虛擬實境（Virtual Reality, VR）被認為是繼智慧型手機後的一新興科技產品市場，原因來自於應用很廣泛，例如視頻遊戲、事件直播、影片娛樂、醫療保健、房地產、零售、教育、工程和軍事等。虛擬實境是一個跳躍型的新科技應用並沒有一個類似已有的應用可讓消費者類比與想像，再加上虛擬實境提供前所未有的沉浸式感覺，這些都是虛擬實境距離目前消費者很遠，需要消費者體驗的理由。 因此，本研究的目的為探究體驗虛擬實境對消費者的價值，以及這些價值可透過何種體驗商業模式實現。再進一步釐清那些因素有助於提升體驗商業模式對消費者的價值。 Osterwalder et al. (2014) 發現，許多企業組織用「商業模式圖」找顧客價值主張，經常碰壁，因為那不是挖掘價值主張的工具。因此，提出「顧客素描」與「價值地圖」來針對商業模式設計的核心問題，如何建立目標客群（Target Audience, TA）與價值主張的適配（Fit），根據商業模式圖的實際使用經驗，提出更為細部、具體的導引問題與工具。為避免「顧客素描」受個人主觀的認知而有偏差，也減少之後價值主張的修正。本研究使用方法目的鏈中的一對一的訪談技術，藉以瞭解消費者如何利用產品的屬性滿足自我的價值，也破除一般訪談無法深入的缺點，來完成顧客素描中的痛點、利益與要完成的任務。 本研究發現虛擬實境對消費者的價值在於享樂人生、冒險刺激與成就感。在經由與消費者深度訪談後，體驗商業模式如體驗中心或共享模式都比目前買賣設備傳統的商業模式更適合虛擬實境的發展。

空間能力被許多智力理論學者認為是人類智能的重要因素之一，並且認為此能力的高低與抽象思考、數理、科學、繪圖能力…等有密切的關係。此外，空間能力可激發空間創造力，並延伸到其他的領域形成獨特的創造力。本研究嘗試將虛擬實境技術應用在加強國小高年級學童的空間能力上。首先，依據學者對空間能力的研究及虛擬實境技術的特性，開發一套可以加強積木旋轉能力的三度空間物體操控軟體。在針對國小高年級學童進行二週的訓練之後，採用前後測的方式驗證此虛擬實境三度空間物體操控軟體的學習成效。最後再以問卷調查的方式，分析此軟體對受試者學習情況之影響。 　　整個軟體經過規劃、分析與設計、實作及應用等階段後，以前測及後測的得分作單因子共變數分析。統計結果為：MSTR/MSE=4.4416 > F0.05=4.0980，表示接受本研究所開發之三度空間物體操控軟體訓練的國小高年級學童，其積木旋轉能力有顯著的增強。

本論文運用隨境遊戲(Pervasive Game)其具備空間，時間，社交延展的特性，透過遊戲機制以及故事設計，將兩個遊戲空間的玩家-街頭手機玩家以及線上3D社群遊戲串聯在一起，並且為了讓遊戲內容與真實世界產生關連以及應用，本研究以一具備古蹟導覽以及觀光消費的景點-淡水為例，以便於更清楚的呈現設計概念，並在過程中探討加入其他應用,如廣告行銷應用的可能性。 在設計方法上，分為概念發想設計以及雛型實作及探討兩部分。首先透過文獻探討，找出1.隨境遊戲定義、實作架構、評估方法及案例分析 2.現今社群平台提供的互動機制、社群應用行動化趨勢、及遊戲與廣告行銷社群化的原則與案例 3.電腦遊戲中如何處理冒險類型遊戲的設計，及當中的重要元素為何?。從文獻探討中歸納出設計原則後，接著進行故事與遊戲機制設計，並透過影片模擬應用情境，呈現設計概念。最後進行架構規劃與可操作之系統雛形實作。創作過後，也針對初期玩家體驗的心得進行討論。 在結論部分，我們也探討了設計過程中未被採用的設定,並且探討其優缺點。期望此隨境遊戲的敘事框架與雛型經驗實作經驗，能轉移到其他具備同性質的應用情境，並提供給後續研究參考。

