臺灣博碩士論文加值系統

企業應該擔心的不是創新有無被採納，而是創新為何錯誤地被採納。無論有無科技涉入，許多創新被採用時，由於使用者認知的落差，在陌生狀態下產生曲解的意會，而造成對創新有誤會的解讀。此時，就算使用者採納創新，也不見得能夠發揮預期的效果。設計者要如何才能夠引導使用者才能有效地採用創新，成為重要議題。本研究分析國立故宮博物院商店舉辦的快閃展，了解使用者面對數位典藏所產生的誤解性採納問題。本文解析觀眾意會的三個階段：初始意會、導意作法、再意會，以便理解使用者認知歷程，如何由初始意會而後又改變原先的意會。這樣的分析需要深入理解策劃人、創新與觀眾之間的互動，探索策劃人是用什麼方式引導觀眾的認知，而運用導意的方式重新建構觀眾的意會，最後使觀眾能有效地採納，也就是以新的方式領會博物館文物的意義。學理上，本文點出重塑使用者認知於創新採納過程中的過程，闡釋策劃人導意的作法，理解如何從觀眾認知的曲解中找到重新詮釋文物的契機，引導使用者的再意會，因而浮現新的體會。實務上，本文解讀一套策展的導意策略，藉由理解觀眾的誤會而找出改變觀眾的意會。當創新採納能知道使用者驚訝的構成，就能夠引導驚訝變成驚喜，進而讓創新採納變得有效，使博物館策展不再是不動與互動，而是產生文化上的感動。

Oftentimes, what we should really worry is not whether an innovation is adopted or not, but why innovation is adopted misleadingly. When numerous innovations are adopted, users are likely to misinterpret their applications. This is due to users’ cognitive dissonance and results in making wrong senses of the innovation. As such, even though users adopt the innovation, it may not necessarily lead to anticipate outcomes. In this circumstance, designers need to develop ways to guide users so as to adopt innovations effectively. This thesis analyzes the pop-up exhibition at the National Palace Museum Store to understand audiences’ adoption of the digital archive of cultural artifacts. The analysis follows the variation process of sensemaking in three steps: Initial sensemaking, sensegiving and sense-remaking. It traces changes in user's cognitive process mediated by designers’ sensegiving practices. This study analyzes the interaction among exhibition organizers, artifacts (and replicas), and audiences to explore how designers guide audiences’ cognitive understanding through sensegiving practices. Audiences are able to comprehend the meaning of museum artifacts. Theoretically, this research elaborates designers’ sensegiving practice in reshaping users’ cognition, enabling richer experience for museum exhibition. Practically, this article proposes a set of communication strategies for organizing museum exhibition, while suggesting a set of practical steps for exercising sensegiving. When innovators could navigate user's cognition, turn shocks into surprises, they could then enable effective innovation. By so doing, museum exhibition would move beyond static or interactive display, and gear toward a new genre of exhibition that may touch audiences culturally.

