本論文旨在針對當代藝術令一般大眾困惑的普遍現象，探討台灣當代藝術場域與觀眾溝通經驗。本研究對向來從孤立藝術作品的狀態來觀看藝術提出質疑，主張觀照藝術生產的文化環境和社會脈絡乃認識當代藝術的重要途徑。

本文以台北雙年展為個案研究對象，探討藝術作為溝通功能的幾個演化關鍵；藉由布爾迪厄的藝術社會學中的藝術場域理論，剖析藝術生產場域裡隱藏的訊息；並進一步引跨文化傳播模式，以辨識當代藝術傳播機制全球化的特性。本論文主要研究問題有三：一、台灣當代藝術場域現況；二、台灣當代藝術場域中的觀眾溝通經驗；三、當代藝術場域的觀眾溝通行為模式。研究發現如下：
一、台北雙年展場域屬「限制生產場域」，雖然會受到更大的社會衝突所影響，但也有其自身的邏輯。它同時符合場域的「自主性原則」與「他律性原則」。
二、觀眾參觀當代藝術展的經驗，至少要達到三至五次以上，才能進一步提升與當代藝術溝通的效能；參觀次數與溝通效能的關係，合乎跨文化適應階段理論。
三、觀眾以特定特徵的受教育結構所培育出的「生存心態」，進入關係作用後的當代藝術生產場域，進行跨文化溝通，依據其參觀次數歷經跨文化適應階段，每一階段的參觀經驗都會回歸為觀眾「生存心態」之歷史的一部份。

上述研究發現對觀眾溝通經驗與台北雙年展有下列建議：
一、當代藝術教育應由基礎教育紮根；
二、喜歡當代藝術的觀眾應該要自修，善用藝術經驗與個人生活問題結合；
三、提高台北雙年展策展層級與規格：發展出雙年展路線；以台北市為主題、設立台灣館；策展人不應設限；以特展方式收費。

This study looks into the phenomenon of the public confusion that is caused when attending contemporary art exhibitions. It focuses on how effectively contemporary art can communicate with the audience within the field. This study also questions the traditional approach to art appreciation that is to isolate the art works. A new art appreciation approach has therefore been introduced for contemporary art, in which the observation are advised to look into the social context and cultural environment within which these art works have been produced.

This case study has taken Taipei Biennial as it’s subject. That is to consider the crucial progressions of communication function in art appreciation. Pierre Bourdieu’s art field theory from the sociology has also been adapted in order to analyse the hidden messages in the art production field. Furthermore, an intercultural communication model approach has been adopted in order to identify the characteristics of globalization of contemporary art communication mechanism. Three research questions have been posed in this study: The first, the current situation of Taiwan contemporary art field; the second, the experiences of communication between the audiences and the Taiwan contemporary art filed; the third, the audience communication behaviour patterns for contemporary art field. The results of this study are:
I. Taipei Biennial is considered to be a “ restricted production field“. Regardless of the effect of social conflict it is logical within it’s own context. Meanwhile it matches the “autonomous principle”and the“heteronymous principle”.
II. It is suggested that the art exhibition audience should visit the exhibition at least three to five times in order to improve the effectiveness of contemporary art communication; the relationship between the number of visits and communication effectiveness matches cross cultural accommodation progression theory.
III. Each audience will have his/her own “habitus” which has been cultivated and constructed by their specific education system. When he/she enters a contemporary art field, this mentality starts to interact with it and this cross-cultural communication accommodates the progression of appreciation. It is suggested that each successive art visit experience will become part of the audience’s history of “habitus”.

The following suggestions have been provided in this study for the communication of experience to the public particularly at Taipei Biennial:
I. Contemporary art education should be given to pupils as early as possible.
II. Audience likes contemporary should have self-study, and combine their life questioning experiences with art exhibition experiences.
III. Elevate the planning level and scale of Taipei Biennial：develop the route of Taipei Biennial. Taipei-themed, set the Taiwan exhibition hall, there should be no limitations to the type of curator should be applied, charge by special exhibition.

