:::

詳目顯示

回上一頁
題名:同感設計程序之研究: 從個人創作到跨域合作
作者:王淑慧
作者(外文):Shu-huei Wang
校院名稱:雲林科技大學
系所名稱:設計學研究所博士班
指導教授:黃世輝教授
學位類別:博士
出版日期:2012
主題關鍵詞:跨領域同感設計程序同感設計程序同感設計方法論同感設計同感心methodology for empathic designempathic designempathic design proceduresempathyinterdisciplinary empathic design procedures
原始連結:連回原系統網址new window
相關次數:
  • 被引用次數被引用次數:期刊(1) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:0
  • 共同引用共同引用:0
  • 點閱點閱:124
「同感設計」(Empathic Design ) 是目前設計研究的新興領域,在不同領域逐漸被廣泛地探討,例如哲學、美學、認知心理學、醫學咨商、管理學、介面設計、互動設計、跨文化、社會學、教育…等等。在21世紀設計強調如何滿足現代消費者某種心靈深處情感的需求,以便帶給消費者感動。同感設計的研究是探討設計者如何感受(feeling into)、創作(creation)和了解(understanding)使用者,再以此為基礎提出設計解決方案。同感設計方法在於如何藉由使用者中心設計(User Centered Design)以接觸真正的使用者,以及後續如何去滿足和解決問題。設計師需要系統化的設計方法與程序能夠去研究使用者的經驗(體驗),這些方法必須能夠 「同感」(深入)了解使用者。同感心藉由心理的類推法(聯想、反射和內模仿等)對物件、美感、環境、文化等感知呈現立即有效的理解,但是設計師如何確實掌握真正的使用者(End User)的心聲呢?尤其使用者也未察覺自己的需求時。本研究的目的在於透過本體論、知識論和方法論,建構同感設計程序。
本研究分為四個階段,第一階段是研究個人創作的同感設計。主要以案例訪談分析來探討個人進行創作時同感心的運作方式,以琉璃工藝者為例,探討工藝創作者的同感設計程序等。第二階段是研究協同設計中的同感設計。主要探討使用者的內隱知識,並由此分析使用者的真正需求。以Blog設計為題目,A部份研究是使用者導向研究(User-oriented Study),B部份研究是Co-design的設計師導向研究(Designers-oriented Study),觀察實驗設計師的創新設計。第三階段是研究使用者經驗為基礎的跨領域同感設計, 將理論或是同感現象經由文獻探討和文獻內案例的分析,建構同感設計程序,是使用者導向研究(User-oriented Study)。第四階段是研究跨領域同感設計程序的建構與驗證,建構同感設計程序和方法。以「2011六堆青年創意設計營」驗證跨領域同感設計程序。
最後論文綜合歸納同感設計的案例分析,分別在1)工藝創作者的同感設計 2)協同合作的同感設計3)使用者經驗的跨領域同感設計等三個面向探討同感設計的應用。此三面向也代表個人創作的同感設計程序、單一領域設計團隊同感設計程序和跨領域設計團隊同感設計程序。第四階段是對跨領域同感設計程序的建構與驗證,以「2011六堆青年創意設計營」為例進行模式檢測,主要為六堆地方產業設計出創新產品,是本研究最後實驗驗證部份。
本研究目的綜括如下:
1) 探討個人創作的同感設計
2) 探討協同合作中的同感設計
3) 探討使用者經驗為基礎的同感設計
4) 建構同感設計的適當程序
5) 跨領域同感設計程序的驗證
本研究採質性研究為主,並採用個案研究、實驗研究、比較研究、紮根理論分析和敘事研究分析等研究方法,主要發現同感心的新現象,解讀內隱知識的同感設計方法和建構同感設計的程序。
研究結果分別呈現出工藝創作者和使用者經驗為基礎的同感設計程序,從工藝創作者的訪談分析得到與同感作用相關概念有182個,並歸納成17個副範疇及5個主範疇。整個創作的過程是一種內心反覆思考與對話的過程,整個譯碼與範疇化的結果,形成了初始的「模擬與移情」「創作時的真誠自我」「文化符碼易於投射和聯想」「中國美學與符號的精緻化」「創意形塑與技術的表現」等5個主範疇。另外,使用者經驗為基礎的同感設計程序,經分析與歸納結果成為三階段7步驟的設計架構,三階段為:識別問題、設計解決問題和評價。7步驟為: 1. 走入田野,2. 仔細觀察,3.情感和認知的共感(共鳴),4. 發展想法,5. 想法視覺化,6. 商業化,7. 評價。
最後以台灣「2011六堆青年創意設計營」為例,提出修改為跨領域同感設計的設計過程三個階段和9個步驟,驗證跨領域設計團隊同感設計程序,問卷1-3的問項皆獲有80%以上的認同,顯示問卷1-文化導覽、夜宿業者家對設計文化商品有相當的幫助,問卷2-觀察訪談使用者和理解使用者的問題有助於設計者深入了解問題和機會,問卷3-跨領域的設計專家老師在跟設計者動腦會議時,有助於設計者的創意;在原型製作時會將自己設身處地為使用者而設計,最後問卷4-設計評價部份其中「勇闖黑水溝」和「樂竹/耳機」是入選最多次數,與最後競賽結果「勇闖黑水溝」得最佳客家精神獎;「樂竹/耳機」得最佳創意獎符合。
Empathic design is a new domain in design research and has been examined gradually and extensively in different fields like philosophy, aesthetics, cognitive psychology, medical consultation, management, interface design, interaction design, inter-culture, sociology and education etc. In the 21st century, how to satisfy emotional demands from the bottoms of modern consumers’ hearts is greatly emphasized in design so that consumers can be touched. The study of empathic design is to explore how the designers feel into, create and understand the users as a basis for their design solutions. The method for empathic design is to get in touch with real users and how to satisfy and solve their problems subsequently by user-centered design. Designers need systematic design methodology and procedures to study experiences of users and these approaches should provide an empathic (in-depth) understanding of users. Empathy presents an immediate and effective perception of objects, aesthetics, environment and culture through mental analogy (association, reflection and inner imitation). How can designers read the minds of end users exactly when users themselves are unaware of their own needs in particular? The purpose of this research is to construct a model and a value system for empathic design via ontology, epistemology and methodology.
