二十一世紀是志願服務的新世紀，台灣地區的文化機構，早自民國70年開始，即陸續運用志工協助機構推動業務，本論文旨在了解國內公共圖書館與博物館本身特有的屬性、定位、發展歷史與功能等差異，導致其志工制度及運用志工資源之不同，來探討二者對於志工管理的政策、發展過程、現況、優缺點等異同。 本研究採用文獻文析法與深度訪談法，參考國內外相關志工管理的文獻，設計訪談大綱進行深入訪談與分析，訪談對象為台北市立圖書館、國立歷史博物館、國立台中圖書館、國立自然科學博物館、高雄市中正文化中心、高雄市立美術館志工業務承辦人與志工組織的幹部。 本研究發現，公共圖書館與博物館皆十分重視志工資源，各館均有訂定志工管理政策及志工組織章程，並不定期修訂其內容，以符合館方與志工的需求。公共圖書館與博物館之志工管理制度最大之不同為志工的專長與教育訓練課程，公共圖書館志工的專長以說故事、團康活動、資料整理、電腦操作為主；博物館志工的專長以美術、手工藝、導覽解說為主；二者依照工作屬性的需求，安排不同的專業教育訓練課程，圖書館的專業教育訓練課程，如說故事技巧、英語課程、電腦研習、服務禮儀等；博物館以導覽解說技巧、各個展覽前都有特訓、讀書會為主，還有相關藝術、科學、美術知識方面的課程，如素描、水彩、陶藝等。志工可以為館方節省經費與人力，增加與民眾互動，建立良好的形象、帶來活力、增加新的服務，提高圖書館的使用率及博物館參觀人數，提升服務品質等，達到行銷推廣的作用。 根據研究調查結果，提出下列十項建議：1.建立公共圖書館或博物館志工聯盟；2.固定專職的志工業務承辦人；3.開發多元化志工人力資源；4.具體的招募策略，主動出擊；5.建立完整的志工溝通與資料保存制度；6.設計線上教育訓練課程；7.提高誘因，留任人才；8.志工組織獨立自主；9.健全志工網站內容，以發揮其功能；10.志工成為有效資產，而不是負擔。 / The 21st century is the new century of voluntary service, the cultural organization of Taiwan, had begun since the 70th year of the Republic of China for a long time, namely used the will worker to help the organization to promote the business successively , this thesis aims at understanding differences , such as domestic public library and peculiar attribute , localization , developing history and function of the museum ,etc., the ones that cause its will worker's system and use the will salary source are different, to probe into similarities and differences , such as two policy , evolution , present situation , pluses and minuses to worker's management of the will ,etc.. This research adopts the methods of analyzing literatures and interviewing, consult documents of domestic and international relevant will worker's management, design the interview outline and carry on deep interview and analysis, visit and date it for the Taipei Public Library, National Museum of History, National Taichung Library, National Museum of National Science, Kaohsiung Cultural Center, and the Kaohsiung Museum of Fine Arts. This research shows that all attach great importance to the will salary source in the public library and museum, every hall stipulates worker's management policy of the will and worker's memorandum of association of will , and revise its content irregularly , the square and will worker's demand by according with the hall . the most different management systems between the volunteer workers of the public library and museum are educational training programs. The professional speciality of the volunteer workers in public libraries are telling stories, group's health activities ,data management, and the computer operation; The annals worker in the museums are at home in explaining in fine arts , handicraft ,and guide; The two arrange different specialized education training programs in accordance with the demand for working attribute . The specialized education training programs of the library are English courses , computer operation , serve the etiquette etc.; The museum mainly focus on the training courses such as the skill of the guide to the exhibition by holding the book clubs, and there are relevant art courses of science and fine arts knowledge such as instance sketch , water colour , pottery art ,etc..The volunteer workers can save the funds and manpower for the hall , increase the interaction with people, set up good images, bring vigor, broaden the service, improve the rate of utilization of the library and visitor number of museums, and make good progress in service quality ,etc., reach the function of market popularization. The research suggests that: 1. Set up the volunteer alliance in public libraries or museums; 2. Regular and full-time voluntary engineering business undertaker; 3. Develop pluralistic voluntary workers human resources; 4.The concrete tactics of recruiting voluntary workers; 5. Set up a complete voluntary workers communication system and the system of the keeping the materials well; 6. Design the on-line educational training program; 7. Improve the incentive to keep the workers from resignation; 8. The independence of the volunteer organization; 9. Perfect the content of volunteer website , and make it to play an important role; 10. Volunteer become the effective assets , but not the burden for annals.

