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題名 《摩登怪怪紀》當代媒介科技文化之虛擬怪物創作－ NFT圖文作品論述
Contemporary Monsters Art & Exhibition as Non-Fungible Tokens作者 曾新容
Tseng, Hsin-Jung貢獻者 陶亞倫
Tao, Ya-Lun
曾新容
Tseng, Hsin-Jung關鍵詞 怪物
妖怪
媒介科技
文化技術
棄卻／賤斥
非同質化代幣
Monster
Yokai
Media technology
Cultural techniques
Abjection
NFT日期 2023 上傳時間 6-Jul-2023 15:16:21 (UTC+8) 摘要 怪物不怪，他們來自我們的文化。《摩登怪怪紀》是一個以媒介科技使用文化作為主題的當代怪物創作作品，並且以NFT的形式於akaSwap作為最終公開展演。透過閱讀怪物理論，了解怪物如何在我們文化脈絡中怪物化，以怪物作為出發點進行創作。在這個創作中，將會有兩個系列作品。第一個系列《摩登怪怪紀：怪物篇》是本篇主要作品，以文化技術作為題材選擇方向，透過仿生設計的概念，選取數個媒介科技使用行為作為主題，創作出十三隻當代怪物角色。首先會先在社群網站介紹研究者創作的怪物提供觀者認識，再進行重新繪製，製成展演的怪物角色系列作品NFT。第二個系列《摩登怪怪紀：故事篇》為圖文故事作品，是利用三個觀察者角色做成十三篇圖文故事NFT，以觀察者面向，探討以十三隻怪物角色為主的怪物世界中，怪物與觀察者的關係。其中，會將Julia Kristeva的「棄卻／賤斥（abjection）」概念，應用在主角與怪物的關係當中，說明主角如何透過棄卻／賤斥的行為，創造怪物。整體而言，這個作品中將以怪物為主，故事為輔。關於作品理念，怪物角色系列透過解構媒介科技使用的日常生活，重構成怪物的身體，欲引觀者重新思考自己如何使用媒介科技。觀察者面向的圖文故事，則是帶觀者進入怪物世界，引導觀者重新思考如何觀其為怪。透過了解怪物如何從我們身上出現，並和怪物一同回到我們習以為常的生活，可以讓我們思考文化如何使我們創造怪物。此外，這個創作也將提供後進怪物創作者利用既存怪物以外的主題作為創作可能，更可以提供後進怪物創作者，有關怪物的認知、怪物創作過程以及作品是否需要鑄造成NFT的參考。
Monsters are not all creepy and horrible because they are from our cultures. “Modernmonmon’s Century” was monsters’ artwork which was about contemporary monsters, especially the use of media technologies. The artwork was eventually displayed as non-fungible tokens for exhibition on akaSwap. The artwork was totally made from the point of view of the monsters and based on the monsters theories. In this artwork, there were two pieces, and both of them talked about the monsters.The main one, “Modernmonmon’s Century: Monsters”, is a series, and it was about 13 contemporary monsters’ characters of media technologies which was made with the framework of cultural techniques and the concept of bionics. The monsters would be introduced on a social media fan’s page in portrait form first, and then would be drawn in a different style with related elements as non-fungible tokens. The other one, “Modernmonmon’s Century: Story”, is a story with 13 pictures which was led by three observers. Additionally, the story was told from the point of view of the observers to express the relationship between the monsters and the observers. With regard to the main character, who is one of the observers, the concept of Julia Kristeva’s “abjection” was applied to explain the relation between the main character and the birth of the monsters.All in all, the former one mentioned would be the main piece of this artwork, and the later one would be the assistance. For the core value of this artwork, the monsters’ characters were telling people to rethink how they use media technologies, and the story was telling people to rethink how they consider others or others’ behaviors weird. Understanding how monsters were born from human could make people think how the culture drives the creation of monsters. Finally, the paper provided monster artists doing monster art with various possibilities besides known creatures. Moreover, the paper also offered the monster’s artists the organized cognition of a monster, the process of creating an unknown creature, and the idea of transferring the artwork into NFT form.