藝術咖啡館之創業計畫 / The Third Place Café is determined to be more than an ordinary café; it will be an innovative fusion of specialty beverage shop and art entertainment studio to enrich people’s lives. As the name implies, The Third Place Café will offer a comfortable social space for one to escape the daily stresses of life and work, to meet friends, to enjoy great tasting treats, or to explore the esthetic sensibility and creative nature of oneself. The Third Place Café will serve premium hot and iced beverages and light snacks. We will use Fairtrade certificate coffee beans only. The Third Place Café will also exclusively feature art entertainment service to customers in two easy-to-do forms: 1) customizing jewelry, 2) painting on a canvas. All the required jewelry and painting supplies will be provided. The Third Place Café will be located in Taipei City Center, in the highly-visible alley off Zhongxiao East Road, where popular hangout and entertainment places are aggregated and with close proximity to art & culture landmarks; two MRT stations serve this area. Our target clientele will be young urban professionals aged between 25 to 44 years with a disposable income and interest in art. The Third Place Café will be operated as a general partnership by three partners. The total planned investment is about NT$ 3 million, NT$ 1.232 million for the start-up expense and NT$ 1.768 million for start-up assets. The Third Place Café anticipates sales of NT$ 4.08 million for the first year and increased sales of 10% per year in the second and third year. Our financial priority is to surpass break-even point early on and maintain a healthy average net profit margin of 15% or the first three years.

本研究旨在探討藝術心理課程對幼兒多元智能之成效探究。本研究以立意取樣選擇臺北市立雨農國小附設幼兒園進行研究，研究對象為56名年齡層滿五足歲至六歲之幼兒，研究設計採準實驗設計，將受試者隨機取樣至實驗組與控制組，實驗組接受為期五週的「藝術心理課程」。本研究所使用的資料處理與分析方法是以質量並行的方式進行，測驗工具採用葉玉珠（2005）所編製「幼兒多元智慧量表」，以量化資料分析為主，輔以質性資料包含教學觀察紀錄省思表、教師回饋表、家長回饋表、藝術心理課程之活動紀錄，作為質性分析之依據。 本研究結果如下：一、藝術心理課程能提升幼兒多元智能；二、幼兒在多元智能呈現大多為組合智能結構；三、幼兒的多元智能表現會隨著關係的熟悉度與團體氛圍增加；四、藝術心理課程之活動設計會引發幼兒多元智能的發展，引起興趣與學習；五、課程突發事件會成為幼兒人際與內省智能的專屬教材；六、幼兒經過教師提醒後能比過去短暫的時間內轉向正向行為。 本研究最後根據研究發現與結果，對教育各領域提出相關具體建議，本研究最終期盼，心理輔導與幼兒教育跨領域的發展課程，能對當今提出另一種教育面貌。

藝術經紀與導覽的商業模式研究 / Research on business model of art agency and art tour originates from my passion for art. This passion intrigues me to construct a gateway to understanding the ongoing development of art in Taiwan. The origin of the idea is to design a business model for art services combining art agency and art tour after keen observation of the paradigm shift from manufacturing sectors to service- oriented sector and by diligent practice on innovative art services. Catering to the niche art market, this type of creative art service may not only create a new trend but also inspire more possibilities for art industries. Keywords: Art agency, Art agency, Art tour, Culture industry, Evaluation of artwork, Featured tour

隨著金融市場自由化、國際化腳步的加快，新金融商品不斷推陳出新。然而，屬於非傳統性資產的「藝術投資」卻往往被人們所忽略。2006年，以目前世界最高價格成交的藝術品—美國抽象表現主義大師波洛克(Jackson Pollock)的作品《No.5, 1948》，以大約新台幣46億元成交。一幅畫比一棟世界最頂級的豪宅還昂貴，令人側目。據統計，全世界約有5兆美元投入藝術市場，每年成交量220億美元。但在台灣，這樣龐大的產業卻不像金融市場，至今猶未能發展出完整的理論架構。無論何種投資，成功投資的關鍵必須掌握四大金律：一是懂理論，二是懂歷史，三是懂心理，四是懂交易。本研究亦希望涵蓋藝術投資的這四個面向。 藝術品評價困難：不似一般商品，藝術品的價格並無所謂公定價，也不似股票淨值或共同基金有淨資產價值(NAV)可以計算。究詰其故，至少有下列九個原因：1、傳統評價模型難以直接應用2、藝術品與private equity皆有兩個特色：有liquidity risk、無市價，評價上較為困難3、流動性差4、透明度低5、炒作6、非理性驅動力7、專家偏誤8、市場風險9、其它變數。

