神遊電音：第三空間與電音三太子文化想像

Dancing with Techno Deities: Thirdspace and the Cultural Imaginary of Electric Techno Neon Gods San Tai Zi

本論文擬以當今流行文化中的電音三太子為文本剖析文化政治、國族論述、以及晚近資本主義之間的共謀關係與切割可能。在當今全球化的潮流之下，新臺灣主體意識構成開始有逐漸傾向於仰賴具備全球流行與傳統在地文化想像的趨勢。而電音三太子，因其具備臺灣傳統神聖性與全球流行次文化想像的特殊地位，往往成為當今建構臺灣國族論述的最佳範例。然而，以國族論述打造臺灣意識的企圖往往有將此種接搭文化本質化、同質化的傾向，並試圖將其所具備的神聖性與國族主義所強調的民族神聖性等同。在如此的脈絡下，電音三太子所具備的宗教神聖性便被巧妙挪移成為建構本質主義式民族國家的文化符碼而為其所收編。而另一方面，當代電音三太子的娛樂化也使得其成為臺灣多元文化主義的代表，在臺灣當今炙手可熱的文創風潮下隱隱服膺了晚近資本主義的文化邏輯。相較於上述國族主義論述和資本主義收編，本論文則由電音三太子實作和訪談資料出發提出電音三太子「出神」與「恍神」可能，試圖指出電音三太子在文化想像上具備了一種脫離國族論述和資本主義邏輯的「第三空間」，一種能暫時分心於國族神聖性和資本娛樂性的另類場域，並將之視為打造新臺灣意識的另類文化想像與策略。 This paper atms to tease out the intricate relationship between Taiwan's nationalism, late capitalism, and the cultural phenomenon of Electric Techno Neon Gods San Tai Zi. Under the influence of globalization, the construction of the 'new Taiwan consciousness' today tends to be motivated by a relentless exploitation of a cultural imaginary that consists of both global and local cultural elements. Electric Techno Neon Gods San Tai Zi, with its combination of global subculture and traditional religious practices, is often taken as an endorsement of the Taiwanese nationalist discourse. However, nationalist discourse in Taiwan often essentializes and homogenizes the hybridity of this cultural practice, the result of which is a 'sanctification' of the nationalist discourse in Taiwan. In this way, the religious sanctity of Electric Techno Neon Gods San Tai Zi is subsumed by an essentialist conception of nationalism. On the other hand, the construction of Electric Techno Neon Gods San Tai Zi as part of the entertainment and the cultural and creative industries in Taiwan today is also problematic, for it caters to the cultural logic of late capitalism; namely, multiculturalism. In contradistinction to these two representations of Electric Techno Neon Gods San Tai Zi in Taiwan, this paper takes cultural practices and interviews of Electric Techno Neon Gods San Tai Zi as a point of departure to suggest the possibility of the 'Thirdspace' embedded in this intriguing cultural phenomenon. This paper argues that the intervention of the 'Thirdspace,' as manifested in the cultural phenomenon of Electric Techno Neon Gods San Tai Zi, can be taken as a cultural strategy to create an alternative framework of time and space that resists the dictates of both essentialist nationalism and profit-oriented capitalism.