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題名 隱而未現：從具身性看美術館中觀眾的藝術品體驗
Hidden Yet to Emerge：An Embodied Approach to Visitors' Art Experiences in Museums作者 徐誦陽
Xu, SongYang貢獻者 林玲遠
Lin, Ling-Yuan
徐誦陽
Xu, SongYang關鍵詞 具身典範
體現認知
美術館教育
藝術經驗
身體記憶
自我民族誌
Embodied cognition
Body memory
Aesthetic experience
Dynamic system
Art Museum Education
Autoethnography日期 2024 上傳時間 4-Sep-2024 15:04:28 (UTC+8) 摘要 本研究從具身典範視角，藉由幫助觀眾在美術館中獲得更豐富的藝術經驗的方法的探問出發。結合體現認知與美感經驗動態模型，本研究進入他人經驗現場進行觀察，也納入自身觀賞經驗作為反思。研究發現，參與觀眾在美術館中認知循環的不僅是當下身處的客觀環境，而是涉及到三個層次：美術館的客觀環境、作品所模擬的情境以及觀眾身體記憶中的情境。這三者交織作用，喚起行動與情緒，創造獨特的藝術經驗。 在此之中，本研究通過將身體記憶與具身知識觀點納入藝術欣賞的概念之中，反思藝術知識生產的歷程。以及，這種知識生產方式如何影響、形塑大眾參觀經驗——即，我們從藝術之中獲得什麼？研究發現，情緒和個人生命脈絡皆與藝術經驗息息相關，是我們得以將眼前事物納入自身認知系統中時必要、卻時常被忽略和摒棄的部分。 最後，這篇論文亦是我研究之旅的如實呈現。通過不斷反芻自身生命經驗，再度思考何謂知識，以及如何學習知識。本研究認為，當以身體記憶/具身知識的觀點重新看待生命經驗時，便能夠看到無時無刻不在發生的學習歷程，並因此模糊學科與學科之間、日常生活與學習活動之間的界線。經驗是學習的歷程，也是知識本身。語言所及和所不能及的知識、理論知識和具身知識，都會在生命經驗中不斷相互強化，並隨時間不斷豐盛彼此的意義。
This study adopts an embodied paradigm perspective, starting with an inquiry into methods of helping audiences gain richer artistic experiences in museums. Combining embodied cognition and the dynamic model of aesthetic experience, this research combines observations of others' experiences with critical reflection on the researcher's own viewing experiences. Drawing on the dynamic approach to aesthetic experience, the study finds that visitors' perceptual loops in museums involve not only the immediate objective environment but also three levels:the objective museum environment, the situations represented within the artwork, and the situations within the audience's bodily memories. These three aspects interweave to evoke actions and emotions, creating unique artistic experiences. Within this framework, the study incorporates perspectives of body memory and embodied knowledge into the concept of art appreciation, reflecting on the process of art knowledge production. It also examines how this production process influences and shapes the public's aesthetic experiences—specifically, what we gain from art. The research finds that emotions and personal life contexts are intrinsically linked to the art experience, forming necessary yet often overlooked and dismissed components when integrating perceptions into our cognitive systems. Lastly, this thesis is an honest representation of my research journey. Through reflective writing on the details of the research process, I was able to reconsider how the knowledge is acquired. This study posits that when life experiences are viewed through the view of body memory/embodied knowledge, we can observe the constant learning processes taking place, thus blurring the boundaries between academic disciplines, and between everyday life and learning activities. Experience is both the process of learning and knowledge itself. Knowledge that can and cannot be expressed through language, theoretical knowledge and embodied knowledge, all continuously reinforce each other within life experiences, enriching their mutual significance over time.參考文獻 中文部分 胡雅婷、楊素瑤譯（2021）。《春天终将来临》，浙江人民美術出版社。（原書 Hockney & Gayford [2021], Spring Cannot be Cancelled: David Hockney in Normandy, Thames & Hudson Ltd.） 姜志輝譯（2001），《知覺現象學》，北京：商務印書館。（原書：Maurice Merleau-Ponty. [1974] Phénoménologie de la perception. Éditions Gallimard） 陳榮彬譯（2011）。《繪畫與眼淚 : 畫作如何感動人心》，台北：左岸文化。（原書：James Elkins（2004）Pictures and Tears: A History of People Who Have Cried in Front of Paintings，Routledge）。 趙子龍譯（2020）。《無知的教師：智力解放五講》。陝西：西北大學出版社。（原書：Jacques Rancière [1987], Le Maître ignorant. Paris, France: Fayard.） 謝慈譯（2020）。