歸功於虛擬實境(VR)技術的發展，使得虛擬實境可以逐漸應用在現 實生活當中。近幾年來，博物館一直嘗試應用虛擬實境的特性來增強參訪者的 體驗，目前也有許多研究工作著重在為博物館中的文物建模，但可惜的是與虛 擬實境可為博物館展覽帶來的效果之相關研究相對較少。因此，在本研究中， 我們用 S—O—R 的研究模型，並針對不同的文物類型:器物類、書畫類、書 法類，探討虛擬實境的系統設計特性對使用者體驗的影響。 本研究的研究方法是採用問卷形式，參訪者會實際體驗故宮博物院展覽 的虛擬實境。問卷分析後的結果顯示，虛擬實境的系統設計對使用者體驗及未 來的參訪意圖有很大的相關性。本研究比較也針對不同的文物類型做比較，結 果表示不同的文物類型適合的系統設計是不同的。最後也根據問卷結果對不同 的文物類型提供了未來系統設計的建議，可以作為未來設計相關博物館展覽虛 擬實境的參考。 / Virtual reality (VR) technology has already reached the level of maturity allowing it to be introduced into real-life applications. Recently, museums have been trying to apply it to enhance visitors’ experience and significant research efforts have also been made toward modeling relics in VR. However, there have been few studies on the real effects of VR exhibitions. In this study, we draw upon the stimulus–organism–response framework to theorize how system design feature stimuli affect the visitors’ experience of the VR exhibition at the National Palace Museum (NPM) and how the experience of VR impacts the visit intention. Furthermore, the study compares the VR effects across different kinds of relics (artifact, painting, and calligraphy). We create four empirical models: Model 0 does not consider the differences among relics, Model 1 focuses on artifacts, Model 2 focuses on paintings, and Model 3 focuses on calligraphies. A comparison of the different models shows that in Model 0, design features affect the VR experience, which in turn, impacts the visitors’ visit intention. The VR experiences were characterized by two dimensions: immersion and involvement. The former emphasized the visitors passively immersed in the VR and the latter referred to visitor initiative. Comparing Model 1, Model 2, and Model 3, all the design features have impact on the immersion level for all relic types. In case of calligraphy, the vividness impacts the involvement level and in case of artifacts, the interactivity impacts the involvement level. Based on the analysis, we also propose an improvement for the NPM’s present VR exhibition. The findings of this study can be referenced when designing new VR exhibitions for different relics.

虛擬實境技術作為一項內容呈現方式，在技術逐漸成熟到現今也逐漸被接枝於新聞內容上，沈浸新聞學（immersive journalism）也隨之誕生，而它最獨特臨場感（presence）特性也使得虛擬實境新聞能帶給閱聽者完全不同以往的閱讀體驗，然而虛擬實境的引進能否為數位化的新聞產業環境帶來利基，是現在新聞媒體仍在觀望的原因。故本研究設計 2（新聞呈現方式：有、無使用虛擬實境）x 2（新聞類型：軟新聞與硬新聞）的實驗架構，讓受測者（N = 121）以佩戴 Google cardboard 以及手機兩種方式體驗《紐約時報》發行的應用程式「NYTVR」裡兩種不同類型的新聞內容，結果發現使用不管哪種新聞類型的內容，使用虛擬實境技術體驗的組別都能夠提升閱聽者在看觀看完刺激物後的購買意願以及情緒，並且臨場感在這個體驗過程中具有中介效果，這些發現不僅為虛擬新聞研究領域帶來實證上的支持，更給予虛擬實境新聞應用於新聞實務上的立足點。

