現成物應用於產品設計的發展脈絡、手法與認知

Abstract

現今產品設計的形式涵蓋各種可能性，現成物是其中的一種表達的介質，它運用既有的物品或人造物結合而成的方式，打破我們對東西習以為常的印象。這些既平常又陌生的作品，究竟有什麼獨特的美學特徵？與其他產品有何不同？ERP腦波實驗是否可以幫助我們更深入理解人們對現成物直覺反應？能否與一般偵測這種「錯誤安排方式」的N400和LPC成分相互驗證？現成物繼承了先期的藝術歷史，是否真的能完全轉化成為產品？這些皆是本研究感興趣的問題。

本研究內容分為五個階段進行：第一階段，文獻探討現成物作品，分別從藝術創作、產品設計、材料再生領域中，比較它們在形式與內涵上的異同。第二階段，以現成物產品設計為樣本、卡片分類為任務、紮根理論為分析工具，深入訪談與剖析受試者的認知。經編碼程序，主軸編碼依序為：(1)選擇構件、(2)提取功能、(3)編輯技法、(4)成形感知，以及(5)解讀意義。第三階段，ERP實驗I檢測不同產品的語意脈絡。樣本以桌椅配對為任務，以一般桌子，各別搭配四種風格椅子(一般、極簡、現成物、解構)。ERP I結果顯示，現成物和解構激起的N400和LPC效果最強，表現形式異於極簡和一般風格，而且兩者的語意脈絡也不同。第四階段，ERP實驗II則進一步檢視設計背景和非設計背景對現成物的認知差異。樣本使用四種由不同構件組成的現成物。ERP II結果顯示，具設計背景受試者的N400成分最高，表示設計師反應面向廣，觀察力較一般民眾敏銳。最後階段，將可實行的現成物創作流程和方針，導入現成物的實務創作。其設計成果有別於一般可見的產品，雖不如市面上的產品可提供大量生產的模式，但它確實能激起設計師的創意和反思。本研究結果可以掌握現成物的特徵、借用的規則、使用者可能的反應，亦能幫助本研究用客觀的觀點看待現成物在產品設計上的定位及存在的現象，並可提供設計師創作時的聯想脈絡之參考。

The styles of product design have reached all kinds of possibilities, and ready-made is one these kinds. Using existing objects or artificial components is very much against our common sense. What unique aesthetic characteristics can be presented in combinations of familiar and strange works? What are the differences between ready-made and other products? Can the ERP tool help us to understand direct human responses? Can the effect of different ‘wrong ways’ of arranging existing objects be detected in the N400 and LPC waveforms in different regions of the brain? With reference to early art history, can ready-made objects be fully transformed into novel products? All of these questions are of interest to us.

This study was divided into five stages. First this study analyzes ready-made designs by conducting a literature survey; it then classifies them into three categories: art design, product design and material recycling, to determine the differences in form and content, respectively. Second, the experiment uses ready-made product designs of the second category as samples, card sorting as the task and grounded theory as the analytical tool with which to interview and examine subjects' reactions. After the coding process, the axial coding totals five characters: (1) the selection component, (2) the extraction function, (3) compilation technology, (4) form perception and (5) interpretation. Third, the ERP Study I investigates how semantic networks represent different artistic products. The ERP Study I was recorded while participants made style-match judgments about table and chair sets. All of the tables were in normal styles, whereas, the chairs were in either normal, minimal, ready-made or deconstruction styles. The ERP I results found that both the ready-made and the deconstruction styles elicited N400 and LPC effects, which suggest that the forms of these two design styles possess differences from the minimal and normal styles. Furthermore, these results reveal that the semantic networks represent different design styles for the ready-made and the deconstruction styles. Fourth, an ERP Study II was recorded for the cognitive differences between the participants with design and non-design backgrounds to the ready-made design. The stimuli were used for five types of objects with differential percentages. The ERP II results showed that participants with design backgrounds elicited a higher N400 effect than the non-design background participants did, suggesting that the designers responded to a wider area and are more sensitive than the non-design background participants. Lastly, this study performs design guides and processes them into a ready-made design workshop. Since the design works are different from usual products, these works cannot provide a model for mass production. However, ready-mades can inspire designers’ creativity and thinking. The results can grasp deconstruction techniques and principles of ready-made designs and possible responses of users. This helps us to objectively review the orientation of ready-mades in product design and the phenomenon of its existence.