全球流動的工藝技術：以電吉他製琴產業及製琴師為例

Abstract

本文從生產方式的角度出發，作者藉由探討電吉他的特徵與其生產方式，探索美國的電吉他生產，如何從缺乏工藝傳統的大量生產，在歷經日本仿冒業者的衝擊下，在1980年末期，出現了工匠技術的生產方式。此外，透過對臺灣電吉他工藝產業中四名工匠的技術養成以及產業經歷的考察，筆者觀察到臺灣的電吉他工藝產業發展，也與美國一樣，深受工藝技術全球流動的影響，而並非本國產業制度的演化。筆者在文末指出，工業生產走向再技術化可能產生兩種意義：首先，我們必須注意到彈性專業化也可能發生在缺乏工匠與工藝產業歷史背景的工業國家。工藝技術與相關的技職教育的全球流動，使得工藝生產方式也得以全球擴散。其次，工藝生產的獲利模式不在於追求對去技術勞工剩餘價值的搾取，而是藉由客製化的標籤，讓具有完整製琴技術的工匠直接成為訂琴客戶的代工。

In this paper, by analyzing the characteristics and production process of electric guitar, the author explores how the US electric guitar industry, despite its lack of the tradition of craftsmanship, gradually evolved into the craft-made production to respond to the global impacts from its primary competitor, Japan's copyists, since the late 1980s. Additionally, by interviewing four Taiwanese guitar makers, the author also points out that the rise of the craft-made electric guitar industry in Taiwan is similar to the industrial evolution in the US because the rise of the craft industry in both sides resulted from the global mobility of craft skills rather than the domestic evolution of industrial institutions. Finally, the rise of the craft industry in the global capitalist epoch highlights two theoretical implications. First, flexible specialization could happen in a country without the craft-made tradition because the global mobility of craft, especially the craft-related vocational education institutes, could play a more important role craft tradition in the rise of the craft industry. Second, the profit model of the craft industry, different from the mass-production industry depending on the extraction of deskilled worker's surplus value, is based on every unique contract between craft artisan and his/her customer who orders the one-off guitar from the guitar maker. In other words, the purchase of an exclusive guitar reflects the relationship of outsourcing between a guitar maker and his/her customer.