資訊科技的演進與網際網路的發展，使得知識的生產、保存與傳播，產生了革命性的變化。各類強調多元、即時、便利、互動的全球資訊網，正逐漸成為各級教育機構所倚重的教學資源。在大學教育面臨科技進化、社會變遷等結構性的影響，而必須順應時勢，大幅進行改革之際；大學圖書館自然也必須在資訊服務的方法與模式上，加以因應改進，才能滿足教師與學生在研究、教學的資訊需求。 本研究探討數位圖書館、數位博物館等網路教學資源與網路教學、線上學習之相關議題；並從臺藝大圖書館「數位圖書館暨虛擬藝術館」系統推廣利用的角度，探討大學圖書館配合大學教學與研究所需，整合學習環境、建置網路教學資源系統之可行模式與效益分析，以做為臺藝大後續規劃網路教學資源系統及其他同類型學術機構推動類似計畫之參考。 第一章說明研究動機、目的，並提出研究問題。第二章說明數位圖書館、數位博物館、網路教學的內涵與國內外發展概況，並說明臺藝大圖書館「數位圖書館暨虛擬藝術館」專案計畫發展與系統功能。第三章說明研究方法、範圍與限制、深度訪談對象之產生方式、研究實施步驟。第四章根據深度訪談內容，提出綜合分析。第五章根據研究結果提出結論，並針對臺藝大圖書館「數位圖書館暨虛擬藝術館」系統推廣及網路教學資源服務發展與利用推廣，分別提出未來發展建議。 / The evolutions of information science and technology and the developments of the Internet cause the revolutionary changes in production, preservation and dissemination for knowledge. Each kind of World Wide Web emphasizes diversification, immediateness, convenience, and interaction, and have gradually become the education resources for all levels of education organizations. When universities face the fundamental influences with technical evolutions and social transitions, and keep up with the current situation, to carry on reforms with great exertion, the university libraries also must improve their effectiveness in the information service methods and the patterns to satisfy information needs for teachers and students in the activities of research and teaching. This research discusses the related issues about the digital library, the digital museum, the web-based instruction, and e-learning and investigate on the basis of the reinforcement for promotion and utilization of "Digital Library and Virtual Gallery" implemented by National Taiwan University of Arts(NTUA) Library, the feasible models and effectiveness analysis for university libraries integrate learning environment and the establishment of the online education resources system according to the needs of universities in teaching and research, so as to be useful reference for NTUA to design online education resources system and for other academic organizations as the impetus to similar projects in the future. The first chapter shows the research motivation, purposes and brings up the research questions. The second chapter explains the meanings and universal developments of the digital library, the digital museum, and the web-based instruction and illustrates the developments and system functions of "Digital Library and Virtual Gallery" of NTUA library. The third chapter explains the research methods, limitations, the selection of respondents for in-depth interviews, and stages of the study. The fourth chapter presents the conclusions of the interview notes. In the end, the fifth chapter brings up conclusions based on the results of this research and offers the suggestions for the future growth according to the promotion of "Digital Library and Virtual Gallery" of NTUA library and services of online education resources.

