始於二十世紀下半葉，以電腦為中心的硬體設備和軟體技術之配搭發展型塑了當代數位媒體文化，並對日常生活帶來諸多影響；在所有數位科技中，虛擬實境技術已有多元的發展，不僅在商業應用上得到發展，在當代科技藝術創作也不例外。本文將以臺灣當代科技藝術創作者陶亞倫的虛擬實境系列藝術創作為評析對象，討論虛擬藝術的美學與實踐，如何在觀眾參與過程中，建構一場感知私有化的文化遊牧。不同於傳統影像敘事文本的創作，陶亞倫的藝術創作獨特的回歸探討虛擬實境在「模仿影像」、「體現參與」與「聯覺感知」的本質，並成為一獨特的創作脈絡與風格。

Since in the latter half of the twentieth century, the development of computer-centric hardware devices and software technologies has shaped the culture of contemporary digital media and has had significant impacts on our daily lives. Among all the digital technologies, virtual reality has evolved in a variety of ways, not only in the area of commercial applications, but also in that of contemporary techno-art creation. This paper attempts to analyze the cultural phenomenon and meaning of series works of virtual reality art created by Taiwanese contemporary techno-artist TAO Ya-Lun and discuss how the aesthetics and practice of virtual art can construct a cultural nomadism of perception privatization in the process of audience participation. Unlike the traditional narrative image art, TAO Ya-Lun's works of art return in a unique way to explore the essence of virtual reality art in terms of “imitating image,” “participatory embodiment,” and “(syn)aesthetic perception.” This has become the unique context and style of his works.

文化遊牧; 陶亞倫; 虛擬實境; 虛擬藝術; 感知私有化

cultural nomadism; TAO Ya-Lun; virtual reality; virtual art; perception privatization