至屏東 花蓮 台東田調 探討排灣族的鼻笛笛文化 / Through fieldwork in Pingtung, Taitung and Hualien, the researcher gained first-hand data for this thesis. This thesis introduces the ethnography, environment, material culture, spiritual civilization and social structure of the Paiwan. This research is not limited to the technical aspects of Paiwanese nose flute art, and their playerts, but also discusses the making of nose flutes and the people who are able to play them. The paper discusses the myths and origins of nose flutes and the formation of nose fltue culture. The research focuses on the social function of nose flutes through analysis of the flutes and the symbols they represent. To the Paiwan, nose flutes represent the sound of hundred-pace snakes, the wooing of girls, sorrow and memories, the gathering together of friends and performing of wedding rites. Finally, the research examines the continuity and promotion of nose flute culture, including periods of decline and of changing factores in the culture.

藝術博物館將其珍貴典藏進行跨國界的借展，已成為近年來無論國內外藝術博物館的年度盛事。然而，綜觀國內外相關文獻，多半集中在辦展經驗的陳述，較少剖析國際借展對藝術博物館本身任務所帶來的衝擊。而由於國際借展的跨國性質，並不僅是單純的藏品交流而已，事實上更廣泛牽涉到其它因素，有時因為借出入雙方的外交關係、認知差異、利益考量、法令限制及政治敏感等問題，而使展出前的交涉作業，經過多方的折衝協調，才圓滿達成任務。 有鑑於上述觀察，本研究乃嘗試結合藝術博物館國際借展的實務面與內涵面，期望以宏觀的角度，開拓更寬廣的研究視野。首先，探討國際借展的功能與角色，並瞭解影響國際借展的因素、國際間有關國際借展的發展現況，以及著名個案所衍生的議題；其次，歸納國際借展規畫與管理的原則，包括借展計畫、合約訂定、保險與司法扣押豁免的保障、借展品安全維護、包裝與運送、借展品處理與運用、經費與贊助事宜。在研究對象方面，採用文獻分析法、訪談法、個案研究法及歷史研究法，彙整國立故宮博物院歷年參與國際借展之緣起、籌備經過、作業情形及當中所發生的特殊事件，分析其政策、經營模式與效益。 最後，針對現今國內藝術博物館舉辦國際借展時所面臨的重要課題，提出八項建議：(一)修正國內相關法令與體制的缺失；(二) 解決區域性藝術資源分配不均之問題；(三) 真正落實國際間館際的交流；(四) 加強館藏文物的展示技術與教育內涵；(五) 塑造展覽評論的藝文空間；(六) 培養與訓練專業人才；(七) 設立國際藝術文化交流諮詢機構；(八) 提供借展品更完善的保障措施。

華山創意文化園區的產業化發展受到一個由國家、藝術社群與企業三方構成的社會結構影響，藝術社群、國家與企業三者在不同階段扮演了關鍵的角色。此轉型過程經歷文化創意產業化的價值張力現象和政策磨合，揭示了上述行為者對於空間規劃與產業發展的不同主張，一方面造成其不同的信任與競合關係；另一方面也造成空間功能的轉向－此地區由一個位於前端的藝術創作聚落轉變成為靠近後端的大眾文化消費園地。 本文認為文化創意產業化的過程將引發行為者不同的價值取向，其原因為：一、精緻藝術與通俗文化的特性不同；二、創作前端與市場後端的需求與運作邏輯不同。而為了尋求文化與產業的永續發展，政府必須回應這種特殊的產業特性，扮演彈性的平台角色，一方面能夠觸動行為者的相互交流、理解與信任關係，使其自由溝通並跨界合作，誘發各種創新的可能；另一方面需要釐清空間的角色與功能，讓有效的補助與保護機制連結網絡關係及群聚效應。如此一來，這樣的制度環境能夠鼓勵創新，不因產值思維而壓抑創意，而創作前端與市場後端能夠充分活化與溝通，進一步完整價值鏈機能。 / The industrialized development of Huashan Creative Park was influenced by the social structure, composed of the state, the community of artists and the enterprise. These three factors played crucial roles within different phases. The Industrialization of culture and creativity resulted in tensions between discrepant values as well as policy modification within the transition, which displayed diverse positions toward spatial planning and industrial development from different factors. The tensional phenomenon not only altered the relationships of trust and contention among factors but also brought about functional change of the space－this cluster of art creation near the front end of value chain turned into a pop culture consuming park near the back end. This paper argues that industrialization of culture and creativity will lead to dissimilar value orientations of factors because of two reasons：the first, distinct features of fine art and pop culture；the second, different needs and logic of creating front end and consuming back end of the value chain. In order to build up sustainable development of culture and industry, the government is suggested to deal with this kind of special industrial feature and take a role as a flexible platform. On the one hand, this platform should induce interaction, understanding, and trust between factors as well as generate free communication, synergies among multi-fields, and all possibilities of innovation, on the other hand, it can clarify the significances and functions of spaces as well as connect network and cluster effect to complete the function of value chain by an appropriate protective system and subsidies. As a result, this institutional environment can encourage innovation and interaction between creation and market instead of oppressing creativity due to output value requests.

