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題名 社群中介下的沉浸感知重構 ——以《teamLab 共創！未來園》為例
Social Mediation and the Reconstruction of Immersive Perception: A Case Study of teamLab's Future Park作者 謝伃婷
Hsieh, Yu-Ting貢獻者 林玲遠<br>陶亞倫
Lin, Ling-Yuan<br>Tao, Ya-Lun
謝伃婷
Hsieh, Yu-Ting關鍵詞 沉浸感
社群中介
teamLab
沉浸式展覽
觀眾參與
數位藝術
Immersive
Social Mediation
teamLab
Immersive Exhibition
Audience Participation
Digital Art日期 2026 上傳時間 2-Mar-2026 11:41:09 (UTC+8) 摘要 隨著沉浸式展覽在當代文化場域中的普及，「沉浸」已不再僅是一種封閉、單向的感官體驗，而逐漸與數位媒介、社群平台及觀眾的自我表述行為產生緊密連結。本研究以日本數位藝術團隊 teamLab 於臺灣展出的《共創！未來園》為研究個案，探討在社群中介的情境下，觀眾的沉浸感知如何被重新建構，並進一步分析觀眾的參與、再製與分享行為如何成為沉浸經驗的一部分。 本研究首先回顧藝術史脈絡中「沉浸」概念的演變，從洞穴壁畫、全景畫到當代沉浸式媒體藝術，指出沉浸經驗由儀式性、空間封閉的精神輸送，逐步轉向以媒介為核心的感官與體驗設計。其次，本研究從當代沉浸式展覽的體驗結構出發，分析 teamLab 展覽如何透過去中心化的空間配置、多感官互動機制與即時回饋系統，引導觀眾在行動、遊玩與共創中生成沉浸感。 在研究方法上，本研究採取質性研究取徑，結合田野觀察與深度訪談。研究者以民族誌式的第一人稱視角進入展場，細緻描繪觀眾於不同作品區域中的互動行為、拍攝與觀看之間的拉鋸，以及展覽經驗如何延伸至 Instagram 等社群平台。同時，透過對一般觀眾的深度訪談，進一步理解觀眾如何在展後透過影像整理、貼文書寫與社群互動，對自身的沉浸經驗進行再詮釋。 本研究認為在社群中介下，沉浸不再是發生於展場內部的瞬間狀態，而是一個跨越線上與線下、持續生成的感知過程。社群媒體不僅未必削弱沉浸，反而成為觀眾回顧、整理與延展展覽經驗的重要媒介。觀眾的拍攝、分享與敘事行為，構成一種「再製的沉浸」，使展覽經驗在個人記憶與社群平台之間反覆流動。本研究指出，當代沉浸式展覽的核心已由「如何讓觀眾被包覆」轉向「如何讓觀眾參與並生成意義」。此一轉變不僅對沈浸理論提出補充，也為未來沉浸式藝術展覽在策展設計、觀眾參與機制與社群行銷策略上，提供具體且具反思性的實務啟示。
With the prevalence of immersive exhibitions in the contemporary cultural field, "immersion" is no longer merely a closed, unidirectional sensory experience. Instead, it has become closely linked with digital media, social platforms, and the self-expressive behaviors of audiences. Using the exhibition teamLab: Future Park in Taiwan by the Japanese digital art collective teamLab as a case study, this research explores how the perception of immersion is reconstructed within a socially mediated context. Furthermore, it analyzes how audience participation, reproduction, and sharing behaviors become integral parts of the immersive experience. First, this study reviews the evolution of the concept of "immersion" in art history context—from cave paintings and panoramas to contemporary immersive media art. It points out that the immersive experience has gradually shifted from a ritualistic, spatially closed form of spiritual transport to a media-centric design of senses and experiences. Second, starting from the experiential structure of contemporary immersive exhibitions, this research analyzes how teamLab utilizes decentralized spatial layouts, multi-sensory interactive mechanisms, and real-time feedback systems to guide audiences in generating immersion through action, play, and co-creation. In terms of methodology, this study adopts a qualitative approach, combining field observation and in-depth interviews. The researcher enters the exhibition with an ethnographic first-person perspective, meticulously depicting audience interaction behaviors in different zones, the tension between photographing and viewing, and how the exhibition experience extends to social platforms like Instagram. Additionally, through in-depth interviews with general audiences, the study further understands how visitors re-interpret their own immersive experiences through post-exhibition