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    題名: 潮之間：ANT的展演與虛擬實境實作
    Intertidal zone：a performance of ANT and a VR practice
    作者: 戴時與
    Tai, Shi-Yu
    貢獻者: 陳宗文
    Chen, Tzung- Wen
    戴時與
    Tai, Shi-Yu
    關鍵詞: 藝術本位研究
    行動者網絡理論
    虛擬實境
    實作展演
    Arts-Based Research
    Actor-Network Theory
    Virtual Reality
    practice and performance
    日期: 2024
    上傳時間: 2024-03-01 14:25:26 (UTC+8)
    摘要: 位處板塊交界、強權之間，要如何認識及描繪台灣這座海島？本文以拉圖（Bruno Latour）提出的關鍵區（critical zone），呈現這個力量交會、如潮間帶的區域。此概念強調以一個實際的點開始思考並行動，而非抽離、客觀地認知現實。除了文字，拉圖也經由展覽、劇場傳播理念，本文從中提取四個實作原則，說明如何以藝術進行思維實驗。
    經由感官體驗，能使抽象概念可視化、具體地呈現；本研究以虛擬實境技術（virtual reality, VR）展現何謂關鍵區，以此演譯現實如何組成。研究實作《潮之間》以十年前銅藻遍佈東北海岸的事件出發，呈現其間行動者的關係變化及行動，從衝突、合作和選擇的過程重現事件。在多條支線同時進行之下，觀看者無法掌握全局，需要不斷選擇視線方向，在不同立場之間捕捉事件發展。
    作為藝術本位研究（Arts based research，ABR），仍要回到文字紀錄才能延續影響力，也能以此檢視實作與目標是否對準。經過三次展演，會發現即便是相同事件，每位觀看者拼組出的事件樣態都不盡相同。這是VR暈眩體感及寰景特性產生的效果，以此能跨越時空地呈現行動者間混亂的牽動關係。
    Taiwan, situated at the intersection of tectonic plates and geopolitical influences, poses the question of how to understand and portray this island. Drawing inspiration from Bruno Latour's concept of the "critical zone," this paper presents the region as a convergence of forces, akin to a tidal zone. The concept underscores the importance of initiating thought and action from a specific point rather than detached and objectively perceiving reality. In addition to textual approaches, Latour utilizes exhibitions and theatrical communication of ideas. This paper extracts four practical principles from Latour's work to illustrate how artistic practices can be employed for thought experiments.
    Through sensory experiences, abstract concepts become visualized and concretely presented. This study utilizes virtual reality technology to showcase the concept of the critical zone, offering an interpretation of how reality is composed. The research practice <Intertidal zone>, focusing on an event a decade ago when red algae covered the northeast coast, depicting changes in relationships and actions among actors during the event. The process of conflict, cooperation, and choices is reenacted. With multiple storylines occurring simultaneously, viewers cannot grasp the entire picture and must continually choose their perspective, capturing the unfolding events from different standpoints.
    As an Arts-Based Research (ABR), the study must return to textual documentation to sustain its impact and evaluate whether the implementation aligns with the objectives. After three exhibitions, it is observed that even for the same event, each viewer constructs a unique pattern of events. This divergence is attributed to the disorienting sensations and immersive characteristics of VR, enabling the portrayal of the chaotic dynamic relationships among actors to transcend spatial constraints.
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    報章網站

    張玉音，2022，〈 說服觀者「沉浸」的技術，專訪陳芯宜：VR的語言─攸關「身
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    演陳芯宜〉。CLABO實驗波，5月19日。
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    描述: 碩士
    國立政治大學
    社會學系
    110254010
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0110254010
    資料類型: thesis
    顯示於類別:[社會學系] 學位論文

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