複製與繁衍：一個大學藝文中心的創新實驗

Abstract

當藝術與創造力成為二十一世紀的核心競爭力，臺灣的高等教育如何以藝文中心為藝術與創造力教育的守門人/組織，實踐校園創新精神於推動藝術與創造力教育？本研究主要的目的為：1.以Lewin (1947)的守門理論及Csikszentmihalyi的創造力系統理論為基礎(Csikszentmihalyi & Wolfe, 2000)，應用FTCC Model (Arts=Form+ Theme+ Context+Cost)做為藝文中心的守門體制規則(Institutional Routines)；2.以實證研究方法，檢視政大藝文中心應用該模式後對藝術與創造力教育的影響。研究結果顯示：1.該中心應用上述體制規則於2010年至2012年舉辦之「粉樂町政大續展」，從展覽成果及觀眾問卷分析，該展覽於展覽形式、教育推廣及服務學習等均有明顯成長；2.該展覽在藝術教育、藝術行政及型塑校園創意生活等面向帶來創新的成效。初步驗證守門體制規則之建立，對於大學藝文中心的創新發展有實質的幫助。

When art and creativity become the core competitiveness of the twenty-first century, how will Taiwan’s higher education use art centers, the gatekeepers of art and creative education, to practice aesthetic innovation on campuses? This study tried to discuss implications of the FTCC model (Form, Theme, Context, Cost) expanded from Sandell’s (2009) art education theory instituted on Lewin’s gatekeeping theory and Csikzenmihalyi’s systems model of creativity theory (Csikszentmihalyi & Wolfe, 2000) as an institutional routine. This study applied the above model in the empirical research of NCCU Very Fun Park Exhibition, from 2010 to 2012. The results showed: 1. Statistical analysis of the exhibition outcome and audience questionnaires indicated that the exhibition obtained innovative performances in the number of invited artists, types of contemporary arts, audience number, and service learning; 2. The exhibition was successful in terms of improving art education, expanding audience involvement, and enhancing creative life style on campus. The findings revealed that this theoretical model is reasonable for university art centers to gatekeep art and creative education.