[ 摘要 ]
過度都市化的過程已大幅影響原住民傳統生活，使得人類純真原始的音樂逐漸消失。台灣布農族的祈禱小米豐收歌 (pasi but but)為一首八部合音的歌曲，而布農族語巴西布布(pasi but but)原是「大家互相拉拔」的意思，衍生成大家來拉動這些音群。本作品以音樂、視覺與觀眾參與表演之「互動裝置」為創作表現形式，以同時播放多個音樂聲部，允許觀者移動身體去控制聲部音量，而也藉著投影之光影像隨著音量大小作高低起伏的改變。因此，文獻的部份包含從總體藝術品之概念分析互動藝術的定義、特質及思想脈絡，並對作者權的轉移、遊戲的概念、多媒體與跨領域趨勢等美學觀念以及相關作品進行探討，最後再完整呈現整個創作理念、過程與結論。除了將巴西布布原有字意反應在互動行為上，也希望藉此提出原始音樂逐漸消失的省思。
[ 英文摘要 ]
The traditional lifestyles of Taiwan’s indigenous peoples have been greatly influenced due to excessive urbanization. Because of this backdrop, their purely primitive musical styles are gradually disappearing. “Pasi but but” (“Prayer for the Millet Harvest”), a traditional song of Taiwan Bunun Tribe, is performed with a unique musical style called “eight-part harmonic singing”. “Pasi but but” means “lift up each other” in Bunun language, now it has a derivational meaning, “lift up the tone clusters together.” This work is “interactive installation”, involving music, visual images and the performance. In this way, different tones are simultaneously held. The participants can move their bodies respectively to change the volume of each tone. Their positions vary from high to low, according to the volume, along with the projected visual images.
This thesis attempts to probe into the definition, characteristics and the main idea of Interactive Art from the perspective of Total Artwork, to discuss issues about shifting of authorship, the concept of the game, the trend of multimedia and interdisciplinary practice, aesthetics and related works, and finally to comprehensively present the whole idea to create this work, the process and the conclusion. In doing so, not only can this interactive performance reflect the original linguistic meaning of “pasi but but”, but it also can hopefully draw public attention to the fact that primitive musical styles are gradually disappearing.