This paper breaks down my process of transitioning to a new environment through ethnographic documentation. Through the progression of my creative work, I explore the various ways in which I express my own internal feelings through my art. By expressing an alienation within a foreign country in a multitude of filmic ways, these depictions help illustrate my mental and physical journey. My work is informed by psychoanalytic theory and I am most influenced by Jacques Lacan and Sigmund Freud. These theories help me understand the human condition and how I create media art to help me come to terms with my surroundings. Another part of my influence is the genre of ethnographic film, and in my use of this style, I attempt to portray the isolation that I’ve experienced as an American citizen while living in Ankara, Turkey. Many contemporary artists have influenced my approach to the post-production treatment of my ethnographic footage such as David Lynch and the Propeller Group. In addition to a summary of these influences, I discuss the thesis exhibition and my plans for the future.

現代科技日新月異，博物館發展出線上展覽，突破了傳統博物館之展示形式，為觀眾提供更多元化的參觀服務模式。結合了多項科技的視聽娛樂及效果，使用網際網路的傳播功能，為觀眾提供方便且不用出門就可看見展示。 　　檔案館亦是如此，透過線上展覽的呈現，讓觀眾不必親自到館就能觀看展覽內容，節省了車程與時間上的花費，更添加檔案館本身的知名度。線上展覽方式提供一個不受空間與時間限制的展覽，讓參展民眾從線上互動中學習知識與歷史，進而更加深入了解過去、現在與未來。 　　本研究旨在藉由國內外檔案線上展覽網站功能相互比較，對國內未來檔案線上展覽網站之建置提出相關建議。研究方法為內容分析法，透過研究者設置的評分指標，分析國內外檔案線上展覽網站之功能。研究結果顯示，國外檔案線上展覽網站整體平均分數優於國內，但並非所有指標都高於國內，國內檔案線上展覽網站在展覽消息的提供與更新、相關連結的提供、互動遊戲與活動等三項指標上優於國外。另外，國外檔案線上展覽網站有些許功能可供國內參考學習，如：一、檔案線上展覽網站與母機構設置在同一網站。二、建立Blog或是社群網站提供更多相關主題資訊與教材。三、提供相關商店販賣一些文創產品。四、在Google Arts & Culture建立網站。 　　本研究建議國內檔案線上展覽網站未來五項可改進的方向：一、提供展覽最新消息。二、建立完整的輔助導覽功能。三、提供展覽資料的豐富性。四、互動性再提升。五、跟隨使用者進行推廣。 / Nowadays, with technology advancing greatly, museums have developed “online exhibition,” which breaks through its former limitation of traditional forms of display and have the intention of providing audience with multiple touring services. Online exhibition combines several technological entertainments and effects together and communicates by the means of the Internet so as to make audience view the exhibitions easily without going outside. 　　This convenience also can be seen in archives. With the presentation of the online exhibition, the viewers no longer have to get to the museum in person for any themed exhibition, which spare them their road trip and time and even promote the archive’s popularity. Online exhibition provides exhibitions beyond the space and time limitation, thus acquainting citizens with knowledge and history through online reaction as well as understating the past, the present and the future. 　　The research aims to propose suggestions for future domestic archival online exhibitions after comparing functions among domestic and foreign websites of archival online exhibition. Based on content analysis approach, this study sets assessing indicators to analyze aforementioned websites. 　　The result suggests that foreign websites of archival online exhibitions is higher in average scores than domestic ones. However, not all of the indicators of foreign websites are higher than those of domestic ones—the indicators of “the news offering and update,” “the offering of relative links,” and “services of interactive games and activities.” In addition, some functions of foreign archival online exhibitions are outstanding enough for us to learn from. First of all, the foreign archival online website is structured within its parent institution. Secondly, Blogging function or social media platforms are established so that more relative information and teaching materials can be provided on foreign websites. Third, there are goods of cultural and creative industry sold in certain stores. Finally, the foreign archival online exhibitions also construct their website on Google Arts & Culture. 　　This research proposes five suggestions to domestic archival online exhibitions for future improvement. First and foremost, they could provide the news update service. Secondly, they could construct sound and comprehensive assisting touring services. Thirdly, they could enrich the content information of their exhibitions. Next, they could improve the interactive aspect of their online exhibitions. Lastly, they could further promote their online exhibition by means of their existing users.

