西元1969年，在日本誕生了一個新型太鼓表演團體---「佐渡國‧鬼太鼓座」。日本沉寂了近千年的太鼓文化，自始進入了嶄新的一頁。「佐渡國‧鬼太鼓座」的成立，並非是歷史上的偶然，也不是藝術工作者隨機創作的成果。它的設立基礎，源自於日本十九世紀後大量傳入的西洋音樂。西洋音樂的輸入，改革了日本的音樂文化環境，也提供了「佐渡國‧鬼太鼓座」成立的資源。此外，日本國內現在上萬個這種類似的現代創作型太鼓集團的演出風格，則反映了日本十九世紀以來的精神指標---傳統中的革新。傳統與革新，並不是兩個互相對立的文化概念。筆者將從日本太鼓音樂集團的分析中，逐一闡釋近現代以來，日本所稟持的這種獨特理念。如何在傳統的根基上，進行文化改革？如何在革新的背景下，守住歷史遺產？日本太鼓文化的傳統與革新，及其對台灣鼓藝近二十年來的影響，筆者透過「佐渡國‧鬼太鼓座」的研究，來闡明它的內涵。

隨著網路時代的來臨，人際互動與溝通模式產生新的轉變，世界各地的網友可以藉由網路平台，表達自己的想法並且結交志同道合的朋友。喜歡特定品牌的網友們也會自行集結成立品牌社群，社群中的成員會以各種型式的創作與眾人分享其對於該品牌之愛好。有鑑於台灣寬頻網路普及率在世界名列前茅，品牌社群如雨後春筍般相繼成立，網友們也紛紛透過發表與瀏覽使用者創作與品牌社群成員互動，因此本研究目的在於找出影響網友加入品牌社群動機，及影響社群成員創作與消費使用者創作的因素，最後探討參與使用者創作對於品牌認同和社群認同的影響。 本研究以結構方程式來驗證Clary, Snyder, Ridge, Copeland, Stukas, Haugen, and Miene (1998) 功能性動機架構應用於品牌社群使用者創作之動機與態度，Eccles and Wigfield (1995) 的期望─價值理論對於使用者創作認知價值與態度間關係，以及Bagozzi and Dholakia (2005) 的品牌社群成員對於使用者創作態度及其使用者創作參與意圖的關聯，參與意圖對品牌與社群產生認同感之差異。 本研究有以下重要發現： 1. 社群導向加入動機會正面影響社群成員創作與消費使用者創作之態度，品牌導向加入動機則無顯著影響。 2. 品牌社群成員認為在社群中發表或瀏覽使用者創作越有價值，會更願意參與使用者創作的活動。 3. 對於創作使用者創作具有正面態度的社群成員，其參與使用者創作的意願越強，消費使用者創作態度較無顯著影響。 4. 社群成員參與使用者創作意願會強化品牌認同與社群認同，亦即越有意願參與使用者創作的成員對於品牌與社群之認同感越高。 / With the coming of the Internet age, people begin to change the way they communicate. People around the world can share their opinions on the Internet platform. Brand fanatics gather together and establish brand communities, and create different kinds of user-generated content to express their affections on the particular brand. In Taiwan, the assessiblity rate of Internet is occupied the leading position in the world. Moreover, brand community members interact with other members via publishing and consuming user-generated content. Thus, the purpose of the research is to find out the factors that influence brand community participation motivation, creating and consuming user-generated content, and the relation between user-generated content participation intention and brand identification and community identification. The Research is based on the conceptual framework of Functional Motivation proposed by Clary, Snyder, Ridge, Copeland, Stukas, Haugen, and Miene (1998) to investigate the relation between motivation and attitude toward user-generated content. With the Expectation – Value Theory proposed by Eccles and Wigfield (1995) to find out the influence of perceived value on attitude. Finally, the research will follow Bagozzi and Dholakia (2005) conceptual framework to discuss difference between the brand identification and community identification from the user-generated content participation intention. The research induces the following findings: 1. Community Oriented Participation Motivations will positively influence the brand community members’ user-generated contetent creation and consumpation attitude. Brand Oriented Participation Motivation will have no influence on the user-generated contetent creation and consumpation attitude. 2. The brand community members will base on the perceived value of creating and consuming user-generated content to engage user-generated content activity. 3. The attitude toward creating user-generated content will positively influence on the user-generated content participation intention. There is no significant influence from the attitude toward consuming user-generated content. 4. The user-generated content participation intention will reinforce the brand identification and community identification.

