簡易檢索 / 詳目顯示
| 研究生： |
朱千慧 Chu, Chien-Hui |
|---|---|
| 論文名稱： |
移植面具：以面具為技術探索賽伯格關係 Transplantation Mask:Regarding Mask as Technology to Explore Cyborg Relation |
| 指導教授： |
梁容輝
Rung-Huei Liang |
| 口試委員: |
陳玲鈴
Lin-Lin Chen 余能豪 Yu, Neng-Hao |
| 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： | 2019 |
| 畢業學年度： | 108 |
| 語文別： | 中文 |
| 論文頁數： | 87 |
| 中文關鍵詞： | 面具 、賽伯格關係 、素材 、賽伯格 |
| 外文關鍵詞： | mask, cyborg relation, material, cyborg |
| 相關次數： | 點閱：153 下載：22 |
| 分享至: |
| 查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報 |
在科技浪潮下，技術以不同的形式呈現在日常生活中，人機互動領域也提出對「素材覺知」反思對於數位媒材重新給予的獨特經驗，至此本研究以面具作為主要探索的技術素材，現今已有許多類似於面具形式延伸的穿戴裝置，而本研究以呈現遠距溝通的穿戴裝置作為面具技術的基礎，探索面具技術所產生的經驗品質與建構的世界。通過了解面具的脈絡與現象學研究方式，進行面具素材的探索，設計出四種面具形式，並邀請參與者進行體驗活動，透過活動的行為觀察、問卷收集、訪談內容進行現象的詮釋，再透過設計做研究，製作可實際穿戴的面具設計物——移植面具，並將設計物放置在實際的情境，收集經驗與現象，重新描繪出面具視為技術下「人－技術－世界」的關係，透過其框架本研究延伸出感知「賽伯格關係」世界的方式，並體現出不同的互動層面可以針對不一樣的親密關係提升融入情境的程度，進而重新建構身體的操控模型並了解自身身體為主體的可能性。
Under the trend of technology, technology is presented in different forms in daily lives. Therefore, the field of human-computer interaction also proposes that "material awareness" is a unique experience of digital material. Our work uses the mask as exploration material. There are many wearable devices similar to the masks. Mask technology is based on a wearable device of remote communication in order to explore its experiential quality and the constructed world. The way to explore the mask material is to design four mask forms through the mask context and the phenomenological method. We Invited participants to the mask material experience activities, and interpreted the phenomena through activity observation, questionnaire collection, and interview content. Transplantation Mask was built and deployed with the method of Research through Design. Then we collected experience and phenomena to understand the relationship of “people-technology-world”. Through its framework, we construct a way of perception "Cyborg relations" world, and discover that the different intimacy will change the degree of immersion because of the different levels of interaction. Further, participants can also re-understand the human body and construct another body image.
英文文獻
1. Hobye, M., & Löwgren, J. (2011). Touching a stranger: Designing for engaging experience in embodied interaction.
2. Hauser, S., Oogjes, D., Wakkary, R., & Verbeek, P. P. (2018, June). An Annotated Portfolio on Doing Postphenomenology Through Research Products. In Proceedings of the 2018 on Designing Interactive Systems Conference 2018 (pp. 459-471). ACM.
3. Lee, M. K., & Takayama, L. (2011, May). Now, I have a body: Uses and social norms for mobile remote presence in the workplace. In Proceedings of the SIGCHI conference on human factors in computing systems (pp. 33-42). ACM.
4. Misawa, K., & Rekimoto, J. (2015, April). Chameleonmask: Embodied physical and social telepresence using human surrogates. In Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems(pp. 401-411). ACM.
5. Misawa, K., & Rekimoto, J. (2015, September). Wearing another's personality: a human-surrogate system with a telepresence face. In Proceedings of the 2015 ACM International Symposium on Wearable Computers (pp. 125-132). ACM.
6. Misawa, K., & Rekimoto, J. (2016, October). Who am I Touching?: User Study of Remote Handshaking with a Telepresence Face. In Proceedings of the Fourth International Conference on Human Agent Interaction (pp. 163-170). ACM.
7. Pollock, D. (1995). Masks and the Semiotics of Identity. Journal of the Royal Anthropological Institute, 581-597.
8. Pierce, J. (2009, April). Material awareness: promoting reflection on everyday materiality. In CHI'09 Extended Abstracts on Human Factors in Computing Systems (pp. 4459-4464). ACM.
9. Procyk, J., Neustaedter, C., Pang, C., Tang, A., & Judge, T. K. (2014, April). Exploring video streaming in public settings: shared geocaching over distance using mobile video chat. In Proceedings of the 32nd annual ACM conference on Human factors in computing systems (pp. 2163-2172). ACM.
10. Pitron, V., & de Vignemont, F. (2017). Beyond differences between the body schema and the body image: Insights from body hallucinations. Consciousness and Cognition, 53, 115-121.
