儘管數位藝術雖已成為一個精確的辭彙，並指向特定的範疇，且全球的博物館與美術館亦開始收集並籌備數位藝術作品的展演。但是，數位藝術在建構己身的「歷史」、「評論」以及「理論論述」等基礎性學術紮根上卻遠遠不及在創作面向上的應用與數位科技的突飛猛進。本研究將重新反思臺灣數位藝術發展歷程中，在挪用理論作為評論，以及理論應用上的議題，重新思考此一新興藝術創作類型在臺灣場域內建構評論史與理論脈絡面向上的困境與矛盾。

Digital art, as a unique art form, not only points to specific category, but also becomes the theme and object for museums around the world to deal with. However, the fundamental academic development of its own history, criticism and theoretical discourse is much less than technological applications and artistic creations. This paper attempts to re-examine the historical development of digital art criticism and theoretical application in Taiwan in order to reconsider the difficulty and paradox on establishment of digital art criticism and theories in Taiwan.