中文參考書目

《台北市議會公報》，77：8（台北，97.8），頁2287。
王焜生，〈第十二屆德國卡塞爾文件展- 美學的姿態〉，《典藏‧今藝術》，178期（台北，2007.7），頁113。
白先勇，《台北人》，台北：爾雅出版社，1983。
---，《紐約客》，台北： 爾雅出版社，2007。
林曼麗，〈讓美術館成為市民美好生活的一部份〉，《現代美術》，90期（台北，2000, 6），頁3。
邱天助，《布爾狄厄文化再製理論》，台北：桂冠，1998。
施妙焄，《當代藝術雙年展的價值評估—以2008台北雙年展及韓國光州雙年展為例》，台北：國立台灣師範大學碩士論文，2010。
柳鳳儀，《從展覽成效討論美術館之現代化管理—以台北市立美術館2006台北雙年展為例》，台北：國立台灣師範大學美術系藝術行政暨管理班碩士論文，2007。
徐文瑞，〈2008台北雙年展的概念化及全球在地文化政治〉，2009，北美館2008台北雙年展，網址： http://www.taipeibiennial.org/2008/News/NewsContent.aspx?NewsID=iWtQXTY5yerSII9xW63dlBB5UrnuR26O&Language=iWtQXTY5yerWZqo3gg8/BL9NEiKjGqNL.（2009年10月1日瀏覽）
高宣揚，《布爾狄厄》，台北：生智，2002。
楊雪冬，《全球化》，台北：楊智，2003。
劉德祥，〈博物館觀眾研究：研究方法回顧〉，《博物館學季刊》， 21（4）（台中：2007），頁36。
謝里法，〈從台灣美術探討文化認同的問題〉，《一九九七藝術教育國際學術研討會–藝術與文化認同》，（台北：1997），頁95-97。
謝東山，〈台灣當前藝評的文化認同態度〉，《一九九七藝術教育國際學術研討會–藝術與文化認同研討會》，（台北：1997），頁127。

