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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/128972

    Title: 《Like Plant Like Painting》360度沉浸式虛擬實境體驗創作論述與製作說明
    《Like Plant Like Painting》360 VR Immersive Experience
    Authors: 洪子如
    Hung, Tzu-Ju
    Contributors: 陳儒修

    Chen, Ru-Shou
    Chi, Ming-Te

    Hung, Tzu-Ju
    Keywords: 沉浸式體驗
    《Like Plant Like Painting》
    immersive experience
    360-degree virtual reality
    Like Plant Like Painting
    Date: 2019
    Issue Date: 2020-03-02 11:34:21 (UTC+8)
    Abstract: 本論文透過《Like Plant Like Painting》之VR創作研究,旨在利用VR之媒材特性,各種歧視眼光、語言、行為,使觀眾感到強烈的不適與折磨,透過無法動彈視角、無法言語的狀況,進而產生同理心並尊重不同族群,希望作品能讓人們開啟對話,理解觀看與被觀看者情緒複雜感受,體認到眼光重疊中的世界下所應具備的同理之心。
    The goal of the VR creative project, Like Plant Like Painting, aims to employ the specificity of VR techniques so that it can represent all kinds of discriminatory gaze, language, and body gesture. By binding the audience in a motionless and speechless state, this VR film casts strong uncomfortable and painful senses into the audience. So that empathy and respect for different people can be achieved. Furthermore, it hopes that a dialogue can start and the complicated feeling exchanged between seeing and being seen can be understood.
    This project report begins with literature reviews. The essence of virtual reality will be discussed, followed by questions about the subjectivity of the audience in immersive experience. It will also compare and contrast different sizes of screen. In order to explain the concepts of immersive images and experiences, some case studies are discussed. And, finally, the audience will have a basic understanding of this project by explaining creative process, discussing equiptments adopted for this project, and providing narrative structure and visual design information.
    At the final presentation of this VR project, I will conduct the in-depth interview with the audience, with the purpose of understanding the effect of this project. Further improvement and reflection will be discussed. Study findings can be concluded as the following: content design and outside environment is equally important in VR creation. And the synchronicity and consistence of the immersive experience might be the key for the audience to immerse into the situation.
    Reference: 中文文獻
    何佳芬(譯)(2018)。麥蒂為何而跑:一個典型青少年的私密掙扎與死亡悲劇(原作者:Kate Fagan)。臺北市:英屬維京群島商高寶國際有限公司台灣分公司。
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    聯合國(1948)。《世界人權宣言》全文翻譯線上連結。出自: http://www.un.org/zh/universal-declaration-human-rights/
    公益交流站(2018)。公益界的 VR 先行者:各種案例告訴你,用虛擬實境提升募款與服務的 5 種應用。出自:
    龔郁雯(2018)。《沙中房間》:VR 突破了空間,然後呢? 。The News Lens 關鍵網。上網日期:2018年2月28日。出自: https://www.thenewslens.com/article/90476
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    Damiani, J., Southard, D.(2017). “Writing for VR: The Definitive Guide to VR Storytelling.” From https://vrscout.com/news/writing-vr-definitive-guide-vr-storytelling/ (2018/04/03)
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    The Source | charity: water VR Video(2016). Vrse.works . From
    Description: 碩士
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0105462007
    Data Type: thesis
    DOI: 10.6814/NCCU202000309
    Appears in Collections:[數位內容碩士學位學程] 學位論文
    [數位內容與科技學士學位學程] 學位論文

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