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題名 潮之間：ANT的展演與虛擬實境實作
Intertidal zone：a performance of ANT and a VR practice作者 戴時與
Tai, Shi-Yu貢獻者 陳宗文
Chen, Tzung- Wen
戴時與
Tai, Shi-Yu關鍵詞 藝術本位研究
行動者網絡理論
虛擬實境
實作展演
Arts-Based Research
Actor-Network Theory
Virtual Reality
practice and performance日期 2024 上傳時間 1-Mar-2024 14:25:26 (UTC+8) 摘要 位處板塊交界、強權之間，要如何認識及描繪台灣這座海島？本文以拉圖（Bruno Latour）提出的關鍵區（critical zone），呈現這個力量交會、如潮間帶的區域。此概念強調以一個實際的點開始思考並行動，而非抽離、客觀地認知現實。除了文字，拉圖也經由展覽、劇場傳播理念，本文從中提取四個實作原則，說明如何以藝術進行思維實驗。 經由感官體驗，能使抽象概念可視化、具體地呈現；本研究以虛擬實境技術（virtual reality, VR）展現何謂關鍵區，以此演譯現實如何組成。研究實作《潮之間》以十年前銅藻遍佈東北海岸的事件出發，呈現其間行動者的關係變化及行動，從衝突、合作和選擇的過程重現事件。在多條支線同時進行之下，觀看者無法掌握全局，需要不斷選擇視線方向，在不同立場之間捕捉事件發展。 作為藝術本位研究（Arts based research，ABR），仍要回到文字紀錄才能延續影響力，也能以此檢視實作與目標是否對準。經過三次展演，會發現即便是相同事件，每位觀看者拼組出的事件樣態都不盡相同。這是VR暈眩體感及寰景特性產生的效果，以此能跨越時空地呈現行動者間混亂的牽動關係。
Taiwan, situated at the intersection of tectonic plates and geopolitical influences, poses the question of how to understand and portray this island. Drawing inspiration from Bruno Latour's concept of the "critical zone," this paper presents the region as a convergence of forces, akin to a tidal zone. The concept underscores the importance of initiating thought and action from a specific point rather than detached and objectively perceiving reality. In addition to textual approaches, Latour utilizes exhibitions and theatrical communication of ideas. This paper extracts four practical principles from Latour's work to illustrate how artistic practices can be employed for thought experiments. Through sensory experiences, abstract concepts become visualized and concretely presented. This study utilizes virtual reality technology to showcase the concept of the critical zone, offering an interpretation of how reality is composed. The research practice <Intertidal zone>, focusing on an event a decade ago when red algae covered the northeast coast, depicting changes in relationships and actions among actors during the event. The process of conflict, cooperation, and choices is reenacted. With multiple storylines occurring simultaneously, viewers cannot grasp the entire picture and must continually choose their perspective, capturing the unfolding events from different standpoints. As an Arts-Based Research (ABR), the study must return to textual documentation to sustain its impact and evaluate whether the implementation aligns with the objectives. After three exhibitions, it is observed that even for the same event, each viewer constructs a unique pattern of events. This divergence is attributed to the disorienting sensations and immersive characteristics of VR, enabling the portrayal of the chaotic dynamic relationships among actors to transcend spatial constraints.參考文獻 柯金源，2018，《我們的島：臺灣三十年環境變遷全紀錄》。新北市：衛城出版社。 洪文玲編，2023，《「協商劇場」在北美館：藝術、科技與公眾參與的五場教學實驗》。新竹市：國立陽明交通大學出版社。 Pierre .B著、蔣梓驊譯，2003《實踐感》。南京：譯林出版。 Aït-Touati, F, 2017, “For a Speculative Policy. Bruno Latour and Nanterre Amandier’s Theatre of Negotiations / Make it Work (2015).” Pp.152-157 in Performing Urgency #4., edited by Florian Malzacher. Berlin: Empty Stages, Crowded Flats. Bijker, W. E., & Latour, B., 1988, “Science in Action: How to Follow Scientists and Engineers through Society.” Technology and Culture, 29(4). Casper, M. J., & Latour, B., 2000, Pandora's Hope: Essays on the Reality of Science Studies. Contemporary Sociology, 29(5). https://doi.org/10.2307/2655272 Coppola, A., 2020, “Latour and balloons: Gaïa Global Circus and