會把視覺的結果(有形的)所產生的那些想法整合起來,用以回覆可應用於的相關方面內容。
第四章將會是以裝置藝術作品為內容的方式來對我的視覺表現結果(有形物體)所作出的提問,還有這樣的方法如何變成在這個篇章中所討論到的觀點的回應。結論的部分將會是以上所提到的各章節中的討論所出現的研究結果,並將之做個概要總結。
實際的結果
最後的裝置將會包含兩個敘述的部分:
1. 對於每一件作品的主觀敘述,它將會形成較大的裝置的一部分。每件藝術作品都有它自己的獨立的故事,甚至是幾個配角故事的連接,而觀眾可以加入他們自己的主觀性來做仔細的分析。每一個單獨的作品都可以作為較大型的裝置的主體。我的目的是要製造一個人工的環境來刺激觀看者。我將會使用在地找到或製作的物品,計劃性地放置好他們,然後使觀察者思考在某範圍之內如何去移動此物品。這些物品的選擇及安排是由我來決定的,也就是說會帶有我個人的主觀性在裡頭,然而,觀眾並不會被迫用作者的觀點來做描述,反之,此活動的目的會是觀眾被引發的自我省思。
2. 最後的裝置展覽的重疊敘述將會是一個具體的結果,此具體結果是藉由調查現存世界或者除了已存在的事物之外試圖創造出來的另一個選擇所得的結果,且它會被用來作為基礎。試圖要重新定義我們認為我們已知的事情,我們從推測出來的現實主義到比較偉大的內部關係來準確地指出這樣的改變,可能是,也可能不是一派胡言。而且,透過經驗的過度刺激,現在已經取代了大眾的消費主義。透過裝置藝術,社會變遷所帶來的影響將會隱隱約約地發酵。這個 ”傾向吸引觀眾至觀賞用的角度,而非干涉觀眾與作品的互動” 的決定是以Thomas Hirschhorn以下的這段話作為基礎。而以下這段話也解釋了他對於”有關連的美學”的方法:
我想要替這個懶惰的,糟糕的民主,還有煽動人心的詞語 ”參與” 來想出另一個辦法。我不是為了 ”參與式藝術”,那實在是很蠢。因為每一幅古畫都會使你參與的比現今的 ”參與式藝術” 還來的多。因為首先真正的參與是一種思維上的參與。參與不過是 “消費” 的另一種解釋罷了。– Thomas Hirschhorn.
(Bishop 264).
觀眾們是否已經變得太懶惰,無法心理上地或有創意地在展覽場中與實體的作品有所互動,他們需要的是''填鴨式''與互動的幫助,就好像是幼稚園裡頭的過動症孩子一樣,需要不斷地維持活躍才能夠吸收新知識呢?是否新科技和新改變在這場量身訂做的消費中讓我們過的太舒適了呢?


This research document will investigate participatory art trends and its impact on social change.
Firstly the terminologies will be established to get a clear and concrete understanding of the differences and similarities between interventions, community projects and participatory art by looking at Western examples in Chapter 1, a brief discussion of the history of these movements and a look at the attributes shared by various projects.
In chapter 2, I will briefly discuss how contemporary art practice has adapted with technology, in particular the increased use of the Internet, changing the role of the audience from passive viewer to active contributor. I will mention the advantages and disadvantages of new media, and how this impact has morphed audience participation and its influence on new forms of art and performance production.
I will focus on what is happening in Taiwan concerning these topics by looking at artists such as Ping Yu Pan and Yin Ru Chien. Their approaches and methodologies regarding their different projects will be investigated to help define the aspect of raising community awareness through participatory art in Chapter 3.
Chapter 4 will be an interrogation of the ideas behind my visual outcomes (tangible pieces) within the context of installation and how this approach becomes a response to concepts discussed throughout the text where applicable.
The conclusion will be a summary of the findings and outcomes of the discussions that emerged from the above mentioned chapters.

