台灣在1970年大阪世博會後，透過2010以城市為主題的上海世博會，再次以台北城市之姿，重回世博會展覽的全球舞台，並以「台北無線寬帶－寬帶無限的便利城市」和「資源回收、垃圾零掩埋，邁向城市的永續」兩提案的展館，於「城市最佳實踐區」中呈現。屆時台商「震旦館」也將於世博會的企業館區，以「中華玉文化，城市新風格」之主題來呈現。上海世博會中的台北館，可說是繼故宮博物院的屢次跨國流動展、台灣館在威尼斯雙年展與建築雙年展的呈現之後，另一重台灣在全球展覽舞台上呈現的例案。本研究將首先藉著關乎全球文化公民身份展演的納入與排除之爭論，以及文化呈現的代表爭議與認同政治，來討論作為全球文化事件的世博會；並就兩岸敏感關係下的上海世博台北館，來對此全球議題提供不同視角的理解。其次、將以空間的符號文本分析來探討，以媒體與互動性科技來呈現城市未來與永續發展之主題的創意之戰，以及旅動的策展實踐。最後、將以流動的展演與參觀者的反身性，來探討各式旅動的參觀者(包括外籍參觀者、在陸台胞、台灣的參觀者、中國的參觀者，以及性別、階級、族群、年齡的差異)對此世博會的消費實踐。本研究企望以世博會前、中、後的三年時間，以上述各層面加以分析與探討。 World expo, the famous global cultural event with a very long history, performs the global cultural citizenship. Taipei Pavilion in 2010 Shanghai World Expo, using ‘Wireless city’ and ‘Recycling city’ as its theme, will be another significant opportunity to present Taiwan on the global stage, after the National Palace Museum’s several transnational travelling exhibitions and the Taiwan pavilion held in Venice Biennale. This research will explore the Taipei Pavilion in 2010 Shanghai World Expo as a significant cultural event through three dimensions. First of all, it will explore how the world expo as a global event perform its cultural politics, such as inclusion and exclusion, imposition of the symbolic orders through creating common culture. Second, it will study the politics of representation through analyzing the mediated interactive thematizing designs and the mobile curating practices as creative cultural wars. Finally, it will analyze how different mobile visitors (including the differences of nationalities, genders, ages and ethnicities) reflexively respond to the world exhibition. It will take three years to analyze the world exhibition, including its pre-exhibition imagination and the arrangement after exhibition.
