Please use this identifier to cite or link to this item:
https://ah.lib.nccu.edu.tw/handle/140.119/78811| DC Field | Value | Language |
|---|---|---|
| dc.contributor.advisor | 林玲遠<br>李蔡彥 | zh_TW |
| dc.contributor.author | 羅晧耘 | zh_TW |
| dc.creator | 羅晧耘 | zh_TW |
| dc.date | 2015 | en_US |
| dc.date.accessioned | 2015-10-01T06:29:25Z | - |
| dc.date.available | 2015-10-01T06:29:25Z | - |
| dc.date.issued | 2015-10-01T06:29:25Z | - |
| dc.identifier | G1024620081 | en_US |
| dc.identifier.uri | http://nccur.lib.nccu.edu.tw/handle/140.119/78811 | - |
| dc.description | 碩士 | zh_TW |
| dc.description | 國立政治大學 | zh_TW |
| dc.description | 數位內容碩士學位學程 | zh_TW |
| dc.description | 102462008 | zh_TW |
| dc.description.abstract | VJ表演隱藏著一種矛盾性。VJ表演之觀眾特徵，較常表現出非主流的品味，傾向於追求與眾不同的體驗，與對於自主權的掌握展現較高的積極性。然而享受音樂表演意味著某種程度的沈浸與忘我，在觀賞表演時需暫時捨棄自身的自主權與主體性方有可能真正享受其中，這之間便產生了控制與被控制的矛盾。當互動科技的元素介入到VJ表演時，這種矛盾性就會更加明顯，甚至被揭露與強調。互動科技的加入旨在過程中使人們能夠參與，讓人們擁有做決定或影響表演的權力。故互動的VJ表演具有控制權矛盾之特徵，而這樣的矛盾性應當被表演設計者所發現並探索。本研究希望透過理論爬梳與作品實踐，探索互動加入在VJ表演時如何提高觀眾的參與感。於是如何盡量減少互動所造成的干擾性以完成一場互動表演，便成為本研究關心的一項重點。\n 在內容主題上，台灣民間信仰是關於控制與被控制一個很好的轉喻。故此計畫將設計一個以台灣民間信仰為主題的互動VJ表演，並利用台灣民間信仰來反映觀眾主體性矛盾與控制權矛盾的不同面相。 | zh_TW |
| dc.description.tableofcontents | 摘要 I\n圖目錄 IV\n表目錄 VII\n第一章 緒論 1\n1.1 研究背景與動機 1\n1.2 關於VJ 2\n1.3 互動與現場表演 5\n1.4 研究目的 8\n第二章 研究路徑與方法 9\n2.1 主題探索 9\n2.2 作品實踐 16\n第三章 文獻探討 18\n3.1 VJ的次文化 18\n3.2 視覺與音樂的共舞－Visual Music、抽象影片 20\n3.3 從文化工業理論看個體的消失 25\n3.4 互動藝術 27\n3.5 結論 29\n第四章 《借問眾神明》作品構想 32\n4.1 主題與理念－信仰與數位之相似性 32\n4.2 創作構想與方法 33\n4.2.1 場地設計 34\n4.2.2 影像設計與運用 38\n4.2.3 音樂設計 41\n4.2.4 表演工具使用 41\n4.2.3 假性主動於互動方式之應用 43\n4.3 段落概述 48\n第五章 展出紀錄與結論 53\n5.1 表演紀錄 53\n5.2 觀眾回饋 54\n5.3 觀眾主體性的矛盾與欺騙 55\n5.4 假性主動歸納 57\n5.5 結論 58\n參考文獻 60 | zh_TW |
| dc.format.extent | 3913288 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri | http://thesis.lib.nccu.edu.tw/record/#G1024620081 | en_US |
| dc.subject | VJ | zh_TW |
| dc.subject | 控制權 | zh_TW |
| dc.subject | 互動表演 | zh_TW |
| dc.subject | 台灣民間信仰 | zh_TW |
| dc.subject | VJ | en_US |
| dc.subject | The Power of Control | en_US |
| dc.subject | Interactive Performance | en_US |
| dc.subject | Folk Beliefs in Taiwan | en_US |
| dc.title | 互動在VJ表演所產生的觀眾自主控制權矛盾探討 | zh_TW |
| dc.title | Analyzing the Paradox of the autonomy by the Audience in Interactive VJ Performance | en_US |
| dc.type | thesis | en |
