美術館科技藝術虛擬實境作品的觀眾體驗分析 — 以《X人稱 — 黃心健的元宇宙劇場》為例

Abstract

疫情後實體活動迎來重啟，近年來，新媒體藝術家們常在美術館中展出自己的虛擬實境(virtual reality，VR)科技藝術(Technological Art，Tech-art) 作品，使得科技與藝術在美術館共生。新博物館學強調觀眾導向，美術館更兼具了藝術教育的功能，如今觀眾在美術館科技藝術主題展觀賞虛擬實境作品，其體驗為何，乃本研究希望探討了解。研究方法採文獻探討法、觀察法、問卷調查法，本研究派發量表問卷給觀眾於體驗後填寫，收集到82份有效問卷，希望針對觀眾的參觀體驗、內容滿意度、沉浸體驗程度、心流體驗、互動成效、黏著度等感受進行了解。本研究前導研究中使用觀察記錄表，記錄觀眾在展場中每次停駐的區域和時間，透過觀察與紀錄觀眾在美術館科技藝術互動展參觀時的漫遊式參觀行為和點對點單一作品觀賞取向。前導研究成果發現：1. 作品的類型、時長與觀眾停留的次數、停留的時間長度呈現高度相關性。2. 觀眾大多能完整觀看作品及介紹。3. 觀眾分為漫遊式、觀看特定作品模式兩種參觀模式。

正式研究中，對觀賞完畢的觀眾發送問卷，調查包括年齡、性別、身分背景、VR觀賞經驗、對展覽的感想、上述各量表，並且藉由SPSS軟體以統計學的方式交叉比對分析觀眾的沉浸經驗、心流經驗、互動滿意度、黏著度、知覺價值。正式研究主要發現：1. 觀眾會優先觀看最喜歡作品；觀眾也會因身份背景，各有喜好。2.有VR經驗的觀眾較多地認為本次觀展VR操作較為困難。3. 女性觀眾比男性觀眾認為互動內容更有趣。4. 互動內容較能讓沒有VR觀賞經驗觀眾忘記日常的擔憂。5. 觀眾的年齡越年長，互動意願顯著的越低，注意力、掌握操作方式、參與到作品中的程度亦越低。6. VR體驗中保持注意力者，有VR經驗的觀眾顯著較多。7. 觀眾在觀賞《高空》時，認為作品內容畫面的吸引力的認知，有顯著差異；認為自己投入情感在作品中的認知亦存在顯著差異。觀眾在觀賞《登月》時，作品內容讓觀眾認為時間變快了的認知，顯著低於其他作品。8. 有VR體驗經驗的觀眾認為互動體驗是有顯著幫助的，61歲以上觀眾認為互動體驗的整體好感、有趣程度、彈性程度的認知顯著低於其他年齡層。9. 觀賞《登月》時，互動體驗彈性認知分布呈現顯著差異。10. 觀賞《高空》的觀眾願意花較長時間停駐在作品上的分佈與觀賞其他作品的觀眾存在顯著差異。11. 41到50歲的觀眾認為互動體驗可以激起與作品內容互動的欲望，其程度顯著低於其他年齡層。After the pandemic, physical events have resumed. In recent years, new media artists have frequently exhibited their virtual reality (VR) technological Art (tech-art) artworks in art museums, where technology and art coexist. The new museology emphasizes art museums also serve the function of art education. When audiences visit art museums today, particularly interactive exhibitions on tech-art themes and view VR artworks, their experiences become a topic of interest for this study.The research methods employed in this study include literature review, observation, and questionnaire surveys. A questionnaire was distributed to visitors to complete after their VR experience, resulting in 82 valid responses. This study aims to explore and understand audience experiences, including their interaction satisfaction, degree of immersion, flow experience, perceived value, and stickiness.

The findings of the pilot study are as follows: 1. The type and duration of the artworks arehighly correlated with the number of times and the length of time audiences stay in specific areas: 2. Most audiences are able to fully view the artworks and their accompanying introductions. 3. Audience behavior can be categorized into two modes: exploratory roaming and targeted viewing of specific works.The main findings of the formal research are as follows: 1. Audiences tend to prioritize viewing their favorite artworks, and preferences vary based on their background and identity. 2. More visitors with prior VR experience thought that VR operation was difficult for this exhibition. 3. Female audiences are more than male audience's thought that the interactive contents are interesting. 4. Interactive content is more effective in helping audiences without prior VR experience forget their everyday worries. 5. As audience age increases, the less willingness they have to engage in interactive experiences, and their level of attention, ability to master operations, and degree of involvement in the artworks significantly decrease. 6. Audiences with prior VR experience are significantly more likely to maintain attention during VR experiences. 7. When viewing Aloft, audience perceptions of the visual appeal of the content show significant differences, and audiences’ perception of emotional investment in the artwork shows significant differences. When viewing To the Moon, the perception that the content made time feel faster is significantly lower compared to other works. 8. Audiences with VR experience find the interactive experience significantly more helpful. Audiences aged 61 and above have significantly lower perceptions of overall favorability, interest, and flexibility of the interactive experience compared to other age groups. 9. When viewing To the Moon, perceptions of the flexibility of the interactive experience show significant differences across the audience. 10. Audiences who viewed Aloft were significantly more likely to spend longer periods of time engaging with the artwork compared to those viewing other works. 11. Audiences aged 41 to 50 have significantly lower perceptions of interactive experiences as a motivation to engage with the content of the artworks compared to other age groups.