Practical outcomes
A final installation will consist of two narrative strands:
1. The Subjective narrative within each piece, which will form part of the larger installation. Each of these pieces will have an independent, yet coagulated joined sub-story, which the audience will be welcome to dissect with their own added subjectivity. Each individual piece will serve as a building block of the larger installation. My aim is to create artificial environments to stimulate the viewer. Locally found and made objects will be schematically placed and arranged to allow the viewer to move within a space of speculation. The choice and arrangements of these objects will be made by me, which will bring with it, its own subjectivity, however the audience will not be forced to generate a narrative from the artist’s perspective but the intention will be for the audience to be triggered into self-reflection.
2. The Eclipsing narrative of the final exhibition (installation) will be a tangible outcome of an investigation into the existing world and an attempt to create an alternate one by using the already existing, as a base structure. Attempting to redefine what we think we know, to pinpoint a shift in subjectivity from a speculative realism (which might indicate the human arrogance of centrality) to a greater inter-relationship, which may or may not be hogwash and perhaps, overstimulation through experience, has now replaced mass consumerism of things. Impacts on societal change will be subtly explored, through installation. The decision to gravitate toward a spectatorial position instead of an intervention, accompanied with audience interaction (determined by the definition of audience interaction, be it mentally or physically) will be based on the following quote by Thomas Hirschhorn, which explains his approach to ‘relational aesthetics’:

I want to work out an alternative to this lazy, lousy ‘democratic’ and demagogic term ‘participation’. I am not for ‘participative-art’, it’s so stupid because every old painting makes you more ‘participating’ than today’s ‘participative-art’, because first of all real participation is the participation of thinking! Participation is only another word for ‘Consumption’ – Thomas Hirschhorn. (Bishop 264).
Have audiences become too lazy to interact psychologically/creatively with tangible pieces in an exhibition space that interaction needs to serve as a catalyst for the absorption of information and narrative formation? Has new technologies and the shift in tailored consumption made us too comfortable?


Index. p.3.
Introduction to research. p.4 – p.8.
Literature review. p.9 – p.13.
Chapter 1: Interventions, Participatory Art and Community
based projects. A brief history and definition. p.14 – p.26.

Chapter 2: Looking at how various artists utilize
new technologies and ‘audience’ within their work. p.27 – p.35.

Chapter 3: Investigating local Taiwanese
artists, Yin Ru Chien and Ping Yu Pan. p.36 – p.47.

Chapter 4: A discussion of my investigation into
participatory actions through installation. p.48 – p.58.

Conclusion. p.59 – p.61.
Works Cited. p.62 – p.67.



