臺灣當代藝術家楊茂林（1953-）的創作生涯雖起源社會街頭的環境寫實，但從 1990 年晚期開始則將創作重心移往探討本土與外來文化的混合現象，因而創作了「Made in Taiwan：文化篇」的〈封神之前戲─請眾仙 III〉系列作品。
今日，崇拜意識不再只停留於民俗信仰中，卡漫文化透過全球性的傳播進入本土民俗信仰的場域，產生外來文化與本土文化的交融與反動效應，當代的崇拜意識也就在此再塑。鑒於卡漫文化在臺灣的落地生根，已走入臺灣本土年輕族群的生命經驗，進而形塑出年輕族群對於卡漫文化的崇拜意識，楊茂林亦藉由〈封神之前戲─請眾仙III〉作品來反映當今外來文化「本土化」的現象。然而，相對於卡漫文化的開放性特質，民俗信仰則有內部嚴謹的系統準則，但挪移到現代的時空背景下，民俗信仰中的神格特質及其儀式性的崇拜意識，已走向通俗化的發展歷程，以更具延展性的視覺方式來傳遞宗教性的普世價值。
楊茂林以藝術表現來轉譯文化混雜的現象，不僅體現出視覺意象上的符碼交叉，亦消弭存於新舊世代間既有的崇拜意識，自視覺語彙的系統重組，增加當代崇拜意識於卡漫文化與民俗信仰間的流動性，為當代環境植入新的時代價值與人文內涵。

楊茂林、卡漫文化、次文化、民俗信仰、神話、崇拜意識

Taiwanese contemporary artist Mao-Lin Yang (1953- )’s career started with realistic portrayals of the community and the society. However, in the late 1990s, he started to focus more on exploring the fusion of local and foreign cultures. Artworks Ceremonies before Rewarding – Inviting the Immortals III Series of the “Made in Taiwan: Culture Section” were thus created.
Today, worship is no longer limited to folk religion. Cartoon and comics culture has been brought into folk religion via global media, which allows local and foreign cultures to fuse and react with each other. The sense of worship in modern times is thus redefined. Since cartoon and comics culture has taken roots in Taiwan and has been widely accepted by the younger generation, the younger generation in Taiwan has further developed a sense of worship towards cartoon and comics culture. Mao-Lin Yang therefore reflected such “localization” of foreign culture through his artworks Ceremonies before Rewarding –Inviting the Immortals III Series. Even though the nature of these two are different: cartoon and comics culture is more open whereas folk religion has relatively stricter systems and guidelines, in today’s society, rituals and worship of gods in folk religion have been popularized. Core values of religions are being preached by more flexible and common visual approaches.
Mao-Lin Yang translates the fusion of cultures through his artworks. His artworks not only reflect the intersection of symbols in visual images, but also eliminate the existing sense of worship between the old and new generations. Reconstruction of the visual language system also increases the mobility of contemporary worship in cartoon and comics culture and folk religion, attaching new values and humanistic depth to the contemporary world.

Mao-Lin Yang, Cartoon and Comics Culture, Subculture, Folk Religion, Mythology, Worship

本論文探討主題為湯姆．薩克斯（Tom Sachs, 1966-）的〈太空計畫〉及其實作方式，〈太空計畫〉是 NASA 阿波羅月球任務的具功能性的地面版複製品，筆者認為此作是依據克勞德．李維史陀（Claude Levi-Strauss, 1908-2009）的理論，策略性地為拼裝（Bricolage）賦予了新的意義。拼裝，意指再利用手邊現有素材而非創造新品的問題解決策略，但也因此常被用作加強一錯誤的觀念：現實為獨立封閉系統的集合。然而，李維史陀對藝術的探討倒是提供了一較具破壞性的拼裝形式，讓藝術家與觀眾能找到意義，而不需涉及內在與外在、自我與他者。薩克斯稱自己的作品為「美式拼裝」（American Bricolage），其可說是根據李維史陀對拼裝與藝術的討論再做延伸，該作品雖仍是以回收物製成，但卻跳脫當代主義的二元侷限，納入不同且創造不同。登月小艇由廢棄的警用路障木材組合而成，艇內放滿詹姆士．布朗（James Brown, 1933-2006）的唱片以及傑克丹尼威士忌（Jack Daniels Whiskey）。薩克斯和許多對太空探索史有興趣的藝術家一樣，反思的是 NASA 計畫當初所必須面對的本土需求，而非其體現之不合時宜的新殖民主義幻想。本論文認為薩克斯的〈太空計畫〉，包括新火星任務的第一階段，是對 20 世紀晚期及 21 世紀初期生活的探索，並提供對地球生活及藝術再想像的機會。

