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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

政治 KUSO 創作者:動機與展演 / The Political KUSO Creators in the Internet: Motivation and Presentation

楊璨瑜, Yang, Tsan Yu Unknown Date (has links)
本研究以 2014 年台北市長選舉期間的政治 KUSO 創作為研究對象,採用網 路民族誌為研究方法,深度訪談四位競選期間 KUSO 作品知名度、人氣皆高的 KUSO 創作者。從創作方式、創作動機與目的、創作與自我展演三大面向探究台 灣政治 KUSO 創作與創作者之關係,研究結果發現: 一、政治 KUSO 創作者是「反輔選」之「分身」:創作者將自己視為政治人物的 「分身」,把自身對社會議題的省思以娛樂包裝,透過反輔選的方式表達立 場,體現了 Bakhtin 的「狂歡化」語言。 二、創作動機是不滿政治環境:幾乎所有 KUSO 創作者都認為受到 2014 年「太 陽花學運」的影響,並以娛樂、抒發個人意見及獲得認同為主要創作目的。 三、政治 KUSO 創作者不在意反對之社群聲音:創作者雖然創作目的之一是獲 得認同感,但面對對立黨派支持者的反對聲浪不在意。 四、KUSO 只是工具,創作者意在參與、表達意見:KUSO 本身是一個傳遞資訊 的工具,在政治議題之下產生的 KUSO 就是創作者參與政治、表達意見的 方式。 五、KUSO 創作者選擇匿名以避免社交障礙:在全新的匿名身份保護下,創作者 可以暢所欲言,不用擔心自己的政治立場被眾人審議,政治性言論也不會影 響到真實生活的人際關係。
2

神聖與遊戲:三重無極殿的宗教實踐 / Playing sacred: the religious practice of Wuji temple in Sanchong

林育嫺 Unknown Date (has links)
本研究旨在對宗教田野提供新的觀察視角,從中發掘出宗教修行場域的遊戲面向。遊戲的成分不只好玩與樂趣、不只是單純地「找樂子」而已,其中還蘊含著許多元素:秩序、規則、區隔、競爭、扮演、模仿、經驗、轉化、認同、想像、連結以及「認真」,這些元素都宗教密切相關。因此,本研究嘗試將一間「靈乩」宮壇的種種宗教實踐視作一場遊戲,在觀察視角上從廣義的遊戲形式著手,以詳實的田野記錄和訪談資料為基礎,探究信仰主體如何進入此宗教/遊戲場域,及其如何在「靈視」、「靈動」等宗教能力/遊戲技巧的養成與開展中,連結及中介聖/俗、日常/非常、有形/無形的經驗世界。 從無極殿的例子中可以看到,「超常」的宗教能力其實有一個長期的、紮實的養成過程,信仰主體從進入修煉場域到養成能力,從與靈界各種的往來交涉到最後而能成為兩個世界之間的中介,這是一個笑與淚、嚴肅與遊戲並置與交錯的歷程。
3

台灣Facebook閱聽眾之訊息傳佈研究 / Research Studies on Message Dissemination of Facebook Users in Taiwan

林昱彤 Unknown Date (has links)
網路世界眾聲喧嘩,臉書(Facebook)平台以其社群形式,全面改寫了傳統大傳媒體的閱聽人的角色,並賦予其更多傳播、新聞再製、重製的權力。事實上網絡的每個節點與另一個節點之間,都透過分享、評論與按讚等行為,而呈現有機變化。 本研究以臉書社群上之使用者為研究個案,透過模擬帳號於臉書平台上複製出使用者平時會看到的內容與情境,透過受訪者對於網路即時事件的回應行為進行觀察,歸納出個文章主題之偏好程度與性別、年齡、職業別是否有差異性;而後,再透過一對一的訪談方式,以進一步理解每一位受訪者對臉書貼文之回應行為動機,以及於臉書中自我展演行為之看法。 根據本研究之發現,得出四項成果: 1. 臉書文章主題之閱讀偏好與使用者性別、年齡、職業別有關。 2. 閱聽人之自主性展演表現於「略過」行為。 3. 閱聽人之自主性展現,對於研究設計內容及其回應之關聯性,難以脈絡化。 4. 閱聽人之觀展行為,使得虛擬與實境間的界線消失。 / The Net world is full of sounds and noises. Taken its format of social networking, Facebook radically rewrites the role of spectator used to be designated by traditional mass media. Nowadays the spectator is given the power of transmitting, rewriting, and remolding any social event when surfing and browsing Facebook. As we look at each spectator as a node in the Net world, the relation between one node and many other nodes has become organic as they perform the actions of “share”, “comment”, and “like” on Facebook. This study aims to analyze how and why Facebook users react to certain articles as they browse through a specifically designed Facebook account, in which articles of various themes and topics are posted. It also tries to differentiate those Facebook users according to gender, age, and occupation, in order to understand their personal preferences toward different articles. The methodologies of this study include participation and observation, and one-on-one in-depth interview, so that motivations of each study subject’s responses to those articles can be found. The study findings are as following: 1. The preferences of certain article correspond to gender, age, and occupation of study subjects. 2. The self presentation of study subjects is reflected through the “skip” function. 3. It is difficult to contextualize the relationship between the self presentation of study subjects and those chosen articles. 4. The surfing and browsing action performed by study subjects on Facebook elimate the line between virtual world and real world.
4