本專題為編導式攝影製作，以夢遊為影像故事腳本，隱喻創作由發想至產出的過程。專題概念始於「創作的發想就像一場白日夢，創作的過程就像夢遊」，拍攝六段城市裡的夢遊冒險，將夢遊比喻為創作的不同階段，並在書面文字中解釋這些隱喻。 六段拍攝劇情為「失眠出門、夜遊尋找、甦醒伸展、逃離丟棄、瘋狂吞食，與沈浸熟睡」，由五位主角與我接力演出，以六人表示身處不同創作階段、激發不同面向的自己。故事由主角夜裡失眠開始，進入尋找與丟棄的主線，像是創作初期開啟不同的領域，稍做伸展停留，卻又離棄原有構想，接著進入大吃劇情，以食物帶給身心的雙重滿足，代表創作的喜悅。最後將落葉倒入浴缸中代表歸納與沈浸，浴缸如想像力的船，落葉如眾多故事的隱喻。當我墜入夢境，故事便進入夢中夢的循環。 這是一場呼應自己創作歷程的演出與拍攝，場景與道具皆有隱喻與前後牽引，具影像敘事的實驗性。考量人在夢中的視角，是能夠看見自己演出甚至指揮劇情的，同時具備導演與演員身份，故在作品說明上會使用到第一人稱與第三人稱。 / This project is a production of fabricated photography, which adopts sleepwalk as the script, implying the process of fulfilling thoughts into the tangible work. The project began with the concept that inspiration of creating is similar to daydreaming as well as the journey of creating is akin to sleep-walking. Six sequences of sleepwalk-adventures that shot in the city symbolize the different phases of creating, which will be clarified in the following articles. The plots consist of the insomniac going out, wandering and seeking, waking up and stretching, fleeing and abandoning, wildly swallowing and consuming, and settling and falling asleep, all of which are performed by five characters and me. Six characters indicate that the creator was located and inspired by different phases and facets of creating. The story begins with the protagonist couldn’t get to sleep at night, then wanders into the story line where she/he is seeking and stretching various ideas, then leaving these possibilities behind, which symbolize the first stage of creating. The plots lead us into eating section, in which foods bring both mentally and physically satisfactions to protagonist, imply the gratifications in creating. In the end, pouring the fallen leaves into the tub represents summing up and immersing. The tub is like the boat of imagination carrying fallen leaves that imply diverse stories. Once I fall into the dream land, the story goes into the circle of dreams and dreams. This is a performing and shooting that respond to me. All the sets and properties attaching to one another in the context serve as the holders of metaphors, indicating the experimental essence of image narrative. In terms of viewing angles in the dream, one can see herself/himself in the dream and even dominate the plot of it, as if she/he is playing director and actor at the same time, which is the reason that the first person and the third person narratives are both used in the depictions of this work. Keywords: Creating, Dream to Dream, Fabricated Photography, Image narrative. Sleepwalk.