This study can be divided into four stages. On the first stage, empathic design of individual creations is examined and the methods adopted by individuals for exercising empathy when making creations are explored mainly through case interview and analysis. Lazurite craftsmen are used as an example to investigate the procedures of empathic design for crafts designers. On the second stage, empathic design in collaborative design is studied and tacit knowledge of users is investigated mainly so that the real needs of users can be analyzed. Blog design will be the topic and a study will be in two parts. Part A is a user-oriented study and part B is a designer-oriented study for co-design to observe the innovative designs of experimental designers. For the third phase, empathic design based on user experiences is explored and procedures for empathic design are constructed by either theories or empathic phenomena via literature review and case study leading to a user-oriented study. On the fourth stage, procedures for constructing and verifying interdisciplinary empathic design are explored. The example of Youth Originality Design Camp of Liouduei in 2011 was used to verify the procedures for interdisciplinary empathic design.
Finally, analyses of empathic design cases are integrated and generalized and application of empathic design is explored from three dimensions, which are empathic design of crafts designers, user experience based empathic design and interdisciplinary empathic design respectively. These three dimensions also represent the empathic design procedures for individual creations, a design team in a single field and an interdisciplinary design team. Construction and verification of interdisciplinary empathic design procedures are conducted in phase four and the example of Youth Originality Design Camp of Liouduei in 2011 is used to test the procedures. The innovative products designed by the local industries in Liouduei were mainly examined for the final verification of the experiment in this research.
The objectives of the research are summarized as follows:
1. to investigate empathic design in creators’ minds,
2. to explore empathic design in co-design,
3. to examine user experience based empathic design,
4. to establish proper procedures for empathic design, and
5. to validate the interdisciplinary empathic design process.
This study was mainly based on a qualitative study and other research approaches like case study, experimentation, comparative research, grounded theory and narrative analysis were also applied to discover new phenomena of empathy, interpret tacit knowledge based empathic design method and construct procedures for empathic design.
The results of the research reveal craft designer and user experience based empathic design processes separately, 182 concepts related to empathy are obtained through analysis of interviews with craft creators and 17 minor categories and 5 major categories are grouped. The whole creation process is a progress of repetitive mental thinking and dialogs. The overall outcome of decoding and categorization forms initial five major categories of simulation and empathy, true self during creation, cultural codes susceptible to projection and association, elaboration of Chinese aesthetics and symbols and innovative shaping and technical performance. The correlations of these five major categories result in ten propositions. Besides, the user experience based empathic design process becomes a design framework of three phases and seven steps through analysis and generalization. Three phases consist of problem identification, design problem solving and evaluation. Seven steps include 1. walking into the field, 2. careful observation, 3. empathy (resonance) of emotions and cognition, 4. development of thinking, 5. visualization of thinking, 6. commercialization and 7. evaluation.
Finally, Youth Originality Design Camp of Liouduei in 2011 was served as an example and the design process for modified interdisciplinary empathic design with three stages and nine steps was proposed to validate the empathic design procedures of an interdisciplinary design team. Question items 1 thru 3 on the questionnaire were approved by more than 80% of the respondents, which reveals designers would put themselves in users’ shoes when making the prototype since part 1 indicated cultural guidance and hostels helped design of cultural merchandise a lot, part 2 showed observing and interviewing with users and perceiving users’ problems helped designers to better understand the problems and provided opportunities to them and part 3 implied brainstorming between interdisciplinary design experts and teachers and designers was contributive to originality of designers. Last, concerning evaluations of design in the fourth part of the questionnaire, “Bravely Swimming across the Black Ditch” and “Finding Pleasure in Bamboo/Earphones” were most selected, which was consistent with the final result of the competition since the former got the prize for the best Hakka spirit and the latter was awarded with the best originality prize.
一、中文文獻:
1. DuBrin, A. J.,洪英正,錢玉芬編譯,1997,管理心理學,華泰書局,頁335-340。
2. Jorgensen, D. L.,王昭正,朱瑞淵,1999,參與觀察法,弘志文化,台北市。
3. Joseph, B. P.Ⅱ& Gilmore, J. H.,夏業良,魯煒譯,2003,體驗經濟時代,The Experience Economy,城邦文化,台北市。
4. Kelly, T.,2001,The Art of Innovation: Lessons in Creativity from IDEO , America’s Leading Design Firm,IDEO物語—全球領導設計公司IDEO的秘笈,大塊文化出版,台北縣。
5. Norman, D. A .,2005,王鴻祥審譯,翁鵲嵐、鄭玉屏、張志傑譯,情感設計,Emotional Design,初版,田園城市,台北市。
6.Norman, D.A,2000,卓耀宗譯,設計心理學─以使用者為中心、安全易用的日常生活用品設計原理,遠流:香港 ,P:24
7. Pitipanich, K.,2010,文化創意發展成果報告,2010 International Conference on Culture and Creativity Development,台北縣政府,頁41,11月12日至11月14日。
8. Rifkin, J. 黃彥憲譯,2001,付費體驗的時代,The Age of Access,初版一刷,遠流出版,台北市。
9. Robert J. Sternberg,2006,李玉琇和蔣文祁合譯,認知心理學(Cognitive Psychology(3E)),雙葉書廊出版:台北市。英文版—2003年Wadsworth, a division of Thomson Learning。
10. Robert Wuthnow, James Davison Hunter, Albert Bergesen & Edith Kurzweil,1994, 王宜燕和戴育賢譯, 文化分析(Cultural Analysis),遠流出版,P:3
11. Schmitt, B. & Simonson, A.,郭建中譯,1999,大市場美學,Marking Aesthetices,New Rain 。
12. Susanne K. Langer (蘇珊‧郎格)著,劉大基等譯,1991,《情感與形式》,商鼎:台北
13. Tatarkiewicz, W.,劉文潭譯,2001,西洋六大美學理念史,聯經,台北市,頁403。new window
Tuula Poutasuo, 1990, Soul in design, Tamprint Algraphics Oy .
