Getty Museum Challenge社群標籤動能與視覺流通研究

Abstract

在新冠疫情隔離下，人們的活動範圍與公共場所紛紛受到限制，社交活動也轉往社群媒體上，Getty Museum Challenge這場活動帶起了全球性的線上參與，邀請來自各方的創作者，選取家中的三個日常物件為道具，模仿一件藝術作品並拍攝上傳至社群平台。在短時間內擴散於各大社群媒體，更是反映出數位影像透過社群標籤，與媒體匯流下強勢的病毒傳播力，使影像如網路迷因般，產生病毒式的流通，而人們在隔離期間的人際孤立，也因爲社群媒體而得以維繫。不僅反映了人與人對人際關係連結的渴求，也顯現了即使透過社群媒體的傳播助力，影像創作的文本互涉的創意性與創造力。研究將以Gillian Rose的批判性視覺方法論開展，針對這場疫情下的線上參與活動，可以從三個層次觀察標註＃Getty Museum Challenge影像，特別是透過影像流通的：構成模式、技術模式，以及社會模式，本研究著眼於個案的影像流通過程，以及標籤所牽動的社群創造力與療癒效果，藉助網路迷因的視覺文化研究觀點加以思索，從而釐清挑戰活動的影像，流通於美術館、數位媒介及網路群眾背後縱錯複雜的社會關係，反身思考數位時代裡媒介匯流下的文化情境。In response to the COVID-19 pandemic, museums announced lockdown measures to keep physical distancing. Online services became a significant place for people to interact and spread information, while struggle in isolate anxiety. In the meantime, The J. Paul Getty Museum got people to engage a challenge, by recreating their favorite artworks with 3 things lying around their home. Soon after, the response has been massive and successfully sparked a viral trend of recreating.Through the social tagging, digital images are able to diffuse rapidly to a large, widespread internet users, which is close to the concept of internet meme. In the isolation scenario, Getty museum challenge rebuilt the social interactions in addition to inspire creative powers and intertextualization.This thesis began fromthe site of circulation of #Gettymuseumchallenge, approached the intersection of sites and modalities, through the Critical Visual Methodology, written by Gillian Rose. Elaborate on the internet memes and social tagging, particularly towards its technological, compositional, and social modalities. Furthermore, to extract the dynamic power of social tagging by the visual culture aspects of internet meme. Thinking reflexivity in relation to social connections, between museum, digital media, and internet user, in media-convergence culture.