進階搜尋


下載電子全文  
系統識別號 U0026-3112201906554300
論文名稱(中文) 探討先前知識差異對互動藝術展覽體驗之影響
論文名稱(英文) The Influence of Interactive Art Exhibition Experience with Different Prior Knowledge
校院名稱 成功大學
系所名稱(中) 工業設計學系
系所名稱(英) Department of Industrial Design
學年度 107
學期 2
出版年 108
研究生(中文) 郭憶璇
研究生(英文) Yi-Hsuan Kuo
學號 P36061176
學位類別 碩士
語文別 英文
論文頁數 70頁
口試委員 指導教授-何俊亨
口試委員-馬敏元
口試委員-陳璽任
口試委員-丘增平
口試委員-翁千惠
中文關鍵字 體驗設計  互動藝術展覽  先前知識 
英文關鍵字 experience design  interactive art exhibition  prior knowledge 
學科別分類
中文摘要 體驗經濟時代的來臨,使得人們追求心靈上的滿足。過去展覽作為研究和學習平台的模式已經改變,人們開始將觀看展覽視為休閒娛樂,從展覽中獲得心理上的富足與精神的放鬆,而體驗設計的模式也導入展覽中,使觀展者沉浸於互動藝術展覽中,與藝術展覽有情感上的連結與反思留給觀展者深刻的觀展體驗。然而現今的互動藝術展覽其面對的觀眾類別越來越廣,涉及不同年齡、性別與知識程度,因而有不同的體驗感受與期望。其中,觀展者先前知識將影響觀展時的體驗與體驗深度,具備較高先前知識的觀展者往往有較深的體驗深度,並且隨著先前知識的差異則有不同的體驗期望,因此本研究欲探討先前知識差異對觀展體驗之具體影響,亦即高低先前知識觀展者其體驗感受與體驗期望的差別,其目的為透過了解不同高低先前知識觀展者的體驗感受與體驗期望的差異,應用於展覽體驗設計中,幫助觀展者在觀展時有良好的體驗品質。
在實驗階段,先以觀展先前知識問卷劃分高低先前知識觀展者,並透過如影隨形法蒐集觀展者觀展時的口語資料與行為紀錄,在觀展後以回溯性放聲思考法的方式,幫助觀展者記憶當下體驗,以口述方式述說當下的體驗感受,進行口語資料的蒐集,最後以體驗行銷策略模組所提出的五種體驗策略進行歸納分析法,找出高低先前知識觀展者其體驗感受與體驗期望的差別。研究結果顯示高低先前知識觀展者所側重的體驗類別皆為感官體驗與思考體驗,且體驗模式間的關係相仿,個人的感官偏好影響正負向的感官體驗,而高先前知識觀展者因能夠透過深刻的思考體驗而有較整體觀展體驗,而低先前知識觀展者則須依靠作品文字或導覽等輔助元素幫助形塑深刻的思考體驗。了解高低先前知識觀展者側重的體驗期望,豐富且深化其觀展體驗並且滿足每位觀展者的觀展體驗。
英文摘要 In the era of the experience economy, customers pursue not only sophisticated and practical products but also good experiences. The concept of experience design is used for curating exhibitions. An interactive art exhibition attracts visitors through providing special experiences that visitors enjoy. However, the visitors at interactive art exhibitions comprise people of different ages, genders, and knowledge backgrounds. Therefore, different visitors typically have different experience requirements and expectations. The main factor that may affect the depth of experience is prior knowledge. Visitors with high levels of prior knowledge often have a deeper experience, and visitors have different experience expectations according to prior knowledge. Therefore, this study is aimed toward an analysis of what kinds of experience types visitors with different prior knowledge focus on and prefer. A determination of visitor preferences based on the amount of prior knowledge will lead to better experience designs intended to meet visitor expectations.
The methodology included a questionnaire, shadowing, and the retrospective think-aloud (RTA) method to gather verbal data. An analysis and an inductive method were also used based on the strategic experience modules to compare prior knowledge for two visitors. According to the research results, visitors with high and low levels of prior knowledge focus on sensory and cognitive experiences. Also, their relationships to the five types of exhibition experiences were similar. Multiple sense experiences and clear exhibition guides help deepen the cognitive experience of visitors. Understanding visitors’ experience expectations will enrich and deepen their viewing experience at an appropriate level for each viewer.
