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Title: 互動式數位藝術介於虛實之間的法律難題
The Legal Conundrum Straddling Reality and Virtuality with Regard to Interactive Digital Art
Authors: 廖仁義
Liao, Jean-Yves
Liu, Wen-Shih
Keywords: 數位藝術
Digital Art
Issue Date: 2020
Abstract: 數位藝術浪潮雖已對藝術行政造成全面性的衝擊,然而,什麼是「數位藝術」?迄今尚無統一的界定。鑒於數位藝術畢竟有其獨特性,本研究旨在探討法律如何介入數位藝術的虛實之間,讓藝術家能夠因智慧財產權利得到充分保障,而願意更積極投入創作;另方面讓收藏機構理解當中複雜的權利義務關係,能夠對此類藝術的收藏與推廣,有更積極的作為。 本研究在論述上,原則上以互動式數位藝術為核心,並及於數位藝術的一般性概念。而由於國內這議題的研究,完全空白,參考文獻嚴重缺乏,實務創作者無法具體敘述曾遭遇哪方面的法律難題。因此,第二章至第四章,首先廣泛蒐集相關領域的文獻,分析出實務上可能會遭遇的困難;其次,採比較法,尋繹出數位藝術相對於傳統藝術,有哪些可能衍生法律爭議的特徵,以及在展示與典藏上的問題。第五章透過經驗累積,參酌數位藝術的虛擬、觀念與共創等特性,及其實務操作流程,歸納出涉及著作權法的問題,包括1.數位藝術的類別歸屬,2.如何保護數位藝術的「概念」,3.衍生影像的權利歸屬、4.原件公開展示、重製或改作的問題、5.授權的難為與解套,6.合理使用如何可能,以及其他法律(如消費者保護法)適用上的問題。 第六章針對上述問題,一方面具體建議,在著作權法增修三個條文,即1.將數位藝術列為獨立的著作類型;2.縮短權利保護期限;3.授權主管機關另訂辦法,規範互動式數位藝術的界定、範圍與其衍生作品的權利歸屬、概念不受保護的特殊例外等等事項。另方面,參考國外重要博物館有關的操作準則,提出近五十項需要法律思考的環節,並逐一比對國美館相關契約範本,分析其缺失與須完善之處。
Despite the impact on Arts Management brought upon by the wave of Digital Art, the exact definition of Digital Art is still elusive. Acknowledging the uniqueness of Digital Art, the current research sought to identify how the legal system may arbitrate between the online and off-line aspects of Digital Art to protect the intellectual properties of the artists, and consequently encouraging creativity. The current research also sought to inculcate the Collection agency with the complicated Relationship between rights and obligations in the realm of Digital Art in order to stimulate active collection and promotion of this new type of art. The argument of the current study centered around interactive Digital Art, and extended the general concept of Digital Art. To the best of the knowledge of the author, there is an absence of research on this topic. Besides a severe lack of literature, the inability of artist to report first-hand experienced legal issues is also a problem to be addressed. To address this problem, from the second to the fourth chapters, the author collected a wide array of literature from related fields of study and propose the possible legal disputes artist may face. Then, adopting the Comparison method, the author deducted the characteristics of Digital Art, as opposed to Traditional Arts, prone to induce legal disputes, and the problems facing the exhibition and archiving of Digital Art. In the fifth chapter, considering the virtuality, conceptuality, and co-creativity, Digital Art, its practical Operating procedures, and the experience I have accumulated, the author derived several issues concerning Digital Art. The issues are: 1) The categorization of Digital Art, 2) The protection of the “concept” of Digital Art, 3) The Attribution of rights of the derivative images, 4) The problems with the public exhibition (?), reproduction(?), and parody(?) of the originals(?), 5) The difficulty of authorization and the possible solution, and 6) How to make possible the principal of fair use of Digital Art, along with other problems concerning the application of laws such as Consumer Protection Act. In the sixth chapter, the author porposed a practical advice, which is to add three new articles in Copyright Law. Which including 1) Identifying Digital Art as an separate Type of works, 2) Shortening the duration of digital art on copyright protection, and 3) Authorizing competent authority to set Regulations to regulate the definition of interactive Digital Art, the Attribution of rights of the pre-existing works, the exceptions to the protection of concepts, etc. On the other hand, referring to the Operating guidelines of museums abroad, the author proposed approximately fifty links calling for legal considerations. Each of the links was compared with related contract template in National Taiwan Museum of Fine Arts to analyze the liabilities and shortcomings of the extant template.
Other Identifiers: G0007603301
Appears in Collections:學位論文

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