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 studies, emphasizing artistic creation as a method of thinking and responding to issues such as identity, space, memory, technology and emotion in a multicultural context. The course will cultivate students' ability to integrate critical thinking and practice through artist cases, theoretical readings, creative experiments and curatorial methods, and develop culturally sensitive creative projects. The course content covers four major units: 1. Cross-domain aesthetics in cities and modernity; 2. Future imagination of technology, art and digital culture; 3. Cultural identity and representation criticism from an Eastern and Western perspective; 4. Popular culture analysis starting from cross-media narratives and fashion, music and popular culture. In the course, students will develop creative and artistic practice plans with cultural sensitivity and research depth, and establish their own creative discourse 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.

Edward Said, "Orientalism", Wheatfield Publishing, 2002.
Wu Mali and Chen Liangying, eds., 2020, "Seeing Asia: Art, Knowledge and Place", published by Tainan University of the Arts.
Xie Dongshan, "Taiwan Contemporary Art 1980–2000", Artist Press, 2002.
Bruno. Latour "We Have Never Been Modern" (2011) | Translated by Luo Xinzhang, published by Qunxue 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.