論文目次 摘要......ii
SUMMARY......iii
誌謝......iv
TABLE OF CONTENTS......vi
LIST OF TABLES......viii
LIST OF FIGURES......ix
CHAPTER 1 INTRODUCTION......1
1.1 Background and Motivation......1
1.2 Research Problem and Purpose......4
1.3 Research Scope and Limitation......6
CHAPTER 2 LITERATURE REVIEW......7
2.1 Experience and Design......7
2.1.1 The meaning of experience......7
2.1.2 Experiential marketing to experience design......8
2.1.3 The Application of Experience Design to Interactive Art Exhibition......11
2.2 Prior knowledge and Exhibition Experience......12
2.3 Summary......13
CHAPTER 3 METHODOLOGY......15
3.1 Experimental Procedure......15
3.2 Description of the Experimental Stages......17
3.2.1 The Selection of the Experimental Place......17
3.2.2 The Selection of Participants......18
3.2.3 The Visitors’ Exhibition Experience Experiment......19
3.2.4 Experimental Results and Analysis......21
CHAPTER 4 RESEARCH RESULTS AND ANALYSIS......23
4.1 Data Analysis......23
4.2 Sense Experience......24
4.2.1 Main experience type affects exhibition experience......25
4.2.2 The Influence of Personal Preference......27
4.2.3 The Influence of Curatorial Experience......28
4.3 Feel Experience......29
4.3.1 Influences on the Sense and Think Experience......29
4.3.2 The influence on two persons visiting......32
4.4 Think Experience......33
4.4.1 The main experience type affects the exhibition experience......34
4.4.2 The Think Experience of Visitors with Low Levels of Prior Knowledge......34
4.4.3 The Think Experience of Visitors with High Levels of Prior Knowledge......38
4.4.4 The influence of two persons visiting......40
4.5 Act Experience......41
4.5.1 The influence of the sense experience......41
4.5.2 The influence of habit......43
4.5.3 The influence of two persons visiting......44
4.6 Relate Experience......45
4.7 Visitors with High and Low Prior Knowledge: 5 Types of Experiences......47
4.7.1 The exhibition experience of visitors with low prior knowledge......47
4.7.2 The exhibition experience of visitors with high prior knowledge......49
4.8 Summary......50
CHAPTER 5 CONCLUSION AND SUGGESTIONS......53
5.1 Research Findings......53
5.1.1 The exhibition experience of visitors with high and low levels of prior knowledge......53
5.1.2 The influence of prior knowledge......54
Conclusion......55
5.2 Suggestions......57
REFERENCES......59
Appendix A DESCRIPTION OF DEFAULT SUBHEADING SCHEME......63
參考文獻 Blackwell, R. D., Miniard, P. W., & Engel, J. F. (2001). Consumer behavior 9th. South-Western Thomas Learning. Mason, OH.
Camarero, C., & Garrido, M. J. (2012). Fostering innovation in cultural contexts: Market orientation, service orientation, and innovations in museums. Journal of service research, 15(1), 39-58.
Carù, A., & Cova, B. (2003). Revisiting consumption experience: A more humble but complete view of the concept. Marketing theory, 3(2), 267-286.
Demby, E. H. (1994). Psychographics revisited: the birth of a technique. Marketing Research, 6(2), 26.
Desmet, P. M., & Hekkert, P. (2007). Framework of product experience. International Journal of Design, 1(1), 57-66.
Falk, J. H. (2016). Identity and the museum visitor experience: Routledge.
Getty Center for Education in the Arts, & J. Paul Getty Museum. (1991). Insights: museums, visitors, attitudes, expectations: a focus group experiment. J. Paul Getty Trust.
Harrison, P., & Shaw, R. (2004). Consumer satisfaction and post-purchase intentions: An exploratory study of museum visitors. International Journal of Arts Management, 23-32.
Hassenzahl, M., Eckoldt, K., Diefenbach, S., Laschke, M., Len, E., & Kim, J. (2013). Designing moments of meaning and pleasure. Experience design and happiness. International Journal of Design, 7(3).
Hede, A.-M., Garma, R., Josiassen, A., & Thyne, M. (2014). Perceived authenticity of the visitor experience in museums: Conceptualization and initial empirical findings. European Journal of Marketing, 48(7/8), 1395-1412.
Hooper-Greenhill, E. (1999). The educational role of the museum: Psychology Press.
Lanier Jr, C. D. (2008). Experiential marketing: Exploring the dimensions, characteristics, and logic of firm-driven experiences: The University of Nebraska-Lincoln.
Leinhardt, G., & Knutson, K. (2004). Listening in on museum conversations. Rowman Altamira.
Marvel, M. R., & Lumpkin, G. T. (2007). Technology entrepreneurs' human capital and its effects on innovation radicalness. Entrepreneurship Theory and Practice, 31(6), 807-828.
Newbery, P., & Farnham, K. (2013). Experience design: A framework for integrating brand, experience, and value: John Wiley & Sons.
Phillips, D. M., & Baumgartner, H. (2002). The role of consumption emotions in the satisfaction response. Journal of Consumer psychology, 12(3), 243-252.
Pine, B. J., & Gilmore, J. H. (1999). The experience economy: work is theatre & every business a stage: Harvard Business Press.
Schmitt, B. (1999). Experiential marketing. Journal of marketing management, 15(1-3), 53-67.
Shane, S. (2000). Prior knowledge and the discovery of entrepreneurial opportunities. Organization science, 11(4), 448-469.