the Theater of Climate Change.” Configurations, 28(1), 29–49. https://doi.org/10.1353/con.2020.0001 Halsall, F., 2016, “Actor-Network Aesthetics: The Conceptual Rhymes of Bruno Latour and Contemporary Art.” New Literary History, 47(2/3), 439–461. Hennion, A., 2016, “From ANT to Pragmatism: A Journey with Bruno Latour at the CSI”. New Literary History, 47, 289-308. Hermanns, M., Greer, D., & Cooper, C. 2015. “Visions of living with parkinson’s disease: A Photovoice study”. The Qualitative Report. Elkins, J., 2003, “Review of Iconoclash: Beyond the Image Wars in Science, Religion, and Art, by B. Latour & P. Weibel”, Art Journal, 62(3), 104–107. Gad, C., & Jensen, C. B., 2010, “On the Consequences of Post-ANT.” Science, Technology, & Human Values, 35(1), 55– 80. Gergen.M, 2018, “The Performative Movement In Social Science.” in Handbook of Arts-Based Research. Gray, R., & Sinding, C. 2002. “Standing ovation: Performing social science research about cancer.” Walnut Creek, CA: AltaMira Press. Latour, B., & Porter, C. -2009, Politics of nature: How to bring the sciences into democracy. Harvard University Press. -2017, Facing gaia: Eight lectures on the new climatic regime. Polity Press. -2018, An inquiry into modes of existence: An anthropology of the Moderns. Harvard University Press. Latour, B. -1983, “Give Me a Laboratory and I will Raise the World.” Science Observed: Perspectives on the Social Study of Science, edited by Cetina Karin Knorr, Mulkay Michael, 141– 70. London, UK: Sage. - 1994, "Where are the Missing Masses? the Sociology of a few Mundane Artifacts.” Shaping Technology / Building Society: Studies in Sociotechnical, edited by Change.B. Wiebe and L. John. Chicago, MIT Press. - 1996, “On actor-network theory: A few clarifications.” Soziale Welt, 47(4), 369–381. -2004, “How to Talk About the Body? the Normative Dimension of Science Studies.” Body & Society, 10(2-3). -2005, Reassembling the Social: An Introduction to Actor- Network-Theory. London: Oxford University Press. -2010, “An Attempt at a “Compositionist Manifesto”.” New Literary History, 41: 471–490. - 2011, “Waiting for Gaia. Composing the common world through arts and politics.” -2017a, “For David Bloor⋯ and beyond: A reply to David Bloor's "anti-Latour".” Logos Russian Federation, 27(1). -2018, “Down to earth: Politics in the new climatic regime.” Polity Press. Latour, B.& Woolgar, S, 1986, Laboratory life: The construction of scientific facts.Princeton University Press Latour, B., Schaffer, S., & Gagliardi, P, 2020, A book of the body politic: Connecting biology, politics and social theory. Fondazione Giorgio Cini. Leavy, P. 2019. Handbook of Arts-Based Research. The Guilford Press. Mannay, D. 2010. Making the familiar strange: Can visual research methods render the familiar setting more perceptible? Qualitative Research, 10(1), 91–111. Neufeldt, A, 2003, “What does it take to transform mental health knowledge into workplace practice? towards a theory of action.” HealthcarePapers, 5(2), 118–132. Nimmo, R, 2011, “Actor-Network Theory and Methodology: Social Research in a More-Than-Human World.” Methodological Innovations Online, 6(3), 108-119. Praude, C., 2018, ”Computer Art and Actor-Network Theory: Actants and Intersubjective Associations in Scene.” The MIT Press.51(5):529 Shibata, T., Kim, J., Hoffman, D. M., & Banks, M. S, 2011. “The zone of comfort: Predicting visual discomfort with stereo displays.” Journal of Vision, 11(8), 11–11. Tinius, J, 2015. "All the world is a stage? A review of Bruno Latour’s Gaïa Global Circus.” ALLEGRA - A Virtual Lab of Legal Anthropology. Waller, L, 2017, “Curating actor-network theory: testing object-oriented sociology in the Science Museum” Museum and Society, 14(1), 193-206. 