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| Title: | 《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 |
| Authors: | 曾新容
Tseng, Hsin-Jung |
| Contributors: | 陶亞倫
Tao, Ya-Lun
曾新容
Tseng, Hsin-Jung |
| Keywords: | 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 |
| Date: | 2023 |
| Issue Date: | 2023-06-02 11:40:46 (UTC+8) |
| Abstract: | 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. |
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| Description: | 碩士
國立政治大學
傳播學院傳播碩士學位學程
108464019 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0108464019 |
| Data Type: | thesis |
| Appears in Collections: | [傳播學院傳播碩士學位學程] 學位論文
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