學校教育與美術館教育在美術教育理念上有著共同的理想與目標，只是兩者在實施內容與方法上有所差異。兩者若能建立良好的互動與合作關係，不但對學生的學習效果可產生極大的影響，同時也符合美術館教育功能的發揮。目前國內多數美術館以在美術館內辦理教師研習活動，培訓學校教師具有運用美術館能力作為發展館校合作的一種方式。然而，美術館在辦理此種研習活動時，教師需求為一重要的考量因素，同時也必須使教師瞭解美術館舉辦教師研習活動的目的與意義，進而達成兩者發展合作關係的基礎。 本研究先運用文獻分析法探討國內外美術教育與美術館教育的理論發展趨勢，以作為建立兩者合作互動的理論基礎。進而從文獻與親自訪查兩方面，蒐集國內外美術館建立館校合作的模式與舉辦教師研習活動的內容與方式。最後，則以問卷、焦點團體與電話訪談三方面來對國中美術教師進行調查訪問，探討其對美術館舉辦教師研習活動的需求與館校合作方式的意見。研究者則根據此三方面的調查資料作一綜合分析比較，提出以下十點結論： 一、美術教師認同美術館對學校師生具有各種不同的教育功能。 二、美術教師對於運用美術館資源從事教學的知能仍有待加強。 三、美術教師在運用美術館資源上仍面臨許多障礙。 四、美術館的展示內容與方式對一般國中學生的學習接受程度有所困難，影響學生的學習意願。 五、美術教師認同美術館舉辦教師研習活動的目的，同時認為有參加此種研習活動的需求。 六、美術教師參加研習活動的需求在於獲得教學資源與藝術鑑賞教學法的運用。 七、美術教師對教師研習活動的舉辦類型與課程內容需求以教學上的實用性需求高於理論知識性、學校課堂上的教學需求高於以美術館為教學環境的需求以及鑑賞教學需求高於創作教學需求。 八、美術教師對研習活動的教學方式以實作性的需求較高，在師資來源上則偏好有實際教學經驗的美術教師。 九、美術教師對研習活動的舉辦時間以寒暑假的需求最高。 十、美術教師對於與美術館互動方式的意見上，以希望美術館能出版與展示相關的教學資源，並在班級參觀美術館時提供展示解說與活動。 根據上述結論，研究者進一步提出下列四方面建議，希望能提供給相關單位參考。 一、美術館應加強製作可提供給學校作為教學運用的教學資源媒體，並建立學校購置管道的途徑。 二、在教師研習的規畫內容與方式上，應注重教師所具有的成人需求特性。 三、美術館應嘗試與學校建立各種互動與溝通的管道。 四、將美術館教育內容納入九年一貫的課程領域中。 第一章 緒論 第一節 問題背景與研究動機 第二節 研究目的與問題 第三節 研究範圍與限制 第四節 名詞解釋 第二章 文獻探討 第一節 國中美術教育的理論與發展現況 一、現今美術教育的理論發展探討 二、我國國中美術教育的課程內容發展 三、國中美術教師的專業知能 第二節 美術館教育的特質與學習特性 一、美術館教育的特質與特性 二、美術館教育相關理論模式探討 三、美術館與學校的合作關係 第三節 美術館教師研習活動的型式 一、美術館教師研習活動的規劃要素 二、國外美術館的教師研習活動與資源 三、國內美術館舉辦教師研習活動的型式 第三章 研究設計與實施 第一節 研究方法與架構 第二節 研究對象 第三節 研究工具 第四節 研究過程 第五節 資料處理 第四章 研究結果與討論 第一節 研究對象基本資料分析 第二節 美術教師教學現況分析 第三節 教師對美術館教育功能認知情形 第四節 美術館教師研習活動的需求分析 第五節 美術館與學校教師互動之意見分析 第六節 綜合討論 第五章 結論與建議 第一節 結論 第二節 建議 第三節 後續研究建議 參考書目 附 錄 附錄一：台北縣市國中美術教師對美術館教師研習活動需求調查問卷（預試） 附錄二：台北縣市國中美術教師對美術館教師研習活動需求調查問卷（正式） 附錄三：台北縣市國民中學名錄

透過數位博物館具有良好資訊組織和經過管理的數位資源，應用於支援數位學習具有極高的發展潛力。而將資訊架構概念導入數位博物館網站設計，有助於發展更優質之數位博物館網站，促使使用者以更有效率的方式取得所需要的典藏資源，達到數位博物館支援終身學習的目的。本研究以Morae 人機互動分析軟體觀察學習者利用數位博物館輔助學習之學習歷程，並經由學習歷程分析探討數位博物館支援數位學習過程中，學習者單獨以數位博物館資訊架構中的組織系統、搜尋系統，以及利用組織系統搭配搜尋系統輔助完成學習任務，對於學習成效、認知負荷、學習效率與任務達成時間的影響差異。 研究結果顯示：(1)搭配使用組織系統及搜尋系統與使用組織系統學習者的學習成效顯著優於使用搜尋系統的學習者；(2)使用搜尋系統的學習者在認知負荷上顯著高於搭配使用組織系統與搜尋系統的學習者；(3)搭配使用組織系統與搜尋系統的學習者在學習效率上顯著高於使用搜尋系統的學習者；(4)使用組織系統的學習者在任務達成時間上顯著高於使用搜尋系統的學習者；(5)搭配使用組織系統與搜尋系統的圖像視覺型學習者在認知負荷上顯著高於口語聽覺型學習者；(6)圖像視覺型的學習者搭配使用組織系統與搜尋系統，在學習成效上高於使用搜尋系統；(7)使用組織系統、搜尋系統與搭配使用組織系統與搜尋系統高資訊焦慮學習者的認知負荷顯著高於低資訊焦慮學習者；(8)高資訊焦慮學習者使用搜尋系統在認知負荷上顯著高於搭配使用組織系統與搜尋系統 最後，根據研究結果，本研究亦提出數位博物館資訊架構輔助數位學習的教學建議，也針對「自然與人文數位博物館」的網站資訊架構設計提出建議。

本論文探討的是，六十五年前台灣受過苦難的白色恐怖政治受難者重回受害地，成為人權博物館兩園區志工之傷痕記憶轉化歷程。此歷程從個人傷痕記憶著手，含括他們參與人權館說故事後的自我轉化，及轉化後對該館於臺灣社會實踐轉型正義中的角色扮演期待。探索個體與集體記憶是件困難的事，是故起點回到綠島、景美兩處受難地，幽暗無聲卻蘊含飽滿故事的場所，參觀者在此可認識歷史並感受他們受過的苦難。 研究動機肇始於，研究者觀察到不是每位經歷過苦難的人都能重回曾經的受害地，更遑論驅離自己內心的黑暗，點亮傳遞人權之火。很多人仍噤聲不語的生活，惟卻有幾十位受難者志工願意回到園區，說出自己的經歷。國家暴力導致之歷史事件，讓他們成為監獄受害地的一部分，監獄經過社會政治制度的轉變成為博物館，出獄多年後或遺忘或埋藏的人與事，當再進入博物館重見押房牆面留存舊時斑駁痕跡，便即喚起他們內心的傷痕記憶。情境讓記憶甦醒，園區成為說故事場所，他們說故事也觸動個人生命轉化。 研究對象以1950～1970年代十位不同意識型態受難者志工為主，研究者經過近兩年多長期間的相處觀察，與兩個多月訪談分析，看見與熟悉著不同受訪對象的情緒風貌，瞭解他們傷痕記憶的異與同，經歸納分析後，提出不同年代他們有所差異的傷痕記憶建構模式。 研究者更透過該等模式深刻瞭解，十個故事中個體與集體，彼此記憶交錯的幾種複雜情緒，與情緒及內心正面力量的交互作用；也分析不同傷痕故事中隱存之歷史脈絡，與脈絡及個體在過去所想、所看的當時集體社會狀態之關連。更獲知，另有一群受難者，有別於當下臺灣社會認知主流冤錯假案外之另類記憶。人與空間的複雜關係，在過去，如暗室囚禁的恐懼，強化傷痕記憶深植於受難者心中，此記憶並與實質囚房空間密切聯結著；時空改變後，現在，監獄囚室的受害場所內涵轉化為展示歷史的博物館，空間與傷痕感受聯結之記憶，便以故事形式於人權館再現。人權館成為受難者生命質變的場所，它讓他們說故事的意義變得不一樣，產生自我傷痕解構後的療癒結果，也對不同年代他們，不僅對自我，也對參觀者、更對台灣社會產生正面影響。 本研究發現，轉型正義必須從人開始，積極實踐的基礎則是，賦予社會生活中的每個人應重視人權教育，與點燃其探詢歷史真相的熱忱，及擁有維護社會公平正義的態度。除了前述實踐基礎發現外，受難者與人權館又促成另者改變，個體轉化後對群體社會狀態的正面影響，即參觀過該館的年輕人開始關注阻止身邊不正義的現象，與挺身制止違反公共道德的主動行為。此等個體與群體行為的改變，更強化受難者更積極投身人權館，促成該館公共性價值的形成，此價值是民主制度構成之關鍵核心原點，即是公民參與由下而上的集體動能。此動能再促使該館運作更符合社會各界期待，令它在台灣實踐轉型正義失落中，扮演還原歷史真相、教育思想傳遞的關鍵角色。 / This research was aimed to live through and to record the transformation and transcendence of the 65-year-old bitter, traumatic memories of White Terror as the surviving victims returned to the sites of terror, namely Green Island and Jingmei, now both divisions of Taiwanese National Human Rights Museum, to work as volunteer narrators. The records of this sublimation process started with the victims’ memories of sufferings, and as they began to voluntarily tell their own stories, they turned their personal traumas into eager expectations for the National Human Rights Museum to trigger the practice of transitional justice in the entire Taiwanese society. To explore every piece of individual as well as collective memory, both sites of terror, where gloomy silence used to haunt with heart-breaking stories untold, were repeatedly visited so that the painful history could be relived. For the rest of their lives, many victims of White Terror could only live in total silence, never to bring themselves back to the place of sufferings again, let alone lighting up the dark corners inside their hearts and passing on the torch of human rights. However, this study was motivated by the observation that several dozens of White Terror victims did come back to where they had been tortured to tell people their sad stories. In the Museum, every little trace on the walls of the preserved prison cells brings back these victims’ traumatic memories. As these victims relive their painful years in prison and share their stories, the Museum becomes a place where history is passed on and life is lifted up to a higher level. The subjects of this research were ten volunteers, each with a different ideology, who had been prisoned for political reasons during the 1950~1970 period. Through more than two years’ close observation as well as intensive depth interviews that spanned more than two months, the researcher was able to depict these storytellers’ deepest emotions and form a time-bound traumatic memory construction model after analyzing the similarities and differences of the interviewees’ traumatic memories. By applying the model developed, the researcher was able to detect several complicated emotions hidden behind intertwined individual/collective memories as well as some conflicting interactions between those dark emotions and certain positive energy inside. Meanwhile, the historical context could also be revealed by studying those traumatic stories, and so could the relation between the social status perceived by the individuals and the historical context at that time. Notably, this study also discovered that a certain group of White Terror victims actually bear in mind some alternative memories of fear that are off the mainstream and are distinct from the so-called cases of injustice. Dynamic relationships have always existed between human beings and space. In the past, fears towards the dark prison cells were planted deeply in the victims’ hearts. Yet, as the very site of persecution has been turned into a window for history display, the memories that used to connect the fear and the prison cells have now become stories that are passed on and on for the sake of human rights enhancement. The storytellers’ lives have thus sublimed, for the repeated actions of storytelling have been decomposing and healing the traumas inside their hearts, and having positive influence to the visitors of the Museum and to the whole Taiwanese society as well. This study has confirmed that transitional justice has to start with people. To actively put transitional justice in practice, every individual in the society has to