藏族唐卡或稱藏族掛軸畫，乃藏族藝術作品中一項特殊的表現形式。就內 容觀察，唐卡顯示著濃厚的宗教性質；由型式發展來看，這種繪畫形式受 到漢地及印度、尼泊爾等地的影響，經過長時期發展與融合後，唐卡目前 已是藏族一項獨特的藝術作品。由於唐卡具有題材包羅廣泛、主題內容各 具意義、製作技巧及理論並非一般人能掌握、色彩及顏料等材料具特性等 等性質存在，同時唐卡畫像中隱涵著藏族宗教觀、思想價值觀、審美原則 等抽象意義因此，本論文由文獻整理及實地調查兩種方法著手，希望對唐 卡本身的發展、存在的背景、代表意義、運用功能等方面研討，期以說明 唐卡在藏族社會文化中扮演的角色與在藝術上的特殊的意義。本研究採取 文獻整理及實地訪問方式完成，目的除了對藏族唐卡的特殊性做解說外， 並對藏族的社會文化做瞭解．且對藏族文化內涵做更深一層的體認，以作 為認識藏族文化的另一個基礎。

廬隱、蕭紅去世至今已六、七十年了，兩人以女性特有的細膩觀察，加上獨具的才華，寫出超越時空的不朽篇章。從二0年代到三0年代，自「文學革命」到「革命文學」，兩位一生流離，敏感深情的女作家，在筆下各自展延出屬於她們自身與時代的標記，也展現出各自不同的熠熠豐華。 本論文第一章說明研究此論文的動機、目的，並將廬隱、蕭紅兩人的成長經歷、性格、時代背景、文風、作品主題和生平作一比較介紹。 第二章介紹廬隱、蕭紅兩人所處的時代背景，以及這大環境給兩人的小說帶來什麼影響。 第三章主要著墨於探討廬隱小說個人獨具的藝術魅力，分析她小說特有的藝術風格。廬隱的小說廣泛運用日記和書信的形式，這一點在「五四」小說家中是首屈一指的，堪稱為日記書信體的專家。強烈的主觀抒情，濃郁的傷感，是廬隱小說的基調，具有豐富的文化內涵。 第四章主要在探討蕭紅小說的藝術魅力，何以過了這麼久，她的小說依舊為人所喜愛。蕭紅對小說的創作有獨到的見解，認為一個有出息的作家，在創作上應該走自己的路，有自己的文學表達方式。蕭紅小說採用自傳體，充滿詩的意境，連語言、韻律、節奏都詩化，充滿濃厚的感情色彩。 第五章是針對廬隱、蕭紅這兩位女作家藝術風格的同異之處加以比較。兩人的相同處在於彼此都善用抒情筆法，將自己的生平遭逢溶入筆下的人物之中，同具自敘傳風格。廬隱、蕭紅書寫的人物大多以女性為主，主要在突顯出女性在男權社會中所遭遇的不公平待遇。廬隱、蕭紅透過這些不幸的女性的經歷，展現出兩人的女性意識以及對芸芸眾生的悲憫。廬隱、蕭紅藝術風格的相異之處則在於兩人寫作表現的差異。廬隱採以日記體和書信體的文體，用第一人稱的表達方式將處於新舊交接的女性悲哀抒發出來。蕭紅致力於建構一種介於散文和小說之間的特殊文體，在敘事、寫景、狀物中融入深情。集散文筆法、抒情詩手法、繪畫技法於一體，運用兒童視角，營造優美的意境，創造出令人驚奇的蕭紅體抒情小說。 第六章針對前五章論文，提綱挈領的作一總結，並提出此論文未來可再延伸、拓展的願景。