Barker, Robert L. (1998) Milestones in the Development of Social Work and SocialWelfare Washington, DC NASW Press.Edwards, Richard L. (Ed. -in-Chief)(1995) Encyclopedia of Social Work, 19th EditionWashington: DC NASW Press.
Benjamin, Walter. (1968) Illuminations. New York: Harcourt, Brace & World,Schocken Books, pp. 253 – 264.
Bishop, Claire. (2012) Artificial Hells – Participatory Art and the Politics ofspectatorship. London and New York: Verso.
Bishop, Claire. (2005) Installation Art a Critical History. London: Tate.
Bourriaud, Nicolas. (2002) Relational Aesthetics. France: les presses du reel.
Chorost, Michael. (2011) World Wide Mind: The Coming Integration of Humanity,Machines and the Internet. Free Press. (s.d).
Costa, Maddy. (2011) Ontroerend Goed: Are you sitting uncomfortably? TheGuardian, London: 7/11/2011. (s.d).
Coulter-Smith, Graham. Deconstructing Installation Art. Online resource (s.d).
Delueze, Gilles/ Felix Guattari. (1980) A Thousands Plateaus: Capitalism andSchizophrenia. Paris: Les Editions de Minuit.
Deleuze, Gilles. (1975-1995) David Lapoujade (ed.) translated by Ames Hodgesand Mike Taormina. Two regimes of madness, texts and interviews.Minnesota (English version): Semiotext (e), pp. 312-pp. 324.
De Oliveira, Nicolas and Oxley, Nicola. (1994) Installation art. London: Thames &Hudson and Smithsonian Institution.
De Oliveira, Nicolas and Oxley, Nicola. (2003) Installation Art in the NewMillennium: Empire of the Senses. London: Thames & Hudson.
Doucet, Stephanie/Montgomerie, Robert. (2014) Multiple sexual ornaments inSatin Bowerbird: Ultraviolet plumage and Bower signal different aspects ofmale quality. Ontario Canada: Department of Biology, Queen’s University.
Esguerra, Richard. (2011) [Interview] Senior Activist at Electronic FrontierFoundation.
Fried, Michael. (1998) Art and Objecthood, In Art and Objecthood: Essays andReviews. Chicago: University of Chicago Press.
Grove Art Encyclopedia. (2006) Installation [Environment]. Grove Art Online. (s.d).
Harols, Christine. (2004) Pranking rhetoric: ‘Culture jamming’ as media activism.London: Routledge.
Huonker, Gustav. (1986) Literaturszene Zurich: Menschen, Geschichten und Bilder1914 bis 1945. Zurich: Unionsverlag, pp. 12.
‘Installation’ definition. (2006) Oxford English Dictionary Online. (s.d).
Internet Rising, (2011) Creators: Andrew Kenneth Martin, Marina Eisen, and AlexEisen [On-line documentary]. (s.d).
Edited by Julie Rivkin and Michael Ryan. (1998) Literary Theory: An Anthology.Malden, Massachusetts: Blackwell Publishers, pp. 45.
Kaprow, Allan. (2003) Notes on the Creation of a Total Art. In Essays on theBlurring of Art and Life, ed. Jeff Kelley. Berkeley: University of CaliforniaPress.
Kabakov, Ilya. (1995) On the “Total” Installation. Ostfildern, Germany: Cantz, pp.243-260.
Lachapelle, Louise. (2013) Community Art or Finding the Way Back Home?, pp.52 – pp. 61.
Medici: Godfathers of the renaissance, Episode 1/2 [television program online]Lion Television. PBS (2004) 220 mins At:http://topdocumentaryfilms.com/medici-godfathers-renaissance/(Accessed on 27.04.2014).
McLuhan, Marshall, Philosopher of Media Theory. (1964) Understanding Media:The extensions of man. New York: McGraw-Hill, pp. 8.
Networked Society. (2011) Directed by Matt McConaghy [on-linedocumentary], Ericsson.
‘Opera’. Britannica Student Encyclopedia. (2006). Encyclopadia BritannicaOnline. (s.d).
Parker, Cornelia. Sculptor and Installation Artist. 2011.
Radice, Martha. (2012) Ambiences in Action: Traces of Time Transit. Montreal:Canada, pp. 299 – pp. 304.
Reiss, Julie H. (2001) From Margin to Center: “The Spaces of Installation Art”.Cambridge, MA: MIT Press.
Rosenthal, Mark. (2003) Understanding Installation Art: From Duchamp to Holzer.Munich: Prestel Verlag.
Shea, Pip. (2013) Co-creating knowledge online. (s.d).
vimeo.com/33416493 (Accessed on 7.2013).
Wenger, Etienne. http://www.ewenger.com/theory/, (2001) (Accessed on3.2012).
Dr. Young, Kimberly. (2011) Founder and President: The Center of Internetaddiction recovery. (s.d).
http://fareasternpotato.blogspot.tw/2014/04/thugs-come-out-on-taipeis-east-side.html (Accessed on 21.06.2014).
http://www.farglory.com.tw/FG_group_website-EN/main.html (Accessed on 21.06.2014).
http://www.farglorydome.com.tw/en/ (Accessed on 21.06.2014).
http://www.frieze.com/issue/review/traffic/ (Accessed on 9.2012).
http://www.goethe.de/ges/umw/prj/kuk/fot/mal/enindex.htm (Accessed on8.03.2014).
http://ifsw.org/policies/definition-of-social-work/ (Accessed on 11.2013).
http://www.moma.org/explore/multimedia/audios/190/1972 (Accessed on9.2012).









Images cited.
Figure 1 - Hannah Hoch, (1923) High Finance. At: Galerie Berinson, Berlin. (http://www.techapps.net/diggraph/collage/hoch.htm (Accessed on 5.4.2013).
Figure 2 – William Hogarth, (1921) Emblematical Print on the South Sea Scheme’. At: Hogarth and the Shows of London, Wisconsin-Madison: Andrew Stevens, (1996) pp. 8.
Figure 3 - http://peacelovefight.wordpress.com/ (Accessed on 26.11.2011).
Figure 3 - http://prafulla.net/graphics/creativity/10-most-creative-crosswalk-advertising/ (Accessed on 14.4.2013).
Figure 4 - http://the22blog.com/tag/no/ (Accessed on 01.05.2014).
Figure 5 - Radice, Martha. (2012) Ambiences in Action: Traces of Time Transit. Montreal: Canada, pp. 300.
Figure 6 - http://www.lissongallery.com/#/exhibitions/2010-10-13_marina-abramovi/ (Accessed on 28.11.2012).
Figure 7 - http://www.timothytuohy.com/network_history.htm (Accessed on 30.11.2012).
Figures 8 to 11 – Courtesy of the artist: Yin Ru Chien.
Figures 12 and 13 – Courtesy of the artist: Ping Yu Pan.
Figure 16 - blogs.lifeandscience.org and www.viralforest.com (Accessed on 06.04.2014).
Figure 21 - http://www.farglorydome.com.tw/en/ (Accessed on 21.06.2014).


電子全文 電子全文(本篇電子全文限研究生所屬學校校內系統及IP範圍內開放)
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
系統版面圖檔 系統版面圖檔