西文、譯文參考書目

Adler, P.S. "The Transitional Experience: An Alternative View of Culture Shock." Journal of Humanistic Psychology 15 (1975). Print.
---. "Culture Shock and the Cross-Cultural Learning Experience." Toward Internationalism: A Reader. Eds. Luce, L.F. and E.C. Smith. Cambridge, MA: Newbury, 1987. 389-405. Print.
Alexander, Jeffrey C. ,and Steven Seidman編，《文化與社會》 Culture and Society.林明澤譯，台北：立緒，2008。
Babiker, I. Cox, and P. Miller. "The Measurement of Culture Distance and Its Relationship to Medical Consulations, Symptomatology and Examination Performance of Overseas Students at Edinburgh University." Social Psychology 15 (1980): 109-16. Print.
Bablik, Suzi.《現代主義失敗了嗎？》Has Modernism Failed? 藤立屏譯，台北：遠流，1991。
Baudelaire, Charles, and Francis Moulinat. Ecrits Sur L'art. Paris: Librairie Générale Française, 1971. Print.
Bell, Clive. "The Aesthetic Hypothesis." Art. New York: Capricorn Books, 1958. Print.
Bell, Clive. “The Aesthetic Hypothesis.” Art , New York: Capricorn Books, 1958.
Benjamin ,Walter.《迎向靈光消失的年代》，許綺玲譯，台北：台灣攝影工作室，1999。
Bourdieu, Pierre, and Loic Wacquant.《布爾狄厄社會學面面觀》An Invitation to Reflexive Sociology. 李猛、李康譯，台北：麥田，2009。
---. "La Capital Social." Actes de la Recherche en Sciences Socicales 31 (1980): 2-3. Print.
---. "Outline of a Theory of Art Perception." International Social Science Journal 2 4 (1968): 589-612. Print.
---. "Postface a E. Panofsky." Architecture Gothique Et Pensée Scolastique. Paris: Éd. de Minuit, 1967. 148. Print.
---. "The Corporatism of the Universal: The Role of Intellectuals in the Modern World." Telos 81 (Fall,1989): 99-100. Print.
---. "The Field of Cultural Production, Or: The Economic World Reversed." Poetics 12 (1983): 311-56. Print.
---. "The Forms of Capital." Handbook of Theory and Research for the Sociology of Education. Ed. Richardson, John G. Westport, CT: Greenwood Press, 1986. Print.
---. "The Market of Symbolic Goods." Poetics 14 (1985): 13-44. Print.
---. "The Productin of Belief: Contribution to an Economy of Symbolic Goods." Media, Culture and Society 2 (1980). Print.
---. "Theater for Pleasure or Theater for Instruction." Trans. Willett, John. Brecht on Theater. New York: Hill and Wang, 1964. 71. Print.
---. La Distinction : Critique Sociale Du Jugement. Paris: Editions de Minuit, 1979. Print.
---. Outline of a Theory of Practice. Combridge: Cambridge University Press, 1977. Print.
---. Questions De Sociologie. Paris: Les Editions de minuit, 1980. Print
---. The Field of Cultural Production : Essays on Art and Literature. Cambridge: Polity Press, 1993. Print.
Bourdieu, Pierre, Alain Darbel, and Dominique Schnapper. The Love of Art : European Art Museums and Their Public. Trans. Beattie, C. and N. Merriman. Cambridge: Polity, 1990. Print.
Bourdieu, Pierre, Alain. Darbel, and Dominique Schnapper. L'amour De L'art Les Musées D'art Européens Et Leur Public. Paris: Minuit, 1966. Print.
Bourdieu, Pierre. Ce Que Parler Veur Dire. L'economie Des Echanges Linguistiques. Paris: Artheme Fayard, 1982. Print.
Brecht, Bertolt. "Against Georg Lukkacs " Trans. Stuart Hoodvaara, Kari. Athetics and Politics. London: Berso, 1980. 82. Print.
Cauquelin, Anne.《法國當代藝術》 L’art contemporain. 張婉真譯，台北：麥田，2002。
Chalumeau, Jean-Luc.《藝術原理-柏拉圖至我們今日的藝術哲學、批評和歷史》Les th′eories de l’art, 陳英德、張彌彌譯，台北：藝術家，2007。
Chen, G.M., and W. J. Starosta. "Intercultural Communication Competence: A Synthesis." Communication Yearbook 19 (1996): 353-84. Print.
Collins, R. Theoretical Soicoloy. San Diego: Harcourt Brace, 1988. Print.
Danto, Arthur C.《在藝術終結之後：當代藝術與歷史藩籬》After the End of Art: Contemporary Art and the Pale of History. 林雅琪、鄭惠雯譯，台北：城邦，2004。
Eco, U. "Towards a Semiotic Inquiry into the Tv Message." Working Papers in Cultural Studies 3 (1972): 103-21. Print.
Featherstone, Mike. "Global Culture : An Introduction." Theory, Culture & Society. London: Sage, 1990. 411 p. Print.
Fiske, John.《傳播符號學理論》Introduction to Cummunication Studies. 張錦華等譯，台北：遠流，1995，頁60-61。
Foster, Hal編，《反美學 》The Anti-Aesthetic. 呂健忠譯，台北：立緒，1998。
