本篇論文名稱取自作者自身的創作系列名稱「遊子——失去了身體之後，這次我們不再想回到故鄉」。遊子有遠遊、離鄉之意，而我挪用了遊子與故鄉兩者之間的關係。「遊子」代表著當今的我們，生活在數位日常中，時常游移在虛擬世界裡，遲遲不願返回現實——也就是我們的「故鄉」。當我們失去了肉身，將意識投入到這片數位汪洋中，也許我們不再像以前的遊子般，流連著現實、留戀著故鄉。
本篇論文以創作者自身於碩士階段的創作為研究主題和對象，進行剖析、實驗、實作（展覽）與檢討。創作大致分為「泳池派對」、「遊子」與「義體計畫」三個系列，均是環繞當代人與數位空間之間的情感關係為主題，表現當代獨有的語彙和日常狀態，但所用之媒材與形式各有所不同，藉以表達該主題的不同面向。
本篇論文首先以分析自身過往的創作，從中找出對於碩士階段創作的動機與目的，並且提出幾點疑問：若創作者選擇繪畫或實體裝置作為媒材，且以數位媒體的特殊形式、虛擬網路的視覺特徵、社群媒體之於當代社會的關聯與數碼時代有關的視覺文化為題材，為何選擇以寫實繪畫和立體裝置呈現而非使用數位媒體進行？在剖析自身的背景和對創作的疑問後，於第二章與第三章研究數位原民、後網路藝術與實體創作的靈光，從中找出自身創作的論點與價值。第三章以自身創作系列中的符碼和語彙進行說明，並將自身實驗創作的過程與展示方式加以描述。在第四章透過碩士階段所創作的各個系列進行詳細的論述，並總結本研究的結果與未來規劃。

The title of this thesis is based on the title of the author's own creative series, "Wanderer –– After losing our body, we don't want to return to our hometown anymore.". The word "wanderer" means to travel far away from home, and I have appropriated the relationship between wanderer and hometown. It represents our digital daily life, often wandering in the virtual world and reluctant to return to reality, our "hometown". When we lose our physical bodies and put our consciousness into this digital ocean, we may no longer be like the wanderers of the past, lingering on reality and hometowns. This thesis takes the artist’s own creations at the master's level as the subject and object of study, and analyzes, experiments, and reviews them. The works are broadly divided into three series: "Swimmingpool Party", " Wanderer" and "Prosthetic Project", all of which are themed around the emotional relationship between contemporary people and digital space, expressing the unique language and daily state, but using different materials and forms in order to express different aspects of the theme.
This thesis begins with an analysis of my own past creations, from which I identify the motivation and purpose of my creations, and raises several questions:
If the artist chooses painting or physical installation as the material, and takes the special form of digital media, the visual characteristics of virtual network, the connection of social media to contemporary society and the visual culture related to the digital age as the subject, why does the artist choose to use realistic painting and installation instead of digital media?
If the artist chooses painting or physical installation as the material, and takes the special form of digital media, the visual characteristics of virtual network, the connection of social media to contemporary society and the visual culture related to the digital age as the subject, why does the artist choose to use realistic painting and installation instead of digital media? After analyzing my own background and doubts about my creation, I examine the inspiration of Digital Native, Post-Internet Art and the Aura of physical creation in Chapters 2 and 3 to find out the points and values of my creation. In Chapter 3, I illustrate the series with symbols and languages of my work, and describe the process and presentation of my experimental creation. Chapter 4 provides a detailed discussion of each series, concludes with the results of this study and future plans.

中文書籍
1. 生安鋒著，《霍米巴巴》，新北市：揚智，2005。
2. 鄭月秀著，《網路藝術》，台北市：藝術家，2007
翻譯書籍
1.Walter Benjamin著，王炳鈞群譯，《作者作為生產者》，河南大學，2014。
2.Walter Benjamin著，許綺玲譯，《迎向靈光消逝的年代》，台北市：台灣攝影工作室， 1998
3. John Berger著，吳莉君譯，《觀看的方式》，臺北市：麥田，城邦文化出版：家庭傳媒城邦分公司發行，2010年。
4.Arthur Coleman Danto著，林雅琪群譯，《在藝術終結之後:當代藝術與歷史藩籬》，台北市：麥田，2004。
5.Nancy Katherine Hayles著，賴淑芳群譯，《後人類時代:虛擬身體的多重想像和建構》，台北市：時報文化，2018。
6.Jean Robertson著，匡驍譯，《當代藝術的主題：1980年以後的視覺藝術》，南京：江蘇美術出版社，2011年。
7.Marita Sturken、Lisa Cartwright著，陳品秀、吳莉君譯，《觀看的實踐：給所有影像世代的視覺文化導論》，臺北市：臉譜，城邦文化出版：家庭傳媒城邦分公司發行，2013年。
8.Robert Venturi, Denise Scott Brown and Steven Izenour編著，徐怡芳群譯，《向拉斯維加斯學習》，江蘇科學技術出版社，2017。

外文書籍
1. Howard Rheingold. (1993). The Virtual Community, ADDISON WESLEY PUBLISHING COMPANY, MA.