現場音樂表演的觀眾互動設計初探-以臺灣獨立樂團大象體操為實驗對象 / Interactive design of audience at live music : Taiwan independent band Elephant Gym as experiment object

林維辰, Lin, Wei Chen Unknown Date (has links)
近年隨著音樂數位化,唱片銷量巨幅降低,現場演出成為表演者能否獲得觀眾喜愛的指標,同時也成為音樂產業營收成長的主要項目。 表演者與觀眾的互動在過去多以拍手、聲音回應為主;而本創作透過行動載具(mobile device)的輔助,嘗試將互動與音樂展演現場的元素,例如影像、聲音、燈光、舞臺等設計相互結合;期能以觀眾的參與、現場系統裝置的即時反應、樂團的回應創造出讓觀眾深刻體驗展演內容之互動音樂會。 本創作從音樂展演面向出發,以使用者經驗為研究方法,進行跨領域實作,從行動載具的特性,思考應用程式之設計、互動元素、創新表演內容,如何促進現場氣氛、以及後續社群效應的設計,是一個嘗試整合科技應用與音樂表演的創作。除國、內外科技應用於現場音樂類表演之案例、相關文獻進行研究,並實地進行場域田野調查、展演相關工作人員、觀眾等訪談,歸納整理適切的現場表演元素,據此發展創作雛形,並實際與臺灣獨立樂團《大象體操》,於2014年12月10日舉行「幾何-大象體操+林維辰互動音樂展演實驗場」,後續以此演出內容作相關使用者行為、現場影像紀錄作回饋與相關資料分析。 本創作期能以數位科技為音樂產業實驗新的表演內容設計與商業模式,以數位為內容加值,尋找音樂產業新的可能性。
5

《城市之間》——音樂創作與空間展演 / Between Cities: The Production of a Music Album and Live Performances

鄭興, Zheng, Xing Unknown Date (has links)
這是一個結合音樂創作專輯和現場展演(火車音樂會)的作品,探討城市之間旅途的往返和時空的轉換,創作過程同時也是尋找「自我」的過程。 專輯發想於我多年來在揚州、北京和台北三地之間往返的移動經歷。十四首曲目通過「出發」「海島」「都市」「歸家」這樣的線索串連,其中也將收錄城市不同角落的聲景,期盼透過作品,讓聽眾思考心目中城市的樣貌,也藉由出發找到自我。展演的部分的是由火車音樂會構成,將音樂表演安排在區間車車廂內舉行,試圖將聽眾們帶回我最初創作歌曲的場景,更好地感受我的音樂創作。 本創作論述提供創作的背景與動機,關於城市、空間、民謠的歷史的文獻探討和其他作品討論,以及專輯和火車音樂會的創作內容說明,觀眾回饋。最後附上結論與參考文獻,構成共五章的創作論述。 / Between Cities is a comprehensive work which combines music album and live show(train concert). It intends to discuss the journeys between cities and time-space transposition. Also, the process of creation is a process of finding myself. Inspired by the travel experience among Yangzhou, Beijing and Taipei over the years, the music album contains 14 tracks through a clue of “Departures” “The island” “Cities” and  “Homecoming”. It also records soundscapes of different cities’ corners. I hope these songs can let the audience think about the appearance of their imaginative cities and find themselves by starting from somewhere. Consisting of music performance which is arranged in train cabin, the train concert intends to bring the audience back to my original scene of songwriting and make them learn my songs more deeply. The thesis declares my motives and songwriting background of this creation in the first part. It then reviews the literary writings about cities, space, folk history and other songwriters’ artworks. In the third and fourth part, I explain all the treatment of my album and train concert, including the audience feedback. Adding on the conclusion and reference, working records above become a five-chapter thesis in the end.
6

