臺灣博碩士論文加值系統

論題「資訊爆炸後的小孩:在多元的時代下尋找自我的定位」點出了本文的目的，在於透過對創作的書寫，試圖以不同的命題來建構「自我」。
第一章「網路與新媒體時代的小孩」，因資訊的傳遞由網路平台取代傳統報章雜誌等印刷品，造成小孩得以獲取具有暴力、色情的資訊。在如此環境下成長的我，將以社交媒體、新聞媒體、以及媒體娛樂化的現象三項，分別說明在自己過往參與媒體的經驗中，所感到對於真實情感的忽視，以及對只在乎表面虛華的媒體的批判。其中由於對交友軟體的互動感到失望，而嘗試透過創作表達對非網路關係中，那樣純粹情感關係的渴慕，並以新聞作為切面，探討媒體的真實性，因新聞資訊流動快速，儘管事件被捏造，過了一段時間，也無人問津，以此對應我過往家庭記憶中，面對事件來去，而無力回應的孤獨感。綜觀媒體資訊，許多聳動、俗艷、不合乎邏輯的圖文浮濫於媒體平台，而這樣的狀態也導因於大眾與媒體間的一應一和，合力創造出扁平且華麗的媒體資訊景觀。
第二章「自媒體與扮裝」，隨著扮裝在媒體上成為一件容易達成的行為，這樣的普遍現象，已成為真實人生的一部分。「扮裝」不再是虛假的，反而提供了一個管道去面對真實的自我，在扮裝的狀態下，與原本的人生切割，重獲新生。透過在作品中的扮裝，我也不斷試探不同角色的邊界，諸如:性別角色、社會角色等。同時，也追溯在變裝前的自我，探問那些出生便被賦予的限制及標籤以什麼樣的方式存在。
第三章「探索身體與自我認同」，以身體作為出發，面對慾望，探討情愛與性之間的關係。並且在性的摸索過程中，試圖面對自己的性傾向，藉由爬梳「酷兒」一詞的歷史，理解自我於其中的定位，同時以亞洲的第一個官辦同志展覽《光・合作用 ——亞洲當代藝術同志議題展》為例，表達對於酷兒藝術創作未來的期許。本章最後，關注於自己的身體邊界，作為一個靈魂的空間載體，身體該如何與身處的環境做連結。在創作中延展了自己的身體邊界至所在的城市，思考身體被大地孕育之初至終的過程，並期許以「共生」的態度面對自我與環境間的平衡。

The topic "A Child Amidst Information Explosion: Exploring His Self-Positionality" points out the purpose of this article, which is to try to construct "self" through different propositions in the writing of creation.
The first chapter "Children in the Era of the Internet and New Media" discusses the impact of the internet on children's access to information due to the internet platform replacing traditional newspapers and magazines, which results in children being able to obtain information with violence and pornography. Through personal experiences, I examine the effects of social media, news media, and media entertainment on my own emotions and understanding of media, such as feeling ignored of real emotions, and criticizing media that only care about the surface. I have been disappointed by the superficiality of social media interactions and have sought to express my longing for pure emotional relationships in non- network relationships through creation. Additionally, I use the news as a lens to question the authenticity of media. News information flows quickly, although events are fabricated, no one cares after a period of time, corresponding to my past family memories, facing the coming and going of events and feeling powerless to respond to loneliness. Overall, there is a prevalence of sensational, vulgar, and illogical images and texts on media platforms, which is perpetuated by the actions of both the public and media to create a shallow and attractive media landscape.
The second chapter, “Self-Media and Disguise” discusses how disguise has become a common occurrence in media and has become a part of real life. “Disguise” is no longer seen as false, but rather it provides a channel to face one's true self. By cutting ties with one's original life, one can be reborn through disguise. Through my work, I constantly explore the boundaries of different roles, such as gender roles and societal roles, while also reflecting on the self before disguise and examining the limitations and labels given at birth.
The third chapter, “Exploring the Body and Self-Identity” uses the body as a starting point to examine the relationship between desire, love, and sexuality. Through exploring sexuality, I attempt to confront my own sexual tendencies and understand my position in it by tracing the history of the term "Queer" and using the example of the exhibition "Spectrosynthesis - Asian LGBTQ Issues and Art Now" as the first official exhibition of its kind in Asia to express my expectations for queer art in the future. Finally, this chapter focuses on my own body boundaries and how it connects to the environment as a vessel for my soul. In my creative work, I extend my own body boundaries to the city in which I live, contemplating the process of being nurtured by the earth from beginning to end and hoping to adopt an attitude of "Symbiosis" to balance myself with the environment.