image organizing, caption writing, and social interaction. This research argues that under social mediation, immersion is no longer a momentary state occurring solely within the exhibition venue, but a continuous generative process bridging the online and offline worlds. Social media does not necessarily weaken immersion; on the contrary, it serves as a crucial medium for audiences to review, organize, and extend the exhibition experience. The acts of photographing, sharing, and narrating constitute a form of "reproduced immersion," allowing the exhibition experience to flow repeatedly between personal memory and social platforms. Finally, this study indicates that the core of contemporary immersive exhibitions has shifted from "how to envelop the audience" to "how to enable the audience to participate and generate meaning." This shift not only supplements immersion theory but also provides concrete and reflective practical implications for future immersive art exhibitions in terms of curatorial design, audience engagement mechanisms, and social marketing strategies.參考文獻 一、中文部分 吳筱玫、蘇柔郡 (2018)。〈高中生使用 Instagram 之日常美學：符擔性觀點〉。《新聞學研 究》，135，139-191。 邱誌勇 (2011)。〈本體論的轉向：數位科技文化時代的美學思維〉。《靜宜人文社會學報》，5(2)，55-90。國立臺灣科學教育館 (2025)。《teamLab共創！未來園｜展覽導覽手冊》。台北：科教館。 張婷妤 (2022)。〈社群平台中的展覽再詮釋：觀眾如何在 Instagram 形塑觀展意義〉。《藝 術管理研究》，15，121-146。 曾靖越 (2019)。〈從線上到線下：一個虛實整合的觀展想像〉。《現代美術學報》，37，6-44。 劉怡辰 (2021)。《觀眾在沉浸式展覽中的參與行為研究》[碩士論文，國立臺灣師範大學]。 賴雯淑、許雯婷 (2011)。〈詮釋取徑之藝術研究方法〉。《藝術教育研究》，22，120-122。 二、線上資料 日本數位藝術團隊 Teamlab 官方網站。(n.d.)。取自 https://www.teamlab.art/zh-hant 台北故宮〈經典之美-新媒體藝術展〉官方網站。(n.d.)。取自 https://theme.npm.edu.tw/exh108/210/ Instagram. (2021, December 7). Instagram trend report 2022. https://about.instagram.com/bog/announcements/instagram-trends-2022 Kemp, S. (2024). Digital 2024: Global overview report. DataReportal. https://datareportal.com/reports/digital-2024-global-overview-report Teamlab 未來遊樂園粉絲專頁 (2022年8月26日)。#只到10月11日 #台灣最終場 [Facebook 貼文]。Facebook。取自 https://m.facebook.com/story.php?story_fbid=pfbid02rYN3EKdnpAV7cwRKH8D6xSFvvLwLs Teamlab 未來遊樂園粉絲專頁 (2022年8月26日)。#作品介紹 #塗鴉自然：迷失、沈浸與重生-紅色名錄 [Facebook 貼文]。Facebook。取自 https://m.facebook.com/story.php?story_fbid=pfbid02N6xpjRsbeYBxHRWfdJ50M 三、英文部分 Abidin, C. (2016). Aren’t these just young, rich women doing vain things online? Visibility labour and the work of micro-celebrity on Instagram. Media International Australia, 161(1), 86–100. Alberti, L. B. (2011). On painting (C. Grayson, Trans.). Penguin Classics. (Original work published 1435) Bishop, C. (2005). Installation art: A critical history. Tate Publishing. Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. Verso. Bjørn, I. (1990). The symbolism of the Orthodox church architecture. St. Vladimir’s Theological Quarterly, 34(2), 101–120. Budge, K. (2020). In the picture: Art, teachers, and social media. Intellect. Comment, B. (1999). The panorama. Reaktion Books. Crary, J. (1990). Techniques of the observer: On vision and modernity in the nineteenth century. MIT Press. Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row. Cummings, J. J., & Bailenson, J. N. (2016). How immersive is enough? A meta-analysis of the effect of immersive technology on user presence. Media Psychology, 19(2), 272–309. de Oliveira, N., Oxley, N., & Petry, M. (2003). Installations II: L’empire des sens. Thames & Hudson. Deleuze, G. (1990). The fold: Leibniz and the Baroque (T. Conley, Trans.). University of Minnesota Press. Fried, M. (1980). Absorption and theatricality: Painting and beholder in the age of Diderot. University of California Press. Grau, O. (2003). Virtual art: From illusion to immersion. MIT Press. Henkel, L. A. (2014). Point-and-shoot memories: The influence of taking photos on memory for a museum tour. Psychological Science, 25(2), 396–402. Huhtamo, E. (2013). Illusions in motion: Media archaeology of the moving panorama and related spectacles. MIT Press. Jacobson, J. (2008). Learning in immersive virtual environments: A case study of a virtual ancient Egyptian temple. In Proceedings of the 2008 Conference on Future Play: Research, Play, Share (pp. 88–93). Leaver, T., Highfield, T., & Abidin, C. (2020). Instagram: Visual social media cultures. Polity Press. Lombard, M., & Ditton, T. (1997). At the heart of it all: The concept of presence. Journal of Computer-Mediated Communication, 3(2). Manovich, L. (2001). The language of new media. MIT Press. Molyneux, L., et al. (2021). How younger audiences use Instagram Stories: Attention, ephemerality, and affective storytelling. New Media & Society, 23(2), 308–328. Oettermann, S. (1997). The panorama: History of a mass medium (D. L. Schneider, Trans.). Zone Books. (Original work published 1980) Puttfarken, T. (2000). The discovery of pictorial composition: Theories of visual order in painting 1400–1800. Yale University Press. Rogers, R. (2021). Visual media analysis for Instagram and other online platforms. Big Data & Society, 8(1), 1–23. Sheldon, P., & Bryant, K. (2016). Instagram: Motives for its use and relationship to narcissism and contextual age. Computers in Human Behavior, 58, 89–97. Slater, M. (2009). Place illusion and plausibility can lead to realistic behaviour in immersive virtual environments. Philosophical Transactions of the Royal Society B: Biological Sciences, 364(1535), 3549–3557. Slater, M., & Wilbur, S. (1997). A framework for immersive virtual environments (FIVE): Speculations on the role of presence in virtual environments. Presence: Teleoperators and Virtual Environments, 6(6), 603–616. Steuer, J. (1992). Defining virtual reality: Dimensions determining telepresence. Journal of Communication, 42(4), 73–93. Stokes-Rees, E., et al. (2019). Exhibition review essay and reviews. Museum Worlds, 7(1), 238–261. Uimonen, P. (2020). Aestheticising experience: Instagram and the representation of presence. Visual Studies, 35(1), 47–58. Wittkower, R. (1999). Art and architecture in Italy, 1600–1750. Yale University Press. 描述 碩士
國立政治大學
傳播學院碩士在職專班