11. Scheier, M. F., & Carver, C. S. (1985). The Self‐Consciousness Scale: A Revised Version for Use with General Populations 1. Journal of Applied Social Psychology, 15(8), 687-699.
12. Steven Harrison, Deborah Tatar & Phoebe Sengers. 2007. The three paradigms of HCI. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '07).
13. Verbeek, P. P. (2008). Cyborg intentionality: Rethinking the phenomenology of human!Vtechnology relations. Phenomenology and the Cognitive Sciences, 7(3), 387-395.
14. Witmer, B. G., & Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence, 7(3), 225-240.
15. Witmer, B. G., Jerome, C. J., & Singer, M. J. (2005). The factor structure of the presence questionnaire. Presence: Teleoperators & Virtual Environments, 14(3), 298-312.
16. Wiberg, M. (2014). Methodology for materiality: interaction design research through a material lens. Personal and ubiquitous computing, 18(3), 625-636.
17. Zimmerman, J., Forlizzi, J., & Evenson, S. (2007, April). Research through design as a method for interaction design research in HCI. In Proceedings of the SIGCHI conference on Human factors in computing systems (pp. 493-502). ACM.
中文文獻
1. 汪文聖. (2001). 現象學方法與理論之反思: 一個質性方法之介紹.
2. 李建緯. (2002). 符號學是什麼?從藝術作品談起.
3. 張曉華. (2007). 面具戲劇的「美癒」之旅.
4. 李佩蓉、唐瓔璋. (2010). 消費者在虛擬實境中的臨場感體驗與沉浸傾向之研究: 以商業動感模擬遊戲機為例 (Doctoral dissertation).
5. 唐娜・哈洛威／張君玫（譯）. （2010）. 猿猴・賽伯格和女人. 群學出版有限公司.
6. 許巧瑜. (2011). 威尼斯面具嘉年華之觀光體驗研究.
7. 威廉・吉布森／李家沂(譯). (2012). 神經喚術士. 台灣：開元書印
8. 張雅粱. (2013). 從符號學觀點初探中國面具文化. 南藝學報, (6), 63-88.
9. 張雅粱. (2013). 從泰國鬼面節（Phi Ta Khon Festival）面具論地區美學的建構與再現.
10. 保羅・李文森／宋偉航（譯）.（2015）. 數位麥克魯漢. 貓頭鷹出版.
11. 鄭宇婷、莊雅量、梁容輝、陳玲鈴. (2016) 穿戴式設計體驗距離－以Wearable R.I.P進行表演式經驗探索.
12. 鄭宇婷、孔博雯、朱千慧、李佳恩、李宜庭、梁容輝. (2017). 以侘寂為互動設計素材，探索「時間感現身」的「時間形」設計.
13. N・凱薩琳・海爾斯／賴淑芳、李偉柏（譯）.（2018）. 後人類時代. 時報文化出版企業股份有限公司.
網路資料
1. dezeen. （2013）. Eidos by Tim Bouckley、Millie Clive-Smith、Mi Eun Kim and Yuta Sugawara. Retrieved from https://www.dezeen.com/2013/05/01/eidos-sensory-perception-masks-royal-college-of-art/
2. 壹讀，(2015) 。日本的「能面」是一個怎樣的表演藝術。取自：https://read01.com/zh-tw/L2nkR5.html#.WjxaHKM8WRv
3. 每日頭條，(2016) 。日本戲劇藝術——紛繁面具下的異類之美（能劇）。取自：https://kknews.cc/culture/235bkg.html
4. 每日頭條，(2016)。文化｜日本傳統面具——能面。取自: https://kknews.cc/zh-tw/culture/zmj55vl.html
5. 壹讀， (2016)。關於日本能面，誰能科普一下？。取自：https://read01.com/202OGQ.html#.WjxaHKM8WRv
6. 維基百科，(2017)。面具。取自：https://zh.wikipedia.org/wiki/面具#面具的儀式用途
7. 維基百科，(2017)。能劇。取自：https://zh.wikipedia.org/wiki/能剧#.E5.86.85.E5.AE.B9.E5.8F.8A.E5.90.8D.E7.A7.B0
8. BaiDu百科，(2017)。人格面具。取自：https://baike.baidu.com/item/人格面具/3469504
9. Wikipedia. (2017). Persona. Retrieved from https://en.wikipedia.org/wiki/Persona
10. Simone Rebaudengo. (2019). UnMask. Retrieved from http://www.simonerebaudengo.com/unmask/.
11. Wikipedia. Proxemics. (2019). Retrieved from https://en.wikipedia.org/wiki/Proxemics.
12. Wikipedia. Neil Harbisson. (2019). Retrieved from https://en.wikipedia.org/wiki/Neil_Harbisson.