be well educated to cultivate a good sense of human rights, a positive attitude towards social justice, and enthusiasm for the exploration of historical truths. In the Human Rights Museum, the volunteer narrators have not only transformed their lives from miserable victims into determined social justice promoters but have also influenced and encouraged young visitors to start paying attention to incidences of injustice happening around them and to take actions against them. The positive influences form a cycle and reinforce one another, helping to shape a collective, bottom-up value system that is the very core of democracy.

夏業良、魯煒在他們所譯的體驗經濟時代一書中提到：「消費是一種過程，當過程結束後，體驗的記憶將恆久存在」，消費者對於實體商品的消費可能因時間、空間的流失而結束，但他們對消費實體商品後，所衍生出來的感動與情感依附，卻可能長久存在，從實體商品轉換成感覺商品的價值差異，正是所有體驗行銷推動者，所試圖創造並達到的。 基於一次對黃金博物園區的親身旅遊經驗，研究者發現該園區具備執行體驗行銷之完整條件，因此引發本研究動機，以此為個案，採問卷調查法與焦點訪談法，研究黃金博物園區體驗行銷之策略。 本研究採取驗證性之方法，獲得結果如下： 1.遊客對黃金博物園區體驗行銷五大策略模組，整體同意度接近4，趨向同意。 2.遊客對黃金博物園區體驗價值，整體同意度超過3.6，趨向同意。 3.遊客對黃金博物園區顧客滿意度與忠誠度，整體同意度為3.8，趨向同意。 4.人口變項與體驗行銷、體驗價值、顧滿意度、忠誠度關聯性不顯著。 5.遊客的旅遊態度與型態，影響遊客對體驗行銷五大策略模組的感受。 6.體驗行銷與體驗價值正向顯著關係，部分成立。 經由本論文問卷資料分析實證結果發現「感官體驗對美感價值、服務優越性 有顯著正向關係」；「情感體驗對美感價值、服務優越性、趣味性有顯著正 向關係」；「行動體驗對服務優越性、趣味性、美感價值有顯著正向關 係」；「思考體驗對服務優越性、趣味性、美感價值有顯著正向關係」； 「關聯體驗對趣味性價值有顯著正向關係」。而「感官體驗對趣味性價 值」、「關聯體驗對服務優越性、美感價值」，卻沒有呈現顯著正向關係。 7.體驗價值與顧客滿意度有正向顯著關係。 8.體驗價值與忠誠度有正向顯著關係。 9.顧客滿意與忠誠度有正向顯著關係。 10.黃金博物園區擁有五大成功關鍵因素（KSF），可提供其他生態博物園 區、博物館，作為體驗行銷執行策略之參考。 （1）保持原味（Originality） （2）具有獨特性（Unique） （3）多變性（Variation） （4）價格低廉（Free & Inexpensive） （5）市場區隔（Distinctive） / In the “Era of Experiential Economy” translated by Xia and Lu, it reads: “Consumption is a process, and when this process is over, the experiential memory is what lasts forever.” A consumer’s consumption of a physical product may end with spatial or temporal changes; however, the feeling and affect that derive from the consumption may last forever, and the difference in value in the transition from a physical product to an affect product is what all experiential marketers are trying to achieve. After returning from a trip to the Gold Ecological Park (hereafter the “Park”), it was determined that the Park had all the necessary conditions for experiential marketing, and this study was conducted as a result. This present study is a case study of the Park using methods such as questionnaire survey and focus-group interview, aiming at the strategies of the Park’s experiential marketing. The results yielded by the analysis are as follows: 1. The overall level of the interviewed tourists' (hereafter the “respondents”) agreement regarding the Park’s five major marketing strategies was close to 4. 2. The overall level of the respondents' agreement regarding the Park’s experiential value exceeded 3.6. 3. The overall level of the respondents’ agreement regarding the Park’s customer satisfaction and loyalty was 3.8. 4. There were no significant correlations between demographic variables, experiential marketing, experiential value, customer satisfaction, and customer loyalty. 5. A tourist’s travel-related attitude and style affect how he/she feels about the five major experiential strategies. 