返璞者的鄉野路--移居者之經驗學習與風格移轉

Abstract

這是一個關於生活風格（lifestyle）與經驗學習（experiential learning）的質性研究。 現今在全球化及科技發達的時代，生活風格透過便利的科技工具進行傳播，讓人們能有機會接觸更多元觀點，並對生活進行重組與實踐。創意經濟亦讓政府與業界投入人力與經費進行產業發展，期望透過特色創意與文化生活的軟實力，在全球的創意經濟角力中勝出。本研究發現一群「城市—鄉村創新回流移居者」在遷居鄉野的生活中，如何植基於過往經驗，在移居後的新場域、新情境中透過經驗學習，調適與改變態度，並建構人我舒適的空間（amenity space）。 當今對生活風格的指稱，多來自於西方研究的成果，本研究透過紮根理論研究方法，在理論、文本與現實生活的脈絡場景中植基，嘗試在其中整理並發現用以詮釋現代社會生活風格的形貌。理論部分包含經驗論、經驗學習、生活風格與資本、移轉及空間舒適論等；生活風格整理包含簡樸（LOVOS）、樂活（LOHAS）、慢食（slowfood）與慢城（cittaslow）及文化創意（cultural creatives）等，所呈現出生活的價值取向與尊重生態「道法自然」的概念，更適合以東方的語彙來詮釋東方的價值，我稱其為「返璞」（the Cradles）。 本研究的田野在花蓮，揀選11個具有代表性的返璞者進行觀察與訪談，發掘返璞者的特點，描繪其生活風格與學習的樣貌。研究發現返璞者的自主性高、適應力強，並且不喜歡受到限制，喜歡規劃但也因地制宜、隨遇而安，過著有韻律的生活。對於生活風格主動思考及付諸行動，對在地文化能主動發現或賦予意義。透過實際的生活場域進行經驗學習，並且善用科技工具進行經驗分享及學習，願意親身嘗試非主流的觀念或行動（例如「居家生產」）。以友善的態度面對人、環境與弱勢（例如「支持小農」）；在社交部分樂於分享，亦重視心靈交流。返璞者將綠色永續的價值觀落實於空間設計、家屋布置與日常生活之中。而社群聚落的支持則是返璞續航力及風格移轉（lifestyle-shift）的影響因素，也是生活風格在地化、在地生活風格化的關鍵。返璞者在人與人、人與環境、人與社會網絡間，嘗試建立一種「簡樸、合作、和諧、樂觀、彼此信任又能共生互利及學習成長的人我舒適狀態」。 這個研究僅是一個地域型的小型研究，尚有許多未竟之處；亦期待更多有興趣的研究者，能發現更多在地返璞者，或引發對返璞生活風格的關注；更期待積極推動文化創意產業的相關部會及地方單位，能夠重視創意人才的「群聚」，對地方及全球文化創意的影響力。

This study aims to discover and describe a kind of lifestyle in current, which I gave a name “返璞”（the Cradles）. By grounded theory method, my study attempts to inquire experiential learning and possibility of style-shift for “urban-to-rural return migrations”. People today live in the situation of g/localization flow, have to face widely applications of developed technological tools / social media, and the rise of culture creatives industries. These factors might stimulate urban residents start to trace another possibility of way to live, to find out a cradle beyond the rural. Through reviewed concepts below helped to increasing the theoretical sensitivities to explore and explain the exist phenomenon. Include of the point of experience and experiential learning of J. Dewy and D. Kolb; lifestyle and 4 kinds of capital by P. Boudieu; the ideas from creative capital and “quality of place” from R. Florida, and C. Landry, extend to “creative ecologies” of J. Howkins; and the point of view of “amenity space” by Lin Jenn Chuen（林振春）; in the other hand, I sort out multiple lifestyles, include of Lohas, Lovos, voluntary to simplicity, slow food/cittaslow/downshift movement, culture creative, and the design concept of “C2C”. By reviewed/grounded these complex ideas to make the outline of “返璞”. The field of study at Hualian, the largest county/the less resident of Taiwan, by observed and interviewed 11 representative objects/migrations who made Hualian active and lively. These migrations I named “the Cradles”. Conclusions show several points: The Cradles have green claims, they use second-hand objects, recycling the waste, and create daily articles or merchandise by local materials, such as driftwood. They are high independence, adaptable, and tend to restrictedless; they’d like to resign the “rhythm” of natural and are willing to reflective thinking and active practice what they “experience”. Otherwise, some of them are willing to practice “Non-mainstream ideas”, such as birth at home. In conclusion, “the Cradles” is amenity/tolerant for others people (include Neighbor and visitor), environment, cultural appearance, and social network, etc. They try to build up a new kind of lifestyle or said “an amenity status”, which have some features: “simplicity but not poor, cooperation, trust and mutual reliance, optimism and harmony, willing to learn from inside/outside. The Cradles is kind of talent, who is helpful for creative ecologies/ Economic/quality of space, or might said, is a key factor of development of cultural creative industry.