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研究生: 張雲帆
Yun-Fan Chang
論文名稱: 文化意象的捕捉、詮釋與訴說:以港口部落設計品牌KAMARO’AN為例
To Capture, to Interpret, and to Spread Cultural Images: The Gang-Kuo Tribe Experience
指導教授: 董芳武
Fang-Wu Tung
口試委員: 陳玲鈴
Lin-Lin Chen
劉維公
Wei-Gong Liou
學位類別: 碩士
Master
系所名稱: 設計學院 - 設計系
Department of Design
論文出版年: 2015
畢業學年度: 103
語文別: 中文
論文頁數: 101
中文關鍵詞: 文化意象文化品牌設計力創新布迪厄阿多諾
外文關鍵詞: Cultural Images, Cultural Brand, Design-Driven Innovation, Bourdieu, Adorno
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  • 在後現代社會中蔓延的擬像與真實之間著墨甚深的法國社會學家布希亞指出,「物必須先成為符號,才能成為被消費的對象」。事實上,文化,作為一種社群之間共享的意義,亦須先成為文化意象,而後方能成為具有影響力與經濟效益的文化資本。本研究藉由描繪設計團隊二年來與花蓮縣豐濱鄉港口部落豐沛的藝術、工藝與文化行動者共同建立在地文化品牌中積累的設計實務經驗,以及在設計、藝術、工藝與文化文獻裡來回的批判與反思中,鋪陳開展本研究對於捕捉、詮釋與訴說文化意象的論述。


    As the widespread quote of Baudrillard had told us, ‘To become an object of consumption, an object must first become a sign’. The ‘culture’ that seeks to be transformed into the ‘cultural capital’ that brings economic benefits and substantial impacts, must first be translated into ‘cultural images’. This is a practice-led research, in the past two years we collaborate with the artists in the Gank-Kuo tribe in Hualien to build up a local culture brand. This thesis sheds lights on the discourses of capturing, interpreting, and spreading cultural images through the interweaving context of art, design and craft literatures versus design experiences and critical reflections through this collaboration.

    Keywords: Cultural Images, Cultural Brand, Design-Driven Innovation, Bourdieu, Adorno

    緒論 研究背景:探訪文化資本的形成……………………………………………………01 研究目的:文化意象的捕捉、詮釋與訴說…………………………………………02 研究方法:實務導向設計研究………………………………………………………03 研究架構:文獻理論與實務經驗的反覆辯證………………………………………04 第一章 設計 1.1 設計讓事物變得對生活有意義………………………………………………07 1.2 所謂的設計史…………………………………………………………………09 1.3 設計的視野來自對社會現象的解讀…………………………………………11 1.4 設計思考的利與弊……………………………………………………………15 1.5 無處不是設計的時候…………………………………………………………19 1.6 設計師的美感養成……………………………………………………………22 第二章 藝術 2.1 請試著定義藝術………………………………………………………………25 2.2 審美理論與藝術哲學之辯……………………………………………………27 2.3 在藝術終結之後………………………………………………………………30 2.4 生活中的意境與美學…………………………………………………………32 2.5 理性與感性……………………………………………………………………35 2.6 當藝術不再被視為純美學的範疇……………………………………………37 第三章 工藝 3.1 眾說紛紜的工藝………………………………………………………………41 3.2 工藝學的開始來自對工業時代的反思………………………………………42 3.3 工藝與機械的協調美學………………………………………………………46 3.4 當工藝變成創新的代名詞……………………………………………………49 3.5 工藝是一種做到最好的人文精神……………………………………………52 第四章 文化 4.1 文化是一群⼈共享的意義架構………………………………………………56 4.2 ⽂化意象是一種想像的社群…………………………………………………59 4.3 新⽂化媒介人的舞台…………………………………………………………60 4.4借鑑⽂化原型的傳述⽅式……………………………………………………62 第五章 案例 5.1 文化意象的捕捉………………………………………………………………64 5.2 文化意象的詮釋………………………………………………………………72 5.2.1 系列一:輪傘草的一蓆之地 …………………………………………73 5.2.2 系列二:海浪與漂流木之間的一景 …………………………………76 5.3 文化意象的訴說………………………………………………………………79 結論 研究發現………………………………………………………………………………80 研究價值………………………………………………………………………………80 研究建議………………………………………………………………………………81 參考書目 英文文獻………………………………………………………………………………82 中文文獻………………………………………………………………………………89

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