基於領域專屬語言之數位展演可客製化開發環境之研製 / Development of a Domain-Specific Language Based and Customizable Development Environment for Digital Interactive Performance

林如意, Lin, Ru Yi Unknown Date (has links)
在過去傳統劇場展演的藝術型態,因爲欠缺互動,易形成台上的表演與台下觀眾互動不頻繁的隔閡。近年來,結合科技與藝術的數位互動展演成為一種創新的表演形態。但在開發互動展演會有技術難度,完成腳本後可能會因為缺乏彈性和擴充性,重複進行一樣的表演,或是再由專業的劇場與程式相關人員反覆修改需求。本研究為解決上述遇到的問題,研發應用在數位展演上的圖型化領域專屬語言編輯器,讓終端使用者可以藉由階段性的操作完成腳本,也可根據不同需求更新背景或角色函式庫。另外,透過實體與虛擬角色的骨架資料繫結的方式,也解決在整合虛擬與實體平台的互動中,實體裝置收到感測器資料,卻無法直接解析取得裝置名稱的問題。於系統上本研究增加使用者自主控制元件和創作腳本,使虛實互動的創作更加彈性。 / In traditional performance, there is little interaction between actors and their audience. Recently, due to the advance of information and communication technology, art and culture are combined with technology mediated interaction between actors and their audience to create a new style of digital interactive performance. However, there are still many technical barriers in developing digital interactive performance. Essentially, the scripts for such performance are usually fixed, or with limited programmability. As a result, one performance will be repeated played or requires a lot of efforts to modify it. This thesis aims to address the issue of programmable scripts with a visual editor and supporting execution environment. In particular, we focus on helping performance director to develop programmable scripts that enable the flexible interaction between physical characters and their virtual counterparts. Our editing tool allows end-users to write scripts using drag-and-drop elements we developed on top of the Blockly framework. Besides detailed descriptions of the design and implantation of our tool, preliminary evaluation results are also presented.
7

穿戴式互動展演創新應用與姿態感測技術研究 / Interactive Performance Using Wearable Devices: Body Skeleton Detection Technology and Innovative Applications

蘇冠榮, Su, Guan Rong Unknown Date (has links)
近年來人體姿態感測的技術與應用愈來愈熱門。許多電玩及電影大多是藉由攝影鏡頭偵測人體姿態,但效果容易受到外在因素的影響,如陽光、遮蔽物等,特別是用在舞台展演方面就不適合了。因此本篇論文希望設計穿戴式裝置來感測人體姿態,並結合新一代無線網路藍牙4.0做為數據傳輸方式,以進行即時互動展演。本論文研究開發以Arduino結合六軸姿態感測器,設計此穿戴式裝置雛型。而實際在展場上表演,此裝置必需具有一定的穩定性、可靠性且方便穿戴。本論文設計出的裝置與系統,已實際參與數場即時互動展演,並且供觀眾親自體驗,反應熱烈。未來期許能將此系統擴大應用於多人異地互動展演上、能有更大的擴充性、多樣的互動體驗。 / Recently, human body skeleton detection technology and its applications are becoming more popular. Many computer games and movies detect human body skeleton by cameras. However, the detection will be affected easily by sun light or obstacles. Especially, this is not suitable for the applications on stage performance. The goal of this thesis is to design wearable devices to detect body skeleton and uses BLE 4.0 for data transmission to interactively real time art perform. We put 6-axis motion detector on Arduino to develop the wearable device prototyping. These devices for performing in practice should be stable, reliable and convenient for wearing or taking off. The devices and system we developed have been used in several real time interactive performances and for audience experience. In the future, this system can be expanded to people performing in different locations and has better scalability and varieties of interactive experience.
8

支援虛實互動展演之程式環境 / Programming Support for Cyber-Physical Interactive Performance Art

