在1960年代以後，西方當代藝術開始轉向人類學研究的理論、方法和經驗成果。此一現象被稱為當代藝術的「人類學轉向」或「民族誌轉向」（ethnographic turn）。晚近臺灣當代藝術場域當中，也逐漸出現藝術家以不同形態的田野工作及民族誌方法，結合藝術創作的實踐。然而，目前相關的文本散落各處，鮮少有專文的研究和探討。因此，本文一方面以相關藝術家的觀點，展開對創作方法的思辨；另一方面，則探討臺灣當代藝術繞經田野調查所產生的藝術創作，究竟涉及到何種對於「他者」的特異感覺方式及倫理維度的美學探索，以及一種感知的反身性實踐。本文認為，臺灣當代藝術繞經田野調查所產生的藝術創作，實際上是一種對於他／祂者的感知方式及其倫理維度的美學探索，敞開一種擴延差異感知維度及時空尺度的實踐視野。

Since the mid-20th century, Western contemporary art has increasingly turned to anthropological theories, methods, and empirical results. This phenomenon is known as the “ethnographic turn” in contemporary art. Recently, Taiwanese contemporary art has also seen artists adopting various forms of fieldwork and ethnographic methods integrated with artistic practice. However, relevant texts are scattered, and there is a lack of dedicated research and discussion. On one hand, this paper explores the creative methods from the perspectives of relevant artists, and on the other hand, examines the artistic practices in Taiwanese contemporary art involving fieldwork. It focuses on the unique ways of perceiving the “Other” and the ethical dimensions of aesthetic exploration, as well as a practice of perception reflexivity. The paper argues that artistic creation in Taiwanese contemporary art involving fieldwork is an exploration of the aesthetic dimensions of perceiving the “Other” and its ethical aspects, opening up a perspective that extends the dimensions of differential perception and temporal-spatial scales.