1996-1863, 半年刊
DOI ：10.29626/JAS
核心收錄 ：THCI , ACI
影響指數 (2018) ： 0.262
數據來源 ：Academic Citation Index
1，《1880年代英文旅行手冊中的京都古寺：佛教美術史書出現之前的古寺遊賞》摘要：本文以一本出版於1880年代，以英文書寫的日本旅行手冊為主，探索當時的外國旅行者，可能採訪哪些京都古寺，又會被引導由什麼角度去觀察古寺中的文物。1994年以「古都京都的文化財」為題登記為「世界文化遺產」之佛教寺院，有十三所之多。百餘年前的旅人，是否已經有機會探訪這些被認為有普世文化價值的寺院？在日本美術史或東亞美術史的學科領域尚未成形之時，美術相關書籍中並無提供充分的寺院資料，而佛教美術通史更尚未問世。此時，旅行手冊提供的內容是什麼？透過分析此手冊中的京都古寺名單，以及剖析作者的書寫方式，將有助我們了解十九世紀後期，亞洲佛教文物，被納入全球旅行文化、美術知識領域的過程。Based on an English handbook for travelers published in the 1880s, this study discusses temples in Kyoto historically accessible for foreigners, and their introduction to foreign travelers. In 1994, thirteen Buddhist temples were included as a part of ＂Historic Monuments of Ancient Kyoto＂ and recognized as ＂World Heritage Sites＂ by UNESCO. It is interesting to know whether travelers in the 1880s had access to these temples - now recognized as being of universal value - and if so how these places were presented to visitors. In the 1880s, the academic fields of Japanese art history, and East Asian art history, were not well established, and there were neither general Japanese art historical books with much information concerning temples, nor Buddhist art history books. A further concern of this article is whether the text concerning temples in Kyoto was written with an art history approach. Analyses of the temples listed in this handbook, and of the authorhship of the text, will contribute to our understanding of the processes through which ancient temples became famous sites for global travelers, and objects of art history research.摘要：西川滿在日治時期的臺灣文壇是個相當活躍的作家，他的著作相當豐富而且多元，包括童話、詩集、小說、民話等。西川氏不但是一位文學家，也是一位浪漫唯美的出版家。他一生致力於出版美麗的書，其裝幀作品最大的特色就是承繼了早稻田大學老師吉江喬松博士「地方主義」文學的理想，充滿了浪漫的異國風情與臺灣色彩。1934年，西川滿在臺北開設「媽祖書房」，開始製作限定版的手工書。西川氏書籍裝幀藝術的生涯最早可以說是受到旅臺藝術家塩月桃甫的啟發，之後又一路受到武井武雄、恩地孝四郎等人的影響，而他對書籍「限定版」和創作版畫、插圖設計的狂熱，又與近代歐洲和明治以來的文藝思潮及出版文化息息相關。Nishikawa Mitsuru, a writer active during the Japanese colonial period in Taiwan, wrote many poems, fiction, fairy tales, and so forth. In addition to being a writer, Nishikawa was a publisher and book jacket designer, and many of the books he designed were issued as limited editions. Nishikawa's book designs are marked by exotic aesthetics and the influence of Yoshie Takamatsu's régionalisme, and the vestiges of Shiotsuki Tōho, Takei Takeo, Onchi Kōshirō, among others. This article will discuss Nishikawa's fanaticism for limited editions, creative woodcut prints, illustration, and how his book design is strongly related to the publishing cultures of modern Europe and Meiji Japan.
3，《從數位轉向到美學運算：論數位世代科技藝術的新美學》摘要：邁入二十一世紀之際，新資訊結構的組構模式裡，資料與演算已逐漸滲透於文化領域，進而在當代科技文化中扮演如同中樞神經系統的角色，促使了「軟體轉向」（software turn）與「演算法文化」（algorithmic culture）成為當代全球網絡社會中兩個核心命題的客觀現實。在藝術創作實踐面向亦不例外，資料結構與美學之間的固有關連，已從其所攜帶之資料承載容器的潛在關係，或軟體構成要素所建立的實際關係，逐步發展成相互融匯混成的「數位美學」（digital aesthetics），啟發來自個人的、文化的，以及媒體的等各種不同形式的可能性。本研究透過哲學論述與科技文化分析取徑，聚焦於當代科技藝術創製的本質與發展進程轉向的分析上，探究從數位轉向、軟體轉向到演算法轉向後，當代科技藝術的本質何以體現出與傳統當代藝術（contemporary art）不同的獨特性。At the turn of the 21st century, data and computing in the configuration of new information structures have gradually infiltrated the cultural sphere and, ergo, begun functioning as the central nervous system of contemporary technological culture. Such a development establishes the objective fact that the ＂software turn＂ and ＂algorithmic culture＂ have become two kernel propositions in contemporary global network society. The inherent ties between data structures and aesthetics have evolved from the potential relations between data and their containers, or the actual relations among software components, into integrated, hybridized digital aesthetics that open up endless possibilities for individuals, cultures, and media. Employing philosophical discourses and technological culture analysis, while revolving around the nature and development of the making of contemporary techno-art, this study seeks to address the question of how contemporary techno-art distinguishes itself from conventional contemporary art after its digital, software, and algorithmic turns.
編輯：藝術學人