6. The statement that there is a significantly positive correlation between experiential marketing and experiential value is partially supported. The findings yielded by our questionnaire indicate that “there is a significantly positive correlation between sensory experiences, aesthetic values, and superiority of services.” “There is a significantly positive correlation between affective experience, aesthetic values, superiority of services, and fun.” “There is a significantly positive correlation between action-based experience, aesthetic values, superiority of services, and fun.” “There is a significantly positive correlation between thinking-based experience, aesthetic values, superiority of services, and fun.” “There is a significantly positive correlation between correlation-based experience and fun values.” However, there is no significantly positive correlation between “sensory experience and fun values” or between “correlation-based experience and aesthetic values and superiority of services.” 7. There is a significantly positive correlation between experiential values and customer satisfaction. 8. There is a significantly positive correlation between experiential values and customer loyalty. 9. There is a significantly positive correlation between customer satisfaction and customer loyalty. 10. The Park has five KSF, or Key Success Factors, that serve as valuable reference for other ecological parks and museums in their experiential marketing. （1）Originality （2）Unique （3）Variation （4）Free & Inexpensive （5）Distinctive

Web 2.0的時代來臨，「人」成為網路世界的主角，網際網路世界的雙向人際互動受到重視，近年來，越來越多社群網站出現在我們的生活當中，成為現代人溝通連絡的主要管道之一，其中又以2004年創立的Facebook使用率最高，目前已累積約8億的使用者，成為會員數成長最快的社群網站。由於大量的用戶及快速的消息傳播速度，企業開始透過在Facebook設立粉絲專頁來行銷宣傳，與顧客建立關係，而博物館雖屬非營利組織，但為了與日漸多樣化的休閒機構競爭，行銷成為經營重點，因此亦紛紛跟隨潮流架設起專屬的Facebook粉絲專頁，希望能藉此進行網路社群媒體行銷。 本研究藉由個案研究法，線上觀察世界四大博物館─紐約大都會藝術博物館、羅浮宮博物館、大英博物館、國立故宮博物院的Facebook粉絲專頁經營模式，分析比較各個博物館的粉絲專頁內容，評估其是否符合過去文獻所整理的Facebook成功經營要素，並採用粉絲數及談論率做為衡量指標評估營運績效。研究結果發現各博物館發文內容多與博物館展覽和館藏文物相關，且喜歡採用文字搭配圖片方式發文；以營運績效而言，紐約大都會藝術博物館Facebook粉絲數量最多，但國立故宮博物院粉絲專頁的討論率最高，與粉絲互動較佳；同時，本研究亦發現四大博物館目前Facebook粉絲專頁的粉絲雖持續增加中，不過談論率相當低，顯示在經營績效並不佳，仍有許多改善空間，因此提出實務建議以供未來博物館營運Facebook粉絲專頁時參考。 / In the era of Web 2.0, the interaction among people in the Internet world becomes important. In recent years, there are more social network websites emerging in our life. This trend gradually changes our ways of communication. Among these social network sites, Facebook, with approximately 800 billion users now, grows the fast and is the most popular websites. Because of the large number of Facebook’s users and its quick speed of spreading information, many corporations have set up their own fan pages to do marketing and build relationship with customers. Non-profit organizations are no exception. Museums, in order to compete with the other recreational facilities, also establish fan pages on Facebook to promote themselves. This study chooses four world famous museums--Metropolitan Museum of Art in New York, British Museum, Musée du Louvre, and National Palace Museum to do case study. By observing and analyzing the contents of each museum’s fan page, and evaluating its performance through the number of fans and the ratio of “people talking about this,” the study assesses whether these four museums’ operation of Facebook is successful or not. The result shows the main contents of these museums’ Facebook fan pages are about exhibitions and most of information is released with words and pictures. As for the operation performance, Metropolitan Museum of Art in New York has the most fans, but National Palace Museum has the highest ratio of people talking about this, which means it has better interaction with fans. However, according to the result, the performance of Facebook of every museum is not satisfactory and there are lots of spaces to improve. Therefore, researcher gives some practical advice in the end of the study as future operational reference.