本研究以林懷民先生所創立之雲門舞集為例，探討台灣表演藝術團體以非營利組織型態經營發展之進程。研究問題有三： 一. 為什麼表演藝術團體要以非營利組織的型態來經營？他們真的很難盈利嗎？ 二. 非營利組織型態經營的表演藝術團體，應該如何評估其工作績效？ 三. 表演藝術團體以非營利組織型態經營時，如何邁向永續？ 林懷民先生被柏林晨報譽為「亞洲最重要的編舞家」，他於1973年創立雲門舞集，是目前台灣擁有最多專業舞者的舞團。雲門舞者的訓練包括現代舞、芭蕾、京劇動作、太極導引、靜坐與內家拳，完整專業的訓練使雲門舞集行走國際，累積許多經典舞作。 雲門舞集在1988年成立雲門舞集文教基金會，1998年創立雲門舞蹈教室，1999年成立子團「雲門2」，深入台灣各地校園和社區。2008年，雲門八里排練場大火，這個空間曾是數齣經典舞作的孕育誕生之地，大火毀了歷年的音樂資料，早年使用的道具、服裝和多媒體幻燈片。 本研究在組織構形的相關文獻上主要參考李仁芳教授所著之《管理心靈》(1980)，引申出雲門舞集在開創期、暫停期、成長期與成熟期等四期進程中所發生的組織構形。在組織成長的學理引用上，主要參考學者Larry E. Greiner 1998年在《Harvard Business Review》發表的〈Evolution and Revolution as Organizations Grow〉。 2009年4月，雲門舞集與台北縣(今新北市)政府舉行「徵求民間參與興建營運淡水文化藝術教育中心案」簽約儀式。「淡水文化藝術教育中心」是雲門依促參法規向台北縣政府提案申請興建的，佔地約1.5公頃，林懷民希望雲門從2013年開始有一個固定的家。本研究完成時，園區即將開工，人間事，塞翁馬？期盼未來更多學者持續觀察雲門的發展，因為台灣需要一個這樣的文化團體給人信心。 / This thesis takes Cloud Gate Dance Theatre of Taiwan as the primal case study that with document analysis, participant observation, and in-depth interview as the research methods to have better understanding of performing arts foundation when they might face in the institutionalized process. The overall objective of this study is： 1. Why, as the most prestige, renowned Performing Arts Company in Taiwan, Cloud Gate has to running with the pattern of nonprofit organization? Is it really difficult for Performing Arts Company to make profits? 2. How to assess and evaluate their working performance if Performing Arts Company is in nonprofit organization pattern? 3. While Performing Arts Company managing with the nonprofit organization mode and mind set, how to maintain their sustainability? Cloud Gate Dance Theatre of Taiwan was founded in 1973 as the first professional contemporary dance company in any Chinese speaking community. Directed by internationally renowned choreographer Lin Hwai-min, Cloud Gate transforms ancient aesthetics into thrilling modern celebrations of motion. The 25 dancers of the company receive trainings from the West and the East, including Chi Kung, meditation, internal martial arts, modern dance, ballet, and calligraphy as well. This research mainly consults 《The Managerial Mind》 (1980) written by Jen-Fang Lee Ph.D. and also thesis〈Evolution and Revolution as Organizations Grow〉 (1998) which was issued in 《Harvard Business Review》 written by Professor Larry E. Greiner. Evolve into Cloud Gate Dance Theatre of Taiwan, researcher define its history from creative stage, transition stage, growth stage to mature period organization phase taken place among the four processes. Without any similar comparison, Cloud Gate might be stands as a unique operational case; however, I hoped through the special operation analysis, It will sum up the general mode of contemporary dance company towards nonprofit foundation, which will benefit others for its practice managerial experience.