Fraenkel , Jack.R., andNorman E. Wallen,《教育研究法—研究設計實務》How to Design & Evaluate Research in Education. 楊孟麗、謝水南譯，台北：麥格羅希爾，2003。
Frisby, David. Fragments of Modernity : Theories of Modernity in the Work of Simmel, Kracauer and Benjamin. Cambridge: Polity, 1985. Print.
Fry, Roger Eliot. "Art and Socialism." Vision and Design. Ed. Bullen, J. B. London: Oxford University Press, 1981. 46. Print.
Giddens, Anthony. The Consequences of Modernity. Cambridge: Polity, 1990. Print.
Gomm, R. Social Research Methodology: A Critical Introduction. Houndmills: Palgrave Macmillan, 2004. 1. Print.
Gottieb, Adolph, Mark Rothko, and Barnett Newman. "Stetement." Art in Theory, 1900-1990 : An Anthology of Changing Ideas. Eds. Harrison, Charles and Paul Wood. Oxford: Blackwell, 1993. 562. Print.
Greenberg, Clement. "Avant-Garde and Kitsch." Kitsch. Ed. Dorfles, Gillo. New York: Universe Books, 1969. 126. Print.
Greenberg, Clement.《藝術與文化》Art and Culture. 張心龍譯，台北：遠流，1993。
Hammer, M.R., W.B. Gudykunst, and R.L. Wisemann. "Dimensions of Intercultural Effectiveness: An Exploratory Study." International Journal of Intercultural Relations 2 (1978): 382-92. Print.
Highmore, Ben.《日常生活與文化理論》Everyday Life and Cultureal Theory. 周群英譯，台北：韋伯，2005。
Jauss, Hans Robert. Trans. Bahti, Timothy. Toward an Aesthetic of Reception. Minneapolis: University of Minnesota Press, 1982. 204. Print.
Johnson, Randal. "Introduction." The Field of Cultural Production : Essays on Art and Literature. Cambridge: Polity Press, 1993. 9. Print.
Jurgen, Habermars. "Modernity Versus Postmodernity." New German Critique 22 (1981): 3-14. Print.
Kant , Immanuel.《判斷力批判》Kritik Der Urteilskraft. 鄧曉芒譯，台北：聯經，2004。
Lull, ames.《全球化下的傳播與文化》Media, Communication, Culture：Ablobal Approach. 陳芸芸譯，台北：韋伯，2006。
Lyotard, Jean-Francois. "The Postmodern Condition : A Report on Knowledge." Minneapolis: University of Minnesota Press, 1984. 8. Print.
Lysgaard, S. "Adjustment in Foreign Society: Norwegian Fullbright Grantees Visiting the United States." International Social Science Journal 7 (1955): 45-51. Print.
Mansell, M. "Transcultural Experience and Expressive Response." communication Education 30 (1981): 93-108. Print.
Meecham, Pam, and Julie Sheldon.《最新現代藝術批判》 Modern Art: A Critical Introduction. 王秀滿譯，台北：韋伯，2006，頁362。
Miller, Robert L.《Spss在社會科學的應用》Spss for Social Scientists. 莊文忠譯，台北：五南，2006。
Nederveen Pieterse, Jan. "Global Modernities." Global Modernities. Eds. Featherstone, Mike, Scott Lash and Roland Robertson. London: Sage, 1995. 47. Print.
Oberg, K. "Cultural Shock: Adjustment to New Cultural Environments." Practical Anthropology 7 (1960): 177-82. Print.
Osgood, C., G. Suci, and P. Tannenbaum. The Measurement of Meaning. Urbana: University of Illinois Press, 1962. Print.
Pappas, Marjorie, and Ann E. Tepe. Pathways to Knowledge and Inquiry Learning. Greenwood Village, Colo.: Libraries Unlimited 2002. Print.
Reninhardt, Ad. "Art as Art." Art in Theory, 1900-1990 : An Anthology of Changing Ideas. Eds. Harrison, Charles and Paul Wood. Oxford: Blackwell, 1993. 809. Print.
Ricour, Paul. "Civilization and National Cultures." Trans. Kelbley, Charles A. History and Truth. Evanston: Northwestern University Press, 1965. 278. Print.
Samovar, Larry A., and Richard E. Porter. Intercultural Communication : A Reader. 10th ed. ed. Belmont, Calif. ; London: Wadsworth/Thomson Learning, 2003. Print.
Smalley, W.A. "Culture Shock, Language Shock, and the Shock of Self-Discovery." Practical Anthropology 10 (1963): 49-56. Print.
Smith, David. "Aethetics, the Artist and the Audience." Art in Theory, 1900-1990 : An Anthology of Changing Ideas. Eds. Harrison, Charles and Paul Wood. Oxford: Blackwell, 1993. 578. Print.
Thomas, K., and G. Althen. "Counseling Foreign Students." Counseling across Cultures. Eds. Pedersen, P.B., et al. Honolulu: University of Hawaii Press, 1989. 205-41. Print.
Venturi, Robert. Complexity and Contradiction in Architecture. New York: Museum of Modern Art, 1997. Print.