14. Worringer, W.,魏雅婷譯,1992,抽象與移情,亞太圖書,台北市。
15 Yin, R. K.,1994,尚安榮譯,2001,Case study Research Design and Methods, Sage Publications,弘智文化。
16. 丁楓,1992,西方審美觀源流,遼寧人民,遼寧。
17. 王世德,1987,新編美學辭典,河南人民,河南。
18. 王仕圖,吳慧敏,2005,深度訪談與案例演練,收錄於質性研究方法與資料分析,齊力、林本炫編,南華大學教育社會研究所,高雄。
19. 王受之,2001,世界現代平面設計,藝術家。
20. 王淑慧,1999,How can we create ''empathy'' in design culture? ~ Design in Taiwanese advertisements, images and products,University of London, Goldsmiths College, MA Design Futures,碩士論文(Wang, Shu-huei,2007.11,Design as Empathy— seeking for design thinkⅠ,〈設計如同同感心─探尋設計思維Ⅰ〉,台北:作者)
21. 王淑慧,何明泉,楊裕富,黃世輝,2008,“移情設計初探”," A Preliminary Study of Empathic Design ”,中華民國空間設計學報,六期,頁1-22,12月。new window
22. 王淑慧、何明泉、楊裕富、黃世輝,2008.12,〈移情設計初探〉," A Preliminary Study of Empathic Design ”,中華民國空間設計學報,第六期,pp:1-22,ISSN:1814-3148new window
23. 王淑慧、黃世輝、何明泉,2006.11.30,〈文化產業品牌建構策略初探〉,文化創意產業學術研討會暨論壇高峰會「創新與永續」,聯合大學,苗栗 / 《文化創意台灣魅力》論文集,2007.06,俞龍通編著,苗栗文化局出版,pp:57-84,ISBN:978-986-00-9874-7
24. 弗洛伊德(Sigmund Freud),2011,自我與本我(The Ego and the Id / Das Ich und das Es,1923),上海譯文出版社
25. 朱光潛,1987,文藝心理學,金楓出版社,台北。new window
26. 何明泉,2005,“Degrees of Information Processing ─ 資訊處理之層次”,課堂講義
27. 何明泉,2008,“使用者中心設計的概念”,課堂講義
28. 吳芝儀,2005,敘事研究的方法論探討,收錄於質性研究方法與資料分析,齊力、林本炫編,南華大學教育社會研究所,高雄。
29. 李醒塵,2000,西方美學史教程,二版,淑馨,台北。
30. 周文欽,2002,研究方法-實徵性研究取向,心理,台北。
31. 周宏室,2002,運動教育學,師大書苑,台北。
32. 林益昌,1999,建構企業學習型組織之研究。國立台灣師範大學工業教育研究所,博士論文。
33. 邱皓政,2002,量化研究與統計分析: SPSS文視窗版資料分析範例解析,五南,台北市,p:1-12
34. 宮崎清,2003,“日本地方文化產業與城市振興的發展策略及實踐案例─新潟縣山北町的「內發性社區總體營造」”,推動文化產業的契機與個案實踐國際研討會。
35. 張欣戊,徐嘉宏,程小危,雷庚玲,郭靜晃,2004,發展心理學,國立空中大學,台北。new window
36. 張芳杰,1989,牛津英漢雙解辭典,東華書局,頁386。
37. 張春興,1999,教育心理學,東華,台北。
38. 張晴雯,2003,何謂平面設計,視傳文化出版,P: 13。
39. 曹世潮,2003,心時代,世界宗教博物館基金會,新北市,頁10-11。
40. 畢愛玲, 1996, 〈透明的悲傷-楚辭裡所昭示的玻璃之美〉,琉園季刊:Autumn,pp:58-61
41. 郭台鴻,2005,說到才能做到,初版,宇河文化出版,台北市,頁17-19。
42. 陳李綢,1992,認知發展與輔導,心理,台北。
43. 傅秀媚,1998,特殊幼兒教材教法,五南,台北。
44. 黃海澄,1987,系統論、控制論、信息論美學原理,人民,湖南。
45. 楊惠珊,1998,楊惠珊中國琉璃藝術創作,琉璃工坊志業股份有限公司, 12月18日。
46. 楊駱,1998,“古代玻璃-劍飾”,琉園季刊:Summer,Glass Garden(summer),琉園出版,PP:24-25
47. 溫世頌,2000,心理學,三民,台北市。
48. 管倖生等15人,2006,設計研究方法,全華,台北市,pp:285-287
49. 劉文譚,2003,現代美學,臺灣商務印書館,台北市。
50. 劉昌元,1987,西方美學導論,聯經,台北市。new window
51. 劍橋哲學字典,羅伯特.奧迪,2002, The Cambridge Dictionary of Philosophy , Audi, Robert (EDT),1999,Cambridge University Press (COR),台灣:果實
52. 鄭昭明,2006,認知心理學:理論與實踐(3版),桂冠:台北,PP:2-3new window
53. 鄭麗玉,1993,認知心理學—理論與應用,五南,台北。
54. 鄭麗玉,2000,認知與教學,台北:五南。new window
55. 魯伯特‧伊斯懷特著,1996,陳怡如譯,「心管理」個人與組織如何從變局中成長,麥格羅‧希爾,台北市。
56. 羅光,1999,生命哲學的美學,初版,學生書局。new window
57. 蘇建文,程小危,柯華葳,林美珍,吳敏而,幸曼玲,陳李綢,林惠雅,陳淑美,1995,發展心理學,心理,台北。

二、英文文獻:
1. Adams, M. J. & Collins, A., 1979, A Schema- Theoretic View of Reading, Norwood, NJ:Ablex.
2. Anderson, J. R., 1978, Arguments Concerning Representations for Mental Imagery, Psychological Review, 85, 249-277.
3. Bilda, Z., Gero, J. S, & Purcell, T., 2006, “To Sketch or not to Sketch? That is the Question”, Design Studies, 27(5), 587-613.
