No description available.

攝影問世以來，所帶來的影響與文化一直都是人們研究的對象，數位時代後，攝影的樣貌更是大幅改變。隨著智慧型手機的普及，以及各式後製app的興起，分享後製過照片至社群平台成為人們日常生活的常態；在廣受年輕人歡迎的Instagram上，也可看見許多精心後製、特別設計過的相片。本研究探討當今高中女生如何使用app處理手機相片，並發佈於Instagram上展現個人與集體的美感與風格，並進一步了解攝影於她們的意義。 本研究將以符擔性理論（Affordance Theory）作為切入點，透過深入訪談法與實物分析法，了解高中女生後製照片的實踐想法與過程，並持續追蹤、觀察高中女生Instagram上照片風格的呈現及變化。透過兩種研究方法，以更深入理解高中女生對待相片的心態。 研究發現，智慧型手機與Instagram等科技提供了多種符擔性，高中女生與科技互動，並依不同的需求感知到不同的符擔性，並據此做出不同的行為特性；同時，她們也因應自己所需，翻轉科技符擔性的限制，呈現了更多樣的實踐與互動可能。而在現實與虛擬社群中，她們的創意相片也共享了基本的設計原則，創造出屬於她們自己的藝術世界，並重新召喚了靈光再現。 / Since the time of its emergence, the effects that photography has had on culture has been studied by countless people. When it comes to the face of photography, the digitalization era changed it dramatically. The ubiquitousness of smartphones and rise of phone-editing applications has also made sharing apped photos to become part of our daily routines. On the photo-sharing app known as Instagram, the most popular site among teenagers, many well-crafted and expressive images can be found. This study aimed at exploring how Taiwanese high school girls use apps to manipulate their photos, and share these photos on Instagram, in order to demonstrate their personally creative and collective aesthetics. 　 This research was based on the Affordance Theory and contained two methods: in-depth interviews and methods of practical analysis in order to gain a deeper understanding of high school girls’ attitudes toward photography. 　 The study displayed that smartphones and Instagram provide a variety of affordances. Through interactaction with technology, high school girls perceive different affordances based on their own demands. They also interpret the limits of affordances, and thus do more or less designing practice on their photos, depending on their needs. The creativity of high school girls’ images share basic design principles which enable them to create their own art world and a specific aura with their photos.

藝術欣賞二階段模型所發現的第二階段美感提升現象，若根據流暢性理論加以解釋，為單純曝光造成流暢性提升而導致的結果，未涉及認知處理歷程的影響，然而情緒評估理論以及Leder等人（2004）的美感經驗與評價歷程神經模型，都強調美感經驗為認知與情感的交互作用。針對上述兩類不同的理論觀點，本研究的目的在於探討認知涉入在美感歷程中的重要性，同時亦嘗試瞭解美感經驗中認知與情緒的關係。本研究讓參與者欣賞不同時代、流派與國家的具象藝術畫作，共分成三個實驗。實驗一收集美感相關情緒詞彙，發展美感情緒量表；實驗二與實驗三延伸Locher等人（2007）之實驗設計，分別收集美感偏好與美感情緒的資料，包含顯性與隱性指標，欲從美感提升現象中檢驗認知涉入對兩種美感歷程產物的影響力。實驗二關心美感偏好隨時間的變化，結果顯示認知涉入有助於偏好的提升，而隱性偏好亦有相似的趨勢；實驗三則發現美感情緒並沒有隨呈現時間增加而提升，而認知涉入的影響力也較不明顯，臉部EMG測量則未能反映出隱性美感情緒。本研究也發現，國畫較西畫更顯著地出現美感偏好或情緒的提升現象且較受認知涉入影響，此外，主觀偏好與不偏好的西畫在美感偏好與正向情緒類別之結果中，皆有類似適應的效果，其中主觀偏好畫作隨時間增長而正向情緒減少、負向情緒增加。綜合而言，本研究結果支持認知涉入為美感偏好提升之要素，但是無法確認認知與情緒兩者之間的互動關係，此外，藝術欣賞的第二階段不只有美感提升的現象，亦有美感下降的現象。 / The increase of aesthetic preference over viewing time was found in the study of the two-stage model of art appreciation. This phenomenon could be interpreted by mere exposure effect on improvement of fluency, not involving the influence from the cognitive processes. However, some theories (Silvia, 2011; Leder et al., 2004) emphasized the interaction between cognition and emotion in aesthetic experience. Based on these two kinds of theoretical perspective, the purpose of this study is to explore the role of cognitive involvement in aesthetic processes, and to understand the relationship between cognition and emotion in aesthetic experience. There are three experiments in this study, using the figurative art paintings from different era, genre and countries as the material. In Experiment 1, the emotional adjectives were collected to develop the scale of aesthetic emotion. In Experiment 2 and 3, the effects of cognitive involvement on aesthetic preference and emotion were tested, respectively. We extended the experiment design from Locher et al. (2007) to manipulate the degree of cognitive involvement additionally, with both the explicit and implicit indexes measured. Overall, the results showed that cognitive involvement helped the increase of preference, but not of emotion, because there was no increase of emotion founded. In addition, the effect of cognitive involvement in Chinese paintings was more obvious than that in West paintings. We also found that there could be adaptation effect in aesthetic process. In conclusion, the importance of cognitive involvement in preference increase was supported. But we cannot confirm the interaction between cognition and emotion. In addition, not only the increase of aesthetic preference and emotion, but also the decrease of them could be found in the second stage of art appreciation.

