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研究生:曾鈺涓
研究生(外文):Tseng, Yu-Chuan
論文名稱:當代數位互動藝術之特質
論文名稱(外文):The Characteristics of Contemporary Digital Interactive Art
指導教授:賴雯淑賴雯淑引用關係莊明振莊明振引用關係
指導教授(外文):Lai, Wen-ShuChuang, Ming-Chuen
學位類別:博士
校院名稱:國立交通大學
系所名稱:應用藝術研究所
學門:藝術學門
學類:應用藝術學類
論文出版年:2010
畢業學年度:98
語文別:中文
論文頁數:252
中文關鍵詞:數位互動藝術海德格控制論六零年代藝術與科技特質
外文關鍵詞:digital interactive artHeideggercybernetics1960sart and technologycharacteristics
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本論文以海德格(Martin Heidegger, 1889-1976)「技術哲學」的「工具論」與「本質論」為觀念架構,以「控制論」為理論基礎,以新的分析觀點,重新分析藝術史中的藝術與科技、九零年代以後的西方數位藝術研究方向與台灣數位藝術研究方向,提出需透過六零年代藝術與科技活動的歷史回溯,以理解數位互動藝術的根源、觀念與論述,並在此脈絡下,提出數位互動藝術創作具有控制論的基本三種特質:「程式、編碼與執行」、「隨機、自動化與衍生」與「邏輯、程序與系統」,此三種特質不僅呈現於電腦硬體與軟體的媒材之中,也存在於:1、創作者思考的脈絡與執行;2、作品建構中的程序、邏輯與過程;3、觀者與作品的互動、回饋與感知。本論文將透過分析六零年代的藝術與科技活動與論述,提出此三種特質的存在與必要性,同時以國內外藝術家與研究者的作品為例證,分析作品中所具有之數位互動藝術之三種特質,期能提供數位藝術創作者與研究者不同的思考面向。
This dissertation employs Heidegger’s Philosophy of Technology, the instrumental definition of technology, and the essence of technology as its conceptual framework and Cybernetics as its theoretical basis to reexamine art and technology in art history and the direction of Western and Taiwanese digital interactive art research after 1990s from a new perspective. The author suggests that the analysis of art and technology activities in the 1960s can facilitate our understanding of the beginnings and concepts of and discussion surrounding digital interactive art. Also, in this context, the author suggests that all digital interactive art creation can be defined through three basic characteristics of cybernetics, namely: "programming, coding, and implementation," "randomness, automation, and generation" and "logic, procedures, and systems." These three characteristics are not only found in computer hardware and software, but also in (1) the context and execution of the creator’s thinking; (2) the procedures, logic, and process of work creation; and (3) the interaction, feedback, and perception between the viewer and the work. This dissertation proposes the existence of these three characteristics and their importance through the analysis of art and technology activities and discussion in the 1960s. Furthermore, works of artists and researchers both here and abroad are analyzed to exemplify the existence of the three characteristics of the digital interactive art works in an effort to provide alternative perspectives of thinking for digital artists and researchers.
摘要 i
Abstract iii
誌謝 v
目錄 vii
圖目錄 xi
第一章、 緒論 1
1- 1 研究背景 1
1- 2 研究目的 2
1- 3 研究問題 4
1- 4 研究限制 5
1 - 4 - 1 文獻資料 5
1 - 4 - 2 研究方法 5
1- 5 研究範圍 6
1- 6 名詞解釋 6
1 - 6 - 1 數位藝術 6
1 - 6 - 2 數位互動藝術 7
1 - 6 - 3 數位互動藝術的特質 8
第二章、 文獻回顧 13
2- 1 互動的定義 13
2- 2 控制論 23
2- 3 藝術史中的藝術與科技 31
2- 4 西方數位藝術研究 47
2- 5 台灣數位藝術研究 62
第三章、 研究方法與架構 71
3- 1 研究方法 71
3- 2 研究流程與架構 77
第四章、 數位互動藝術的萌起與發展 83
4- 1 電腦藝術 83
4 - 1 - 1 歐洲的電腦藝術 84
4 - 1 - 2 美國的電腦藝術 88
4 - 1 - 3 批判與討論 93
4- 2 六零年代紐約的藝術與科技 97
4 - 2 - 1 Billy Klüver與9 Evenings 97
4 - 2 - 2 Experiments in Art and Technology (E.A.T.) 114
4 - 2 - 3 批判與討論 120
4- 3 Cybernetic Serendipity 124
4 - 3 - 1 Jasia Reichardt與Cybernetic Serendipity 124
4 - 3 - 2 電腦聲響、電腦衍生圖像與互動控制裝置 127
4 - 3 - 3 批判與討論 135
4- 4 Jack Burnham與Software 138
4 - 4 - 1 Jack Burnham的系統美學 139
4 - 4 - 2 「Software」展覽 142
4 - 4 - 3 討論與回應 151
4- 5 小結 153
第五章、 當代數位互動藝術的特質 155
5- 1 六零年代藝術與科技活動中的控制論 156
5- 2 數位互動藝術的特質 164
5- 2 - 1 程式、編碼與執行 164
5- 2 - 2 隨機、自動化與衍生 172
5- 2 - 3 邏輯、程序與系統 177
5- 3 作品分析與驗證 188
5- 3 - 1 國內外作品 188
5- 3 - 2 研究者創作驗證 202
5- 4 小結 212
第六章、 結論 223
參考文獻 235
英文部分 235
中文部分 248

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1. Negroponte, N. (1995). 數位革命 (齊若蘭, Trans.). 台北: 天下文化出版股份有限公司.
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9. 曾鈺涓. (2006, June). 集體記憶抑或集體失憶-鄭淑麗《BABY LOVE》的科技母體幻境. 藝術家, 373, 202-204.
10. 曾鈺涓. (2007). 虛擬自然的真實困境—談林珮淳「人工生命—回歸大自然」系列作品之美好幻影. 美育3,4月刊(156), 84-89.
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12. 戴麗卿. (2004). 超世代競逐:論當代遊藝問題. In 王俊傑 (Ed.), 漫遊者—2004年國際數位藝術大展 (pp. 30-47). 台中: 國立臺灣美術館.
 
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