報章網站 張玉音，2022，〈 說服觀者「沉浸」的技術，專訪陳芯宜：VR的語言─攸關「身 體」〉。典藏，2月27日。 侯伯彥.，2021，〈 創作者論VR：召喚體感的世界――專訪《留給未來的殘影》導 演陳芯宜〉。CLABO實驗波，5月19日。 呂樾，2023，〈 姿勢／知識生產--《肉身風景》中的「觀眾」位置 〉。表演藝 術評論台.，2月27日。 毛雅芬，2022，〈 提煉初始的情感──專訪《留給未來的殘影》導演陳芯宜〉。 放映週報，9月11日。 龔卓軍 ，2018，〈那團火，那縷煙，反沉浸的沉浸：《留給未來的殘影》與VR 電影的本體感操演〉。典藏，10月29日。 Collins-hughes, L, 2014, “A potential disaster in any language.” In The New York Times. (September 25). Guardian, 2020, “Bruno Latour: 'Trump and Thunberg inhabit different planets'.” in The Guardian.( February 4). Latour, B. , 2011, “Some experiments in art and politics” in e-flux (March 描述 碩士
國立政治大學
社會學系
110254010資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110254010 資料類型 thesis dc.contributor.advisor 陳宗文 zh_TW dc.contributor.advisor Chen, Tzung- Wen en_US dc.contributor.author (Authors) 戴時與 zh_TW dc.contributor.author (Authors) Tai, Shi-Yu en_US dc.creator (作者) 戴時與 zh_TW dc.creator (作者) Tai, Shi-Yu en_US dc.date (日期) 2024 en_US dc.date.accessioned 1-Mar-2024 14:25:26 (UTC+8) - dc.date.available 1-Mar-2024 14:25:26 (UTC+8) - dc.date.issued (上傳時間) 1-Mar-2024 14:25:26 (UTC+8) - dc.identifier (Other Identifiers) G0110254010 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/150296 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 社會學系 zh_TW dc.description (描述) 110254010 zh_TW dc.description.abstract (摘要) 位處板塊交界、強權之間，要如何認識及描繪台灣這座海島？本文以拉圖（Bruno Latour）提出的關鍵區（critical zone），呈現這個力量交會、如潮間帶的區域。此概念強調以一個實際的點開始思考並行動，而非抽離、客觀地認知現實。除了文字，拉圖也經由展覽、劇場傳播理念，本文從中提取四個實作原則，說明如何以藝術進行思維實驗。 經由感官體驗，能使抽象概念可視化、具體地呈現；本研究以虛擬實境技術（virtual reality, VR）展現何謂關鍵區，以此演譯現實如何組成。研究實作《潮之間》以十年前銅藻遍佈東北海岸的事件出發，呈現其間行動者的關係變化及行動，從衝突、合作和選擇的過程重現事件。在多條支線同時進行之下，觀看者無法掌握全局，需要不斷選擇視線方向，在不同立場之間捕捉事件發展。 作為藝術本位研究（Arts based research，ABR），仍要回到文字紀錄才能延續影響力，也能以此檢視實作與目標是否對準。經過三次展演，會發現即便是相同事件，每位觀看者拼組出的事件樣態都不盡相同。這是VR暈眩體感及寰景特性產生的效果，以此能跨越時空地呈現行動者間混亂的牽動關係。 zh_TW dc.description.abstract (摘要) Taiwan, situated at the intersection of tectonic plates and geopolitical influences, poses the question of how to understand and portray this island. Drawing inspiration from Bruno Latour's concept of the "critical zone," this paper presents the region as a convergence of forces, akin to a tidal zone. The concept underscores the importance of initiating thought and action from a specific point rather than detached and objectively perceiving reality. In addition to textual approaches, Latour utilizes exhibitions and theatrical communication of ideas. This paper extracts four practical principles from Latour's work to illustrate how artistic practices can be employed for thought experiments. Through sensory experiences, abstract concepts become visualized and concretely presented. This study utilizes virtual reality technology to showcase the concept of the critical zone, offering an interpretation of how reality is composed. The research practice <Intertidal zone>, focusing on an event a decade ago when red algae covered the northeast coast, depicting changes in relationships and actions among actors during the event. The process of conflict, cooperation, and choices is reenacted. With multiple storylines occurring simultaneously, viewers cannot grasp the entire picture and must continually choose