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在台灣，表演藝術活動蓬勃發展的今日，大大小小的各類表演藝術團體此起彼落，有的僅曇花一現成為一劇劇團、一舞舞團，也有的以堅毅卓絕的精神持續奮戰十幾二十年。然而，表演團體雖多，但大部份團體成立的目地都是要方便完全主導自己的創作，因此每一個創作者都是該團的藝術總監，這也是坊間一般的經營模式。 成軍二十年的『舞蹈空間舞蹈團』，為一個擁有專職舞者、專屬排練場以及專業行政的職業舞團，但其創辦人平珩卻未曾發表過創作，舞團演出舞碼均為駐團編舞家的作品。獨特的「創新經營模式」包括承接「代工業務」、「共同設計開發製造」等鴻海專有的經營模式，並夾以「雙品牌」行銷策略，為台灣現代舞團，甚至是整個表演藝術界獨樹一幟。 　　本研究主要探討「創新經營」運用在表演藝術上的作為有何？以及『舞蹈空間舞團』進行創新的挑戰、作為與經營管理的成效分析，故選擇質化分析法中之單一個案研究。 研究結果顯示，『舞蹈空間舞團』在「營運」範疇中「產品市場」、「核心資源」與「事業網路」三構面的發展，的確符合「創新」的四個座標：1.產品的差異化，2.有新的觀眾群體，3.新的價值空間，4.地理疆界的向外移動。並由創新概念中延伸出的新的營運模式，加上該舞團領導者對藝術高包容力的組織文化帶動，讓『舞蹈空間』成為表演藝術界的「異數」，一個致力於與不同編舞家合作的舞蹈品牌。 其次依對經營面向進行成效分析時，則發現『舞蹈空間舞團』創新經營的模式，所創造出來的公共價值超過舞團私人價值，但創新經營方式卻也在某種程度上妨礙『舞蹈空間』這個品牌的發展。 　　最後，本研究依據『舞蹈空間舞團』的創新經營模式，針對深植專業技能、擴大製作團隊的規模經濟、以及強化品牌形象等三方面，提出一套具體改進的建議。 / In recent years, the growth of performing arts in Taiwan is evident. Many performing groups, both big and small were quickly formed. While most groups did not last beyond one show, some have continued to survive, albeit barely, for more than 20 years. A distinguishing feature of the majority of performing groups was that they were formed to retain full control over artists' creative expression. Thus, the founding artists of all performing groups are also the chief art directors, and it was common that artists took on multiple roles in the group. The performance of Dance Forum Taipei was professionally created by the chief choreographers, but was never by the founder Ms. Ping Heng in the past 20 years. In essence, Dance Forum Taipei presented an innovative business management model that includes "original equipment manufacturing", "co-designing, developing and manufacturing" etc. which the leading Taiwanese electronics company Foxconn is specialized in. Furthermore, The adoption of "double identification" strategy has uniquely opted to maintain a clear demarcation of management in the field of performing arts. The present study is aimed at examining the implementation and implications of "innovation" in management of performing art groups. Using qualitative analysis via single subject case study, we will critically analyze the challenges, management strategies and outcomes of the "innovation" by Dance Forum Taipei in managing performing groups. The present study concluded that in the three domains of operations: Product/Market, Core resource, and Business network, Dance Forum Taipei meets the requirements of being labeled as "innovative." Specifically, Dance Forum Taipei demonstrated four major strengths - product differentiation, attracting new audience, providing new core values, and extension of geographical territories. The new business model extended from the innovative ideas have made Dance Forum Taipei a unique role in the field, the brand that symbolizes artistic collaborations among multiple choreographers. However, when we analyzed Dance Forum Taipei for its management effectiveness, the result indicated that the public value was more profound than its own value. In essence, the innovative business management model has stopped Dance Forum Taipei from further development. Finally, based on the innovative business management model by Dance Forum Taipei, the present study proposes a solution for rooting the professional skills, expanding the economy of production scale, and strengthening the business identity.

