真實與虛擬幻境中的觀者感知研究The Audience Research of Immersive Perception in Real and Virtual Illusions
摘要
在數位互動藝術的作品場域中，藝術家以科技所創造視覺知覺與身體感知的空間場域，讓觀者在觀看中體會影像的符碼意義，在互動參與中，創造感知經驗並與自身的知識記憶融合產生回應；然而，透過編碼、程序、隨機與邏輯所建構的虛擬與實體空間的感知環境中，觀者是否真能接收藝術家所傳遞的科技共生體驗？是否能真實體驗創作者的創作意義，或僅是被絢麗的影像與互動的愉悅性所迷惑？該如何回應自身的記憶與知識？而具有自身運算演化的數位藝術作品，是否能夠被視為具獨立自主的主體？ 以「藝術基礎研究法」（Art Based Research）作為探究觀者在互動情境中之感知過程的研究策略，研究者以個展《奇米拉的世界》為研究場域，邀請觀者進入利用擴增實境（Augmented Reality，AR）與互動控制科技所創造之奇米拉的「虛」「實」世界裡，感受虛擬感知的實境場域所創造的迷離幻境，之後透過現場觀者問卷分析探究四個問題：1.觀者與作品之間的關係。2.當觀者涉入互動情境之中，是如何進行訊息接收，融入互動氛圍？3.在進行互動參與之中，觀者如何體會與認同創作者的創作意識？4.在此互動參與中，是否覺得作品是具情感意識的個體。
關鍵詞
觀者研究、數位藝術、互動裝置、沉浸、感知
Abstract
Artists create physical space field with images and interactive devices to provide perception and immersing experiences. During the interactive process, audiences read the codes meaning by viewing the images, and then create perceptual experience in participation. The audiences integrate the participation experience with empirical memories to interpret the concept of artist creation. However, in the real and virtual cognition environment created by code, program, process, random and logic, do the audiences can truly comprehend the symbiotic experience which deliver by artists? Do the audiences truly understand the meaning of artist concept without be enchanted by the stunning illusion and playful interaction? How do the audience response the personal memory and knowledge during the perceiving? Do the digital art work with the ability of automation and evolution can be treated as an independent subject? The research adopts the method of Art Based Research to explore the perception process of audience in the context of the interaction. The researcher created a real and virtual world “ Chimeras’ World” with augmented reality and interactive technology. After wandering through the interactive spatial installation and theatrical space, the audience’ experience will be analyzed by complete the questionnaire with open-ended question. There are four questions: 1. The relationship of audience and art work. 2. When audience interact with the art work, how to understand and perceiving the concept of artist. 3. How audience appreciates and approves the idea of critical awareness. 4. Do the interactive art work will be regarded as the individual with emotional awareness.
Keywords
Audience research, Digital Art, Interactive Installation, Immersion, Perceiving
Hsia-Yu Chen (1917-2000) was a famous Taiwanese sculptor during the Japanese ruled period. His work of art has reached its maturity by the 1930s; however, sculpture did not be received as much recognition as painting did in Taiwanese art community back then. He went to Japan and learned from Mizutani Tetsuya in 1935. But for less than a year, he decided to change his teacher and came to study under Huzii Kouyou for seven years. In fact, the reason of this change had relationship with Japanese sculpture community in Shōwa period. On the other hand, Hsia-Yu Chen was not like Tu-Shui Huang (1895- 1930) who was also Taiwanese and exhibited several works having Taiwanese motives in the Imperial Art Exhibition for several times. Chen chose the female sculpture to join Bunten, such as Nude Woman, Hair. This orientation was also subject to the environmental impact of education and exhibitions in Shōwa period. This paper, first of all, based on the Japanese sculpture community in 1930s, and tried to analyze the Hsia-Yu Chen’s preference from comparing the works and articles of Mizutani Tetsuya and Huzii Kouyou. Next, to stage the female sculptures of Hsia-Yu Chen while understanding his creation and responding to Hsia-Yu Chen’s preference. Hsia-Yu Chen’s studying and fame process was in 1930s, when Taiwanese first-generation sculptor Tu-Shui Huang died and successors gradually learned in Japan or Taiwan. He had been regarded as Tu-Shui Huang’s successor and always continuing the strong sense of self in his studying process and works. He expected that he could strengthen the sculptures from“ technique” to“ creation” beyond so-called“ ideal” image.
Keywords
Hsia-Yu Chen, Bunten, The Sculpture in Japanese Ruled Period
臺藝大校園雕塑藝術作品介紹之三：1970年代藝專出國 深造的雕塑家─張子隆（1947- ）與李光裕（1954- ）Sculpture Art in the NTUA Campus, Series 3: Sculpture Graduates of NTUA Who Also Studied Abroad in the 1970s ─Tzu-Lung Chang (1947- ) and Kuang-Yu Lee (1954- )