their perspective, capturing the unfolding events from different standpoints. As an Arts-Based Research (ABR), the study must return to textual documentation to sustain its impact and evaluate whether the implementation aligns with the objectives. After three exhibitions, it is observed that even for the same event, each viewer constructs a unique pattern of events. This divergence is attributed to the disorienting sensations and immersive characteristics of VR, enabling the portrayal of the chaotic dynamic relationships among actors to transcend spatial constraints. en_US dc.description.tableofcontents 第壹章 前言 1 第貳章 藝術本位研究 4 第一節 理論框架 5 第二節 分析工具 6 一、連結的身體（articulated body） 7 第參章 ANT與拉圖 8 第一節 ANT特性 8 第二節 拉圖的實作 9 一、《Inside - a performance lecture》 9 二、蓋婭全球劇團Gaia Global Circus 11 三、協商劇場 17 四、小結：行動中的藝術 23 第三節 實作原則 24 I. 步驟一：實驗室工作 24 II. 步驟二：招募參與者 26 III.步驟三：實驗過程 28 IV.步驟四：實驗的位移 30 小結：如何操作思維實驗 30 第肆章 VR技術與表演藝術 31 第一節 技術與藝術 32 一、《肉身風景》：觀看的痛覺 32 二、《留給未來的殘影》：空間的拼組 36 三、小結：在不確定中併行 39 第二節 技術原理 39 一、視線 40 二、成像原理 41 三、內容產製方式 42 第伍章 作品及展演設計 44 第一節《潮之間》 44 一、作品簡介 44 二、《潮之間》的位移I 46 第二節 展演規劃 48 第三節 預計效果 51 第陸章 研究成果 52 第一節 層層推行的展演 52 一、展演一：風雨飄搖的孤島 52 二、展演二：水泥牆內的潮間帶 54 三、展演三：暮色籠罩的渡船頭 58 第二節 行動的《潮之間》 61 一、《潮之間》的位移II 61 二、效果與侷限 63 第柒章 結論 66 第一節 寰景與現實 66 第二節 邊界的消融 67 第三節 限制與發展 68 參考資料 70 附錄：《潮之間》創作說明 73 zh_TW dc.format.extent 42789994 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110254010 en_US dc.subject (關鍵詞) 藝術本位研究 zh_TW dc.subject (關鍵詞) 行動者網絡理論 zh_TW dc.subject (關鍵詞) 虛擬實境 zh_TW dc.subject (關鍵詞) 實作展演 zh_TW dc.subject (關鍵詞) Arts-Based Research en_US dc.subject (關鍵詞) Actor-Network Theory en_US dc.subject (關鍵詞) Virtual Reality en_US dc.subject (關鍵詞) practice and performance en_US dc.title (題名) 潮之間：ANT的展演與虛擬實境實作 zh_TW dc.title (題名) Intertidal zone：a performance of ANT and a VR practice en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 柯金源，2018，《我們的島：臺灣三十年環境變遷全紀錄》。新北市：衛城出版社。 洪文玲編，2023，《「協商劇場」在北美館：藝術、科技與公眾參與的五場教學實驗》。新竹市：國立陽明交通大學出版社。 Pierre .B著、蔣梓驊譯，2003《實踐感》。南京：譯林出版。 Aït-Touati, F, 2017, “For a Speculative Policy. Bruno Latour and Nanterre Amandier’s Theatre of Negotiations / Make it Work (2015).” Pp.152-157 in Performing Urgency #4., edited by Florian Malzacher. Berlin: Empty Stages, Crowded Flats. Bijker, W. E., & Latour, B., 1988, “Science in Action: How to Follow Scientists and Engineers through Society.” Technology and Culture, 29(4). Casper, M. J., & Latour, B., 2000, Pandora's Hope: Essays on the Reality of Science Studies. Contemporary Sociology, 29(5). https://doi.org/10.2307/2655272 Coppola, A., 2020, “Latour and balloons: Gaïa Global Circus and the Theater of Climate Change.” Configurations, 28(1), 29–49. https://doi.org/10.1353/con.2020.0001 Halsall, F., 2016, “Actor-Network Aesthetics: The Conceptual Rhymes of Bruno Latour and Contemporary Art.” New Literary History, 47(2/3), 439–461. Hennion, A., 2016, “From ANT to Pragmatism: A Journey with Bruno Latour at the CSI”. New Literary History, 47, 289-308. Hermanns, M., Greer, D., & Cooper, C. 2015. “Visions of living with parkinson’s disease: A Photovoice study”. The Qualitative Report. Elkins, J., 2003, “Review of Iconoclash: Beyond the Image Wars in Science, Religion, and Art, by B. Latour & P. Weibel”, Art Journal, 62(3), 104–107. Gad, C., & Jensen, C. B., 2010, “On the Consequences of Post-ANT.” Science, Technology, & Human Values, 35(1), 55– 80. Gergen.M, 2018, “The Performative Movement In Social Science.” in Handbook of Arts-Based