《身體記憶，比大腦學習更可靠：臉書、Google、皮克斯的工程師這樣「用身體」，新手變快手的捷徑，滑世代必讀。》，台北：大是文化。（原書 Simon Roberts [2020]. The power of not thinking: How your body learns and why you should trust it. Lanham, MD: Rowman & Littlefield Publishers） 鍾蔚文 （2005），「國科會社會學門評審意見之整理」，《人文與社會科學簡訊》，第6卷第4期，85-101。 鍾蔚文（2016）。〈從行動到技能：邁向身體感〉，余舜德編《身體感的轉向》。台北市：國立臺灣大學出版中心。 羅國祥譯（2017）。《可見的與不可見的》，北京：商務印書館。（原書Maurice Merleau-Ponty [1988], Le visible et l’invisible, Paris : Les Éditions Gallimard） 英文部分 Brinck, I. (2018). Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience. Cogn Process 19, 201–213. Brinck, I., Reddy, V. (2020). Dialogue in the making: emotional engagement with materials. Phenomenology and the Cognitive Sciences, 19, 23–45. https://doi.org/10.1007/s11097-019-09629-2 Chaplin, A. (2005). Art and Embodiment: Biological and Phenomenological Contributions to Understanding Beauty and the Aesthetic. Contemporary Aesthetics, 3, 19. Charters, E. (2003). The Use of Think-aloud Methods in Qualitative Research An Introduction to Think-aloud Methods. Brock Education Journal, 12(2). https://doi.org/10.26522/brocked.v12i2.38 Christoph Durt, Thomas Fuchs, and Christian Tewes (Eds), (2017). Embodiment, Enaction, and Culture: Investigating the Constitution of the Shared World. The MIT Press. David Kirsh. (2010). The cognitive life of things: Archaeology, material engagement and the extended mind. In Malafouris, L., Renfrew, C. (Eds.), The cognitive life of things: Recasting the boundaries of the mind (pp. 121-144). Cambridge, United Kingdom: McDonald Institute for Archaeological Research, University of Cambridge. Dewey, J. (1934). Art as experience. Minton, Balch. Edward P. Alexander, Mary Alexander(1994). Museums in motion: an introduction to the history and functions of museums. Alta Mira Press. Ellingson, L.L. (2017). Ethnographic Bodies:Enacting Embodied Fieldwork, In Embodiment in Qualitative Research. Routledge (pp. 79-98). Elliott Kai-Kee, Lissa Latina, and Lilit Sadoyan. (2020). Activity-based teaching in the art museum : movement, embodiment, emotion. The J. Paul Getty Museum. Emilie Sitzia (2018). The ignorant art museum: beyond meaning-making. International Journal of Lifelong Education. 37(1), 73-87. Falk,J. Annamma, J. Sherry, Jr.(2003), Speaking of Art as Embodied Imagination: A Multisensory Approach to Understanding Aesthetic Experience, Journal of Consumer Research, 30(2), Pages 259–282. Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in cognitive sciences, 11(5), 197–203. https://doi.org/10.1016/j.tics.2007.02.003 Fuchs, Thomas, 'Collective Body Memories', in Christoph Durt, Thomas Fuchs, and Christian Tewes (eds), Embodiment, Enaction, and Culture: Investigating the Constitution of the Shared World . Cambridge, Mass : MIT Press. Hinton, A. (2014), Understanding Context: Environment, Language, and Information Architecture,O'Reilly Media, Inc Hooper-Greenhill, E. (2000). Changing Values in the Art Museum: rethinking communication and learning. International Journal of Heritage Studies, 6(1), 9-31. Johnson, M. ( 2007). The meaning of the body: Aesthetics of human understanding. The University of Chicago Press. Kesner, Ladislav.