109941016資料來源 http://thesis.lib.nccu.edu.tw/record/#G0109941016 資料類型 thesis dc.contributor.advisor 林玲遠<br>陶亞倫 zh_TW dc.contributor.advisor Lin, Ling-Yuan<br>Tao, Ya-Lun en_US dc.contributor.author (Authors) 謝伃婷 zh_TW dc.contributor.author (Authors) Hsieh, Yu-Ting en_US dc.creator (作者) 謝伃婷 zh_TW dc.creator (作者) Hsieh, Yu-Ting en_US dc.date (日期) 2026 en_US dc.date.accessioned 2-Mar-2026 11:41:09 (UTC+8) - dc.date.available 2-Mar-2026 11:41:09 (UTC+8) - dc.date.issued (上傳時間) 2-Mar-2026 11:41:09 (UTC+8) - dc.identifier (Other Identifiers) G0109941016 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/161810 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院碩士在職專班 zh_TW dc.description (描述) 109941016 zh_TW dc.description.abstract (摘要) 隨著沉浸式展覽在當代文化場域中的普及，「沉浸」已不再僅是一種封閉、單向的感官體驗，而逐漸與數位媒介、社群平台及觀眾的自我表述行為產生緊密連結。本研究以日本數位藝術團隊 teamLab 於臺灣展出的《共創！未來園》為研究個案，探討在社群中介的情境下，觀眾的沉浸感知如何被重新建構，並進一步分析觀眾的參與、再製與分享行為如何成為沉浸經驗的一部分。 本研究首先回顧藝術史脈絡中「沉浸」概念的演變，從洞穴壁畫、全景畫到當代沉浸式媒體藝術，指出沉浸經驗由儀式性、空間封閉的精神輸送，逐步轉向以媒介為核心的感官與體驗設計。其次，本研究從當代沉浸式展覽的體驗結構出發，分析 teamLab 展覽如何透過去中心化的空間配置、多感官互動機制與即時回饋系統，引導觀眾在行動、遊玩與共創中生成沉浸感。 在研究方法上，本研究採取質性研究取徑，結合田野觀察與深度訪談。研究者以民族誌式的第一人稱視角進入展場，細緻描繪觀眾於不同作品區域中的互動行為、拍攝與觀看之間的拉鋸，以及展覽經驗如何延伸至 Instagram 等社群平台。同時，透過對一般觀眾的深度訪談，進一步理解觀眾如何在展後透過影像整理、貼文書寫與社群互動，對自身的沉浸經驗進行再詮釋。 本研究認為在社群中介下，沉浸不再是發生於展場內部的瞬間狀態，而是一個跨越線上與線下、持續生成的感知過程。社群媒體不僅未必削弱沉浸，反而成為觀眾回顧、整理與延展展覽經驗的重要媒介。觀眾的拍攝、分享與敘事行為，構成一種「再製的沉浸」，使展覽經驗在個人記憶與社群平台之間反覆流動。本研究指出，當代沉浸式展覽的核心已由「如何讓觀眾被包覆」轉向「如何讓觀眾參與並生成意義」。此一轉變不僅對沈浸理論提出補充，也為未來沉浸式藝術展覽在策展設計、觀眾參與機制與社群行銷策略上，提供具體且具反思性的實務啟示。 zh_TW dc.description.abstract (摘要) With the prevalence of immersive exhibitions in the contemporary cultural field, "immersion" is no longer merely a closed, unidirectional sensory experience. Instead, it has become closely linked with digital media, social platforms, and the self-expressive behaviors of audiences. Using the exhibition teamLab: Future Park in Taiwan by the Japanese digital art collective teamLab as a case study, this research explores how the perception of immersion is reconstructed within a socially mediated context. Furthermore, it analyzes how audience participation, reproduction, and sharing behaviors become integral parts of the immersive experience. First, this study reviews the evolution of the concept of "immersion" in art history context—from cave paintings and panoramas to contemporary immersive media art. It points out that the immersive experience has gradually shifted from a ritualistic, spatially closed form of spiritual transport to a media-centric design of senses and experiences. Second, starting from the experiential structure of contemporary immersive exhibitions, this research analyzes how teamLab utilizes decentralized spatial layouts, multi-sensory interactive mechanisms, and real-time feedback systems to guide audiences in generating immersion through action, play, and co-creation. In terms of methodology, this study adopts a qualitative approach, combining field observation and in-depth interviews. The researcher enters the exhibition with an ethnographic first-person perspective, meticulously depicting audience interaction behaviors in different zones, the tension between photographing and viewing, and how the exhibition experience extends to social platforms like Instagram. Additionally, through in-depth