Research. Gray, R., & Sinding, C. 2002. “Standing ovation: Performing social science research about cancer.” Walnut Creek, CA: AltaMira Press. Latour, B., & Porter, C. -2009, Politics of nature: How to bring the sciences into democracy. Harvard University Press. -2017, Facing gaia: Eight lectures on the new climatic regime. Polity Press. -2018, An inquiry into modes of existence: An anthropology of the Moderns. Harvard University Press. Latour, B. -1983, “Give Me a Laboratory and I will Raise the World.” Science Observed: Perspectives on the Social Study of Science, edited by Cetina Karin Knorr, Mulkay Michael, 141– 70. London, UK: Sage. - 1994, "Where are the Missing Masses? the Sociology of a few Mundane Artifacts.” Shaping Technology / Building Society: Studies in Sociotechnical, edited by Change.B. Wiebe and L. John. Chicago, MIT Press. - 1996, “On actor-network theory: A few clarifications.” Soziale Welt, 47(4), 369–381. -2004, “How to Talk About the Body? the Normative Dimension of Science Studies.” Body & Society, 10(2-3). -2005, Reassembling the Social: An Introduction to Actor- Network-Theory. London: Oxford University Press. -2010, “An Attempt at a “Compositionist Manifesto”.” New Literary History, 41: 471–490. - 2011, “Waiting for Gaia. Composing the common world through arts and politics.” -2017a, “For David Bloor⋯ and beyond: A reply to David Bloor's "anti-Latour".” Logos Russian Federation, 27(1). -2018, “Down to earth: Politics in the new climatic regime.” Polity Press. Latour, B.& Woolgar, S, 1986, Laboratory life: The construction of scientific facts.Princeton University Press Latour, B., Schaffer, S., & Gagliardi, P, 2020, A book of the body politic: Connecting biology, politics and social theory. Fondazione Giorgio Cini. Leavy, P. 2019. Handbook of Arts-Based Research. The Guilford Press. Mannay, D. 2010. Making the familiar strange: Can visual research methods render the familiar setting more perceptible? Qualitative Research, 10(1), 91–111. Neufeldt, A, 2003, “What does it take to transform mental health knowledge into workplace practice? towards a theory of action.” HealthcarePapers, 5(2), 118–132. Nimmo, R, 2011, “Actor-Network Theory and Methodology: Social Research in a More-Than-Human World.” Methodological Innovations Online, 6(3), 108-119. Praude, C., 2018, ”Computer Art and Actor-Network Theory: Actants and Intersubjective Associations in Scene.” The MIT Press.51(5):529 Shibata, T., Kim, J., Hoffman, D. M., & Banks, M. S, 2011. “The zone of comfort: Predicting visual discomfort with stereo displays.” Journal of Vision, 11(8), 11–11. Tinius, J, 2015. "All the world is a stage? A review of Bruno Latour’s Gaïa Global Circus.” ALLEGRA - A Virtual Lab of Legal Anthropology. Waller, L, 2017, “Curating actor-network theory: testing object-oriented sociology in the Science Museum” Museum and Society, 14(1), 193-206. 報章網站 張玉音，2022，〈 說服觀者「沉浸」的技術，專訪陳芯宜：VR的語言─攸關「身 體」〉。典藏，2月27日。 侯伯彥.，2021，〈 創作者論VR：召喚體感的世界――專訪《留給未來的殘影》導 演陳芯宜〉。CLABO實驗波，5月19日。 呂樾，2023，〈 姿勢／知識生產--《肉身風景》中的「觀眾」位置 〉。表演藝 術評論台.，2月27日。 毛雅芬，2022，〈 提煉初始的情感──專訪《留給未來的殘影》導演陳芯宜〉。 放映週報，9月11日。 龔卓軍 ，2018，〈那團火，那縷煙，反沉浸的沉浸：《留給未來的殘影》與VR 電影的本體感操演〉。典藏，10月29日。 Collins-hughes, L, 2014, “A potential disaster in any language.” In The New York Times. (September 25). Guardian, 2020, “Bruno Latour: 'Trump and Thunberg inhabit different planets'.” in The Guardian.( February 4). Latour, B. , 2011, “Some experiments in art and politics” in e-flux (March zh_TW