「當代的教育有被多數人當成一項藝術來實踐嗎？我們的教育有美嗎？教育如何成人之美？我們又如何觀看教育之美？」本研究採用藝術家、教師與教育研究者三位一體的研究取徑a/r/tography（art-based forms of educational inquiry）並混合多元研究方法、跨領域理論交互辯證以及表達性藝術實踐行動，旨在試圖超越目前科學家、藝術家、心理分析學家與教育家各自觀看世界的方式。本研究戮力創新教育美學研究取徑，以跨領域對話回應研究提問。 本研究借喻近代攝影史上最重要的變革演化：新紀實（The New Documentary），將其預設並倡議為一種後現代背景下之教育美學的多元視野（長鏡頭），以做為「教育的生命（神經性）、生成（藝術性）、生態（靈性）」的觀看之道。研究者並創作一系列新紀實攝影作品，期以多元真相涵化單一紀實的缺陷，改以不完美的長鏡頭與檔案的中性特質，一方面認清教育紀實的虛妄無明，另一方面則從教育的限制裡生出另隻眼。 教育美學所揭示的實踐智慧，大多來自「人如何描述眼前的世界」，故本研究深入梳理近二十年的神經科學對於視覺腦（visual brain）與靈性冥想（meditation）活動的研究成果，探究藝術家的實踐歷程以及進行藝術評論文本分析，並依多年田野經驗重新設計了一系列合作式彩繪曼陀羅（Cooperative Mandala Coloring）表達性藝術活動，以求能更充份反映榮格學派（Jungian Psychology）之共時性（synchronicity）理論與推演新時代靈性生態觀點，最終援引本質直觀的現象學（phenomenology）進行詮釋。 本研究成果特別關注青少年處於神經美學、藝術實踐與靈性成長之間精神流變（spirit flux）歷程，建議首先提供真誠友善的安全空間（safe space）、引入神馳（flow）的靈性體驗、以藝術活動滿足個體化的表達性需求（expressed needs）、在人我關係中創造利他的美感經驗。新紀實視野下的後現代教育美學倡議「自我陶養」、「德美一致」與「三性一體」，教育必需讓人有力量、有光芒、有夢想，始能真正啟動教育最美的樣子。 / This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.

在國際時尚舞台中，台灣在過去一直扮演代工的角色：儘管手中握有無與倫比的研發與生產技術，然而報酬率卻遠不及握有「國際品牌」的廠商。 1990年起，台灣以往勞力、技術密集的紡織產業開始走下坡。台灣紡織產業開始面臨勞工短缺、工資上漲，許多低價紡織品在國內生產已無獲利空間；從2000年左右開始，隨著全球化市場發展，中國大陸與東南亞等新興國家陸續崛起，我國紡織產業開始產生外移。2005年，WTO協定生效，取消「紡織貿易配額」，以及全球各地逐漸形成的「區域經濟體」，使得全球紡織產業發生結構性的變化。 近來「美學經濟」指標性產業：「時尚產業」，已經成為亞洲國家積極發展的目標，而政府也大力鼓吹由過去專業代工的「製造經濟」，轉型為以品牌、設計為主的「創意、知識經濟」。2008年國家重點發展計畫中提出「產業高值化」政策，除了研發，強化行銷能力以提升品牌知名度亦是創造高附加價值的重要關鍵。 台灣在本土時裝設計師品牌不少。然而，礙於台灣市場規模，始終無法有大幅的成長。因此，台灣設計師如何進軍國際市場，便成了一個值得深入探討的議題。 本研究結合Csikezentmihalyi創造力系統模式、與設計師日常事業經營，探討本土設計師時裝品牌國際化的動態過程：設計師如何以服裝設計專業、結合創業營運相關知識，不斷與國際時尚界專業人士與買家們溝通互動，進而使其品牌在國際間佔有一席之地。 本研究同時歸納設計師在進軍國際市場時需要哪些能力，以及在進入國際市場不同階段所應注意的管理議題，期望能供業界、後續學術研究參考、指教。 / This research is about how Taiwanese fashion designers market their products internationally. Taiwanese textile companies didn’t have their own brands before. They mainly manufactured and sold products overseas under foreign brand names. However, the textile manufacturing industry in Taiwan has already moved abroad to low-labor-cost area during the past two decades. Taiwanese designer brands have been struggleing between the small domestic market and the competition of foreign brands. I explored three cases of Taiwanese fashion designers who market their brands and products internationally. They are respectively Hong, Li Fen’s designer brand ‘Sophie Hong’, Chien, Yu Feng and Pan, Po Shun’s ‘Shawnyï’, and Chia, Wen Lan’s ‘Twinkle by Wenlan’. I analyzed these cases based on the Creativity Dynamic System Model (Csikezentmihalyi, 1990). First, I discovered how they combine their expertises of fashion design and business management to organize their international network. Second, the abilities a fashion designer has to possess during his way to international fashion market have already been clearly listed and categorized. In the end, I casted several managerial issues the fellow designers should pay attention to in different stages when they try to internationalize their brands and products.

