| 期刊篇名 | 卷期 | 作者 | 點閱次數 | 閱覽時間(秒) |
| 非同質化代幣（NFT）虛擬頭像的市場整體表現、流通性與不同價值的關係=The overall market performance and relationship between liquidity and different values of non-fungible token (NFT) avatars | 27期 | 柯梓偉,伊彬,Zi-Wei Ke, Bin I | 0 | 0 |
| 未來的永續檔案：後博物館時代的NFT應用=Sustainable Archives for the Future: NFT Application in Post- Museum Age | 27期 | 李寅彰,Yin-Jhang Li | 0 | 0 |
| 當NFT已死之後再次回顧科技藝術去中心化的思考—以夢回數位孿生之詩與快按右鍵另存展覽為例=After NFTs Have Died: Revisiting the Decentralization of Tech Art--Through the Lens of 'Dreaming of Digital Twins' and the 'Right-click to Save As' Exhibition | 27期 | 羅禾淋,He-Lin Luo | 0 | 0 |
| 文化相對論：以貝翠斯‧帕森的澳洲原住民藝術研究為例=Cultural Relativism: A Case Study of Beatrice Persson's Australian Aboriginal Art | 27期 | 吳姍蒲,Shan-Pu Wu | 0 | 0 |
| 解放、連結與批判整體論：初探當代藝術中的河流實踐=Exploring River Practices in Contemporary Art: Emancipation, Connection, and Critical Integralism | 26期 | 高俊宏,Jun-Honn Kao | 0 | 0 |
| 當代藝術作為部落傳統與記憶傳承之取徑：以森川里海濕地藝術季為例=Contemporary Art as Tribal Tradition and Memory Inheritance: The Case Study of Mipaliw Land Art Festival | 26期 | 董維琇,Wei-Hsiu Tung | 0 | 0 |
| 社區影像的論述形構：以台南市「家鄉紀錄手」作品為例=The Discursive Formation of Community Video: the Works of "TAINAN DOCUMENTARY" as an Example | 26期 | 曾也慎,Yeh-Shen Tseng | 0 | 0 |
| 巴贊的真實論=Bazin's Theory of Reality | 26期 | 楊詠晴,Yung-Ching Yang | 0 | 0 |
| 藝術博物館快閃/微型展覽運用數位科技之個案研究：以博物館校園數位微型展之運作為例=A Case Study of the Use of Digital Technology in Art Museum's Pop-up Exhibition : Take Museum's Digital School Pop-up Exhibition as an Example | 26期 | 吳紹群,Shao-Chun Wu | 0 | 0 |
| 劉德海琵琶創作中按指布局法的應用和音響追求─以《平安玉珠送親人-獻給白衣天使》為例=Left-Hand Fingering and Sound Expectation in Liu De-Hai's Pipa Compositions-Taking “Sending Peaceful Jade Beads to Loved Ones-Devoted to Nurses” as an Example | 26期 | 馬銘輝,董楠,Ming-Hui Ma,Nan Dong | 0 | 0 |
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