參考文獻 王慧萍（2012）。《怪物考－－西方中世紀的怪物世界》臺北市：如果.大雁出版。《妖氣都市：從人類之城到異怪結界》（2019）。取自 https://yaochi.clab.org.tw/林思平（2020）。〈人工智慧與媒介理論：基德勒、克拉瑪與亞馬遜Echo/Alexa〉。《新聞學研究》，142：155-199。唐士哲（2017）。〈作為文化技術的媒介：基德勒的媒介理論初探〉。《傳播研究與實踐》，7（2）：5-32。袁柯注 (1983)。《山海經校注》，臺北市：里仁書局。許汝紘編（2017）。《百鬼夜行：妖魔起源》。新北市：信實文化行銷。黃開譯（2021）。《數位監控：我們如何拿回均衡的科技生活》，臺北市：時報文化出版企業股份有限公司（原書Rob Kitchin, Alistair Fraser [2020]. Slow computing: why we need balanced digital lives. Bristol, UK: Bristol University Press.）葉妍伶、羅亞琪譯（2021）。《被操弄的真實：演算法中隱藏的政治與權力》，新北市：臺灣商務印書館股份有限公司（原書Taina Bucher[2018]. IF…THEN: Algorithmic Power and Politics. Oxford, UK: Oxford University Press.）臺北地方異聞工作室（2019）。《臺灣妖怪學就醬》臺北市：奇異果文創事業有限公司。臺灣傳播調查資料庫（2022年7月5日）。〈你又網購了嗎？-台灣民眾網路購物之情形〉，《科技部傳播調查資料庫電子報》。取自https://crctaiwan.dcat.nycu.edu.tw/epaper/%E7%AC%AC283%E6%9C%9F20220630.htm 臺灣傳播調查資料庫（2022年9月30日）。〈「哪個媒體是你的心頭好？」－台灣民眾使用各媒體之情形〉，《科技部傳播調查資料庫電子報》。取自https://crctaiwan.dcat.nycu.edu.tw/epaper/%E7%AC%AC290%E6%9C%9F20220930.htm 蔡元培譯（2015）。《妖怪學講義錄（總論）》，香港：香港中和出版（原書井上円了 [明治26年(1893)]. 妖怪学講義, 日本東京: 哲学館.）Atkinson, P., & Barker, R. (2021). ‘Hey Alexa, what did I forget?’: Networked devices, Internet search and the delegation of human memory. Convergence, 27(1), 52–65.Chalmers, D., Fisch, C., Matthews, R., Quinn, W., & Recker, J. (2022). Beyond the bubble: Will NFTs and digital proof of ownership empower creative industry entrepreneurs?. Journal of Business Venturing Insights, 17, e00309.Cohen, J. J. (1996). Monster Culture (Seven Theses). In J. J.Cohen (Eds.), Monster Theory: Reading Culture (pp. 3-25). Minneapolis, MN: University of Minnesota Press.Figal, G. (2007). Civilization and Monsters: Spirits of Modernity in Meiji Japan. Durham, NC: Duke University Press.Figeac, J., & Favre, G. (2021). How behavioral homophily on social media influences the perception of tie-strengthening within young adults’ personal networks. New Media & Society, 0(0).Foster, M. D. (2008). Pandemonium and Parade: Japanese Monsters and the Culture of Yokai, Berkeley and Los Angeles, CA: University of California Press.Foster, M. D. (2021, March 31). Supernatural Beings: Yōkai Past & Present with Michael Dylan Foster and Zack Davisson. [Youtube]. Retrieved from https://www.youtube.com/watch?v=R3lpA83gKjUHunter, K. M. B. (2018). Shopaholic stories: Tales of therapeutic addiction, governance, and political economy. Journal