4. Brown, T., 2008, “Serious Play”, May 7-9, 2008, Art Center College of Design South Campus Pasadens, California, USA. (Filmed May 2008, posted by Nov., 2008,at TED.com)
5. Bruner, J. S., Goodnow, J. J., Austin, G.A., 1956, A Study of thinking, New York: Wiley
6. Bruner, J.S., Oliver, R.R., & Greenfield, P.M., 1966, studies in cognitive growth, New York: John Wiley & Sons
7. Buchenau, M. & Fulton Suri, J., 2000, “Experience prototyping”, D. Boyarski & W. A. Kellogg, eds. Proceedings of the Conference on Designing Interactive Systems: Processes, Practices, Methods, and Techniques, 17–19 August. New York, NY: ACM Press, pp.424-433.
8. Chapman, J. 2005, Emotionally Durable Design: Objects, Experiences and Empathy, Earthscan, USA and UK,pp.51–52.
9. Chomsky,N.,1957, Syntactic structure, The Hague: Mouton
10. Collins, A.M, & Quillian, M.R., 1969, “Retrieval time from semantic memory”, Journal of Verbal Learning and Verbal Behavior, 8, PP: 240-247
11. Daniel, H. P., 2005, A Whole New Mind: Moving From the Information Age to the Conceptual Age, New York: Riverhead Books
12. Denzin, N. K., 1989, Interactive interactionism, Thousand Oaks, CA: Sage. Lieblich, A., Tuval-Mashiach, R., & Zilber, T., 1998, Narrative research: Reading, analysis, and interpretation, Tousand Oaks: Sage.
13. Dorothy, L. & Jeffrey, F. R., 1997, “Spark Innovation Through Emphatic Design”, Harvard Business Review, vol.75, no.6, pp. 102.
15. Dymond, R. F., 1949, “A Scale for the Measurement of Empathic Ability”, Journal of Consulting Psychology, pp.127-133.
16. Feng, J., Lazar, J. & Preece, J., “Empathy and online interpersonal trust: a fragile relationship”, Behaviour & Information Technology, 23(2), 2004; 97–106.
17. Fernando A, 2004, “Tech talk, big blogger is watching you! Reputation Management in an Opinionated”, Hyperlinked World, Communication World, 10.
18. Fiske, S. T. & Taylor, S., 1991, Social Cognition (2nd edition), New York: McGraw-Hill.
19. Forlizzi, J. & Ford, S., 2000, Building Block of Experience: An Early Framework for Interaction Designers, Proceedings of the ACM conference on Designing Interactive Systems, New York: ACM, pp.419-423.
20. Frans, D. W., 2009, The Age of Empathy-Nature’s Lessons for Kinder Society, Three Rivers: New York.
21. Franzosi, R., 1998, “Narrative Analysis-or Why (and how) Sociologists Should be Interested in Narrative”, Annual Review of Sociology, vol.24, pp.517-554.
22. Fritsch, J., J?攔ice, A., Soini, K., & Tretten, P., 2007, Storytelling and Repetitive Narratives for Design Empathy: Case Suolinna, Design Inquiries.
23. Fritsch, J., J?攔ice, A., Soini, K., Tretten, P., 2007, Design Inquiries, Stockholm / www.nordes.org.
24. Go, K. & Carroll, J., 2004, “The Blind Men and The Elephant: Views of Scenario-based System Design”, Interactions, vol. 11, no.6, pp.44–53.
25. Goldschmidt, G., & Tatsa, D., 2005, “How good are good ideas? Correlates of design creativity”, Design Studies, 26(6), PP: 593-611.
26. Guthrie, J. W., & Reed, R. J., 1991, “Educational administration and policy: Effective leadership for American education”, Boston: Allyn and Bacon
27. Henry Sanoff, 1999, Community Participation Methods in Design and Planning , Wiley
28. Hogan, R., 1969, “Development of an Empathy Scale”, Journal of Consulting and Clinical Psychology, pp. 307-316.
29. Homans, G. C., 1958, “Social behavior as exchange” , The American Journal of Sociology, pp.597-606.
30. Huxley, A., 1940, Words and their meanings, Los Angeles, CA: The Ward Ritchie Press
31. Ickes,. W, 1997. Empathic Accuracy, Guilford: New York, pp.2.
32. John Locke,1956,An essay concerning human understanding, Chicago: Henry Regnery
33. Jonson. Ben, 2005, “Design ideation: the conceptual sketch in the digital age”, Design Studies, 26(6), PP:613-624
34. Kelly, T., 2001, The Art of Innovation, Doubleday: USA, pp.8-13.
35. Kleef, E.V., Trijp, H. C., & Luning, P., 2005, “Consumer Research in the Carly Stages of New Product Development: A Critical Review of Methods and Techniques”, Food Quality and Preference, vol.1, no.6, pp.181–201.
36. Koffka, K., 1935, principles of Gestalt Psychology, new York : Harcourt Brace Jovanovich
37. Koskinen, I. & Battarbee, K., 2003, Introduction to User Experience and Empathic Design, Koskinen, I., Battarbee, K., & Mattelm?驥i, T., Empathic Design-User Experience in Product Design, Edita: Finland, 37-50.
38. Koskinen, I., Battarbee, K. & Mattelm?驥i, T., 2003, Empathic Design─User Experience in Product Design, Edita Publishing Ltd , Finland.
39. Kouprie, M, & Visser, F. S., 2009, “A Framework for Empathy in Design: Stepping into and out of the User''s Life”, Journal of Engineering Design, vol.20, no.5, pp. 437-448.
40. Landwehr, P., 2007, “Empathic Design vs. Empathetic Design: A History of Confusion”, Landwehr - Lab 3 pp.2- 4.
41. Laurel, B., 2003, Design Research: Methods and Perspectives. Cambridge, MA: MIT Press.
42. Lelie, V. der C., 2005, “The Value of Storyboards in the Product Design Process”, Proceedings of 3AD third international conference on appliance design. Bristol, UK: The Appliance Design Network, pp.87–89.
43. Leonard, D. & Rayport, J., 1997, “Spark Innovation Through Emphatic Design”, Harvard Business Review, vol.75, no.6, pp.102-113.
