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題名 互動在VJ表演所產生的觀眾自主控制權矛盾探討
Analyzing the Paradox of the autonomy by the Audience in Interactive VJ Performance
作者 羅晧耘
貢獻者 林玲遠<br>李蔡彥
羅晧耘
關鍵詞 VJ
控制權
互動表演
台灣民間信仰
VJ
The Power of Control
Interactive Performance
Folk Beliefs in Taiwan
日期 2015
上傳時間 1-Oct-2015 14:29:25 (UTC+8)
摘要 　　VJ表演隱藏著一種矛盾性。VJ表演之觀眾特徵，較常表現出非主流的品味，傾向於追求與眾不同的體驗，與對於自主權的掌握展現較高的積極性。然而享受音樂表演意味著某種程度的沈浸與忘我，在觀賞表演時需暫時捨棄自身的自主權與主體性方有可能真正享受其中，這之間便產生了控制與被控制的矛盾。當互動科技的元素介入到VJ表演時，這種矛盾性就會更加明顯，甚至被揭露與強調。互動科技的加入旨在過程中使人們能夠參與，讓人們擁有做決定或影響表演的權力。故互動的VJ表演具有控制權矛盾之特徵，而這樣的矛盾性應當被表演設計者所發現並探索。本研究希望透過理論爬梳與作品實踐，探索互動加入在VJ表演時如何提高觀眾的參與感。於是如何盡量減少互動所造成的干擾性以完成一場互動表演，便成為本研究關心的一項重點。
　　在內容主題上，台灣民間信仰是關於控制與被控制一個很好的轉喻。故此計畫將設計一個以台灣民間信仰為主題的互動VJ表演，並利用台灣民間信仰來反映觀眾主體性矛盾與控制權矛盾的不同面相。
參考文獻 Adorno, T. (1996). Aesthetic Theory. (G. Adorno, R. Tiedemann, Eds., & R. Hullot-Kentor, Trans.) Minneapolis: University of Minnesota Press.

Brand, S. (1995, March). We Owe It All To The Hippies. Time, 145(12).

Braunstein, P. (1999, November). Disco. American Heritage Magazine, 50(7).

Butte, G. (2008, Summer). Suture and the Narration of Subjectivity in Film. Poetics Today, 29(2), pp. 277-308.

Edmonds, E, Muller, L, Connel, M. (2006). On creative engagement. Visual Communication, 5(3), pp. 307-322.

Eskandar. (2006). In vE-jA: Art + Technology of Live Audio-Video (p. 1). h4 San Francisco.

FaulknerMichael, & D-Fuse. (2006). VJ: Audio-Visual Art and VJ Culture. Laurence King.

Gootenberg, P. (2003). Hispanic American Historical Review. In 1954- Between Coca and Cocaine: A Century or More of U.S.-Peruvian Drug Paradoxes (pp. 119–150).

Graham, L. (1998). In Principles of Interactive Design. Delmar Cengage Learning.

Horkheimer, M. (1982). Critical Theory. NY: Continum.

Jay, M. (1984). Adorno. Cambridge: Harvard University Press.

L, M., E, E., & M, C. (2006). Living laboratories for interactive art. CoDesign, 2(4)

Lawrence, T. (2011, March). Disco and the Queering of the Dance Floor. Cultural Studies, 25(2), pp. 230–243.

Lunds, C., & Lunds, H. (2009). Audio Visual: on Visual and Related Media. Stuttgart: Arnoldsche Art Publishers.

Paul, C. (2003). Digital Art. Thames & Hudson Inc.

Popper, F. (2007). From Technological to Virtual Art. Cambridge, MA: MIT Press.

Reynolds, S. (1998). Energy Flash. Picador.

Shaughnessy, A. (2006). In M. Faulkner, & D-Fuse, VJ: Audio-Visual Art and VJ Culture (p. 11). Laurence King.