(2006). The role of cognitive competence in the art museum experience. Museum management and curatorship 21 (1):4-19. LeBlanc N, Davidson SF, Ryu JY, Irwin RL（2015）. Becoming through a/r/tography, autobiography and stories in motion. International Journal of Education Through Art, 11(3):355-374. Luise Reitstätter, Karolin Galter & Flora Bakondi (2022) Looking to Read: How Visitors Use Exhibit Labels in the Art Museum. Visitor Studies. Rancière, J. (2004). The Politics of Aesthetics. The Distribution of the Sensible. New York London: Continuum. Roy Hawkey (2004), Learning with Digital Technologies in Museums, Science Centres and Galleries，NESTA Futurelab Review Series REPORT 9. https://www.nfer.ac.uk/publications/futl70/futl70.pdf Smith, B.C. (2020), Museums and the Embodied Mind: Sensory Engagement with Artworks and Architecture. Archit. Design, 90: 88-93. https://doi.org/10.1002/ad.2636 Susanne K. Langer (1996), Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art Cambridge, MA: Harvard University Press Varela, F. J., Thompson, E., & Rosch, E. (1991). The Embodied Mind : Cognitive Science and Human Experience. Cambridge, Mass.: MIT Press. Weil, Stephen.(2002). The Museum and the Public. Museum Management and Curatorship.16(3): 195-213. Windsor, W.L. (2004), An Ecological Approach to Semiotics. Journal for the Theory of Social Behaviour, 34: 179-198. https://doi.org/10.1111/j.0021-8308.2004.00242.x 描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
109464067資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109464067 資料類型 thesis dc.contributor.advisor 林玲遠 zh_TW dc.contributor.advisor Lin, Ling-Yuan en_US dc.contributor.author (Authors) 徐誦陽 zh_TW dc.contributor.author (Authors) Xu, SongYang en_US dc.creator (作者) 徐誦陽 zh_TW dc.creator (作者) Xu, SongYang en_US dc.date (日期) 2024 en_US dc.date.accessioned 4-Sep-2024 15:04:28 (UTC+8) - dc.date.available 4-Sep-2024 15:04:28 (UTC+8) - dc.date.issued (上傳時間) 4-Sep-2024 15:04:28 (UTC+8) - dc.identifier (Other Identifiers) G0109464067 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/153402 - 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) 109464067 zh_TW dc.description.abstract (摘要) 本研究從具身典範視角，藉由幫助觀眾在美術館中獲得更豐富的藝術經驗的方法的探問出發。結合體現認知與美感經驗動態模型，本研究進入他人經驗現場進行觀察，也納入自身觀賞經驗作為反思。研究發現，參與觀眾在美術館中認知循環的不僅是當下身處的客觀環境，而是涉及到三個層次：美術館的客觀環境、作品所模擬的情境以及觀眾身體記憶中的情境。這三者交織作用，喚起行動與情緒，創造獨特的藝術經驗。 在此之中，本研究通過將身體記憶與具身知識觀點納入藝術欣賞的概念之中，反思藝術知識生產的歷程。以及，這種知識生產方式如何影響、形塑大眾參觀經驗——即，我們從藝術之中獲得什麼？研究發現，情緒和個人生命脈絡皆與藝術經驗息息相關，是我們得以將眼前事物納入自身認知系統中時必要、卻時常被忽略和摒棄的部分。 最後，這篇論文亦是我研究之旅的如實呈現。通過不斷反芻自身生命經驗，再度思考何謂知識，以及如何學習知識。本研究認為，當以身體記憶/具身知識的觀點重新看待生命經驗時，便能夠看到無時無刻不在發生的學習歷程，並因此模糊學科與學科之間、日常生活與學習活動之間的界線。經驗是學習的歷程，也是知識本身。語言所及和所不能及的知識、理論知識和具身知識，都會在生命經驗中不斷相互強化，並隨時間不斷豐盛彼此的意義。 zh_TW dc.description.abstract (摘要) This study adopts an embodied paradigm perspective, starting with an inquiry into methods of helping audiences gain richer artistic experiences in museums. Combining embodied cognition and the dynamic model of aesthetic experience, this research combines observations of others' experiences with critical reflection on the researcher's own viewing experiences. Drawing on the dynamic approach to aesthetic experience, the study finds that visitors' perceptual loops in museums involve not only the immediate objective environment but also three levels:the objective museum environment, the situations represented within the artwork, and the situations within the audience's bodily memories. These three aspects interweave to evoke actions and emotions, creating unique artistic experiences. Within this framework, the study incorporates perspectives of body memory and embodied knowledge into the concept of art appreciation, reflecting on the process of art knowledge production. It also examines how this production process influences and shapes the public's aesthetic experiences—specifically, what we gain from art. The research finds that emotions and personal life contexts are intrinsically linked to the art experience, forming necessary yet often overlooked and dismissed components