本研究著眼於原住民文化產業智慧資源規劃的議題，特別是以原住民工藝產業當中的編織工藝作為研究對象。在智慧資源的創造和保護方面，對於原住民民俗創作的法律討論和立法行動，在我國雖然已有初步成果，但卻仍有許多爭議尚待解決，因而仍無法提供原住民族人充足的保護，不過即使如此，產業仍然需要在此模糊不清的法律狀態下，尋找最佳的發展路徑，換言之，從智慧資源的管理和應用方面，在盡可能建立智慧資源的基礎之後，管理者應如何透過原先具備或後天取得的資源，促使經營的事業體找出適當的發展模式，毋寧更是原住民文化產業能否永續發展的優先考量。而在產業發展較成熟之後，若再回頭主張產業從業者真正需要的法律規範，或許更可以提供規範制定者值得參考的意見。 在上述的法律和管理並重的思考邏輯之下，本研究從文獻探討開始，檢視國際間、各國和我國在處理原住民民俗創作保護時的問題現狀，在確定文化資產和智慧財產各有其規範角色，卻又會互相影響的前提之下，推導出存在於原住民文化產業當中，同時可以致力於文化資產活化，以及智慧財產創造的幾種可能的發展模式，供作本研究後續個案的探討模型，以及未來的產業從業者決定發展方向時的可能參考選項。 故在本研究個案部份，即同時反映上述類型化模型的思考。第四章的第一個個案就是較具有公共性(commons)本質的尤瑪‧達陸與野桐工坊個案，而第五章的第二個個案就是較具有完整企業經營理念的湛賞文化藝術工作坊，此二個案同時都是以編織工藝為主要經營項目，但是因為經營者的目標不同，因而展現出不同樣貌，本研究透過此二個案呈現經營面向的議題，同時也針對智慧資源規劃議題，給予個案未來發展之建議。 最後的結論與建議，本研究主要針對於政府機關和產業從業者兩方面，從之前論述當中發現的議題和可參考的適例，重新思考現存問題的解決方案，期待在研究者的共同努力下，台灣原住民文化產業能夠走上更亮麗的舞台。 / This research is focused on intelligence resources planning of indigenous cultural industry, especially in the field of knitting techniques. From creation and protection of intelligence resources perspective, legal discussion and legislative movement for aboriginal people’s cultural expressions seem to achieve slight success in Taiwan, but there still exists many unresolved issues, resulting in insufficient protection for aboriginal people as before. However, even in such legally ambiguous situation, the industry still needs to find its way out, looking for the best path to develop itself. In other words, from management and application of intelligence resources perspective, after trying best efforts to set up the foundation of intelligence resources, how the managers are devoting to figure out the suitable model for the business unit, by using original or adopting resources, becomes the first priority of concerns of whether the indigenous cultural industry can be sustainable. When the industry becomes more mature, the participants of the industry may look back, to propose their real needs for regulations, and at the same time, these proposals may be very valuable for the regulators. Based on the above thinking in accordance with both legal and managerial logic, this research makes observation to problems when dealing with aboriginal people’s folklore expressions in international society, in various countries and in Taiwan, from the beginning part of literature analysis to the latter parts; then, this research makes sure that cultural heritage and intellectual property both play parts on the focused topics, while each has its regulatory role as well as has impact on the other, and such nature and connection becomes the premise of the following several models respectively for activation of cultural heritage and creation of intellectual property at the same time in indigenous cultural industry. These models will be used as the analytic tools for the following case study and as the referable choices of business development for future participants in the industry. Furthermore, case study of this research reflects foregoing categorical models. The first case in Chapter 4 is commons-oriented Yuma Taru and Lihang Studio case. The second case in Chapter 5 is under complete company management, which is Siku Sawmah Cultural Art Workshop case. Both cases’ major revenue come from knitting techniques, but the managers have different business goals, resulting in different business models. This research tries to reveal managerial issues when running workshop through these two cases; this research will also gives suggestion to them in relation to intelligence resources planning. In the final part of conclusion and suggestion, this research aims at governmental departments and participants in the industry, and for them it rethinks solutions towards existing problems regarding previously found issues and referable cases. This research expects the indigenous cultural industry in Taiwan to eventually get on a more radiant stage with the cooperation of all the researchers and participants.