第六章 結論
第二節 研究限制與建議
本研究將兒童藝術與數位教育置於核心,討論 Tate Kids 如何在數位科技的加 值之下擄獲兒童的目光,並從中潛移默化藝術知識、為兒童植入對於藝術的興 趣。然而因時間、空間與經費上的限制,也基於泰德館方保護兒童的立場,筆者 未能親自於個案所在的英國進行長時間的田野調查並找到 Tate Kids 使用者,只能 針對文獻資料與台灣學童進行研究,且於泰德藝術正當性建構之論述也須仰賴大 量文獻資料。此外,個案 Tate Kids 網站位於線上虛擬空間中,其廣闊、無遠弗屆 且變動性高的特性卻也是本研究最大的限制,網站隨時可能因應使用需求而進行 編輯或改版,因而造成內容有新增或刪減的可能,故本研究在有限的時間及能力 限制之下,無法完整的針對網站的各個層次進行詳盡的描繪。
雖然筆者未能於英國進行田野調查,且礙於泰德美術館在保護兒童的政策之 下,無法直接取得相關資料,筆者透過於臺灣一國小六年級班級以實地觀察與深 度訪談的方式,取得個案班級學生於家庭、學校及個人的藝術與數位教育實踐等 一手資料作為彌補,但仍在保護個案學校及受訪者隱私的考量下,不公開或直接 具名相關文獻資料,僅以代號表示。
此種作法雖使筆者對於網站的實際藝術符號運作及兒童解碼過程有更完善的 了解,但虛擬博物館常提到的即是關於數位或技術層面的討論,對於兒童在美學 感知的變化則較不容易測量出來的,且由於兒童的表達和論述能力與成人不大相 同,在作為受訪主體時並無法達到非常理性的狀態,且筆者礙於時間限制而無法 長時間與學童培養感情,所以在訪談的部分無法很好地捕捉他們的看法,因此在 整體研究上也會存有如上述的缺陷,仍待未來研究者深入思考如何更進一步了解 不同國家、年齡層、地理範圍與家庭背景的兒童對於藝術與數位之想像與認識,
相信能更佳地完整虛擬博物館與藝術教育之構連。
157
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