本研究旨在探討校園公共藝術設置的理論意涵、新竹縣校園公共藝術設置案相關程序問題、新竹縣兩所國民中學公共藝術的執行現況、困難及差異並了解學校師生、家長及社區人士對校園公共藝術設置的認知與滿意度，引起大家對校園公共藝術設置的認同。利用文件分析法與調查法（含問卷調查法及訪談法）進行新竹縣國民中學校園公共藝術設置研究，進而分析歸納出新竹縣國民中學校園公共藝術設置的現況及滿意度。本研究獲致以下重要結論與建議： 壹、重要結論 一、校園公共藝術設置的作業流程從成立籌備會議、執行小組、擬定計畫到計畫總檢討共13個步驟。 二、新竹縣兩所國中校園公共藝術各階段執行有主題難定、公共性爭議、觀念整合、招標限制、進度及民眾參與、排課配合等六個困難及升學排擠、經費及專業能力不足、採購法等四個限制。 三、廠商施作能力及配合度為施工順利完工重要關鍵 四、新竹縣兩所國中師生及家長對公共藝術的認知程度是大概了解` 五、兩校對公共藝術的認識相當清楚，並以「設置於開放空間的藝術作品」及「依據文化藝術獎助條例所設置的藝術作品」概念為主 六、兩校認為公共藝術的性質是具親和性趣味性的，除了藝術功能尚具有觀賞功能等五項功能。 七、新竹縣兩所國中校園公共藝術的設置影響學生學習有境教、情意、美學鑑賞等五方面並牽動學校課程在美學融入、潛在課程、校本課程等三方面的規劃與發展。 八、新竹縣兩所國中師生及家長對校園公共藝術相當滿意。 九、公共藝術的維護管理應考慮材質、施工方式、並保留藝品古樸自然風貌。 十、未來各國民中學設置公共藝術首重溝通再以共同參與原則依程序執行。 貳、研究建議 一、對國民中學的建議： （一）應由藝術專業人員去引導公共藝術之設置，由教育和推廣中得到一些東西，不宜放手讓學生自行創作。（二）嚴選有能力肯配合的廠商，建議由藝術家參與工程開標說明施工之難易度及要求，以讓工程順利圓滿進行。（三）為利於大家參與排課應充分配合。（四）為召喚共同記憶，彰顯設置公共藝術精神，可定期在紀念日作維護保養。 二、對教育主管單位建議 （一）廣撥經費補助學校改善校園環境 （二）辦理公共藝術研習或成果發表，經驗傳承協助學校爭取經費補助，廣泛推廣在校園設置公共藝術 （三）新修建改建校舍工程，應撥足經費，以免因設置公共藝術影響工程品質 （四）新修建校舍建築工程公共藝術設置經費，宜降低比例或有上下限，且在招生上課後再實施，以落實師生共同參與校園公共藝術設置理念。 （五）工程應由縣府專業控管，不是交給非專業校方自行摸索，影響品質。 三、對未來研究的建議： （一）針對兩校問卷調查之「公共藝術意見調查」滿意度結果與對公共藝術偏好評比結果相反，可進行後續調查研究。 （二）針對新竹縣九十二年底開始執行以百分比精神設置的校園公共藝術，及教育部或文建會補助之校園公共藝術示範案例進行後續研究。 / The purposes of this study are to examine the theoretical implications of public arts installation on campus, to explore relevant procedures of such project installed on the campuses of two junior high schools in Hsinchu County, and to compare the current execution, difficulties, and differences while installing public arts between the two schools. In addition, this study also surveyed how much the school staff, student parents, and society appreciate the installation of public art in the campus which may result in the realization of the importance of installing public art in the campus. The document analysis and surveys including questionnaire and visitation were employed in this study. The conclusions and suggestions from this study are as follows: I. Significant Conclusions: 1.Installation procedures of public arts in the campus can be divided into 13 steps including finalizing preparatory committee, assigning execution group, drafting action plans and performing execution review. 2.Six obstacles including main topics decision, public dispute, harmonized awareness, bidding constraints, progress and society involvement, and time allotment were needed to overcome during execution in these two junior high schools. In addition, four constraints are needed to take which include pressure of student advancement, limited budget, insufficient knowledge, and purchase regulations. 3.Construction capability and quality compliance are crucial for the completion of artwork. 4.The rating of “roughly understood” was granted to the school staff, students and their parents in terms of their recognition of the importance of public arts to their wholesomeness. 5.The participants from both schools clearly understood how to install public arts. Majority of the participants believe that public arts should be placed in open public locations and should follow the Cultural Arts Promotion Guidelines. 6.The participants from both schools acknowledged public arts to be accessible and lighthearted. They serve artistic and exhibitory functions. 7.Installation of public arts affects the learning of students in both schools in such aspects as environmental education, affection, and aesthetics appreciation. Such installation triggered the arrangement and development of aesthetics involvement, hidden curriculum and lecture curriculum. 8.School staff, student and their parents in both schools showed satisfactory with public arts on campus. 9.Maintenance of public arts should consider material of construction, way to construct, and reservation of natural features of artwork. 10.The installation of public arts in junior high schools in the future should emphasize open communication first and then public involvement following designed procedures. II. Suggestions: 1.To Junior high schools: a. Trained professional fine artists lead the public arts installation, and implement artwork that roots from teaching and spreading, not from student alone. b. Choose a construction company that has adequate capability and flexibility to finish assigned tasks. The fine artists be present in the construction bid-opening meeting to explain the complexity during constructing artwork and its requirements in order to expedite the progress of construction. c. Course hour arrangement be flexible enough to allow more involvement of different groups. d.Regular maintenance be held on the anniversary date in order to remind the audience of the meaning of installing public arts. 2.To education policy making units a. Distribute enough budget for improving the environment of campus. b. Organize short course or achievement show on successful installation of public arts that benefits others. Assist schools to acquire adequate budget for public arts. Promote public arts installation on campus. c. Set aside adequate budget for projects of classroom to be either newly built, partially mended, or rebuilt, lest the public arts installation should affect the quality of classroom construction. d. The budget for classroom construction and public arts installation be set at appropriate percentage. The construction of public arts be executed after school start to allow teachers and students to participate together. e. The construction of public arts be handled by the specialist working at county government, not by school staff, to ensure the quality. 3.To the future researchers a. The results from “Public art questionnaire” and “Public art preference rating” in this study are contradictory. Further studies may be needed. b. Comparison between completed public art on campus in Hsin-chu County since the end of 2003, and demonstrated cases of campus public arts designed by the Ministry of Education and/or the Council for Cultural Affairs.