歸功於虛擬實境(VR)技術的發展，使得虛擬實境可以逐漸應用在現 實生活當中。近幾年來，博物館一直嘗試應用虛擬實境的特性來增強參訪者的 體驗，目前也有許多研究工作著重在為博物館中的文物建模，但可惜的是與虛 擬實境可為博物館展覽帶來的效果之相關研究相對較少。因此，在本研究中， 我們用 S—O—R 的研究模型，並針對不同的文物類型:器物類、書畫類、書 法類，探討虛擬實境的系統設計特性對使用者體驗的影響。 本研究的研究方法是採用問卷形式，參訪者會實際體驗故宮博物院展覽 的虛擬實境。問卷分析後的結果顯示，虛擬實境的系統設計對使用者體驗及未 來的參訪意圖有很大的相關性。本研究比較也針對不同的文物類型做比較，結 果表示不同的文物類型適合的系統設計是不同的。最後也根據問卷結果對不同 的文物類型提供了未來系統設計的建議，可以作為未來設計相關博物館展覽虛 擬實境的參考。 / Virtual reality (VR) technology has already reached the level of maturity allowing it to be introduced into real-life applications. Recently, museums have been trying to apply it to enhance visitors’ experience and significant research efforts have also been made toward modeling relics in VR. However, there have been few studies on the real effects of VR exhibitions. In this study, we draw upon the stimulus–organism–response framework to theorize how system design feature stimuli affect the visitors’ experience of the VR exhibition at the National Palace Museum (NPM) and how the experience of VR impacts the visit intention. Furthermore, the study compares the VR effects across different kinds of relics (artifact, painting, and calligraphy). We create four empirical models: Model 0 does not consider the differences among relics, Model 1 focuses on artifacts, Model 2 focuses on paintings, and Model 3 focuses on calligraphies. A comparison of the different models shows that in Model 0, design features affect the VR experience, which in turn, impacts the visitors’ visit intention. The VR experiences were characterized by two dimensions: immersion and involvement. The former emphasized the visitors passively immersed in the VR and the latter referred to visitor initiative. Comparing Model 1, Model 2, and Model 3, all the design features have impact on the immersion level for all relic types. In case of calligraphy, the vividness impacts the involvement level and in case of artifacts, the interactivity impacts the involvement level. Based on the analysis, we also propose an improvement for the NPM’s present VR exhibition. The findings of this study can be referenced when designing new VR exhibitions for different relics.