Sheidlower, J. (2004, December). Crying Wolof: Does the word hip really hail from a West African language? Retrieved 5 28, 2015, from Slate Magazine: http://www.slate.com/articles/news_and_politics/hey_wait_a_minute/2004/12/crying_wolof.html

Thomas B, H. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition Second. New York ; London: Routledge.

Timothy, J. (2006). VJ: live cinema unraveled. San Diego: University of California.

Ward, O. (2006, June 10). The man who heard his paintbox hiss. Retrieved 6 1, 2015, from Telegraph: http://www.telegraph.co.uk/culture/art/3653012/The-man-who-heard-his-paintbox-hiss.html

洪翠娥. (1988). 霍克海默與阿多諾對「文化工業」的批判. 唐山出版社.
描述 碩士
國立政治大學
數位內容碩士學位學程
102462008
資料來源 http://thesis.lib.nccu.edu.tw/record/#G1024620081
資料類型 thesis
dc.contributor.advisor 林玲遠<br>李蔡彥zh_TW
dc.contributor.author (Authors) 羅晧耘zh_TW
dc.creator (作者) 羅晧耘zh_TW
dc.date (日期) 2015en_US
dc.date.accessioned 1-Oct-2015 14:29:25 (UTC+8)-
dc.date.available 1-Oct-2015 14:29:25 (UTC+8)-
dc.date.issued (上傳時間) 1-Oct-2015 14:29:25 (UTC+8)-
dc.identifier (Other Identifiers) G1024620081en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/78811-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 數位內容碩士學位學程zh_TW
dc.description (描述) 102462008zh_TW
dc.description.abstract (摘要) 　　VJ表演隱藏著一種矛盾性。VJ表演之觀眾特徵，較常表現出非主流的品味，傾向於追求與眾不同的體驗，與對於自主權的掌握展現較高的積極性。然而享受音樂表演意味著某種程度的沈浸與忘我，在觀賞表演時需暫時捨棄自身的自主權與主體性方有可能真正享受其中，這之間便產生了控制與被控制的矛盾。當互動科技的元素介入到VJ表演時，這種矛盾性就會更加明顯，甚至被揭露與強調。互動科技的加入旨在過程中使人們能夠參與，讓人們擁有做決定或影響表演的權力。故互動的VJ表演具有控制權矛盾之特徵，而這樣的矛盾性應當被表演設計者所發現並探索。本研究希望透過理論爬梳與作品實踐，探索互動加入在VJ表演時如何提高觀眾的參與感。於是如何盡量減少互動所造成的干擾性以完成一場互動表演，便成為本研究關心的一項重點。
　　在內容主題上，台灣民間信仰是關於控制與被控制一個很好的轉喻。故此計畫將設計一個以台灣民間信仰為主題的互動VJ表演，並利用台灣民間信仰來反映觀眾主體性矛盾與控制權矛盾的不同面相。		zh_TW
dc.description.tableofcontents 摘要 I
圖目錄 IV
表目錄 VII
第一章 緒論 1
1.1 研究背景與動機 1
1.2 關於VJ 2
1.3 互動與現場表演 5
1.4 研究目的 8
第二章　研究路徑與方法 9
2.1 主題探索 9
2.2　作品實踐 16
第三章　文獻探討 18
3.1 VJ的次文化 18
3.2 視覺與音樂的共舞－Visual Music、抽象影片 20
3.3 從文化工業理論看個體的消失 25
3.4 互動藝術 27
3.5 結論 29
第四章　《借問眾神明》作品構想 32
4.1 主題與理念－信仰與數位之相似性 32
4.2 創作構想與方法 33
4.2.1 場地設計 34
4.2.2 影像設計與運用 38
4.2.3 音樂設計 41
4.2.4 表演工具使用 41
4.2.3 假性主動於互動方式之應用 43
4.3 段落概述 48
第五章　展出紀錄與結論 53
5.1 表演紀錄 53
5.2 觀眾回饋 54
5.3 觀眾主體性的矛盾與欺騙 55
5.4 假性主動歸納 57
5.5 結論 58
參考文獻 60		zh_TW
dc.format.extent 3913288 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1024620081en_US
dc.subject (關鍵詞) VJzh_TW
dc.subject (關鍵詞) 控制權zh_TW
dc.subject (關鍵詞) 互動表演zh_TW
dc.subject (關鍵詞) 台灣民間信仰zh_TW
dc.subject (關鍵詞) VJen_US
dc.subject (關鍵詞) The Power of Controlen_US
dc.subject (關鍵詞) Interactive Performanceen_US
dc.subject (關鍵詞) Folk Beliefs in Taiwanen_US
dc.title (題名) 互動在VJ表演所產生的觀眾自主控制權矛盾探討zh_TW
dc.title (題名) Analyzing the Paradox of the autonomy by the Audience in Interactive VJ Performanceen_US
dc.type (資料類型) thesisen
dc.relation.reference (參考文獻) Adorno, T. (1996). Aesthetic Theory. (G. Adorno, R. Tiedemann, Eds., & R. Hullot-Kentor, Trans.) Minneapolis: University of Minnesota Press.