「自拍」是時下特有的社群文化，使用手持相機或自拍棒輔助拍照多有限制。然而搭載相機鏡頭的多軸飛行器（Camera-equipped drone）日漸普及，未來將有機會成為新的攝影器材。 本研究由初步訪談並分類「日常生活中操作相機」之心智模型：（1）以自身為中心，指揮攝影師移動之操控者模式（User Mode），適合近距操作，如自拍；（2）使用者透過相機視角，取得觀測角度之觀景窗模式（Viewfinder Mode），適合取得遠距影像，如災區探勘；（3）以第三人稱同時控制攝影者與被攝者的導演模式（Director Mode），擅於處理人與鏡頭相對空間關係，適合已預想好全局構圖與分鏡腳本。本研究依上述分類討論文獻與商品之優勢與限制，探索「操作空間中任務擺放之相機（多軸飛行器）」的理想互動方法後，將「操作空間中的相機」互動切分為兩階段流程設計：（1）Positioning階段：以User Mode直視飛行器，指揮相機位置；（2）Fine Tuning階段：以Viewfinder Mode透過觀景窗取得影像並微調拍攝參數。 本研究將著重於Positioning階段之飛行器控制互動方法，透過探討使用者的空間認知，提出三種符合使用者心智模型之飛行器運動座標系（球狀、柱狀與修正之三維座標），結合智慧型手機操作的類指向輸入方法（Semi-Direct Pointing），並實作沉浸式VR多軸飛行器體驗模擬器「Skyfie」，並進行兩次使用者測試，模擬使用者在3D空間中指揮飛行器移動至指定位置進行拍攝，實驗結果證明本研究提出之三種座標系統皆比傳統三維座標容易操作，並於最後討論各運動座標系適用之情境。 / Taking Selfie is a brand new type of photographic behavior and has become a phenomenon on social medias. In Asia, many people love taking and sharing selfies in their daily life and have create several tools to take good selfies suck as a selfie stick or a portable tripod. In the meantime, camera-equipped drones are getting more and more popular today. We can envision a future where personal flying selfie bots are always with us. Among the previous works and commercial products, the interaction techniques for controlling drone are mostly designed in drone-centric mode that require a longer training and are not easy for taking an anticipated shot. We investigate the user needs in taking selfies and propose an interaction technique that contains Positioning state and Fine Tuning state which are designed with user and viewfinder mode. Users can place a drone in a specified coordinate system by our semi-direct pointing technique and then compose the framing on the smartphone screen. We propose 3 coordinate systems for positioning stage and conduct two user studies in a simulated VR environment to validate the performance and user acceptances. In conclusion, we find that all three coordinate systems are more user friendly compare to traditional Cartesian coordinate system considering the test results and implementation cost.

在資訊科技越來越蓬勃發展的情況下,也讓博物館能帶來更好的使用者體驗。而現今已有許多博物館使用這些新技術,提供觀眾更有趣且吸引人的內容。本研究與國立故宮博物院合作,而故宮近年來也致力於新科技的採用與發展,虛擬實境則是其中一個例子,因此本篇會著重在探討虛擬實境在博物館展覽上是否為有效提升觀眾觀展興趣的互動媒介。當使用者在使用互動媒介的時候,會讓他們產生一種類似”身歷其境的”感覺,我們稱為”telepresence”而這種感覺則會進一步影響他們對於博物館的觀展意願。因此本篇論文會針對虛擬實境跟不同的互動媒介做比較,藉以了解比起其他互動媒介,虛擬實境是否能更能提升使用者體驗,這裡為了普及性及取材方便,採用故宮網站及影片來做比較。而為了衡量使用者體驗,我們則採用”享受程度”及”專注程度”來測量不同互動媒介所帶給他們的影響;此外個性以及使用者的過去相關經驗也是影響他們享受程度的重要因素,因此本篇研究也有將此兩個調節變數納入考量。而實驗內容則是隨機分配使用者使用其中一樣媒介,實驗結束後填寫相對應的問卷。實驗結果證明了互動媒介如果能帶來越高的 telepresence,則使用者會有更高的專注程度,越高的專注程度能讓使用者有更高的享受程度,而享受程度及專注程度皆能帶來較好的使用者體驗,進一步影響使用者的觀展意願;但高程度的 telepresence 並不會對享受程度有所影響,可能是因為互動媒介本身內容使用者並沒有興趣的關係,而兩個調節變數雖同樣不顯著,但試著探索性分析後發現擁有外向個性的人相較於其他人,在使用互動媒介時能有更高的專注程度,這也是未來可研究的方向。總結來說,本篇研究證明了虛擬實境能帶來較高的專注力,且專注力與享受程度能進一步地引起使用者的觀展興趣。 / Information technologies provided important opportunities for museums to create more engaging visitor experience. Many museums have decided to adopt new technologies to provide more interesting and attracting offerings. This study collaborates with National Palace Museum and focus on investigating whether virtual reality is an effective communication medium for museum exhibition. When people use different communication medium they will have variety telepresence, and the telepresence may influences on their performance expectation. Therefore this study presented in this paper compared three communication mediums, video, website and virtual reality. For evaluating user experience, we took engagement and attention to measure the effect of telepresence; also the role of users’ personality and their prior experience of communication media in moderating these effects are also considered. The experiment is held in National Cheng-Chi University and the participators are all students from the university, we randomly let user use one of three communication medium then give them questionnaire after finishing the experiment. By the result of our research, we found that high level of telepresence can let the user more focus on the media, and higher attention can enforce their engagement, in the last, both attention and engagement can further impact user’s visitation behavior. In our result, even personality and relative experience are both insignificant, but we found that when using communication medium, extravert can have higher attention than the other users, it may be a future research. Overall, this study confirm that VR with higher telepresence can catch more attention from user, attention enforce their engagement, then higher level of attention and engagement create better user experience.