台灣表演藝術產業正受政府重視，但因國內市場小，各團體仍須開拓國際市場；相較樂團和舞團，劇團之附加價值率較高且國內目前極少相關之國際化研究，故本研究欲探討劇團首次進入國際市場的原因及過程、對其國際化有正面影響之因素，以及國際化歷程中面臨的困難和解決辦法。依據文建會資料並拜訪我國劇場產業之父吳靜吉博士後，選擇當代傳奇劇場和優表演藝術劇團進行個案研究之深度訪談，建立六大命題，發現管理高層若具國際經驗或英語溝通能力、不同市場的經驗性知識、政府補助，皆對劇團之國際化有正面影響，另外劇團的社會資本和網絡關係對於其快速初始國際化到心理距離較遠之市場具正面影響、劇團的網絡與人際關係對其初始國際化亦有正面影響。 / The performance arts industry has been gradually emphasized by the government of Taiwan since 2004. However, faced with extremely limited domestic market, performance arts groups should transcend home context to explore more opportunities. Compared with music and dance performance groups in the industry, theater groups are with higher value-added rate while having received less attention and research in the field of internationalization. Therefore, this study explores how they do the first foreign market entry, what drivers facilitate their internationalization process, and how they overcome obstacles. According to information from Professor Jing-Jyi Wu and the Council for Cultural Affairs, Contemporary Legend Theatre and Utheatre are chosen to be subjects of in-depth interview. Six propositions are then developed after interviews and data analysis. The findings indicate that drivers facilitating internationalization of theater groups include managers’ international experience and communication skills in English, experiential knowledge, and government subsidies. Business network and social capital favor their quick first entry into markets further away in psychic distance. Moreover, contacts and networks also have a positive influence on theater groups’ initializing internationalization.