蕭奕凱, Hsiao, Yi Kai Unknown Date (has links)
本研究係發想自政治大學「未來馬戲團」的展演活動表演方式,嘗試改進表演方式中的程式技術,以程式化方式整合展演藝術中實體與虛擬的互動平台,我們希望提供導演撰寫較為口語或展演描述方式的腳本敘述如『when ... other-wise ...』,如此一來就可以任意組合實體演員的肢體動作與指示虛擬環境的特效,因此我們採用了一套介接實體與虛擬環境應用程式的領域專屬語言- Digital In-teractive Performance Sketch (DIPS),用以開發客製化的展演程式庫,並佈署於本團隊自行開發的執行引擎 Wearable Item Service runtimE (WISE),提供導演在這個引擎上透過這個DIPS編寫前述口語的程式腳本,讓程式自行互動,達成展演效果的自動變化。 我們的系統會接收來自展演人員穿配的連網感應器上的訊號,並且根據導演寫好的腳本規則,自動根據接收到的裝置訊號判斷出該指示虛擬環境做出什麼樣的效果,以達到展演效果自動變化,完成虛擬與實體展互動的程式支援。 為了減少腳本程式撰寫前須具備的程式邏輯訓練,本研究開發一款所見即所得(WYSIWYG)的視覺化腳本編輯器 DIPS Creator,提供腳本編寫者可以直覺的方式組合編輯器中的展演詞彙方塊,完成腳本設計。 本研究展示了如何以較為口語或展演語意的方式敘述展演規則,以實現虛實互動的程式化,並且提供了具有彈性的客製化展演函式庫及圖形化展演規則編輯器的製作方式,未來可增加多演員層次的抽象支援以展現本研究系統的更多程式化能力,並加入表演階段設計、雙向溝通與規則互斥等能力,擴充系統功能。 / This research was inspired by “The Future Circus”, a cyber-physical interactive performance art developed in National Chengchi University. In this thesis, we pro-pose some mechanisms to support such performance art programmatically in a more effective manner. Specially, we provide a high-level scripting tool for directors to de-scribe the performance rules abstractly in the form of “when ... otherwise ...”, so that directors can compose arbitrary actions and effects easily. Underlying such abstract rules are a domain specific language – Digital Interactive Performance Sketch (DIPS), and a middleware. Wearable Item Service runtime (WISE), developed by our research team. Given a script with those abstract rules, our system will receive signals sent from a sensor on wearable devices of actors, and then it will command cyber environment perform effects, the performance effects or actions according to rules written by the director. Through our integration efforts, the performance effects in the cyber environment will change automatically in a programmatic way. Besides, for users without prior scripting experience, we developed a WYSIWYG GUI editor, DIPS Creator, that allows users to write a script intuitively by dragging and dropping pre-built rule blocks. We conduct a few experiments with real sensor device to demonstrate the programming support of our tool. The preliminary results are satisfactory in terms of prototype support. To further extend our tool for practical performance, we describe in detail a few directions such as support for multiple actor performance stage model-ing, and integrity check of related rules that will make our system more powerful.
9

文化變遷下的族群認同 ----以泰國丹塞(Dansai)面具文化為中心之研究 / Ethnic Group Identity under Cultural Changes : A Case Study of Mask Culture in Dansai, Thailand.