目錄
聲明頁 I
中文摘要 II
英文摘要 III
圖目錄 IX
表目錄 X
壹、緒論 1
第一節 研究動機 1
一、實務現象 1
二、理論議題 5
三、研究問題 8
第二節 研究目的 9
第三節 預期貢獻 11
貳、文獻回顧 14
第一節 名詞定義 14
一、博物館創新：策展與導覽的挑戰 15
二、意會與導意：對創新採納的影響 18
第二節 創新採納理論之背景 20
一、條件因素驗證 20
二、使用者行為特徵 21
第三節 認知落差觀點 23
一、科技的認知框架 23
二、認知偏差 24
三、社會建構過程 26
第四節 科技意會觀點 28
一、陌生觸發意會 28
二、正意會、負意會 29
三、意會是客製化溝通 31
四、認知轉換 36
第五節 理論缺口─科技導意觀點 39
參、研究方法 45
第一節 研究方法：實務的脈絡 45
第二節 案例選擇與理論取樣 49
第三節 分析架構 53
第四節 資料蒐集與分析 57
肆、研究發現 66
第一節 博物館策展的挑戰 66
一、故宮商店的文創歷程 66
二、策展的四個演進過程 71
（一）第一代：陳列不動的文物 71
（二）第二代：走動的園區展覽 72
（三）第三代：互動的數位典藏 74
（四）第四代：追求觀展的感動 75
三、策展的三大挑戰 79
（一）看不懂：深奧的解釋難以親近 79
（二）看不到：鎮館之寶怎麼沒展出 85
（三）看不上：到底要買什麼 87
四、導覽文創化之整體規劃 88
第二節 宮內導覽過程 91
一、初始意會 92
（一）意會觸發：雨過天怎麼青 93
（二）意會觸發：最貴泡麵碗 94
（三）意會觸發：十一億的小碟子 97
二、導意作法 97
（一）導意作法：青瓷水仙盆─瑪瑙點出天青 98
（二）導意作法：蓮花溫碗─《文會圖》裡的下午茶 100
（三）導意作法：汝窯青瓷─蘇富比的稀世珍品 104
三、再度意會 106
（一）再度意會：瑪瑙入釉，雨後天青很恬靜 106
（二）再度意會：蓮花溫碗，文雅溫酒不泡麵 107
（三）再度意會：稀世寶物，才賣兩萬不很貴 108
第三節 《前赤壁賦》導覽設計 109
一、初始意會 109
（一）意會觸發：縱一葦之所如─蘇軾很有名嗎 110
（二）意會觸發：客有吹洞簫者─蘇軾是去遊玩嗎 111
（三）意會觸發：橫槊賦詩─黃州為何有赤壁 112
（四）意會觸發：侶魚蝦友麋鹿─蘇軾郊遊很開心嗎 115
二、導意作法 116
（一）導意作法：文采飛揚 119
（二）導意作法：官場貶謫 121
（三）導意作法：感嘆三國 122
（四）導意作法：心靈療癒 124
三、再度意會 126
（一）再意會：才高八斗志難伸，一貶再貶無人憐 126
（二）再意會：文赤壁深具魅力，獨白浮現內心泣 127
第四節 《後赤壁圖》導覽設計 129
一、初始意會 130
（二）意會觸發：魚─蘇東坡是美食家嗎 133
（三）意會觸發：女人─那是不是他太太 134
（四）意會觸發：登山─東坡有哪些金句 135
（五）意會觸發：白鶴─賞鳥還是遊山玩水 137
（六）意會觸發：為何看不到真品 137
二、導意作法 138
（一）導意作法：文式印表機 138
（二）導意作法：舌尖東坡 140
（三）導意作法：浪漫東坡 143
（四）導意作法：文青東坡 143
（五）導意作法：莊子東坡 145
三、再度意會 146
（一）再意會：仿到變成原創國寶 146
（二）再意會：創意東坡，也會做菜、也會建蘇堤 148
（三）再意會：金句產生感動文具 150
第五節 《寒食帖》導覽設計 150
一、初始意會 152
（一）意會觸發：寒食是要吃潤餅嗎 152
（二）意會觸發：臥聞海棠花─是在賞花嗎 153
（三）意會觸發：夜半真有力─是喝蠻牛嗎 154
（四）意會觸發：也擬哭圖窮─是在哭窮嗎 155
（五）意會觸發：字這樣潦草還這麼貴 156
二、導意作法 158
（一）導意作法：介之推的寒食劫 158
（二）導意作法：花香其實是思鄉 161
（三）導意作法：有力的是時間 162
（四）導意作法：欲哭已無淚 163
（五）導意作法：規矩是技術，隨性是藝術 167
三、再度意會 171
（一）再意會：淡泊名利介之推 171
（二）再意會：美是感性的呈現 173
（三）再意會：珍惜當下，知足常樂 174
（四）再意會：一字千金令人驚，笑看人生浮雲輕 175
五、討論 177
第一節 學術意涵 177
一、科技導意理論之貢獻 177
二、創新採納理論之貢獻 187
第二節 實務啟示 189
一、博物館商店之啟發 190
二、零售文創化之啟發 192
三、服務創新之啟發 198
四、教學上的啟發 200
第三節 研究限制與未來方向 201
一、未來博物館作法 201
二、博物館文創化 203
三、制約與機構 207
陸、結論 210
參考文獻 214
一、中文文獻 214
二、英文文獻 216
附錄：故宮主題式導覽學習單 224

 
圖目錄
圖 1：意會的分析架構圖 55
圖 2：故宮訪客統計，影響力逐年減少 70
圖 3：《前赤壁圖》導意設計之分析 110
圖 4：前赤壁賦的導覽策略與導意方式─第一部分 117
圖 5：前赤壁賦的導覽策略與導意方式─第二部分 118
圖 6：《後赤壁圖》導意設計之分析 130
圖 7：《寒食帖》導意設計之分析 152
圖 8：導意的步驟示意圖 187

 
表目錄
表 1：意會與導意觀點整理 38
表 2：認知文獻理論回顧 39
表 3：本研究田野調查計畫 63
表 4：博物館策展演變模式 78
表 5：停雲書店展品規劃 89
表 6：宮外文物導覽主題說明 90
表 7：《前赤壁賦》分段導覽規劃 126
表 8：後赤壁圖分段導覽規劃 141
表 9：文青必知的五首蘇軾創作 144
表 10：寒食帖分段導覽規劃 164
表 11：意會理論貢獻比較表 184
表 12：本研究導意作法歸納整理 185

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