44. Leonard, D., 1995, Wellsprings of Knowledge. Building and Sustaining the Sources of Innovation, Boston, Massachusetts: Harvard Business School Press.
45. Lieblich, A., Tuval-Mashiach, R., & Zilber, T.(1998).Narrative research:Reading, analysis, and interpretation. Tousand Oaks:Sage
46. Lugt, V. der R. & Visser, S. F., 2007, “Creative Workshops for Interpreting and Communicating Rich User Information”, Proceedings of include conference, London: RCA, pp. 1–5.
47. Marshall C. & Rossman G.B., 1995, Designing Qualitative Research, London: Sage Publications
48. McCracken, G., 1986, Culture and consumption: A theoretical account of the structure and movement of the cultural meanings of consumer goods, Journal of Consumer Research, 13 (June), 71-84.
49. Menezes, A., & Lawson, B., 2006, “How designers perceive sketches”, Design Studies, 27(5), PP: 571-85.
50. Miller, W. L. & Crabtree, B. F., 1992, Primary Care Research: A Multimethod Typology and Qualitative Road Map. in Crabtree & Miller(eds.), Doing Qualitative Research. Newbury Park CA: Sage. pp.3-28
51. Minichiello V., Aroni, R., Timewell, E., & Alexander, L., 1996, In Depth Interviewing(2nd ed.).South Melbourne: Addison Wesely Longman Australia Pty Limited.
52. Minsky, 1975, “A framework for representing knowledge”, In P.H. Wins ton(Ed.), The psychology of computer vision, New York: McGraw Hill
53. Munch, R., 1993, Sociological theory: From the 1850s to the Present , Chicago: Nelson-Hall Publishers.
54. Norman, D. A., & Draper, S. W. (Eds.), 1986, User centered system design: New perspectives on human-computer interaction. Hillsdale, NJ: Lawrence Erlbaum Associates
55. Norman, D. A., 1988, The psychology of everyday things, New York, NY: Basic Books
56. Norman, D.A., & Bobrow, D. G., 1975, “On Data-limited and resource-limited processes”, Cognitive Psychology, 7, PP:44-64
57. Norman, D.A., & Rumelhart, D.E, 1975, Explorations in cognition, San Francisco : Freeman
58. Norman, D.A., 2011, Living With Complexity, London: The MIT Press
59. Norman, D.A.,2000 , The Design of Everyday Things(3版), London: The MIT Press
60. Norman, D.A.,2004, Emotional Design: Why We Love(or Hate) Everyday Things, New York: Basic Books Press
61. Oxford Paperback Dictionary (4nd edition), 1994, Oxford University Press, pp.262.
62. Patton, M. Q., 1987. How to use Qualitative Methods in Evaluation. Newbury Park, CA: Sage.
63. Patton, Michael Quinn,1990,Qualitative evaluation and research methods(2nd ed.),.Newbury Park:Sage
64. Perry, R. J., Rosen, H. R., & Kramer, J. H., 2001,“Hemispheric Dominance for Emotions, Empathy and Social Behaviour: Evidence from Right and Left Handers with Frontotemporal Dementia”, Psychology Press/part of the Taylor & Francis Group, vol.7, pp.145-160.
65. Piaget, J., 1952, The Origins of Intelligence in Children, New York: International University Press.
66. Piaget, Piaget, J., 1954, The Construction of Reality in the Child, New York: Basic Books.
67. Platt, J., 2002, The History of the Interview, In Jaber F.Gubrium & James A. Holstein(eds), Handbook of interview research:context and method, London: Sage, pp.33-54.
68. Polkinghorne, D. E., 1995, “Narrative Configuration in Qualitative Analysis”, In J. A.Hatch & R.Wisniewski ( Eds.). Life History and Narrative. Washington, DC: Falmer Press, pp.5-24.
69. Preston, S. D., Bechara, A., Grabowski, T. J., Damasio, H., & Damasio, A. R., 2002, “A Perception-Action Model of Cognitive Empathy? A PET Investigation of Imagining Your Own Experience and Someone Else’s” , Perspectives on imitation: from cognitive neuroscience to social science conference, University of Warwick UK, France, Poster.
70. Ravenscroft, I. 1998, “What is it Like to be Someone Else? Simulation and Empathy”, Blackwell Publishing , vol.11 , pp.170.
71. Raymoon, R., 1983, “Speech Communication”, 6th ed., Prentice-Hall Inc., New Jersey.
Raymoon,1983
72. Rogers, C.(1954),“Toward A Theory of Creativity”, Review of General Semantics, 11, PP:249 -262
73. Rosenblatt, P.C. (1977), “Needed Research on Commitment in Marriage,” In G. Levinger and H.L. Raush (Eds.), Close Relationships: Perspectives on the meaning of Intimacy, Amherst: University of Massachusetts Press.
74. Rumelhart, D.E., & Norman, D.A., 1978, “Accretion, tuning, and restructuring: Three modes of learning”, In J. W. Cotton & R.L. Klatzky(Eds.), Semantic factors in cognition, Hillsdale, N.J.:Erlbaum
75. Rumelhart, D.E., & Ortony, A., 1977, “The representation of Knowledge in memory”, In R.C. Anderson, R. J. spire, & W.E. Montague(Eds.), Schooling and the acquisition of knowledge, Hillsdals, N.J.:Erlbaum
76. Rumelhart, D.E., 1975, “Notes on a schema for stories”, In D. G. Bobrow & A. M. Collins(Eds.), Representation and Understanding: studies in cognition science, new York : Academic Press
77. Rumelhart, D.E., 1981, Understanding Understanding(Tech. Rep.Chip100), La Jolla, CA: University of California, San Diego, Center for Human Information Processing(January)
78. Schank, R.C., & Abelson, R.P., 1975, Scripts, plans, goals, and understanding, Hillsdale, Erlbaum
79. Shannon, Claude E. & Warren Weaver , 1949, A Mathematical Model of Communication. Urbana, IL: University of Illinois Press
80. Smelser, Neil J.,1976,Comparative methods in the social sciences,Prentice-Hall
81. Speroff , B. J., 1953, “Empathy and Role-reversal as Factors in Industrial Harmony”, Journal of Social sychology, pp.117-120.