前言·····1
第一章 網路與新媒體時代的小孩·····2
第一節 社交媒體中的情感關係·····4
第二節 新聞媒體的後真相·····7
第三節 媒體的娛樂化·····11
第二章 自媒體與扮裝·····15
第一節 服裝作為我與現實的交界·····17
第二節 變裝前的自我·····20
第三章 探索身體與自我認同·····24
第一節 身體與情慾·····24
第二節 面對性別認同·····29
第三節 身體的邊界·····34
結語·····38
參考文獻·····41
附錄:「反正你明天就忘了」個展紀錄·····43
作者簡介·····57

大衛.布金漢(David Buckingham)。《童年之死:在電子媒體時代下長大的兒
童》(After The Death Of Childhood: Growing Up in the Age of Electronic Media)。楊 雅婷(譯)。臺北:巨流出版，2003。
萊恩.霍利得(Ryan Holiday)。《被新聞出賣的世界:「相信我，我在說謊」，一 個媒體操縱者的告白》(Trust me, I’m lying: Confessions of a Media Manipulator)， 張嚴心(譯)。臺北:臉譜文化出版，2013。
尼可拉斯.卡爾達拉斯(Nicholas Kardaras)。《關掉螢幕，拯救青春期大腦:頂尖
成癮專家揭發數位科技破壞大腦功能的恐怖真相》(Glow Kids: How Screen
Addiction Is Hijacking Our Kids and How to Break the Trance)。吳芠(譯)。臺北: 木馬文化，2019。
蘇珊B·凱撒(Susan B·Kaiser)。《服裝社會心理學》(The social psychology of clothing : symbolic appearances in context)。李宏偉(譯)。臺北:商鼎出版， 1997。
海瑟愛(Heather Love)、王蘋、洪陵、陳柏偉、喀飛、游靜、黃道明、甯應斌、劉
人鵬、鄭聖勳、謝莉莉。《酷兒.情感.政治——海澀愛文選》(Queer.Affect.
Politics:Selected Essays by Heather Love》。林家瑄、張永靖、張瑜玶、張雅婷、劉羿 宏(譯)。新北:蜃樓出版，2012。
李.麥金泰爾(Lee McIntyre)。《後真相:真相已無關緊要，我們要如何分辨真 假》(Post-truth: The truth is irrelevant, how do we distinguish between true and false?)。王惟芬(譯)。臺北:時報出版，2019。
尼可拉斯.莫則夫(Nicholas Mirzoeff)。《給眼球世代的觀看指南》(How to See the World: An Introduction to Images, from Self-Portraits to Selfies, Maps to Movies, and More)。林薇(譯)。臺北:行人出版，2016。
尼爾.波茲曼 (Neil Postman)。《娛樂至死:追求表象、歡笑和激情的媒體時代 (2016增修版)》(Amusing Ourselves to Death: public discourse in the age of show business, 20th Anniversary Edition)。蔡承志(譯)。臺北:貓頭鷹出版，2016年。
瑪莉塔.史特肯(Marita Sturken)、莉莎.卡萊特(Lisa Cartwright)。《觀看的實踐:給所有影像世代的視覺文化導論》(Practices of Looking: An Introduction to Visual Culture, Second Edition)。陳品秀、吳莉君(譯)。臺北:臉譜出版，2013。
湯姆.斯丹迪奇(Tom Standage)。《社群媒體前兩千年》(Writing on the Wall: Social Media- the First Two Thousand Years)。林華(譯)。臺北:行人出版，
2016。
甯應斌。卡維波(筆名)。〈什麼是酷兒?〉。《性/別研究:酷兒理論與政治》3 & 4合刊(Sep.1998):32-46。
紀大偉。《同志文學史:台灣的發明》。臺北:聯經出版，2017。
紀大偉。〈在荒原上製造同性戀聲音〉。《島嶼邊緣:色情國族》 14(Sep.1995):81-88。
徐佳士。《資訊爆炸的落塵:今日傳播與文化問題探討》。臺北:三民出版， 1997。