【中 文 摘 要】 博物館功能主要為「展示、教育、研究、典藏」，其中「展示」為博物館與大眾接觸最直接的方式。在現代科技發展中，「展示」的觀念與形式也有所改變，互動式展示日受重視，虛擬呈現的比例亦逐漸加重。 本研究以「國立海洋生物博物館」之BOT專案「世界水域館」《深海水域》電子展示設計為主題，以實務個案為例，探討自然博物館如何規劃與製作深海水域的生態展演，與如何利用〝虛擬實境〞、〝人工智慧〞與〝即時運算〞等尖端技術，架構出「世界第一」無水水族館的展示模式。 往昔自然生態展示以活體展示為主，即複製生態空間讓水中生物悠遊水族箱內。但為了超越時空，讓全球代表生態皆能集中於特定展示館內，遂有電子展示的觀念與製作，以擬仿物取代真實，創造尚‧布希亞的「超真實」世界。 本研究於製程的影音紀錄與相關人員的訪談中，歸納、整理出發展生態電子展示設計的因素與理想，探討製作上的困難之處，同時也以研究者觀點對展示設計過程提出檢討與建議。 深海水域生態在陸地上展示係屬跨越時空的創舉，本個案不但為台灣首例，在世界上亦為先驅。創新嘗試，成果雖不如預期，但以整個專案的具體呈現而言，實為相關領域之前鋒。本研究認為，整理與探討本個案，對未來電子展示設計與製作皆有參考價值；同時，由本個案所建置的生態電子展示平台，亦為台灣博物館界提供國際化的新思維，對博物館未來的展示設計奠定了新的基礎，創造一個新的開始。 / Abstract The main functions of museums are demonstration/exhibition, education, research and collection/preservation. “Exhibition” provides the most direct link between a museum and the public. As modern science and technology continue to develop, the concepts and formats of “exhibition” have also evolved. Interactive exhibits become more valued, and virtual simulation approaches have also increased in proportion. The focus of this research study is the electronic display design for the Waters of the World – BOT (Build-Operate-Transfer) Project, pioneered by the National Museum of Marine Biology & Aquarium. This study uses this project as a case study to explore how a Nature museum planned and produced an exhibit of The Deep Sea waters ecology, and with the use of the most advanced technology such as VR (Virtual Reality), AI (Artificial Intelligence), and the “real-time operation,” etc., how the museum built the world’s first protocol for a water-less aquarium. In the past, ecological exhibits mainly constituted real living creatures, by duplicating the ecological environment necessary for underwater creatures to survive in an aquarium. But, in order to go beyond the limitation of space and time, and to facilitate the presentation of global ecology within a specific exhibition space, the electronic display concept and production has thus been introduced. It is to imitate reality and create a world of hyper-reality, as depicted by Jean Baudrillard. Relying on historical video and audio records, and actual interviews with key people on the project, this research study summarized factors and objectives of the original design, and discussed difficulties encountered in the production process. In addition, the study also provided input and recommendations concerning the design process. The exhibition of The Deep Sea waters ecology on land is a pioneering act, second to none. The case is not only a 1st in Taiwan, but also a 1st of its kind in the world. Although the new attempt has not exactly achieved the expected outcomes, it did initiate a pioneering work within ecology demo field. The researcher believes that the case study is a valuable reference for future electronic display design and production. In the meantime, the ecological electronic-platform created by this project provides an international perspective, and establishes a new milestone for further development in the future.

本研究首先從文獻回顧及實際調查中深入探討影響參觀者使用博物館行動導覽系統的七大影響因素，接著據此設計並實作出在智慧型手機平台上使用之一套博物館行動導覽系統，以期有效解決現有參觀者遇到的導覽問題。研究中使用設計科學之研究方法，提出解決方案，並且依據實際環境、背景以及文獻基礎，設計整體的系統架構。接著以故宮為例，建構出本研究之博物館行動導覽系統手機應用程式。系統開發完成後，以實驗法進行設計之驗證，評估結果顯示：本研究所提出之行動導覽系統相較於傳統之紙本導覽，可提升參觀者使用博物館行動導覽系統的意願、感知價值及滿意度。本研究之博物館行動導覽系統建置過程、以及系統成效的驗證，可作為手機應用程式（APP）廠商建置行動導覽系統或使用設計科學法開發其他類別的APP之指引；亦或作為博物館策劃展覽活動與導入行動導覽系統之依據；此外本研究亦指出使用者預期實際使用系統之感知與預期系統需求之落差，以供未來相關研究參考。 / In this research, according to literature review and field observations, we first identify and discuss seven design factors affecting visitors’ usability in museum mobile navigation systems. We then design and construct a museum mobile navigation system on the basis of the seven factors. The purpose is to meet the visitors’ needs and increase the visitors’ intention and satisfaction toward using the museum mobile navigation system. Design science research method is used in this research to propose solution plans. According to actual environment, context, and literature, the complete system architecture is designed. We then build a mobile navigation application on Android for the National Palace Museum and evaluate the design to ensure this system can effectively solve the problems that the visitors encountered during navigation process. In this research, the building process of the mobile museum navigation system and the evaluation of the system performance could provide guidance to APP vendors; or a basis for museums to plan an exhibition and to implement a mobile navigation system. Moreover, the gap between users’ perception of using the real system and their expected system requirements can be identified; this could serve as the reference point of future related research.