當代雕塑、拼裝、克勞德．李維史陀、湯姆．薩克斯、太空計畫、當代藝術

This paper considers Tom Sachs (1966-)’s Space Program, a functional yet terrestrial replica of the NASA Apollo Lunar Mission, and Sachs’s studio practice more generally as a strategic repurposing of bricolage as theorized by Claude Levi-Strauss (1908-2009). Bricolage, a strategy of problem solving based on re-using materials at hand rather than inventing new ones, has been demonstrated to reinforce a misleading perception of reality as a collection of independent closed systems. Within Levi-Strauss’s discussion of art, however, can be found a path to a more disruptive form of bricolage able to lead artist and audiences to find meaning in the world without reference to inside and outside, self and other. Sachs’s “American Bricolage,” as he calls his practice, expands upon Levi-Strauss’s discussion of bricolage and art to model a recyclative practice that engages and produces difference independent from binary limits of modernist thought. In a Landing Excursion Module made of lumber salvaged from police barricades and stocked with James Brown (1933-2006) records and Jack Daniels Whiskey, Sachs, like many artists interested in the history of space exploration, reflects upon the earthbound needs NASA addressed rather than the anachronistic fantasies of neo-colonialism it embodied. This paper proposes to discuss Sachs Space Program, including the first stage of a new Mars Mission, as an exploration of late 20th and early 21st century life and an opportunity to reimagine life and art on earth.

Contemporary Sculpture, Bricolage, Claude Levi-Strauss, Tom Sachs, Space Program, Contemporary Art

陳夏雨（1917-2000）為日治晚期臺灣著名雕塑家，2 其學習雕塑以及成名時期，雖已是1930 年代，然因臺灣美術環境受限，「雕刻」仍不如繪畫受到大眾重視。在這樣的時空背景下，陳夏雨自1935 年前往東京學習雕塑，曾短暫求學於水谷鐵也，後師於藤井浩祐，並長時間留於藤井門下，其師承的轉變與此時日本雕塑界的風氣相關，值得注意。而陳夏雨於東京學習的第三年起，便以〈裸婦〉、〈 髮〉等女性主題雕像入選文展，此與20年代帝展中的臺灣常勝軍黃土水，所採用的臺灣風土意象已是不同道路，這樣的取向同樣受到當時雕塑教育與展覽環境影響。
本文首先了解30 年代日本雕塑界的環境，並從水谷鐵也和藤井浩祐的作品，以及他們的著作之理念中，試圖說明陳夏雨在學習時的偏向。再者對於陳夏雨的女性意象作品，進行收集與分期，一方面理解陳夏雨的創作，另一方面回應其師承部分的改變。
1930 年代為臺灣第一代雕塑家黃土水逝世，且後繼者逐漸在日本、臺灣學習及發光之際，曾被視為黃土水接班人的陳夏雨，在學習與發展中，總是延續著強烈的自我意識。期望在所謂的「理想」形象之外，能夠加強將雕塑從「技藝」發展「創作」的價值觀。