of Consumer Culture, 18(4), 497–519.Jenaro, C., Flores, N., & Frías, C. P. (2021). Anxiety and Depression in Cyberbullied College Students: A Retrospective Study. Journal of Interpersonal Violence, 36(1–2), 579–602.Kim, H. M. (2021). What do others’ reactions to body posting on Instagram tell us? The effects of social media comments on viewers’ body image perception. New Media & Society, 23(12), 3448–3465.Kittler, F. (1999). Gramophone, film, typewriter (G. Winthrop-Young & M. Wutz, Trans.). Stanford, CA: Stanford University Press. (Original work published 1986)Kreling, R., Meier, A., & Reinecke, L. (2022). Feeling Authentic on Social Media: Subjective Authenticity Across Instagram Stories and Posts. Social Media + Society, 8(1).Kristeva, J. (1982). Approaching Abjection. In J. Kristeva, The Powers of Horror (pp. 1-17) ( L. S. Roudiez Trans). New York: Columbia University Press.Leung, L., & Lee, P. S. N. (2012). Impact of Internet Literacy, Internet Addiction Symptoms, and Internet Activities on Academic Performance. Social Science Computer Review, 30(4), 403–418.Peter, I.-K., & Petermann, F. (2018). Cyberbullying: A concept analysis of defining attributes and additional influencing factors. Computers in Human Behavior, 86, 350–366.Theivendran, K. (2021). Does social media addiction exist? InnovAiT, 14(8), 512-518.Vasan, K., Janosov, M., &Barabási, A. -L. (2022).Quantifying NFT-driven networks in crypto art. Sci Rep, 12, 2769.Villaespesa, E., & Wowkowych, S. (2020). Ephemeral Storytelling With Social Media: Snapchat and Instagram Stories at the Brooklyn Museum. Social Media + Society, 6(1).Weinstock, J. A. (2020). Introduction. In J.A. Weinstock (Ed), The Monster Theory Reader (pp. 1-31). Minneapolis, MN: University of Minnesota Press.Young, K. S. (2004). Internet Addiction: A New Clinical Phenomenon and Its Consequences. American Behavioral Scientist, 48(4), 402–415.Zhang, Y., Trusov, M., Stephen, A. T., & Jamal, Z. (2017). Online Shopping and Social Media: Friends or Foes? Journal of Marketing, 81(6), 24–41. 描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
108464019資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108464019 資料類型 thesis dc.contributor.advisor 陶亞倫 zh_TW dc.contributor.advisor Tao, Ya-Lun en_US dc.contributor.author (Authors) 曾新容 zh_TW dc.contributor.author (Authors) Tseng, Hsin-Jung en_US dc.creator (作者) 曾新容 zh_TW dc.creator (作者) Tseng, Hsin-Jung en_US dc.date (日期) 2023 en_US dc.date.accessioned 6-Jul-2023 15:16:21 (UTC+8) - dc.date.available 6-Jul-2023 15:16:21 (UTC+8) - dc.date.issued (上傳時間) 6-Jul-2023 15:16:21 (UTC+8) - dc.identifier (Other Identifiers) G0108464019 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/145705 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院傳播碩士學位學程 zh_TW dc.description (描述) 108464019 zh_TW dc.description.abstract (摘要) 怪物不怪，他們來自我們的文化。