新博物館學強調以「人」為出發點，然而，如何運用展示的規劃設計來傳達並完成如是的任務，便將涉及到其結構模式的不同思考；本研究借鏡精神分析結構學的理論，運用詮釋於展示空間的設計、互動機制的概念區隔，以及與觀眾互動等元素之深度考量。文中設定筆者己身為 Baudelaire 筆下的一位「都市漫遊者｣，在象徵文明高度發展的美術館中「閒逛」，體驗「漫遊式觀眾」對依據「心理分析」及「結構主義理論」的展示設計個案之參觀行為、審美態度與觀賞者所獲得之美感經驗，其中並與展示設計、互動裝置邂逅，再針對其中觀眾的參觀行為來進行觀察研究，以了解觀眾如何解讀空間中的訊息與看待觀者所回饋的凝視力量。而因應觀眾「漫遊式」的參觀行為，作為策展人與展示空間的設計師，又該如何思考、行動與決策？個案研究中結合展示設計的實務操作，期望能打破以「物」為主的寫實主義策展論述基調，藉實際策展之個案研究，建立「以觀者為主體」的展示設計模式。
都市漫遊者、互動展示、策展人、精神分析結構學、鏡像階段、博物館教育
New museology stresses audience-oriented operation. However, the planning and designing of exhibition for carrying out this task involve a number of considerations regarding its structure pattern. This study borrows the theory of psychoanalytic structuralism and takes into in-depth consideration concerning elements such as the designing of exhibition space, conceptual compartmentation of the articulation mechanism, and articulation with the audiences. In this essay, the author assumes the role of a 'flaneur in the city' as described by Baudelaire, who strolls the art museum that symbolizes the advanced civilization; and encounters its exhibition designs and articulation devices. He then observes and studies the visiting behavior of the audiences in order to understand how the audiences read messages in the space and how to treat the gazing from the audiences. And in response to the rambling visiting behavior of the audiences, how should planner of exhibition and designer of exhibition space think, act, and making decisions? Combined with practical operation of exhibition, this case study hopes to break down the matter-oriented keynote of realistic exhibition planning argumentation, and establish audience-oriented exhibition design patterns through case studies of practical exhibition planning.
The Flâneur in the city, interactive display, curator, Psychoanalysis and Structuralism theories, mirror stage, Museum Education