Mémoire en recherche-création. L'annexe 3 contient, à des fins d'archivage, une version texte (accompagnée de captures d'écran) du site web produit dans le cadre de la recherche. Les vidéos incluses ici font partie des fichiers multimédia présentés sur le site web. / Les troubles anxieux sont parmi les troubles de santé mentale les plus fréquents au Canada. En plus de sa prévalence sur le plan pathologique, l’anxiété consiste aussi en un état dont la plupart des humains feront l’expérience au cours de leur vie. Cela en fait un point de départ intéressant pour aborder l’enjeu plus large de la santé mentale. Les troubles anxieux, comme plusieurs autres maladies et incapacités, sont souvent invisibles, ce qui peut rendre leur expérience plus difficile pour ceux et celles qui en sont atteint∙e∙s. Ce projet de recherche-création aborde cette problématique en pensant aux possibilités et aux formes du « rendre visible ». De façon plus spécifique, son objectif est d’explorer et de comprendre comment des témoignages de personnes vivant avec un trouble anxieux peuvent être adaptés artistiquement et médiatiquement. En ce sens, le projet comportait trois étapes de recherche : 1) la collecte, par la méthode du récit de vie thématique, de deux témoignages de personnes vivant avec un trouble anxieux, 2) une adaptation artistique de ces témoignages réalisée par deux artistes invité∙e∙s, 3) la rétroaction face à l’œuvre des personnes ayant offert leur témoignage. La recherche a permis à la fois d’analyser le passage entre l’expérience vécue et l’œuvre d’art créée, mais aussi d’investiguer, par des entretiens semi-dirigés, la façon dont les artistes et les personnes ayant offert leur témoignage vivent ce processus. Dans l’esprit de la recherche-création, le projet propose aussi de communiquer à un grand public, par le biais du web, les témoignages, les créations et les résultats de cet échange. Me basant sur la pratique de la « curation », j’ai entrepris une adaptation (médiatique), dont le résultat est une exposition virtuelle appelée Anxiogenèse. Cette dernière, en plus de viser la sensibilisation à la réalité des troubles anxieux, m’a permis de réfléchir de façon plus personnelle à l’adaptation comme procédé créatif. Enfin, l’analyse des entretiens de recherche a mis en lumière divers résultats clés : comment plusieurs éléments extérieurs au matériel original contribuent au processus d’adaptation; comment les participant∙e∙s interprètent le passage du témoignage à l’œuvre selon des rapports de représentation abstraite, métaphorique et littérale; comment, sans s’être rencontré∙e∙s, les participant∙e∙s échangent indirectement entre eux; et, finalement, comment le concept d’adaptation prend divers sens au cours du projet, incluant lors du travail curatorial. / Anxiety disorders are among the most common mental health issues in Canada. Not only is anxiety prevalent in a pathological form, it is also a state most human beings experience during their life, which makes it an interesting starting point to approach the issues surrounding mental health in general. Anxiety disorders, as other illnesses and disabilities, are often invisible. This makes them all the more challenging to live with. This research-creation project engages with this problem by reflecting on how we can “make visible”. More precisely, it aims to explore and understand how testimonies of persons living with an anxiety disorder can be adapted through arts and media – and therefore be rendered visible in various ways. The research was undertaken in three stages: 1) the collection, through the topical life story method, of testimonies by people living with an anxiety disorder, 2) artistic adaptions of these accounts by invited artists, 3) receiving feedback from the participants who had offered their testimony about the adaptation of their story. The research project allowed me to investigate how experiences of anxiety disorders can be translated into art, but also how the people involved in such a process (both artists and those sharing their story) experience this process. In the spirit of research-creation, I also set forth to share the stories, art pieces and knowledge resulting from this exchange to a larger audience through the medium of the web. Guided by the concept of curation, I endeavoured a second (media-oriented) adaptation phase, resulting in an online exhibition, Anxiogenèse. This allowed me to reflect in a more personal way about adaptation as a creative process, in addition to contributing to raising awareness about anxiety disorders. Finally, analysis of the research data highlights a few key ideas: on the ways in which elements that are external to the original testimony contribute to the adaptation process; on how participants construe the adaptations of the testimonials in ways that are literal, metaphorical and abstract; on the ways that the participants connect and relate to each other despite not having met; and lastly, on how the concept of adaptation takes on various meanings throughout the project, including through the curation process.