《摩登怪怪紀》是一個以媒介科技使用文化作為主題的當代怪物創作作品，並且以NFT的形式於akaSwap作為最終公開展演。透過閱讀怪物理論，了解怪物如何在我們文化脈絡中怪物化，以怪物作為出發點進行創作。在這個創作中，將會有兩個系列作品。第一個系列《摩登怪怪紀：怪物篇》是本篇主要作品，以文化技術作為題材選擇方向，透過仿生設計的概念，選取數個媒介科技使用行為作為主題，創作出十三隻當代怪物角色。首先會先在社群網站介紹研究者創作的怪物提供觀者認識，再進行重新繪製，製成展演的怪物角色系列作品NFT。第二個系列《摩登怪怪紀：故事篇》為圖文故事作品，是利用三個觀察者角色做成十三篇圖文故事NFT，以觀察者面向，探討以十三隻怪物角色為主的怪物世界中，怪物與觀察者的關係。其中，會將Julia Kristeva的「棄卻／賤斥（abjection）」概念，應用在主角與怪物的關係當中，說明主角如何透過棄卻／賤斥的行為，創造怪物。整體而言，這個作品中將以怪物為主，故事為輔。關於作品理念，怪物角色系列透過解構媒介科技使用的日常生活，重構成怪物的身體，欲引觀者重新思考自己如何使用媒介科技。觀察者面向的圖文故事，則是帶觀者進入怪物世界，引導觀者重新思考如何觀其為怪。透過了解怪物如何從我們身上出現，並和怪物一同回到我們習以為常的生活，可以讓我們思考文化如何使我們創造怪物。此外，這個創作也將提供後進怪物創作者利用既存怪物以外的主題作為創作可能，更可以提供後進怪物創作者，有關怪物的認知、怪物創作過程以及作品是否需要鑄造成NFT的參考。 zh_TW dc.description.abstract (摘要) Monsters are not all creepy and horrible because they are from our cultures. “Modernmonmon’s Century” was monsters’ artwork which was about contemporary monsters, especially the use of media technologies. The artwork was eventually displayed as non-fungible tokens for exhibition on akaSwap. The artwork was totally made from the point of view of the monsters and based on the monsters theories. In this artwork, there were two pieces, and both of them talked about the monsters.The main one, “Modernmonmon’s Century: Monsters”, is a series, and it was about 13 contemporary monsters’ characters of media technologies which was made with the framework of cultural techniques and the concept of bionics. The monsters would be introduced on a social media fan’s page in portrait form first, and then would be drawn in a different style with related elements as non-fungible tokens. The other one, “Modernmonmon’s Century: Story”, is a story with 13 pictures which was led by three observers. Additionally, the story was told from the point of view of the observers to express the relationship between the monsters and the observers. With regard to the main character, who is one of the observers, the concept of Julia Kristeva’s “abjection” was applied to explain the relation between the main character and the birth of the monsters.All in all, the former one mentioned would be the main piece of this artwork, and the later one would be the assistance. For the core value of this artwork, the monsters’ characters were telling people to rethink how they use media technologies, and the story was telling people to rethink how they consider others or others’ behaviors weird. Understanding how monsters were born from human could make people think how the culture drives the creation of monsters. Finally, the paper provided monster artists doing monster art with various possibilities besides known creatures. Moreover, the