文化部(2016)。2016臺灣文化創意產業發展年報。取自https://stat.moc.gov.tw/Research.aspx?type=5。
吳昭怡(2006)。手感經濟—感覺的時尚。臺北市:天下。
吳麗玲(2000)。博物館導覽與觀眾涉入程度之研究-以達文西特展為例(碩士論文)。臺北市立師範學院視覺藝術研究所。取自https://hdl.handle.net/11296/7r53q6。
林大維、吳佩樺(2010)。 互動藝術脈絡與其美學之研究。藝術學報,(87),31-54。
林家華(2018)。設計策展實務教學與展覽體驗影響因素之研究。藝術教育研究, (35),33-67。
林婉庭(2014)。駁二藝術特區體驗行銷與重遊意願之研究(碩士論文)。高雄市:中山大學企業管理學系研究所。取自華藝線上圖書館。
林聖硯、林展立(2018)。融入使用者經驗的博物館觀衆研究與科技導覽設計模式: 以國立中正紀念堂為例。博物館與文化,(15),109-164。
郭書伶(2014)。運用互動藝術於博物館教育之互動體驗研究─以環境教育應用為例(碩士論文)。國立雲林科技大學數位媒體設計研究所。取自https://hdl.handle.net/11296/ay295t。
施映羽(2010)。台灣夜市飲食文化體驗模式探討—以高雄六合觀光夜市為例(碩士論文)。高雄餐旅學院台灣飲食文化產業研究所。取自https://hdl.handle.net/11296/647dce
徐家樺(2017)。高雄市駁二藝術特區經營策略—以品牌領導概念為中心之研究(碩士論文)。國立高雄應用科技大學文化創意產業研究所。取自https://hdl.handle.net/11296/u6qp5w
張人揚(2010)。異文化產品體驗-以手機為例(碩士論文)。臺南市:國立成功大學工業設計學系。取自https://hdl.handle.net/11296/ybwk49。
浦青青(2013)。博物館觀眾特徵之長期趨勢研究:以國立科學工藝博物館為例。科技博物,17(1),27-59。
許秀雲(2011)。國立臺灣歷史博物館如何面對觀眾?以臺灣的博物館觀眾研究成果為基礎之探討。歷史臺灣:國立臺灣歷史博物館館刊,2,177-197。
陳鈞坤(2005)。國立海洋生物博物館觀眾參觀行為之研究。生物與休閒事業研究, 3(2),196-224。
陳璽敬、陳俊良、林志隆(2014)。策展理念傳達效果探討:以 「原來臺灣」展覽為例。設計學報,19(3),1-22。
陳璽敬、顏惠芸、李仙美、林志隆(2016)。策展設計之個案研究-以「詩情畫意—仙雲之美油畫習作展」為例。設計學報, 21(4),1-24。
陳鏡西(2017)。義大利飲食跨文化體驗設計(碩士論文)。臺中市:東海大學工業設計學系。取自https://hdl.handle.net/11296/632252。
曾鈺涓(2010)。當代數位互動藝術之特質(博士論文)。新竹市:國立交通大學應用藝術研究所博士論文。取自https://hdl.handle.net/11296/x6apzg。
黃俊傑(2010)。服務設計、展覽體驗、體驗價值、顧客滿意度與推薦意願之關聯研究—以 2010 年台北國際花卉博覽會為例(碩士論文)。臺北市:政治大學企業管理研究所。 取自https://hdl.handle.net/11296/52z44u。
黃盈裕、古梨湘(2013)。服務接觸與旅遊品質對體驗價值與重遊意圖之影響-以國立臺灣歷史博物館為例。全球商業經營管理學報,(5), 113-126。
黃靜宜(2009)。體驗行銷、體驗價值與顧客忠誠關係之研究-以星巴克為例(碩士論文)。臺北市:東吳大學企業管理學系。取自https://hdl.handle.net/11296/c2s268。
蔣家皓、楊宛寧(2010)。主題餐廳實施體驗行銷之初探-以 TGI Friday’s 餐廳台北敦化店為例。真理觀光休閒學報,8,55-70。
鄧佩珊、蔡登傳(2006)。以設計體驗看博覽會之意義。設計研究,(6),82-89。
張淑華(2011)。創意生活產業顧客體驗設計之探討-以蜻蜓雅築珠藝工作室為例。藝術學報,(89),151-174。
蔡茹妃、賴亭均、陳羽芯、孫芯偉、陳羽芯、黃宥珊(2016)。覺醒吧!藝術展覽。 新北市:城邦印書館。
鄭乃文(1999)。影音回溯資料初探─以設計思考為研究面向(碩士論文)。新竹市:國立交通大學應用藝術所。取自https://hdl.handle.net/11296/kp9293。
顏晴榮(2007)。有聲思考法的應用。中等教育,58(4),106-116。
論文全文使用權限
  • 同意授權校內瀏覽/列印電子全文服務,於2020-02-07起公開。
  • 同意授權校外瀏覽/列印電子全文服務,於2020-02-07起公開。


  • 如您有疑問,請聯絡圖書館
    聯絡電話:(06)2757575#65773
    聯絡E-mail:etds@email.ncku.edu.tw