自英國於1997年首度提出創意產業，讓創意的附加價值藉由無形或文化性的特質融入到產品與服務創新中，文創產業已然是後知識經濟時代的指標；基於台灣文創環境的無形資產鑑價制度尚處於建構期，整體機制尚不成熟，因此相關企業在面對成長躍進中常因資金受限，也間接影響了整體產業發展，而此種現象尤以藝術經紀授權產業為甚。 「無形資產」是藝術經紀授權產業營運模式的核心。而國內對於如何將無形資產轉換為有形之概念性商品，而且又能使商品成本與企業價值被量化之議題的論述探究甚少，因此本研究將以藝術經紀授權產業為主體架構去進行鑑價模型之分析，冀望為文創產業注入更大的延展空間。 本研究整理現今無形資產、智慧資本、智慧財產之相關鑑價理論與方法流程，並就藝術經紀授權產業現況進行質化的分析，並冀望從理論出發含概實務觀點的去建構適合此產業的鑑價機制，並挑選P個案公司去驗證本研究所提出運作模型，以實現其價值轉化過程。 本研究結果可以幫助文創產業中之無形資產鑑價分析較為貼近產業之真實面貌，亦可讓文創產業經營者引為借鏡，以期盼提升台灣整體文創產業的競爭力。最重要的是藉由檢視相關產業的發展歷程，本文獻進而讓政府在制定相關產業政策時，更能以全方位的角度衡量產業政策，降低產業投入者資金進入門檻，讓更多的創投基金及金融機構投入，以促進產業發展與提升產業競爭力。 / Since the introduction of creative industry in Great Britain in 1997, which allowed the merge of value-added creativity into product and service innovations via intangible or cultural features, cultural creative industry has apparently become the index of the post-information economy. However, the intangible asset valuation system in the cultural creative industry in Taiwan is still under construction, yet immature, and the lack of capital inflow is usually the key restriction to the development and progress for many relevant enterprises, which in turn influenced the development of the entire industry; such phenomena is especially apparent in the industry of art 、agency、 licensing. “Intangible asset” lies at the core of the operation of art 、agency、and licensing industry. But there is not enough discourse analysis domestically on issues regarding how to turn intangible asset into conceptually tangible products or to further quantify the product cost and enterprise values, therefore, this study conducts analyses of valuation model based on the scaffolding of the art 、agency、 and licensing industry, hoping to introduce greater room for expansion in the cultural creative industry. The study has compiled valuation theories, methodologies and procedures regarding intangible asset, intellectual asset, and intellectual property, conducted qualitative analysis on the current status of art agency、 licensing with the expectation to develop a valuation mechanism suitable for this industry based on the theories and practical aspects, selecting company P as example to verify the operation model proposed in the study and to realize the process of value transformation. The study aims to help bring the valuation analysis of intangible asset in the cultural creative industry closer to the reality, and also serve as a reflection for operators of the cultural creative industry with the expectation of promoting the overall competitiveness of the cultural creative industry in Taiwan. Most importantly, by inspecting the process of development in related industries, this study may in turn provide an all-rounded evaluation for the government when drafting relevant policies of the industry to lower the investment threshold, allow the introduction of more venture capitals and financial institutions, and facilitate the development of the industry and improve competitiveness.

University of Macau / Faculty of Education

University of Macau / Faculty of Education

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.

