本課程旨在探討當代藝術實踐與文化研究之間的關係，強調藝術創作作為一種思辨方法，回應多元文化脈絡中的身分、空間、記憶、科技與情感等議題。課程將透過藝術家案例、理論閱讀、創作實驗與策展方法，培養學生整合批判思維與實踐能力，並發展具文化敏感度的創作計畫。課程內容涵蓋四大單元：一、城市與現代性中的跨域美學；二、科技、藝術與數位文化的未來想像；三、東西視角下的文化身份與再現批判；四、從跨媒材敘事與時尚、音樂與大眾文化出發的流行文化分析。學生將於課程中發展出具文化敏感度與研究深度的創作與藝術實踐計畫，建立屬於自己的創作論述與文化位置。This course aims to explore the relationship between contemporary art practice and cultural research, and emphasizes artistic creation as a way of thinking, responding to the topics of identity, space, memory, technology and emotion in a diverse cultural community. The course will cultivate students' integration of critical thinking and practical abilities through artist cases, theoretical reading, creative experience and curatorial methods, and develop culturally sensitive creative plans. The course content covers four major units: 1. Cross-domain aesthetics in urban and modernity; 2. Future imagination of science and technology, art and digital culture; 3. Cultural identity and re-criticism from the perspective of things; 4. Popular culture analysis from the emergence of cross-media events and fashion, music and public culture. Students will develop creative and artistic practical plans with cultural sensitivity and research depth in the course, and establish their own creative and cultural position.
愛德華・薩依德《東方主義》，麥田出版，2002。
吳瑪俐、陳亮瑩編，2020，《看見亞洲：藝術、知識與在地》，台南藝大出版。
謝東山，《台灣當代藝術 1980–2000》，藝術家出版社，2002。
布魯諾．拉圖《我們從未現代過》（2011） | 羅新璋譯，群學出版
Edward W. Said, Orientalism, New York: Pantheon Books, 1978
Bruno Latour, We Have Never Been Modern, Cambridge, MA: Harvard University Press, 1993.
Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship.
London: Verso, 2012.
Stuart Hall (Ed.), Representation: Cultural Representations and Signifying Practices, London: Sage Publications & The Open University, 1997.
Homi K. Bhabha, The Location of Culture, London and New York: Routledge, 1994.
"Orientalism" by Aidewa Sayed, published by Maitian, 2002.
Edited by Wu Mali and Chen Liang, 2020, "Looking at Asia: Art, Knowledge and Local Area", published by Tainan Art.
Xie Dongshan, "Taiwan Contemporary Art 1980–2000", Artist Publishing House, 2002.
Bruno. Label "We Have Never Been Modern" (2011) | Translated by Luo Xinzhang, Group Studies Publishing
Edward W. Said, Orientalism, New York: Pantheon Books, 1978
Bruno Latour, We Have Never Been Modern, Cambridge, MA: Harvard University Press, 1993.
Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship.
London: Verso, 2012.
Stuart Hall (Ed.), Representation: Cultural Representations and Signifying Practices, London: Sage Publications & The Open University, 1997.
Homi K. Bhabha, The Location of Culture, London and New York: Routledge, 1994.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席出席 Attend |
20 | 包括期末評圖與校外參訪，無故缺席六次，將不通過。 |
| 課堂文本閱讀討論課堂文本閱讀討論 Class text reading discussion |
30 | |
| 課堂評圖研究討論課堂評圖研究討論 Class review research discussion |
25 | |
| 期末評圖期末評圖 Final reviews |
25 |