82. Stefano Marzano, 1999, Creating Value by Design: Thoughts and Facts , Antique Collectors'' Club
83. Stones, C., & Cassidy, T., 2007, “Comparing synthesis strategies of novice graphic designers using digital and traditional design tools”, Design Studies, 28(1), PP: 59-72.
84. Taylor, D.W., 1960, “Thinking and Creativity”, Annals of the New York Academy of Sciences, 91, PP:108-127
85. Taylor, S. E., & Crocker, J., 1981, Shematic bases of social information processing.In Higgins, E. T., Herman, C. A., & Zanna, M. P (Eds.), Social Cognition: The ontario symposium on personality and social psychology (pp. 89-134). Hillsdale,NJ:Erlbaum.
86. Taylor, S. J., & Bogdan , R., 1984, Introduction to qualitative research methods, New York::John
87. Thomas Hobbes, 1651, Leviathan , London: Andrew Crooke
88. VanGundy, A. B. & Naiman, L., 2003, Orchestrating Collaboration at Work: Using Music, Improve, Storytelling and Other Arts to Improve Teamwork, Originally published Wiley/Jossey-Bass/Pfeiffer.
89. Vernon, P. E., 1989, “The Nature - Nurture Problem in Creativity”, In J. A. Glover, R. R. Ronning, & C. R. Reynolds (Eds.), Handbook of Creativity, PP:93 - 110, Plenum Press, New York
90. Victor Margolin and Richard Buchanan, 1995, The Idea of Design, Library of Congress Cataloging-in-Publication Data, Wiley & Sons, P.195

三、網站文獻:
1. Hiroshi, M., A website in anthropology/Walking in, solution out and practice – memoirs of lecture course of Professor Matsuda Hiroshi, Kyoto Bunkyo University, 2008; http://www.face21cn.cn/renleixue/xuejie/article_2008_11_25_4103.html (Date of reference: Dec. 30, 2010)
2. Kimmy Paluch(2006) . What Is User Experience Design, Available at [Accessed 05 May 2009]
3. Kuniavsky, M., 2003, .User Expectations in a World of Smart Devices [Online PDF], Available at [Accessed 05 May 2009]
4. Norman, D. A., < http://www.jnd.org/dn.pubs.html > (日期:2009/07/01)
5. Reiss, E., 2009, A Definition of “User Experience, Available at [Accessed 05 May 2009]
6. Rubinoff, R., 2004, ow To Quantify The User Experience. Available at [Accessed 05 May 2009]
7. 〈內隱知識〉引自維基百科(參考日期:2012/01/10)
http://zh.wikipedia.org/wiki/%E5%85%A7%E9%9A%B1%E7%9F%A5%E8%AD%98
8. 中山大學企管系教授,〈創新是否需要傾聽顧客的聲音?〉, 2005-03-06/經濟日報/C2版/EMBA http://www.cme.org.tw/may/Paper/p_05.htm (下載日期:2008/06/30)
9. 方紫苑,1994-03-28,〈中年美學 張毅40歲還冒險勇往直前!〉,聯合晚報(08版/家庭),聯合知識庫(聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
10. 王梅,〈玻璃藝術家-王俠軍專訪,博覽家旅遊人文誌〉,2003年5月,135期,PP:45~47 http://www.heart.net.tw/career/information06-2.doc(參考日期:2011/12/10)
11. 百度百科,谷魯斯(Karl Gross) 〈內模仿說〉,http://baike.baidu.com/view/85538.htm,(參考日期:2011/10/20)
12. 百度百科,〈移情〉, http://baike.baidu.com/view/113428.htm(參考日期:2011/10/20)
13. 東方神龍,〈什麼是聯想及在作文中的作用〉,參考日期:2011/10/25 http://www.thn21.com/base/yuyan/9557.html
14. 林本炫,2004,"紮根理論研究法",南華大學 教育社會學研究所演講PPT檔,(下載時間:2008.10/12)
