全球在地化之感官經驗及其文化表現：以「台北101」與「閃亮三姐妹」為例

Abstract

本文主要探討全球化過程中之台灣在地文化表現，包括建築以及音樂，作者以為，若欲更為深入地掌握文化全球在地化的複雜性，當中不同的文化衝突，以及協商等互動過程，可從感官經驗的視角切入。感官經驗可謂是文化政治的鬥爭場域，交織各種不同的權力關係以及政治衝突，本文旨在論證感官經驗是各種全球流動，諸如資本以及意識形態流動，與在地性互為作用，相互交涉的最重要媒介；亦即，感官經驗作為全球在地化之文化表現的物質性基礎。為了闡述全球在地化的感官經驗此一概念，本研究針對台灣兩個具代表性之全球在地化的文化文本進行分析：「台北101」以及「閃亮三姊妹」。以此兩個訴諸感官的文化表現為例，可以進一步說明感官經驗與文化再現之間的複雜關係。就「台北101」為例，本論文對其相關的論述生產以及形象再造進行分析，試圖闡明「台北101」如何透過空間外觀，商品形象以及各種視覺再現，藉由感官吸引，尤其在視覺上，營造一種世界主義的理想；在「閃亮三姊妹」一例中，主要分析她們音樂作品裡的歌詞和節奏等，並且檢視她們的身體表演，討論台客電子舞曲的在地轉變以及在地差異，再度印證感官經驗作為全球流動與在地因子交互作用的重要場域，批判性的檢視感官經驗全球在地化之訓育面向，旨在挖掘更多台灣在地文化的因子以及尋求活絡在地元素的可能性。

This thesis concerns the process of glocalization, the interaction between the global and the local, as witnessed in our cultural expressions, including architecture and music in Taiwan. To examine the cultural complexity of new conflicts, negotiations, and hybridization embedded within these glocalized cultural representations, it is essential to resort to the sensory experience. The sensory experience is one of the most contested terrains of cultural politics of various power relations such as cultural conflicts between elite’s culture and folk culture or political contradictions between the nation state and the global power. I contend that the sensory experience as both the medium through which various global flows such as capital and ideology enact on localities and the container that contains these flows in aestheticized forms, exemplified by artistic expressions as high-rise building and popular music in Taiwan as a result of globalization. The cultural texts I analyze include the new landmark architecture in Taiwan, Taipei 101 (台北101) and Taiker Techno Music (台客電子舞曲) along with the example of Shining 3 Girls (閃亮三姊妹). These two cultural texts of Taipei 101 and Shining 3 Girls help elaborate the intertwined relationship between cultural representation and sensory experience since they are two of the most sensually appealing and engaging cultural expressions to the viewers or audiences in Taiwan. In the case of Taipei 101, I analyze the discourse productions and image-making of Taipei 101 to elucidate how an ideal of cosmopolitanism appeals to our senses, dominantly the visual, through its outlooks, commodities and various visual representations in creating a sublime like awe. To illustrate how the local and the global factors re-create through each other in the sensory regime of Taiker Techno Music, I examine in detail the music and performance of Shining 3 Girls to demonstrate the local differences and variations. By unraveling the pedagogical perspective of the (g)localization of the sensory experience, I hope to tease out new factors and possibilities of local cultures in Taiwan.