陳夏雨、文展、日治時期雕塑

Hsia-Yu Chen (1917-2000) was a famous Taiwanese sculptor during the Japanese ruled period. His work of art has reached its maturity by the 1930s; however, sculpture did not be received as much recognition as painting did in Taiwanese art community back then. He went to Japan and learned from Mizutani Tetsuya in 1935. But for less than a year, he decided to change his teacher and came to study under Huzii Kouyou for seven years. In fact, the reason of this change had relationship with Japanese sculpture community in Shōwa period. On the other hand, Hsia-Yu Chen was not like Tu-Shui Huang (1895- 1930) who was also Taiwanese and exhibited several works having Taiwanese motives in the Imperial Art Exhibition for several times. Chen chose the female sculpture to join Bunten, such as Nude Woman, Hair. This orientation was also subject to the environmental impact of education and exhibitions in Shōwa period.
This paper, first of all, based on the Japanese sculpture community in 1930s, and tried to analyze the Hsia-Yu Chen’s preference from comparing the works and articles of Mizutani Tetsuya and Huzii Kouyou. Next, to stage the female sculptures of Hsia-Yu Chen while understanding his creation and responding to Hsia-Yu Chen’s preference.
Hsia-Yu Chen’s studying and fame process was in 1930s, when Taiwanese first-generation sculptor Tu-Shui Huang died and successors gradually learned in Japan or Taiwan. He had been regarded as Tu-Shui Huang’s successor and always continuing the strong sense of self in his studying process and works. He expected that he could strengthen the sculptures from“ technique” to“ creation” beyond so-called“ ideal” image.

Hsia-Yu Chen, Bunten, The Sculpture in Japanese Ruled Period

在數位互動藝術的作品場域中，藝術家以科技所創造視覺知覺與身體感知的空間場域，讓觀者在觀看中體會影像的符碼意義，在互動參與中，創造感知經驗並與自身的知識記憶融合產生回應；然而，透過編碼、程序、隨機與邏輯所建構的虛擬與實體空間的感知環境中，觀者是否真能接收藝術家所傳遞的科技共生體驗？是否能真實體驗創作者的創作意義，或僅是被絢麗的影像與互動的愉悅性所迷惑？該如何回應自身的記憶與知識？而具有自身運算演化的數位藝術作品，是否能夠被視為具獨立自主的主體？
以「藝術基礎研究法」（Art Based Research）作為探究觀者在互動情境中之感知過程的研究策略，研究者以個展《奇米拉的世界》為研究場域，邀請觀者進入利用擴增實境（Augmented Reality，AR）與互動控制科技所創造之奇米拉的「虛」「實」世界裡，感受虛擬感知的實境場域所創造的迷離幻境，之後透過現場觀者問卷分析探究四個問題：1.觀者與作品之間的關係。2.當觀者涉入互動情境之中，是如何進行訊息接收，融入互動氛圍？3.在進行互動參與之中，觀者如何體會與認同創作者的創作意識？4.在此互動參與中，是否覺得作品是具情感意識的個體。

觀者研究、數位藝術、互動裝置、沉浸、感知

Artists create physical space field with images and interactive devices to provide perception and immersing experiences. During the interactive process, audiences read the codes meaning by viewing the images, and then create perceptual experience in participation. The audiences integrate the participation experience with empirical memories to interpret the concept of artist creation. However, in the real and virtual cognition environment created by code, program, process, random and logic, do the audiences can truly comprehend the symbiotic experience which deliver by artists? Do the audiences truly understand the meaning of artist concept without be enchanted by the stunning illusion and playful interaction? How do the audience response the personal memory and knowledge during the perceiving? Do the digital art work with the ability of automation and evolution can be treated as an independent subject?
The research adopts the method of Art Based Research to explore the perception process of audience in the context of the interaction. The researcher created a real and virtual world “ Chimeras’ World” with augmented reality and interactive technology. After wandering through the interactive spatial installation and theatrical space, the audience’ experience will be analyzed by complete the questionnaire with open-ended question. There are four questions: 1. The relationship of audience and art work. 2. When audience interact with the art work, how to understand and perceiving the concept of artist. 3. How audience appreciates and approves the idea of critical awareness. 4. Do the interactive art work will be regarded as the individual with emotional awareness.

Audience research, Digital Art, Interactive
Installation, Immersion, Perceiving