張雅粱, Chang, Ya Liang Unknown Date (has links)
雲南及其鄰近地區的面具文化豐富,但卻鮮少有學者以整體性的研究視野論述該地區的文化特質,因此本文以文化區的學理檢視雲南及其鄰近地區的面具文化,並視其為一文化特質,提出「面具文化圈」的論點。同時從文獻分析得知,現有研究大多集中於儺、藏面具研究,這與現存多地區的面具文化現象有極大落差,換言之,在面具文化圈中還有許多尚未被研究與記錄的面具文化。 面具文化圈與其內部的地區面具文化在族群、文化、歷史與生態環境上形成複雜關聯,本文一方面以丹塞鬼面節為例,說明面具文化圈中文化型式的差異,另一方面視鬼面節為文化展演,紀錄並分析鬼面節儀式,從宗教、國族意識、觀光經濟與地方教育等觀察面向,說明在地文化情境如何建構鬼面節,並與寮國佬族面具文化形成差別,最後再由文化變遷的現象,進一步探討伊森地區族群認同的議題。 透過面具文化圈與鬼面節的論述過程,本研究得出三大結論:(一)雲南及其鄰近地區可視為一「面具文化圈」,(二)從面具文化原型與變形辯證中,可說明在地情境是主導文化產生變遷的重要因素,以及(三)當伊森特性促成文化變遷的同時,也可能會對族群認同產生影響。在泰、寮的文化脈絡裡,丹塞鬼面節案例呈現出文化變遷和族群認同兩大意義,本文希望透過鬼面節的實證研究,增加面具文化的區域研究案例,使其既能在大區域的面具文化圈中呈現出文化意義,又能深入顯示出文化情境對區域文化所產生的結構性影響。 / This dissertation regards Yunnan Province and neighboring areas as the "mask culture circle" from the theory of culture area, and explores its forming reasons, such as ethnic migration, mask-culture trait and archetype of mask-ritual and so on. The author finds the most mask studies to focus on the researches of Nuo-mask and Tibet-mask through analysis data , so it means that there are many mask cultures have not been studied and recorded yet within "mask culture circle". “Mask culture circle” and its regional mask culture form complex relationship in terms of ethnic, culture, history and environment. This dissertation takes Phi Ta Khon Festival in Dansai as a case and illustrates it how to make different with the cultural model of “mask culture circle”. Meanwhile, the author thinks Phi Ta Khon Festival as a cultural performance and records, analyzes Phi Ta Khon Festival in terms of religion, national consciousness, tourism economy and local education in Dansai, for understanding local environment how to construct Phi Ta Khon Festival. Because local environment makes regional mask culture form cultural changes, so we can have a further discussion about the issue of ethnic identity in Isan. Generally, there are three conclusions in this dissertation: (a).Yunnan Province and neighboring areas can be regarded as the "mask-culture circle". (b).Through discussing with the relationship of archetype and variety of mask culture, it can help us to know that local environment is an important factor to cultural changes. (c).When Isan-ness makes cultural changes, at the same time, it maybe also exert an influence on ethnic identity. Phi Ta Khon Festival shows the meanings of two things, one is cultural changes, and another is ethnic identity. This dissertation hopes Phi Ta Khon Festival can increase case studies of mask culture, and lets it not only present the cultural meaning to” mask culture circle” , but also show the impact of local environment on regional mask culture.
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Bitch-Style男街舞舞者的妖、騷、婊-其舞蹈實踐、跨性別展演與自我 / Bitch-Style Male Street Dancers - Their Dance Practices, Transgender Performances, and Self-fashioning

林青儀 Unknown Date (has links)
街舞圈中,有一群特別的男舞者,他們擅長各種在台灣偏女性意象的風格。妖、騷、婊,是大家最常用來形容他們舞蹈肢體的詞彙。這群Girl’s Style男舞者帶給觀眾對於性別的不安全感,是這份研究的出發點,並且提出兩個研究問題,第一,他們性別越界特質的舞蹈實踐為何,反映了什麼性╱別意涵;第二,他們如何從舞蹈實踐中形塑自我。 為了解舞者的舞蹈實踐,本研究採取了參與觀察與深度訪談兩種資料收集方法,在校內熱舞社與校外街舞教室兩個田野點,集結近六個月的參與觀察筆記、近一年的相處經驗,以及四位受訪者的訪談內容,組成了可供分析的資料。研究者以舞蹈實踐、跨性別與舞蹈取向的自我,作為資料分析的三大概念,讓可見的舞蹈與舞者成為資料分析的對象。並且將舞者的自我等同於舞者的身體,其支持了舞者的吸收與抵抗,是舞者能動的基礎。 研究發現,這群特別的男舞者在街舞圈中,透過服裝、話語、性別腳本等多重文本的實踐,構成Bitch-Style這個新的意義系統,並且在實踐中翻轉了妖、騷、婊等污名話語,亦形塑跨性別的自我。舞者亦會在不同的情境中會自動調校性化的位置,以自我保護、展演符合社會期待的性別角色。未來期望更舞蹈與性/別的相關研究,能和本文的婊子們彼此激盪、對話。 / There’s a group of male street dancers call themselves “bitches”. Started with the uncertain feeling toward their sex/gender dancing image, the study tried to figure out what are their transgender dance practices, what kinds of meaning it contains with sex/gender, and how they fashion themselves by dancing. To understand their dance practices, the researcher took " Participant Observation" and "In-Depth Interview" as the two ways of data-collecting. After gathering with them for one year, I take dance practice, transgender performances and dance orientation of self as three approaches to analyze data. Self in this study is treated as dancers’ dancing body. In conclusion, the researcher argue that Girl’s Style male street dancers should be named as Bitch-Style male dancers. They form themselves by multi-textual practices such as discourses, dressing and gender script. Those insulting phrases like 妖、騷、婊 are transformed into positive words to them by dance practicing. Also, researcher found that they change sexed position quickly and well whenever they change scenarios. In the future,I hope there could be more researches about dance and sexuality which can support and dialogize with Bitches in my study.

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