paper also offered the monster’s artists the organized cognition of a monster, the process of creating an unknown creature, and the idea of transferring the artwork into NFT form. en_US dc.description.tableofcontents 摘要 1Abstract 2目次 3表次 5圖次 6第一章、緒論 8第一節、研究動機和目的 8第二節、研究方法和過程 9第三節、研究範圍 10第二章、學理基礎 11第一節、淺談怪物文化研究 11第二節、怪物研究用途與怪物定義 14第三節、怪物分類與說明 15第四節、怪物性之名詞解釋 30第三章、創作理念與內容方向 32第一節、創作理念 32第二節、創作內容方向 33第四章、創作方法與技巧 35第一節、怪物角色內容設計方法 35第二節、怪物角色繪製方式與來源參考 37第三節、媒介科技怪物角色設計 39第四節、《摩登怪怪紀：怪物篇》NFT設計與論述 67第五節、《摩登怪怪紀：故事篇》NFT設計與論述 71第六節、NFT展演規劃與展演項目 84第五章、結論 89第一節、創作成果 89第二節、創意價值與貢獻 92第三節、創作限制與未來方向 93參考書目 94附錄一、怪物角色前導貼文紀錄 97附錄二、《摩登怪怪紀：怪物篇》NFT展演內容 107附錄三、《摩登怪怪紀：故事篇》NFT展演內容 114 zh_TW dc.format.extent 14046295 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108464019 en_US dc.subject (關鍵詞) 怪物 zh_TW dc.subject (關鍵詞) 妖怪 zh_TW dc.subject (關鍵詞) 媒介科技 zh_TW dc.subject (關鍵詞) 文化技術 zh_TW dc.subject (關鍵詞) 棄卻／賤斥 zh_TW dc.subject (關鍵詞) 非同質化代幣 zh_TW dc.subject (關鍵詞) Monster en_US dc.subject (關鍵詞) Yokai en_US dc.subject (關鍵詞) Media technology en_US dc.subject (關鍵詞) Cultural techniques en_US dc.subject (關鍵詞) Abjection en_US dc.subject (關鍵詞) NFT en_US dc.title (題名) 《摩登怪怪紀》當代媒介科技文化之虛擬怪物創作－ NFT圖文作品論述 zh_TW dc.title (題名) Contemporary Monsters Art & Exhibition as Non-Fungible Tokens en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王慧萍（2012）。《怪物考－－西方中世紀的怪物世界》臺北市：如果.大雁出版。《妖氣都市：從人類之城到異怪結界》（2019）。取自 https://yaochi.clab.org.tw/林思平（2020）。〈人工智慧與媒介理論：基德勒、克拉瑪與亞馬遜Echo/Alexa〉。《新聞學研究》，142：155-199。唐士哲（2017）。〈作為文化技術的媒介：基德勒的媒介理論初探〉。《傳播研究與實踐》，7（2）：5-32。袁柯注 (1983)。《山海經校注》，臺北市：里仁書局。許汝紘編（2017）。《百鬼夜行：妖魔起源》。新北市：信實文化行銷。黃開譯（2021）。《數位監控：我們如何拿回均衡的科技生活》，臺北市：時報文化出版企業股份有限公司（原書Rob Kitchin, Alistair Fraser [2020]. Slow computing: why we need balanced digital lives. Bristol, UK: Bristol University Press.）葉妍伶、羅亞琪譯（2021）。《被操弄的真實：演算法中隱藏的政治與權力》，新北市：臺灣商務印書館股份有限公司（原書Taina Bucher[2018]. IF…THEN: Algorithmic Power and Politics. Oxford, UK: Oxford University Press.）臺北地方異聞工作室（2019）。《臺灣妖怪學就醬》臺北市：奇異果文創事業有限公司。臺灣傳播調查資料庫（2022年7月5日）。〈你又網購了嗎？-台灣民眾網路購物之情形〉，《科技部傳播調查資料庫電子報》。取自https://crctaiwan.dcat.nycu.edu.tw/epaper/%E7%AC%AC283%E6%9C%9F20220630.htm 臺灣傳播調查資料庫（2022年9月30日）。〈「哪個媒體是你的心頭好？」－台灣民眾使用各媒體之情形〉，《科技部傳播調查資料庫電子報》。取自https://crctaiwan.dcat.nycu.edu.tw/epaper/%E7%AC%AC290%E6%9C%9F20220930.htm 蔡元培譯（2015）。《妖怪學講義錄（總論）》，香港：香港中和出版（原書井上円了 [明治26年(1893)]. 妖怪学講義, 日本東京: 哲学館.）Atkinson, P., & Barker, R. (2021). ‘Hey Alexa, what did I forget?’: Networked devices, Internet search and the delegation of human memory. Convergence, 27(1), 52–65.Chalmers, D., Fisch, C., Matthews, R., Quinn, W., & Recker, J. (2022). Beyond the bubble: Will NFTs and digital proof of ownership empower creative industry entrepreneurs?. 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