本研究旨在探討如何設計以建構主義為基礎的專題導向式VR學習環境，並進一步藉由教學實驗探討運用此VR學習環境能否提升學童的學習效果，以及配合「配對合作」、「引導輔助」策略之應用，是否能提升VR學習環境輔助學習之效果。最後，則藉由晤談之分析，瞭解學童經過教學後仍存在哪些錯誤概念，並藉由不同學習環境及不同學習成就學童心理模式之比較，進一步推論影響學童概念之因素，期能提供教學者及後續研究者之參考。 本研究兼採發展學習軟體、準實驗研究法、問卷調查法及晤談法。首先設計並製作「地球的運動VR學習環境」。並選取台南市進學國小三個班級125名學童為對象，進行兩週之教學實驗。隨後進行紙筆測驗立即後測，並於四週後進行延宕後測。此外，在教學後依據學習成就及學習環境，分別選取12名學童參與晤談，以瞭解其心理模式。根據研究所獲得的資料，本研究之主要結論如下： 1. 本研究之VR學習環境有助於學童地球的運動相關概念之學習，然而仍有部分設計未達理想。整體而言，建構式虛擬實境學習環境之設計是值得發展的方向。 2. VR學習環境配合引導策略之應用，有助於學童之立即學習，對於問題層次較為抽象的專題報告，也有較好的效果。但在保留學習以及問題架構較明顯的專題報告中，是否給予輔助則無明顯差異。 3. 在地球的運動VR學習環境中，配對學習的效果並未優於個別學習。同時也沒有證據顯示配對學習的過程中，產生增進學習效果的互動過程。 4. 在VR學習環境中，採自由探索方式的學童有較正向的「學習經驗」和「互動經驗」。 5. 不同學習成就的學童其地球的運動相關概念有著極大的差異，一些容易受到直覺觀念影響的錯誤觀念，即使經過教學也很難改變。 6. 課本平面教材在傳達具有空間性質的概念時，易使學童誤解，有必要發展3D空間性質的教材。 根據研究結果，本研究提出建議，以供教育行政單位、國小自然科教師、電腦輔助教學軟體發展者以及未來相關研究之參考。 / The purposes of this dissertation were (1) to design and develop an innovative VR-based learning environment to teach "the motion of the earth" for the 6th grade students, (2) to investigate the effects after two weeks' instruction of VR-based learning environment on students’ learning achievements, which include different cognitive levels and different content areas, (3) to investigate the effects of cooperative dyads and provide guidance within the VR-based learning environment, (4) to analyze what factors may influence on the conceptual knowledge about the earth for sixth graders through interviews. Research approaches of this study included designing a computer-based learning environment, quasi-experiment, questionnaire survey and structured interview. The VR-based learning environment was designed through the processes of literature review, objective analysis, and content analysis. The evaluation of the VR learning environment was conducted through questionnaire surveying 12 experts and 76 students of the 6th grade to elicit their general opinions. This study employed quasi-experimental design to experiment on 3 classes of 125 students from Tainan Jying-Shyue elementary school. Two classes participated in VR learning environment. The members of the two classes were grouped by heterogeneous mixed-ability dyads or individual learning. The members of one of the VR groups learned through the guidance of worksheets; the students of the other VR group explored the environment by themselves. The third class was a control group whose members learned in traditional model based learning environment. After two weeks' instruction, all subjects accepted the test of the unit of "the motion of the earth" and retest after 4 weeks. 12 subjects attending interviews were selected from 125 students by different test achievements and different groups for the analytic framework. Through the design and evaluation of the VR world and the results from quantitative measure and interview data, the results were as follows: 1. We were gaining insights into the virtual reality's potential and limitations for learning. Constructivist VR-based learning environment is a new direction in the future. 2. Students learning by VR learning environment through guidance performed significantly better on the posttest than the other groups. Whether provided guidance or not, students learning by VR outperformed on test after 4 weeks than traditional learning environment. 3. There were no interaction effects between cooperative dyads and other factors. Cooperative dyads had no effect on test achievement in this study. 4. Students exploring the VR environment by themselves had more positive " learning experience" and "interactive experience" toward the environment than those learned through guidance. 5. Students with different achievement levels held extremely different mental models of the earth. The native conceptual knowledge of the earth was difficult to replace even after instruction. 6. The incorrect mental models concerned 3D concepts held by students were ineffectively corrected by the 2D textbooks. Based on the results of the study, recommendations are then made for related educational administration institution, researchers, instructional designers and elementary teachers.

