本文針對國立故宮博物院「乾隆潮－新媒體藝術展」進行個案研究，隨著傳播新科技的湧現，探討新媒體潮對於古代文物展演的媒介化現象。本文以JayDavid Bolter和Richard Grusin的「再媒介化」（remediation）及新近崛起的「媒介化」（mediatization）理論，並援引Henri Lefebvre的三段式社會空間模型，重新建構媒介化的社會空間概念，在歷史物的存有中，透過新媒體科技的再現，讓現代的閱聽人享受古今時空交錯下的體感與實踐轉向（practice turn），研究發現舊媒體藉由新媒體的再現、拼貼、混合、融合等超媒體（hypermedia）和跨媒體（transmedia）產製，改變歷史時間、社會空間和人的存有概念，新媒體跨媒介、多模組的藝術展演，將融入現代藝術展演的敘事創作中，成為另一股新潮流。

This paper aims to survey a case study on ＂Qianlong C. H. A. O. New Media Art Exhibition＂ held in The National Palace Museum, exploring the phenomena of mediatization caused by new media tide's dynamics on historical relics exhibition with the emergence of new media technology. In this paper, I appropriate Jay David Bolter and Richard Grusin's theory of ＂remediation＂ and ＂mediatization＂ as the basis and cite Henri Lefebvre's three-stage model to reconstruct mediatized social space concept, letting modern audiences enjoy the somatosensory system and practical turn under the mixture of ancient and modern time and space through the representation of new media technology in the being of historical objects to examine how the productions of hypermedia and transmedia, such as representation, collage, mixture, and blending of new media, change the concept of being of historical time, social space, and human beings.