網路社群媒體平台可能是數位發行的年代中至目前為止最具有威力的媒體平台。整合Facebook、部落格、微網誌、影音社群、SNS（Social Networking Service ），即時通訊等的網路社群媒體平台，可與真實資料的他人免費、不受時空限制的合作、共同參與、分享彼此資源資訊，使得訊息發送、情感聯繫不但更加緊密並快速營造如朋友社群般的關係影響力，再加上無線網路環境和數位化載具的快速進展，智慧型手機IPAD等滿足了大家的多元即時性，網路社群媒體平台串聯出的威力和影響力，已成為傳統媒體之外的另一個發聲利器，其威力甚至有時要比傳統媒體還要強烈，影響還要深遠！ 本研究旨在探討網路社群媒體平台之於表演藝術團體的價值，表演藝術團體如何運用網路社群媒體平台來進行營運，以及其關鍵的成功因素等議題，盼能引起大眾及表演藝術團體對網路社群媒體平台的了解與重視。研究選擇國內已經在網路社群媒體平台上活躍使用的表演藝術團體個案進行深度訪談及觀察探究，並輔以國外表演藝術團體網絡上的實地觀察和研究，以及次級文獻資料的蒐集佐證，進行分析探討。 本研究將「網路社群媒體平台」的角色定位為「表演藝術團體營運推展的有力夥伴，以體驗經濟形式共同創建表演藝術團體的營運產值」，研究問題及研究發現如下： 研究問題一：網路社群媒體平台之於表演藝術團體之價值為何？ 對應結論一：其價值有二點，包括： 一、網路社群媒體平台與表演藝術團體是虛擬的A型團隊合作關係。 二、網路社群媒體平台是表演藝術團體另一個微型的線上舞台，也是體驗經濟的延伸實踐。 研究問題二：網路社群媒體平台如何幫助表演藝術團體營運？ 對應結論二：其營運協助有五點，包括： 一、網路社群媒體平台讓表演藝術團體有更多的自主性及主導權來宣傳其創作作品，如同自己開了一家不用成本的二十四小時專屬媒體頻道。 二、網路社群媒體平台可協助表演藝術團體擴展精準觀眾群，並讓彼此之間關係互動更即時熱絡和緊密。 三、網路社群媒體平台可以協助本土的表演藝術團體更容易國際知曉增加國外粉絲。 四、網路社群媒體平台的免費及低學習門檻特性，讓非營利組織的表演藝術團體節省了大部分網路軟硬體設備及網路專業訓練的成本，甚至行銷宣傳經費。 五、網路社群媒體平台已成功協助表演藝術團體販售周邊商品，票券和募款。 研究問題三：表演藝術團體運用網路社群媒體平台營運的關鍵成功因素？ 對應結論三：關鍵成功因素，包括： 一、表演藝術團體運用五感體驗及說故事的力量鼓動並掌握群眾的互動和黏著度。 二、創意、主題策畫、知識涵度並以觀眾服務角度勤發布的真誠內容仍是吸引群眾擴充增加、協同、分享並每日追隨的重要因素。 三、明星偶像效應勢不可擋，表演藝術團體中靈魂級人物的訊息和親自上陣互動仍是令群眾瘋狂黏著並串聯分享的主因。 四、表演藝術團體對社群網路媒體平台的媒體特性、功能及操作技巧的了解以及主事者的全力支持是其推展營運最重要成功關鍵。 / In the digital publishing era, the media platforms of social networking websites have probably been the most powerful figure by far. By integrating the social networking websites of Facebook, blogs, microblogs, video-sharing websites, SNS (Social Networking Service), people can join and share resources and information and get from people their substantial cooperation that is free and unlimited by time and space.The delivery of messages can be speedier, and relation closer; moreover, the effect as that produced within a community of friends can thus be developed.Due to the highly advanced WiFi and digital devices, smartphones and tablet computers meet the need for diversity and instantaneity.The power and influence gained by integrating media platforms of social networking websites has become efficiently instrumental for one to be heard, and its force can reach far greater and deeper than the traditional media! The research aims at exploring issues concerning what the value media platforms of social networking websites can have on performing arts groups, how to run the groups through those platforms, and the key factors of success, in order to draw the attention from and increase the understanding of the public. The subjects chosen in this study are performing arts groups that have been active in media platforms of social networking websites in Taiwan. In-depth interview and observation will be used in exploring each case. Foreign performing arts groups will also be observed at the scene and studied; besides, the documentation of secondary materials will be collected, analyzed and discussed. Topic 1 What is the value of media platforms of social networking websites to performing arts groups? Conclusion 1 There are two valuable facts: 1.The relation between media platforms of social networking websites and performing arts groups belongs to virtual "Type A" cooperation. 2.Media platforms of social networking websites function as an alternative micro "online stage" of performing arts groups, and that is also the realization of the extension of experience economy. Topic 2 In what ways can media platforms of social networking websites help operate performing arts groups? Conclusion 2 There are five ways: 1.Media platforms of social networking websites allow greater independence and control for performing arts groups in promoting their works, as if they own a channel exclusive for themselves, broadcasting non-stop and without cost. 2.Media platforms of social networking websites can help broaden the targeted audience, and make the interaction between them closer. 3.Media platforms of social networking websites can help local performing arts groups increase their visibility overseas and thus the number of foreign fans. 4.The free-of-charge feature and highly accessibility of media platforms of social networking websites allows the non-profit performing arts groups to save much of the cost of hardware, software and training, even the promotion. 5.Media platforms of social networking websites have successfully assisted performing arts groups to sell merchandise and tickets, and to raise funds. Topic 3 What are the KSF (Key Success Factors) in the employment of media platforms of social networking websites by performing arts groups? Conclusion 3 The KSF are: 1.The force created by performing arts groups using sensory experience to tell stories can encourage and control the interaction and attachment of the audience. 2.Creativity, theme planning, knowledge imparted, and the sincere and diligent posting of messages that are service-based, audience-centered, still serve essentially to attract the public that may increase in number and be willing to cooperate and share with each other day after day. 3.Stars are invincible! The messages and presence of, and the interaction with the key figures of performing arts groups can make the audience crazy and thus get closer to share. 4.The understanding of the characteristics, functions, operating skills of media platforms of social networking websites by performing arts groups, plus the full support from the person in charge, is the crucial factors of success.