interviews with general audiences, the study further understands how visitors re-interpret their own immersive experiences through post-exhibition image organizing, caption writing, and social interaction. This research argues that under social mediation, immersion is no longer a momentary state occurring solely within the exhibition venue, but a continuous generative process bridging the online and offline worlds. Social media does not necessarily weaken immersion; on the contrary, it serves as a crucial medium for audiences to review, organize, and extend the exhibition experience. The acts of photographing, sharing, and narrating constitute a form of "reproduced immersion," allowing the exhibition experience to flow repeatedly between personal memory and social platforms. Finally, this study indicates that the core of contemporary immersive exhibitions has shifted from "how to envelop the audience" to "how to enable the audience to participate and generate meaning." This shift not only supplements immersion theory but also provides concrete and reflective practical implications for future immersive art exhibitions in terms of curatorial design, audience engagement mechanisms, and social marketing strategies. en_US dc.description.tableofcontents 第一章、緒論 1 第一節、沉浸式藝術的發展與大眾化 1 第二節、社群與「沉浸式」藝術展覽的關係 4 第三節、社群中介「沉浸式」藝術展的沉浸體驗樣態轉變 6 第四節、研究目的與問題 8 第二章 概念探討 11 第一節 沉浸式藝術展覽 11 第二節 teamLab數位藝術展 22 第三節 社群中介 Instagram 33 第三章、研究方法 39 第一節、研究場域與對象選取 39 第二節、資料搜集方法 42 第三節、訪談大綱設計說明 44 第四章、一起走進現場 46 第一節、teamLab展場田野 46 第二節、數位田野：Instagram 上的凝視與記憶重構 54 第五章、反芻現場 63 第一節、感知重構：去中心化的身體與「迷失」的愉悅 63 第二節、演算法的能動性與共創 66 第三節、社群共創：表演性自我與數位迴響 68 第六章、結論與反思 73 第一節、沉浸概念的演化：從「封閉幻象」到「分散式迴路」73 第二節、去中心化的感知場域：當代沉浸的建構機制 76 第三節、社群中介下的迴路性沉浸 77 第四節、反思與對話 78 第五節、結語 80 參考書目 82 附錄一、訪談大綱 85 zh_TW dc.format.extent 40220991 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0109941016 en_US dc.subject (關鍵詞) 沉浸感 zh_TW dc.subject (關鍵詞) 社群中介 zh_TW dc.subject (關鍵詞) teamLab zh_TW dc.subject (關鍵詞) 沉浸式展覽 zh_TW dc.subject (關鍵詞) 觀眾參與 zh_TW dc.subject (關鍵詞) 數位藝術 zh_TW dc.subject (關鍵詞) Immersive en_US dc.subject (關鍵詞) Social Mediation en_US dc.subject (關鍵詞) teamLab en_US dc.subject (關鍵詞) Immersive Exhibition en_US dc.subject (關鍵詞) Audience Participation en_US dc.subject (關鍵詞) Digital Art en_US dc.title (題名) 社群中介下的沉浸感知重構 ——以《teamLab 共創！未來園》為例 zh_TW dc.title (題名) Social Mediation and the Reconstruction of Immersive Perception: A Case Study of teamLab's Future Park en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 一、中文部分 吳筱玫、蘇柔郡 (2018)。〈高中生使用 Instagram 之日常美學：符擔性觀點〉。《新聞學研 究》，135，139-191。 邱誌勇 (2011)。〈本體論的轉向：數位科技文化時代的美學思維〉。《靜宜人文社會學報》，5(2)，55-90。國立臺灣科學教育館 (2025)。《teamLab共創！未來園｜展覽導覽手冊》。台北：科教館。 張婷妤 (2022)。〈社群平台中的展覽再詮釋：觀眾如何在 Instagram 形塑觀展意義〉。《藝 術管理研究》，15，121-146。 曾靖越 (2019)。〈從線上到線下：一個虛實整合的觀展想像〉。《現代美術學報》，37，6-44。 劉怡辰 (2021)。《觀眾在沉浸式展覽中的參與行為研究》[碩士論文，國立臺灣師範大學]。 賴雯淑、許雯婷 (2011)。〈詮釋取徑之藝術研究方法〉。《藝術教育研究》，22，120-122。 二、線上資料 日本數位藝術團隊 Teamlab 官方網站。(n.d.)。取自 https://www.teamlab.art/zh-hant 台北故宮〈經典之美-新媒體藝術展〉官方網站。(n.d.)。取自 https://theme.npm.edu.tw/exh108/210/ Instagram. 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