| dc.relation.reference | Adorno, T. (1996). Aesthetic Theory. (G. Adorno, R. Tiedemann, Eds., & R. Hullot-Kentor, Trans.) Minneapolis: University of Minnesota Press.\n\nBrand, S. (1995, March). We Owe It All To The Hippies. Time, 145(12).\n\nBraunstein, P. (1999, November). Disco. American Heritage Magazine, 50(7).\n\nButte, G. (2008, Summer). Suture and the Narration of Subjectivity in Film. Poetics Today, 29(2), pp. 277-308.\n\nEdmonds, E, Muller, L, Connel, M. (2006). On creative engagement. Visual Communication, 5(3), pp. 307-322.\n\nEskandar. (2006). In vE-jA: Art + Technology of Live Audio-Video (p. 1). h4 San Francisco.\n\nFaulknerMichael, & D-Fuse. (2006). VJ: Audio-Visual Art and VJ Culture. Laurence King.\n\nGootenberg, P. (2003). Hispanic American Historical Review. In 1954- Between Coca and Cocaine: A Century or More of U.S.-Peruvian Drug Paradoxes (pp. 119–150).\n\nGraham, L. (1998). In Principles of Interactive Design. Delmar Cengage Learning.\n\nHorkheimer, M. (1982). Critical Theory. NY: Continum.\n\nJay, M. (1984). Adorno. Cambridge: Harvard University Press.\n\nL, M., E, E., & M, C. (2006). Living laboratories for interactive art. CoDesign, 2(4)\n\nLawrence, T. (2011, March). Disco and the Queering of the Dance Floor. Cultural Studies, 25(2), pp. 230–243.\n\nLunds, C., & Lunds, H. (2009). Audio Visual: on Visual and Related Media. Stuttgart: Arnoldsche Art Publishers.\n\nPaul, C. (2003). Digital Art. Thames & Hudson Inc.\n\nPopper, F. (2007). From Technological to Virtual Art. Cambridge, MA: MIT Press.\n\nReynolds, S. (1998). Energy Flash. Picador.\n\nShaughnessy, A. (2006). In M. Faulkner, & D-Fuse, VJ: Audio-Visual Art and VJ Culture (p. 11). Laurence King.\n\nSheidlower, J. (2004, December). Crying Wolof: Does the word hip really hail from a West African language? Retrieved 5 28, 2015, from Slate Magazine: http://www.slate.com/articles/news_and_politics/hey_wait_a_minute/2004/12/crying_wolof.html\n\nThomas B, H. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition Second. New York ; London: Routledge.\n\nTimothy, J. (2006). VJ: live cinema unraveled. San Diego: University of California.\n\nWard, O. (2006, June 10). The man who heard his paintbox hiss. Retrieved 6 1, 2015, from Telegraph: http://www.telegraph.co.uk/culture/art/3653012/The-man-who-heard-his-paintbox-hiss.html\n\n洪翠娥. (1988). 霍克海默與阿多諾對「文化工業」的批判. 唐山出版社. | zh_TW |
| item.cerifentitytype | Publications | - |
| item.openairecristype | http://purl.org/coar/resource_type/c_46ec | - |
| item.grantfulltext | restricted | - |
| item.openairetype | thesis | - |
| item.fulltext | With Fulltext | - |
| Appears in Collections: | 學位論文 學位論文 | |
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| File | Size | Format | |
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| 008101.pdf | 3.82 MB | Adobe PDF2 | View/Open |
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