15. 林秀美,2006-09-08,〈2006發表新作及跨足網路動畫領域〉,民生報(C7版/高屏消費),聯合知識庫(聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
16. 林克寰《Jedi’s Blog》個人網站, http://jedi.org/Blog/archives/003856.html#entry(參考日期:2004/05/11)
17. 邱麗文,2006,〈新中國人的驕傲/琉璃薪火的傳承者王俠軍〉,新觀念Newidea網站 http://newidea.taconet.com.tw/170/content.html (參考日期:2010.09.06)
18. 紀慧玲,2005-11-19,〈文化創意產業 兩岸看未來〉,聯合報(C2版/北市要聞) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
19. 琉璃工房博物館官方網站: www.liulichinamuseum.com 〈第38屆HABATAT GALLERY國際琉璃藝術大展,楊惠姍作品《菊之舞》《非非意》獲獎〉(參考日期:2010.09.06)
20. 張文,2010/6/18,琉璃工房官方網站: http://www.liuli.com.tw/newsInfo.aspx?nid=MzQ=&type=MQ== (參考日期: 2010/09/14)
21. 許芸瑋和張博翔,2007/07,〈奧圖碼斥資10億元合併琉璃工房楊惠姍變身企業家〉,今日新聞http://tw.myblog.yahoo.com/jw!SbRwtvSBHxowNd5gkHM_3Ne.NzUXtFk-/article?mid=4219 (參考日期:2010/10/12)
22. 陳怡君,2006-02-20,〈咀嚼‧沉澱‧轉化王俠軍創作方程式〉,經濟日報(D3版/玻璃產業專刊) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
23. 陳怡君,2006-06-15,〈大型水晶玻璃博物館、上海新廠房〉,經濟日報(A10版/商業流通) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
24. 陳長華,1990-01-11 ,〈1990赴紐約玻璃試驗研究室〉,聯合報(17版/文化.藝術) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
25. 新觀念 Newidea網站,〈新中國人的驕傲-琉璃薪火的傳承者 王俠軍〉http://newidea.taconet.com.tw/170/content.html (下載日期:2006/10/19)
26. 維基百科, (下載日期:2008/06/30)
27. 蔡詩韻,1998-07-19,〈1998面臨困境〉,經濟日報(08版/焦點人物) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
28. 鄭秋霜,2006-10-10,〈台灣品牌vs.全球品牌〉系列秀出哲學與靈魂 品牌新秀的竄起之道,經濟日報(A12版/企管副刊) (聯合知識庫網址:http://udndata.com ,下載日期:2006/11/07)
29. 盧成德,2002/05/09,〈大觀水晶5月10日興櫃掛牌今年每股預計獲利2.86元〉,ETtoday 網站http://www.ettoday.com/2002/05/09/185-1300708.htm (參考日期:2006/10/19)

四、第四章中時間事件矩陣圖網路使用之資料(資料來源: 聯合知識庫網址,http://udndata.com,下載日期:2011/11/11)
〈琉璃工房〉依年代排列2011-1990年
1.鄭秋霜,2011-10-11,〈台北設計大展 秀紅色思維從善念出發、投入社會改革〉,經濟日報/C7版/文化創意
2.邱瓊玉,2011-09-30,〈世界設計展開幕 吃得到台灣味〉,聯合報/B2版/北市綜合新聞
3.邱莞仁,2011-08-17,〈好溫暖 琉璃工房流動率低〉,經濟日報/A12版/兩岸話題
4.宋健生,2011-08-05,〈琉璃奧圖碼 明年中上市〉,經濟日報/C5版/上市櫃公司2
5.林茂仁,2011-03-28,〈王秀絹掌舵 琉璃工房尬上LV搶大陸禮品市場 與國際精品抗衡 今年總店數挑戰50家 營收衝9億〉,經濟日報/A10版/兩岸財經
6.王雅蘭,2011-01-06,〈張毅、楊惠姍拍3D動畫〉,聯合報/C2版/星話題
7.陳若齡、陶福媛,2010-10-18,〈Taiwan 家飾 國際市場看俏〉,聯合報/C5版/消費
8.朱婉寧,2010-04-14,〈上海世博4D台灣館 比阿凡達震撼2倍〉,聯合報/A15版/兩岸
9.鄭秋霜,2009-12-28,〈市場通路加持業者登陸 功力大增〉,經濟日報/A18版/文化創意
10.鄭秋霜,2009-01-24,〈楊惠姍佛像展為觀者祈願〉,經濟日報/C3版/文化創意
11.項貽斐,2008-09-02,〈琉璃工房+奧圖碼科技 張毅&楊惠姍 將拍3D動畫片〉,聯合報/D2版/星話題
12.廖雅欣,2008-08-17,〈08雕塑大展 楊惠珊展多情〉,聯合報/C2版/北市縣宜花新聞
13.鄭秋霜,2008-01-12,〈琉璃創意蛻變 繽紛到澄澈〉,經濟日報/C4版/文化創意
14.李珣瑛,2006-10-12,〈當科技遇上藝術…〉,經濟日報/A9版/綜合新聞
15.金武鳳,2006-09-30,〈琉璃佛像 楊惠姍3年半心血琉璃工房二十有成 新光三越展出〉,聯合報/C2版/台中市新聞
16.蘇璽文,2006-07-15,〈千手千眼觀音琉璃工房開展〉,經濟日報/B10版/活動要聞
17.林中偉,2006-09-30,〈琉璃工房千手千眼觀音台中聚焦〉,民生報/C7版/地方消費
18.賴素鈴,2006-07-13,〈有益人心的全方位設計展 琉璃工房影響20步步動人〉,民生報/A9版/藝文新舞台
19.周美惠,2005-11-22,〈琉璃工房 獲亞洲設計大獎台灣文創品牌 國際首度肯定 陳俊良國宴餐具外 楊惠姍也以透明思考系列 立下生涯里程碑〉,聯合報/C6版/文化
20.周美惠,2005-03-04,〈楊惠姍作品 入藏法蘭西〉,聯合報/C6版/文化
21.陳志光,2002-07-09,〈汽車 琉璃藝術相輝映 Jaguar 為 NEW S-Type 車主量身打造捷豹風發商富推出天馬行 Saab巡迴展〉,經濟日報/16版/汽車專輯
22.張伯順,2001-12-12,〈自在 張毅隨緣創作完成七尊琉璃佛像 將與楊惠姍「無相」作品聯展〉,聯合報/14版/文化