期刊論文
1. 朴美貞、梁明心，〈淺析霍米巴巴的混雜性和基於文化翻譯理論的多元文化翻譯〉，《哲學與文化》42卷5期，2015年。
2. 周書暉、法諾昕，〈iPhone 手機使用者經驗研究〉，中華傳播學會年會論文，2011年。3. 林珮淳、葉綠屏，〈新媒體藝術的探討，以「”Boom!”快速與凝結新媒體的交互作用」台澳交 流展為例〉，《美育》雜誌第 169 期，2009 年。
4. 陳秀蓉，〈手機文化之探討〉，生活科技教育月刊36卷第2期，國際臺灣師範大學科技應用與人力資源發展學系出版，2003年。
5. 黄鳴奮，《互聯網與藝術》，〈學術月刊〉，6 月第 39 卷，2007年
6. 蔡偉鼎，〈數位複製時代的靈光消逝論〉，《國立政治大學哲學學報》第38 期，2017年。
7. 薛孟珊，《網路空間與藝術》，國立台灣藝術大學《造型藝術學刊》，2007 年
8.Whelan, A. & Nowak, R. (2018). "Vaporwave Is (Not) a Critique of Capitalism": Genre Work in An Online Music Scene. Open Cultural Studies, 2 (1), pp451-462.
9.Oblinger, D., & Oblinger, J. (2005). Is it age or IT: First steps toward understanding the net generation. Educating the net generation, EDUCAUSE, (2005), pp.2.5-2.8.
10.Prensky, M. (2001). Digital natives, digital immigrants . On the Horizon, MCB University Press, Vol. 9 No. 5, (2001.10), pp.1-6.
11.Grafton Tanner. (2016). Babbling Corpse: Vaporwave And The Commodification Of Ghosts. London, UK

網路文章
1. 黃大旺, “網際網路美學現象「蒸氣波」過路觀察”, TAIWAN CONTEMPORARY CULTURE LAB，（2021.11.25）網址：< https://mag.clab.org.tw/clabo-article/vaporwave/>
2. @amyhoy and @thomasfuchs of @slash7, “Twistori”, Twitter（2008.04），網址：< https://twitter.com/twistori>
3. Amalia Ulman, “Excellences and Perfections”, Instagram（2010-2014），網址：< https://webenact.rhizome.org/excellences-and-perfections/20141014150552/http://instagram.com/amaliaulman >
4. ART AND THE MOBILE PHONE”，DIGCULT（2015.04.18），
< http://digicult.it/news/art-and-the-mobile-phone/>
5. Artie Vierkant, “Image Objects”, JstChillin.org（2010.12.15），網址：< https://jstchillin.org/artie/pdf/ perfections/20141014150552/http://instagram.com/amaliaulman >
6. Cadence Kinsey, “The Instagram artist who fooled thousands”, BBC Culture（2016.03.07），網址：< https://www.bbc.com/culture/article/20160307-the-instagram-artist-who-fooled-thousands >
7. Danziger Gallery “BIOGRAPHY PETRA CORTRIGHT”, Danziger Gallery（2019），網址:<https://www.danzigergallery.com/artists/petra-cortright>
8. Gene McHugh, “Post Internet”, Net Art Anthology（2009），網址：< https://anthology.rhizome.org/post-internet >
9. John E. Newhagen, Sheizaf Rafaeli “Why Communication Researchers Should Study the Internet: A Dialogue”, Oxford University Press（1996.03.01），網址：< https://academic.oup.com/jcmc/article/1/4/JCMC145/4584318 >
10. Karen Archey, Robin Peckham, “Art Post-Internet”, UCCA Center for Contemporary Art（2014），網址：< https://ucca.org.cn/en/exhibition/art-post-internet/>
11. Marie Chatel, “In Focus: Petra Cortright”, DIGITAL ART WEEKLY，（2018,11/16）網址：< https://medium.com/digital-art-weekly/in-focus-petra-cortright-103949688879>
12. Marisa Olson (2011). Postinternet: Art After the Internet . , Academia, (2011), 網址：<https://www.academia.edu/26348232/POSTINTERNET_Art_After_the_Internet>
13. MIZUNO Masanori, “The Texture of the Post-Internet Era”, InterCommunication Center（2012），網址：<https://www.ntticc.or.jp/en/feature/2012/Internet_Art_Future/post_internet.html >
14. Regine“Interview with Marisa Olson”, We make money not art（2008.03.08），網址：< https://we-make-money-not-art.com/how_does_one_become_marisa/>
15. Statista Research Department, “Instagram - Statistics & Facts”, Statista（2022.02.08），網址：< https://www.statista.com/topics/1882/instagram/ >
16. The ryder projects, “DIGITAL NATIVES: Thomas van Linge & Vivien Zhang”, The ryder（2017.11.11），網址：< https://theryderprojects.com/exhibitions/digital-natives-thomas-van-linge-and-vivien-zhang/ >