台灣藝術的主體性與全球化現象－－從數位交往平台的觀點論起

The Subjectivity Of Arts In Taiwan And The Phenomenon Of The Globalization - From The Viewpoint Of The Digital Interchanging Platform

來自工業技術社會的現代性徵兆，科學技術的更新改變了人類的感官系統，感受模式的改變，說明了社會變遷的過程，社會變遷造成過往美感經驗與文明記憶的消泯，班雅明名之為「靈光消逝」，靈光消逝同時意味開啟一個新的年代。台灣1987 年解嚴前後由於前衛運動激烈的思想和言論變革，大眾傳媒與科技資訊成為迫切的需求，與西方科技潮流迅速連線；1995年網路元年後邁向全球數位平台的文化階段，高科技的新媒體藝術成為重要的表現形式之一，掀起新一波狂瀾。高科技時代藝術家追尋新的文化靈光，在全球性經濟結構的文化交往過程中，創造出新的文化記憶；並架起一個我們、世界、當下和歷史交往的數位平台，於全球網脈中尋繹台灣主體的位置。

The modernity shown in industrial and technological society and the update of scientific technology have changed the human's sensation. The change of human's sensation explained the changes of the social transition, which caused a diminish of the past aesthetic experience and civilization memory. Benjamin called it as 'Laperte de L'aura,' which also meant a introduction of a new era. In 1987, about the lifting the curfew in Taiwan, due to the dramatic thoughts and speech revolution caused by avant-gardism, public media and technological information, by which a link to the western technological current can be established, was widely demanded. In 1995, the first year of a network world, we entered a cultural stage of global digitalized platform. New Medial Art companied with high technology was one of the most important methods to demonstrate. It made a strong current. The artists in the new technology era pursued new L'aura of culture and created new cultural memory in the process of cultural exchanging on a base of global economic structure, and established a digital platform in which we and the presence were communicated with the world and history, respectively. in the global network, the position of Taiwan was pursued.