臺灣博碩士論文加值系統

防疫背景弱化人際系統的支持，也增加心理問題的發生，且社交媒體的盛行助長民眾更加依賴視覺做為放鬆的主要感官，造成單一感官過載，因此本研究企圖選擇能勾起情緒的聽覺與嗅覺作為創作感官體驗的元素，參考聯覺的運作與感受方式，協調多感官，發展虛擬聯覺，並解構氣味與聲音的傳達媒介，創造新的共感感官體驗，最後探討聽覺與嗅覺互動間與身心療癒之關係。本研究回顧聯覺的定義、分類、機制等，深入瞭解先天聽嗅聯覺者在生活中特殊的感受，並了解傳統聽覺與嗅覺的療癒方法，統整其他既有與感官相關的科技創作，分析聽覺與嗅覺作品，並依照查找文獻，親身實際體驗，如芳療與銅鑼浴等，最後根據文獻以及田野調查的體驗進行創作與舉行展覽。

本研究進行的創作「超頻感官(Overclocking Senses)」，利用科技藝術方式，迫使觀者除了被動式感知外界對身體產生的變化外，放慢對外界的感知，更主動式進一步地探索自我身體，其中創作的系列作品有兩件；第一件是大型體驗裝置，調和真正薰衣草作為主調、岩蘭草作為收尾，沉浸式體驗嗅覺與聽覺共感，第二件則是縮小尺幅，變成日常中的隨身裝置，輔助觀眾想像未來科技介入生活後，佩戴產品就有聲音轉化為氣味的能力。

展覽期間，雖然大部分觀眾反應站在大型裝置的環中間，透過聽覺與嗅覺的多感官體驗得到放鬆，但卻無法感受到掌握聽嗅科技聯覺的能力，本研究推斷因氣味較不易掌控，無法精準掌握聽到的瞬間就接續感受到嗅覺，降低兩者之間的連結性，因此後續將逐步改良聲音、氣味的細節，使觀眾可以經由非視覺的線索，平衡因科技洪流所遺忘的其他感官，更進一步達到療癒放鬆之感。

With technology and social media development, people primarily rely on vision to relax and use other senses less, like watching short videos for the whole day, resulting in a sensory imbalance. So the study focused on developing a relaxed atmosphere without using eyes through the idea of auditory-olfactory virtual synesthesia. The study considered people who felt synesthesia innately, integrating the elements of hearing and smell, and made a series of creations and an exhibition.

The "Overclocking Senses" series has two artworks: a large-scale experience installation and a portable device. The sound of a large installation cooperated with Tsung-Ying Chen, using Gongs, Crystal Bowls, and other instruments. As for the smell, lavender was chosen as the leading tone and vetiver as the second tone. The installation emitted sound and smell slowly when the large installation detected the audience standing in the middle of the large ring. Another portable device designed for daily use. Through this tiny device, audiences can imagine a future in which technology will intervene in their lives, and they can transform sound into scent.

During the exhibition, many audiences responded that they felt relaxed inside the ring. However, audiences could not strongly feel the auditory-olfactory synesthesia ability. Other sensory details will be designed in future work to complement the auditory and olfactory experience, forcing the audiences to perceive the external world's changes to the body actively and explore the body's sensory balance.

摘要 I
表目錄 VII
圖目錄 VIII

第一章緒論 1
1.1創作以及研究背景與動機 1
1.2創作以及研究目的 2

第二章文獻探討與案例分析 3
2.1 聯覺 3
2.1.1聯覺的定義 3
2.1.2聯覺的種類 4
2.1.3 聽-嗅聯覺(Auditory-Olfactory Synesthesia) 5
2.1.4 聯覺與藝術 6
2.2療癒 7
2.2.1聲音與療癒 8
2.2.2氣味與療癒 9
2.2.3 多感官與療癒 12
2.3科技與放大感官 13
2.4聲音與氣味之相關作品分析 18

第三章研究方法與步驟 30
3.1研究架構 30
3.2 研究限制與範圍 31

第四章創作過程 32
4.1創作發展脈絡 32
4.1.1田野調查與體驗 32
4.1.2 理念闡述 42
4.2聲音與氣味之選擇 44
4.2.1療癒聲音選擇 44
4.2.2氣味選擇 46
4.3 裝置設計與技術 47
4.4製作過程 49
4.5展覽規劃設計與展出 56
4.6作品呈現與氛圍 59

第五章結論與建議 66
5.1 創作價值與結論 66

參考文獻 69

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