近來臺灣每年都有數以萬計的展演活動，根據文化部2019年藝文展演活動統計，總計有5萬5839場視覺藝術、工藝、設計、音樂、戲劇、舞蹈、說唱、影片、民俗、語文、圖書、綜藝等活動，估計有2億3849萬人次參與，其中以展示為核心業務的博物館單位，依據中華民國博物館學會2016年「臺灣博物館名錄」統計共有460家，展示的社會影響力亦逐年受到重視。隨著關注大眾的社會設計 (social design)、反思環境正義的後自然（post-nature）等策展理念的興起，以及社群媒體與數位工具的普及，今日數量龐大的展示除了積極面向社會之外，亦肯認展示實非策展人的專利，而且人們在日常生活中也早已為自身或所屬群體進行各種微型展示。因此，如何系統性認識展示，讓展示成為一個納入多元使用者/利害關係人的社會溝通平台：不論是據此進行交流、協商、決策、執行與檢討，促進不同群體間的對話並形成共識，再將共識轉化為嘗試解決社會問題、改善環境的社會實踐，或是以引人矚目的方式藉由展示對社會現象提出批判，都值得吾輩關注。Recently, there are tens of thousands of performance activities in Taiwan every year. According to the Ministry of Culture’s 2019 arts and cultural performance statistics, there are a total of 55,839 visual arts, crafts, design, music, drama, dance, rap, film, folklore, language, Books, variety shows, etc. An estimated 238.49 million people participated in the event. Among them, there are 460 museum units with exhibition as their core business, according to the 2016 "Taiwan Museum Directory" compiled by the Museum Society of the Republic of China. The social influence of exhibition has also been valued year by year. With the rise of curatorial concepts such as social design that focuses on the public, post-nature that reflects on environmental justice, and the popularity of social media and digital tools, today’s large number of exhibitions are not only actively oriented to society. In addition, we also acknowledge that display is not the exclusive preserve of curators, and that people have already carried out various miniature displays for themselves or their groups in daily life. Therefore, how to systematically understand display and make it a social communication platform that includes multiple users/stakeholders: whether it is based on communication, consultation, decision-making, implementation and review, promoting dialogue among different groups and forming consensus, Then transforming the consensus into social practices that try to solve social problems and improve the environment, or criticize social phenomena through display in an eye-catching way, are worthy of our attention.
主要教材
1. C. Wright Mills著，張君玫、劉鈐佑譯，1995，《社會學的想像》。臺北市：巨流。
2. Adrian George著，王聖智譯，2017，《策展人工作指南》。臺北市：典藏藝術家庭。
Main teaching materials
1. C. Wright Mills, translated by Zhang Junmei and Liu Qianyou, 1995, "The Sociological Imagination". Taipei City: Juliu.
2. "Curator's Guide", written by Adrian George and translated by Wang Shengzhi, 2017. Taipei City: Collection Art Family.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 平時出席、課堂討論與參訪觀摩平時出席、課堂討論與參訪觀摩 Regular attendance, class discussions and visits and observations |
30 | 平時出席與課堂討論參與，是平時成績的基礎。演講、參訪後留言心得於課程臉書社團（https://bit.ly/3brW8CO）、詳實填寫展示問卷，均可顯著加分。若因故不克出席，務必於上課前一天23:59前，透過臉書向授課教師及同組組員請假。不定期點名，點名三次未到者，平時成績零分計算。 |
| 分組作業一：「批判閱讀」分組作業一：「批判閱讀」 Group assignment 1: "Critical Reading" |
30 | A）原則上由3-4人共組小組，各組協調後於指定閱讀教材中，擇一進行深度導讀，整理出作者觀點與立場，並以社會學角度進行評論。此作業著重具體呈現小組成員批判閱讀文獻的成果，訓練系統性整理論點，並提出質疑或修正建議。 B）小組於課堂中進行15分鐘口頭報告，列出三個問題與全班同學進行10分鐘的討論。各組應於上台報告後一週內，彙整課堂中討論內容記錄於「批判閱讀」簡報檔中，並上傳分享至課程臉書社團。 |
| 分組作業二：「微型展示」分組作業二：「微型展示」 Group assignment 2: "Miniature display" |
40 | 各小組須自行選擇一個主題（可與文學、藝術、教育、經濟、階級、性別、移民、電影相關，或其他特殊專題）進行資料蒐集與調查、利害關係人訪調，並以此為基礎對照批判閱讀，進行社會學反思、發想展示內容，最後再 1.轉化成為具展品（三件以下）的3D展示（平面範圍是兩張全開海報，預計張貼於社會科學資源教育中心外玻璃牆面，預計展出2-3週）， 2.進行5-10分鐘的導覽， 3.記錄整理「策展過程（討論、訪調、製作）」，並以影片/多媒體呈現。 |