23.張伯順,2001-02-25,〈楊惠姍琉璃作品在美展出「無相,無無相」獲得好評〉,聯合報/14版/文化
24.張伯順,2000-07-20,〈楊惠姍千手千眼觀音像將駕臨敦煌共襄藏經洞發現百周年紀念活動盛舉〉,聯合報/14版/文化
25.聯合報特報,1999-12-20,〈脫蠟、熱塑、切割、拉絲 四大手法燒出美麗玻璃世界〉,聯合報/38版/
26.趙嘉禾,1999-07-04,〈科技與人文對話水晶音樂與琉璃藝術結合〉,經濟日報/10版/創意
27.余友梅,1999-04-25,〈人文創意琉璃生活化〉,經濟日報/10版/創意
28.唐在揚,1998-12-19,〈楊惠姍 張毅牽手 度過病痛折磨他因心肌梗塞才從鬼門關回來 她細心呵護真心相隨〉,聯合晚報/09版/星河
29.蔡詩韻,1998-07-19,〈張毅 楊惠珊 投身琉璃事業無怨無悔為了圓夢背負一身債 走過11個年頭小有成就〉,經濟日報/08版/焦點人物
30.蔡春娉,1996-12-20,〈實空演義 盡付琉璃中王俠軍玻璃藝術展 將傳達十年創作歷程〉,聯合晚報/09版/消費廣場 漂亮寶貝
31.張伯順,1996-11-24,〈中法琉璃藝術交流添新頁法國琉璃藝術研究中心館長來台拜會「琉璃工房」交換創作經驗〉,聯合報/35版/文化廣場
32.何世全,1996-10-04,〈琉璃工房 燒出國際藝術品牌〉,經濟日報/27版/商業2
33.李珣瑛,1995-12-19,〈琉璃工房擺攤〉,經濟日報/18版/商業1
34.何世全,1995-02-26,〈藝文頻道 老祖宗瑰寶塵封三千年琉璃工藝再度發光〉,經濟日報/20版/生活科技
35.台北訊,1994-10-16,〈琉璃工房設中部第二據點〉,經濟日報/24版/工商服務
36.胡幼鳳,1994-07-29,〈鐵三角生銹?玻璃世界 分離!王俠軍結束與張毅、楊惠姍的合作,帶走主要幹部另立門戶,在同一棟大樓形成「樓上樓下」的戰爭〉,聯合報/22版/影視廣告
37.本報北京廿二日電,1993-10-23,〈琉璃工房北京故宮開展〉,聯合報/25版/文化廣場
38.傅伯寧,1992-05-19,〈楊惠姍進攻東瀛月刊美術推介她的玻璃作品〉,聯合報/18版/文化廣場
39.陳長華,1992-05-09,〈美的出擊琉璃界 敲開東瀛心〉,聯合報/18版/文化廣場
40.陳長華,1991-10-29,〈琉璃工房六級地震掃向日本進占百貨公司:首開台灣當代美術工藝品先例巡展〉,聯合報/29版

五、第四章中時間事件矩陣圖網路使用之資料(資料來源: 聯合知識庫網址,http://udndata.com,下載日期:2011/11/11)
〈琉園〉依年代排列2011-1990年
1.宋健生,2011-10-06,〈搶搭百貨促銷熱潮 挑戰1.3億大關琉園 周年慶業績拚增30%〉,經濟日報/C6版/上市櫃公司3
2.本報特訊,2011-08-30,〈邁向百年品牌目標〉,經濟日報/E7版/台灣百大品牌
3.李至和,2011-08-11,〈推出會員限定商品琉園搶攻中秋節商機〉,經濟日報/C6版/上市櫃公司3
4.柯玥寧,2011-05-12,〈琉園配息0.8元殖利率估逾2.7%〉,經濟日報/C7版/上市櫃公司4
5.陳威任,2011-04-13,〈琉園蘭嶼琉璃新作〉,聯合報/C7版/消費
6.陳若齡、陶福媛,2010-10-18,〈Taiwan 家飾 國際市場看俏〉,聯合報/C5版/消費
7.陳怡君,2010-09-17,〈琉園 對岸營運超越台灣〉,經濟日報/C7版/上市櫃公司4
8.康?J皇,2009-08-26,〈琉園 進駐星國精品中心〉,經濟日報/C8版/企業商機
9.胡明揚,2008-12-30,〈王俠軍新瓷藝 八方新氣登陸〉,聯合報/F4版/華東台商
10.陳怡君,2008-12-12,〈琉園 加速大陸西南拓點〉,經濟日報/D6版/上市櫃公司(3)
11.嚴珮華,2008-02-25,〈琉園 挑戰國際一線品牌〉,聯合晚報/A10版/焦點
12.嚴珮華,2008-02-25,〈品牌魅力:讓東方的DNA奔騰西方〉,聯合晚報/A10版/焦點
13.鄭秋霜,2007-01-27,〈透視琉園DNA〉,經濟日報/C1版/文化創意
14.劉美恩,2006-12-26,〈燈塔建塔101周年 東引推出101瓶琉璃紀念酒〉,經濟日報/C1版/工商活動
15.翁?竀峞A2004-06-08,〈琉璃酒器 花雕斟情〉,聯合報/G4版/端午節烈酒專刊
16.鄭秋霜,2004-04-20,〈文化心經濟從創意到生意的機會與挑戰 藝企相投 產業升級「心」火花〉,經濟日報/3版/焦點新聞
17.鄭秋霜,2004-01-04,〈王俠軍精琢文化產業 堅持不妥協〉,經濟日報/6版/財經人物
18.鄒秀明,2003-11-20,〈文化創意產業 琉園21日上櫃〉,聯合報/C6版/證券投資
19.邱田山,2003-11-20,〈文化創意產業 琉園明上櫃〉,經濟日報/1版/要聞
20.黃寅,2003-06-18,〈琉璃紋理 來「陰」的〉,聯合報/B3版/中部生活圈
21.黃仁謙,2002-09-06,〈〈文藝空間〉晶瑩剔透看琉璃〉,經濟日報/38版/非常休閒
22.侯寶美,2002-07-13,〈琉園作品 觀賞兼具實用有的可當水果盤、酒杯 有的也可以裝食物、飲料〉,聯合報/19版/高屏澎生活圈
23.閻鳳婷,2001-12-08,〈琉園站上國際舞台〉,經濟日報/25版/藝術娛樂
24.張伯順,2000-09-14,〈王俠軍創作好山好水玻璃景觀藝術作品,紀念震災周年,將常駐北市東區〉,聯合報/32版/文化
25.江中明,1999-06-10,〈王俠軍公開品味基因琉園主人以散文方式,詳述自幼對品味的追求和念舊個性〉,聯合報/14版/文化
26.呂玲玲,1999-11-08,〈王俠軍琉璃新作千禧龍 總統府收藏101號〉,聯合晚報/6版/生活新聞
27.呂玲玲,1999-11-06,〈為玻璃藝術 在台灣成家琉園水晶博物館今開放 門票100元有收藏展、製作技法、作品展〉,聯合晚報/6版/生活新聞
28.施靜茹,1996-02-15,〈浴火鳳凰 名揚東瀛紀念阪神地震 王俠軍新作在淡路島亮相〉,聯合報/30版/消費
29.施靜茹,1996-12-19,〈十年玻璃路 王俠軍走出一片天為了這次個展 率弟子遠征捷克製作 激盪出五十件作品展出〉,聯合報/34版/消費
30.李珣瑛,1995-09-13,〈琉璃藝品結合電腦繪圖成本降低注入高科技開發 時間縮短又省了開模費〉,經濟日報/15版/商業流通
31.饒仁琪,1995-02-25,〈王俠軍遠征東瀛水晶藝術〉,聯合報/35版/文化廣場
 
 
 
 
第一頁 上一頁 下一頁 最後一頁 top
:::
無相關著作
 
QR Code
QRCODE