京都大学 / 新制・課程博士 / 博士(理学) / 甲第25129号 / 理博第5036号 / 新制||理||1718(附属図書館) / 京都大学大学院理学研究科化学専攻 / (主査)教授 宗林 由樹, 教授 島川 祐一, 教授 長谷川 健 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

第10回名古屋大学タンデトロン加速器質量分析計シンポジウム(平成9 (1997)年度)報告 ｢最新型タンデトロン加速器質量分析計(加速器年代測定システム)による高精度･高分解能14C年代測定の利用分野･方法の開拓(II)｣

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京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第18815号 / 理博第4073号 / 新制||理||1586(附属図書館) / 31766 / 京都大学大学院理学研究科化学専攻 / (主査)教授 宗林 由樹, 教授 長谷川 健, 教授 倉田 博基 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

【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.