Brand, S. (1995, March). We Owe It All To The Hippies. Time, 145(12).

Braunstein, P. (1999, November). Disco. American Heritage Magazine, 50(7).

Butte, G. (2008, Summer). Suture and the Narration of Subjectivity in Film. Poetics Today, 29(2), pp. 277-308.

Edmonds, E, Muller, L, Connel, M. (2006). On creative engagement. Visual Communication, 5(3), pp. 307-322.

Eskandar. (2006). In vE-jA: Art + Technology of Live Audio-Video (p. 1). h4 San Francisco.

FaulknerMichael, & D-Fuse. (2006). VJ: Audio-Visual Art and VJ Culture. Laurence King.

Gootenberg, P. (2003). Hispanic American Historical Review. In 1954- Between Coca and Cocaine: A Century or More of U.S.-Peruvian Drug Paradoxes (pp. 119–150).

Graham, L. (1998). In Principles of Interactive Design. Delmar Cengage Learning.

Horkheimer, M. (1982). Critical Theory. NY: Continum.

Jay, M. (1984). Adorno. Cambridge: Harvard University Press.

L, M., E, E., & M, C. (2006). Living laboratories for interactive art. CoDesign, 2(4)

Lawrence, T. (2011, March). Disco and the Queering of the Dance Floor. Cultural Studies, 25(2), pp. 230–243.

Lunds, C., & Lunds, H. (2009). Audio Visual: on Visual and Related Media. Stuttgart: Arnoldsche Art Publishers.

Paul, C. (2003). Digital Art. Thames & Hudson Inc.

Popper, F. (2007). From Technological to Virtual Art. Cambridge, MA: MIT Press.

Reynolds, S. (1998). Energy Flash. Picador.

Shaughnessy, A. (2006). In M. Faulkner, & D-Fuse, VJ: Audio-Visual Art and VJ Culture (p. 11). Laurence King.

Sheidlower, J. (2004, December). Crying Wolof: Does the word hip really hail from a West African language? Retrieved 5 28, 2015, from Slate Magazine: http://www.slate.com/articles/news_and_politics/hey_wait_a_minute/2004/12/crying_wolof.html

Thomas B, H. (2002). Electronic and Experimental Music: Pioneers in Technology and Composition Second. New York ; London: Routledge.

Timothy, J. (2006). VJ: live cinema unraveled. San Diego: University of California.

Ward, O. (2006, June 10). The man who heard his paintbox hiss. Retrieved 6 1, 2015, from Telegraph: http://www.telegraph.co.uk/culture/art/3653012/The-man-who-heard-his-paintbox-hiss.html

洪翠娥. (1988). 霍克海默與阿多諾對「文化工業」的批判. 唐山出版社.		zh_TW