地面光達系統可以快速獲取大量且高精度之點雲資料，這些點雲資料不但記錄了被掃描物體之三維資訊，還包含其色彩訊息。但因光達點雲資料量過於龐大，若要直接於電腦上展示其三維模型，必須配合有效的資料處理技術，才能迅速且即時地將資料顯示於螢幕上。 我們針對地面光達系統獲取之建物點雲，提出一套處理方法，期盼透過少數關鍵點雲，就足以表示整個建物的模型。研究流程主要分為三階段，首先採用三維網格資料結構，從地面光達系統獲取之建物點雲中，萃取出關鍵點雲，並利用三維不規則三角網建模方式，進行模型建構工作，產生建物大略模型。其次再逐點判斷是否將剩餘之點加入此模型中，持續更新模型細微之部分。最後將點雲中的色彩資訊轉成影像，敷貼在模型表面上，讓整個模型更為逼真。 我們以政大綜合大樓進行實驗，成功地減少大量冗餘的點雲資料，只需要約原始點雲的1％，就足以將綜合大樓模型建構完成。為了達到可以從不同視角即時瀏覽建物模型，我們採用虛擬實境語言(VRML)來描述處理後的三維模型，遠端使用者只需透過一般網頁瀏覽器，即可即時顯示處理過的三維建物模型。 / Ground-based LIDAR system can be used to detect the surface of the buildings on the earth. In general, it produces large amount of high-precision point cloud data. These data include not only the three-dimensional space information, but also the color information. However, the number of point cloud data is huge and is difficult to be displayed efficiently. It’s necessary to use efficient data processing techniques in order to display these point cloud data in real-time. In this research, we construct the three-dimensional building model using the key points selected from a given set of point cloud data. The major works of our scheme consists of three parts. In the first part, we extract the key points from the given point cloud data through the help of a three-dimensional grid. These key points are used to construct a primitive model of the building. Then, we checked all the remaining points and decided whether these points are essential to the final building model. Finally, we transformed the color information into images and then used the transformed images to represent generic surface material of the three-dimensional model of the building. The goal of the final step is to make the model more realistic. In the experiments, we used the twin-tower of our university as our target. We successfully reduced the required data in displaying the building model and only about one percent of the original point cloud data are used in the final model. Hence, one can see the twin-tower from various view points in real-time. In addition, we use VRML to describe our model and the users can browse the results in real-time on internet.

【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.