when integrating perceptions into our cognitive systems. Lastly, this thesis is an honest representation of my research journey. Through reflective writing on the details of the research process, I was able to reconsider how the knowledge is acquired. This study posits that when life experiences are viewed through the view of body memory/embodied knowledge, we can observe the constant learning processes taking place, thus blurring the boundaries between academic disciplines, and between everyday life and learning activities. Experience is both the process of learning and knowledge itself. Knowledge that can and cannot be expressed through language, theoretical knowledge and embodied knowledge, all continuously reinforce each other within life experiences, enriching their mutual significance over time. en_US dc.description.tableofcontents 序 1 第一章 緒論 3 一、論文的價值 3 二、無法進入人文的世界 4 三、研究問題是什麼? 6 ✶ 8 四、研究動機與問題 13 第二章 躍躍欲試 15 第一節 典範的轉移 15 第二節 著手目標 16 第三節 過去的提案 18 (一)感覺與感知(Sense & Perception) 18 (二)情緒與理解(emotion & comprehension) 24 小結與研究問題 26 (三)研究方法 27 第三章 理論與現實的距離 31 第一節 初步觀察 31 第二節 前測 40 一、出人意料的回饋 41 二、第二次嘗試 50 三、為什麼有人和理論講的不一樣? 57 第三節 最後一根稻草 60 第四章 我的「經驗」 63 第一節 召喚過去的經驗 63 第二節 經驗的反思 67 一、身體記憶 67 二、共同的詩意 69 第三節 小結 75 第五章 旅程的結尾 77 第一節 愛與好的困惑 77 第二節 語言與知識 81 第三節 經驗一段經驗 82 第四節 回到最初的問題 85 尾聲 87 第一節 回顧提問 87 第二節 結論 88 第三節 新問題的誕生 89 參考文獻 91 zh_TW dc.format.extent 58541068 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109464067 en_US dc.subject (關鍵詞) 具身典範 zh_TW dc.subject (關鍵詞) 體現認知 zh_TW dc.subject (關鍵詞) 美術館教育 zh_TW dc.subject (關鍵詞) 藝術經驗 zh_TW dc.subject (關鍵詞) 身體記憶 zh_TW dc.subject (關鍵詞) 自我民族誌 zh_TW dc.subject (關鍵詞) Embodied cognition en_US dc.subject (關鍵詞) Body memory en_US dc.subject (關鍵詞) Aesthetic experience en_US dc.subject (關鍵詞) Dynamic system en_US dc.subject (關鍵詞) Art Museum Education en_US dc.subject (關鍵詞) Autoethnography en_US dc.title (題名) 隱而未現：從具身性看美術館中觀眾的藝術品體驗 zh_TW dc.title (題名) Hidden Yet to Emerge：An Embodied Approach to Visitors' Art Experiences in Museums en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 中文部分 胡雅婷、楊素瑤譯（2021）。《春天终将来临》，浙江人民美術出版社。（原書 Hockney & Gayford [2021], Spring Cannot be Cancelled: David Hockney in Normandy, Thames & Hudson Ltd.） 姜志輝譯（2001），《知覺現象學》，北京：商務印書館。（原書：Maurice Merleau-Ponty. [1974] Phénoménologie de la perception. Éditions Gallimard） 陳榮彬譯（2011）。《繪畫與眼淚 : 畫作如何感動人心》，台北：左岸文化。（原書：James Elkins（2004）Pictures and Tears: A History of People Who Have Cried in Front of Paintings，Routledge）。 趙子龍譯（2020）。《無知的教師：智力解放五講》。陝西：西北大學出版社。（原書：Jacques Rancière [1987], Le Maître ignorant. Paris, France: Fayard.） 謝慈譯（2020）。《身體記憶，比大腦學習更可靠：臉書、Google、皮克斯的工程師這樣「用身體」，新手變快手的捷徑，滑世代必讀。》，台北：大是文化。（原書 Simon Roberts [2020]. The power of not thinking: How your body learns and why you should trust it. Lanham, MD: Rowman & Littlefield Publishers） 鍾蔚文 （2005），「國科會社會學門評審意見之整理」，《人文與社會科學簡訊》，第6卷第4期，85-101。 鍾蔚文（2016）。〈從行動到技能：邁向身體感〉，余舜德編《身體感的轉向》。台北市：國立臺灣大學出版中心。 羅國祥譯（2017）。《可見的與不可見的》，北京：商務印書館。（原書Maurice Merleau-Ponty [1988], Le visible et l’invisible, Paris : Les Éditions Gallimard） 英文部分 Brinck, I. (2018). Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience. Cogn Process 19, 201–213. Brinck, I., Reddy, V. (2020). Dialogue in the making: emotional engagement with materials. Phenomenology and the Cognitive Sciences, 19, 23–45. https://doi.org/10.1007/s11097-019-09629-2 Chaplin, A. (2005). Art and Embodiment: Biological and Phenomenological Contributions to Understanding Beauty and the Aesthetic. Contemporary Aesthetics, 3, 19. Charters, E. (2003). The Use of Think-aloud Methods in Qualitative Research An Introduction to Think-aloud Methods. Brock Education Journal, 12(2). https://doi.org/10.26522/brocked.v12i2.38 Christoph Durt, Thomas Fuchs, and Christian Tewes (Eds), (2017). Embodiment, Enaction, and Culture: Investigating the Constitution of the Shared World. The MIT Press. David Kirsh. (2010). The cognitive life of things: Archaeology, material engagement and the extended mind. In Malafouris, L., Renfrew, C. (Eds.), The cognitive life of things: Recasting the boundaries of the mind (pp. 121-144). Cambridge, United Kingdom: McDonald Institute for Archaeological Research, University of Cambridge. Dewey, J. (1934). Art as experience. Minton, Balch. Edward P. Alexander, Mary Alexander(1994). Museums in motion: an introduction to the history and functions of museums. Alta Mira Press. Ellingson, L.L. (2017). Ethnographic Bodies:Enacting Embodied Fieldwork, In Embodiment in Qualitative Research. Routledge (pp. 79-98). Elliott Kai-Kee, Lissa Latina, and Lilit Sadoyan. (2020). Activity-based teaching in the art museum : movement, embodiment, emotion. The J. Paul Getty Museum. Emilie Sitzia (2018). The ignorant art museum: beyond meaning-making. International Journal of Lifelong Education. 37(1), 73-87. Falk,J. Annamma, J. Sherry, Jr.(2003), Speaking of Art as Embodied Imagination: A Multisensory Approach to Understanding Aesthetic Experience, Journal of Consumer Research, 30(2), Pages 259–282. Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in cognitive sciences, 11(5), 197–203. https://doi.org/10.1016/j.tics.2007.02.003 Fuchs, Thomas, 'Collective Body Memories', in Christoph Durt, Thomas Fuchs, and Christian Tewes (eds), Embodiment, Enaction, and Culture: Investigating the Constitution of the Shared World . Cambridge, Mass : MIT Press. Hinton, A. (2014), Understanding Context: Environment, Language, and Information Architecture,O'Reilly Media, Inc Hooper-Greenhill, E. (2000). Changing Values in the Art Museum: rethinking communication and learning. International Journal of Heritage Studies, 6(1), 9-31. Johnson, M. ( 2007). The meaning of the body: Aesthetics of human understanding. The University of Chicago Press. Kesner, Ladislav.(2006). The role of cognitive competence in the art museum experience. Museum management and curatorship 21 (1):4-19. LeBlanc N, Davidson SF, Ryu JY, Irwin RL（2015）. Becoming through a/r/tography, autobiography and stories in motion. International Journal of Education Through Art, 11(3):355-374. Luise Reitstätter, Karolin Galter & Flora Bakondi (2022) Looking to Read: How Visitors Use Exhibit Labels in the Art Museum. Visitor Studies. Rancière, J. (2004). The Politics of Aesthetics. The Distribution of the Sensible. New York London: Continuum. Roy Hawkey (2004), Learning with Digital Technologies in Museums, Science Centres and Galleries，NESTA Futurelab Review Series REPORT 9. https://www.nfer.ac.uk/publications/futl70/futl70.pdf Smith, B.C. (2020), Museums and the Embodied Mind: Sensory Engagement with Artworks and Architecture. Archit. Design, 90: 88-93. https://doi.org/10.1002/ad.2636 Susanne K. Langer (1996), Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art Cambridge, MA: Harvard University Press Varela, F. J., Thompson, E., & Rosch, E. (1991). The Embodied Mind : Cognitive Science and Human Experience. Cambridge, Mass.: MIT Press. Weil, Stephen.(2002). The Museum and the Public. Museum Management and Curatorship.16(3): 195-213. Windsor, W.L. (2004), An Ecological Approach to Semiotics. Journal for the Theory of Social Behaviour, 34: 179-198. https://doi.org/10.1111/j.0021-8308.2004.00242.x zh_TW
