本課程屬於創作實踐課程：課程包含漸進式靜/動態影像拍攝教學，影像後製與影片剪輯，培養動態影像投影裝置實際操作能力，輔以相關舞台靜/動態影像作品的研討，期望啟發學生創造出具前瞻性的表演藝術動態舞台影像設計。本創作課程成果：以小組為單位，發表兩件動態影像舞台設計。本課程聚焦於引導學生深入了解動態影像本身的時間性與大型投影影像滲透力，搭配表演者的體能動態節奏與韻律，在影像中揉合聲音設計以及劇場場域的調度考量，致力於達成舞台背景影像設計與前台表演的整體互動融合度。

This course is a creative practice course: the course includes progressive still/moving image shooting teaching, image post-production and video editing, cultivating the practical operation ability of moving image projection devices, supplemented by discussions on related stage still/moving image works, hoping to inspire students to create forward-looking dynamic stage image designs for performing arts. The results of this creative course: as a group, publish two dynamic image stage designs. This course focuses on guiding students to have an in-depth understanding of the temporal nature of moving images and the penetration of large-scale projection images, matching the dynamic rhythm and rhythm of performers' physical fitness, integrating sound design and theater field scheduling considerations into the images, and is committed to achieving an overall interactive integration of stage background image design and front-stage performance.

本課程屬於創作實踐課程：課程包含漸進式靜/動態影像拍攝教學，影像後製與影片剪輯，培養動態影像投影裝置實際操作能力，輔以相關舞台靜/動態影像作品的研討，期望啟發學生創造出具前瞻性的表演藝術動態舞台影像設計。本創作課程成果：以小組為單位，發表兩件動態影像舞台設計。本課程聚焦於引導學生深入了解動態影像本身的時間性與大型投影影像滲透力，搭配表演者的體能動態節奏與韻律，在影像中揉合聲音設計以及劇場場域的調度考量，致力於達成舞台背景影像設計與前台表演的整體互動融合度。

This course is a creative practice course: the course includes progressive still/moving image shooting teaching, image post-production and video editing, cultivating the practical operation ability of moving image projection devices, supplemented by discussions on related stage still/moving image works, hoping to inspire students to create forward-looking dynamic stage image designs for performing arts. The results of this creative course: as a group, publish two dynamic image stage designs. This course focuses on guiding students to have an in-depth understanding of the temporal nature of moving images and the penetration of large-scale projection images, matching the dynamic rhythm and rhythm of performers' physical fitness, integrating sound design and theater field scheduling considerations into the images, and is committed to achieving an overall interactive integration of stage background image design and front-stage performance.

1.A. L. Rees (Author),‎ David Curtis (Editor),‎ Duncan White (Editor),‎ Steven Ball (Editor), Expanded Cinema: Art, Performance, Film, 2011, Tate, UK
2. Christopher Eamon (Author),‎ Mieke Bal (Author),‎ Beatriz Colomina (Author),‎ Stan Douglas (Artist), Art of Projection, 2009, Hatje Cantz
（二）期刊論文與訪談
1.藝術觀點ACT
2.孫松榮, 〈美術館與電影：從投映到展示的「當代性」〉，《今藝術》，第188期，5月號。頁170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology & Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
（三）線上資料庫
1. 台灣當代藝術資料庫
2. 英國Lux, Artists’ Moving Image

1.A. L. Rees (Author),‎ David Curtis (Editor),‎ Duncan White (Editor),‎ Steven Ball (Editor), Expanded Cinema: Art, Performance, Film, 2011, Tate, UK
2. Christopher Eamon (Author),‎ Mieke Bal (Author),‎ Beatriz Colomina (Author),‎ Stan Douglas (Artist), Art of Projection, 2009, Hatje Cantz
(2) Journal articles and interviews
1. Artistic point of view ACT
2. Sun Songrong, "Art Museums and Films: "Contemporaneity" from Projection to Exhibition", "Art Today", Issue 188, May. Pages 170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology & Human Values ​​24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
(3) Online database
1. Taiwan Contemporary Art Database
2. Lux, Artists’ Moving Image, UK