| Summary: | 博士 === 國立交通大學 === 應用藝術研究所 === 101 === The styles of product design have reached all kinds of possibilities, and ready-made is one these kinds. Using existing objects or artificial components is very much against our common sense. What unique aesthetic characteristics can be presented in combinations of familiar and strange works? What are the differences between ready-made and other products? Can the ERP tool help us to understand direct human responses? Can the effect of different ‘wrong ways’ of arranging existing objects be detected in the N400 and LPC waveforms in different regions of the brain? With reference to early art history, can ready-made objects be fully transformed into novel products? All of these questions are of interest to us.
This study was divided into five stages. First this study analyzes ready-made designs by conducting a literature survey; it then classifies them into three categories: art design, product design and material recycling, to determine the differences in form and content, respectively. Second, the experiment uses ready-made product designs of the second category as samples, card sorting as the task and grounded theory as the analytical tool with which to interview and examine subjects' reactions. After the coding process, the axial coding totals five characters: (1) the selection component, (2) the extraction function, (3) compilation technology, (4) form perception and (5) interpretation. Third, the ERP Study I investigates how semantic networks represent different artistic products. The ERP Study I was recorded while participants made style-match judgments about table and chair sets. All of the tables were in normal styles, whereas, the chairs were in either normal, minimal, ready-made or deconstruction styles. The ERP I results found that both the ready-made and the deconstruction styles elicited N400 and LPC effects, which suggest that the forms of these two design styles possess differences from the minimal and normal styles. Furthermore, these results reveal that the semantic networks represent different design styles for the ready-made and the deconstruction styles. Fourth, an ERP Study II was recorded for the cognitive differences between the participants with design and non-design backgrounds to the ready-made design. The stimuli were used for five types of objects with differential percentages. The ERP II results showed that participants with design backgrounds elicited a higher N400 effect than the non-design background participants did, suggesting that the designers responded to a wider area and are more sensitive than the non-design background participants. Lastly, this study performs design guides and processes them into a ready-made design workshop. Since the design works are different from usual products, these works cannot provide a model for mass production. However, ready-mades can inspire designers’ creativity and thinking. The results can grasp deconstruction techniques and principles of ready-made designs and possible responses of users. This helps us to objectively review the orientation of ready-mades in product design and the phenomenon of its existence.
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