長久以來音樂於人們生活中扮演著極為重要角色，在大多數人的成長過程裡或多或少皆有令其印象深刻之旋律。然而這些旋律常由專業人士所創作，對於未接受過專業訓練的民眾而言，若欲創作自己專屬之音樂難度甚高，而此目標也變得遙不可及。 為解決上述問題，降低音樂自行創作門檻，本研究以行動裝置之使用環境不受限及直覺性觸控介面兩大特性為運行環境，設計Android系統上之音樂創作軟體，協助未受過音樂專業訓練的庶民透過音樂主旋律並搭配適合的和弦配樂達成自行創作音樂之目標。本創作音樂軟體利用行動裝置提供「繪畫旋律曲線」與「字詞輸入」兩種輸入方式，將使用者繪畫的旋律曲線轉換為一段音樂主旋律，進行調性判斷、修正主旋律組成音並利用音樂動機樣式變化加以使主旋律更為豐富，輔以隱藏式馬可夫模型產生適切之和弦序列。最後將主旋律聲波與其產生的和弦聲波以混音的結果呈現給予使用者。 為評估本創作軟體是否符合使用者需求，以實驗觀察法邀請38位受試者進行軟體操作與評估。分析結果顯示，近75%的受試者認為由音樂創作軟體所產生之主旋律與和弦彼此搭配良好且符合其音樂動機。在介面易用性評估方面，結果顯示有近90%受測者認為本研究所提出的音樂創作軟體具有簡單易用之特性且能夠協助其降低創作音樂之門檻。簡單且易用的音樂創作軟體在實務上之重要性不言可喻，不但可使非專業使用者達成自我創作音樂之夢想，更可讓其沉浸於音樂創作成就感之中。 / Music plays as an essential role in human life and it affects the listeners on a certain extent. However, a pleasing music is the production of musicians and is difficult to be created by novices without musical specialty. To lower the entry point of music creation, this thesis design and develop a music accompaniment system on Android with the characteristics of intuitive input and ubiquity for novices without professional music background. The developed system consists of the following modules, main melody preprocessing (key determination and melody modification), music similarity retrieval, main melody post processing (music motif variance), chord accompaniment (Hidden Markov Model and mixing main melody and chord melody) and text processing (tone determination and pitch finding) to automatically match the accordance between melodies and chords that are inputted by patting or word. Thirty-eight participants were invited for system evaluation using the observational experiment. Nearly 75% of participants perceived that the melody and chord matching fits their musical motivations, while 90% stated that they can rely on the system to easily produce desirable music. Our findings contribute to the essence of music creation that the system provides a simplified interface for novice being immersed in music accomplishments, similar to that of professional musicians.

本研究以「使用與滿足」理論探討圖文創作部落格閱聽人使用行為，以時常造訪圖文創作部落格之網友為研究對象，本研究利用「問卷調查法」與「深度訪談法」進行研究，兼顧量化及質化兩種研究途徑。透過網路問卷抽樣調查方式，回收有效問卷325份，並針對知名圖文創作部落客及圖文創作部落格的重度使用者進行深度訪談。 本研究目的在探討圖文創作部落格讀者使用動機、使用行為、滿意度、忠誠度變數之內涵。分析不同人口統計變數對使用動機、使用行為、滿意度與忠誠度之差異性。檢定使用動機、使用行為對滿意度與忠誠度之關係。經由量化分析與質化訪談對經營圖文創作部落格之部落客提出行銷建議。 研究結果顯示圖文創作部落格讀者以女性上班族為主，年齡層以21-35歲居多，教育程度以大專為最多，居住地區以北部為主。圖文創作部落格之使用動機以「休閒娛樂動機」因素最高。在使用行為方面，讀者通常每天或每3-5天就會回訪一次，可見圖文創作部落格的讀者黏著度高。在使用滿意度上整體滿意度偏高，其中以「歡愉滿意度」因素最高。在使用忠誠度上則以「再訪忠誠度」因素最高。 經過質化與量化的分析，本研究建議想經營圖文創作部落格之部落客，應多著墨於有趣、好笑、生活化及流行話題的相關內容，並提高發文頻率，藉由舉辦實體活動，結合虛擬與實體創作，達到延伸性的長久經營。 / In this study, "uses and gratifications" theory of creative graphic blog audience usage behavior. To the users frequently visit the creative graphic blog as the research object. The present study, use"questionnaire" and " interviews" to research, both quantitative and qualitative study of two kinds of ways. Sample survey questionnaire via the Internet way, 325 questionnaires were usable, and for the well-known graphic creative bloggers and fax heavy users interviews. The purpose of this study was to explore the use of creative graphic blog readers motivation, behavior, satisfaction, loyalty variables of the content.Analysis of different demographic variables on the use of motivation, and use of satisfaction and loyalty of the differences. Test the use of motivation, and use of satisfaction and loyalty to the relationship. By quantitative analysis and qualitative interviews with creative graphic bloggers make marketing recommendations. The results showed that creative graphic blogs for readers are women, mainly of office workers, mostly age to 21-35 years of age, educational level to college as the most northern area of residence-based. To the use of motivation is "leisure motivation" factor in the highest. The use of behavior, the reader is usually every day or every 3-5 days would be a return visit, we can see creative graphics blog readers adhesion is high. The use of satisfaction on overall satisfaction high, in which the "joy satisfaction" factor high. On the use of loyalty by "revisit loyalty" factor in the highest. Through qualitative and quantitative analysis, this study suggests that wish to create a blog of business creative graphic bloggers should be more to write about interesting, funny, daily life and popular topic relevant content and increase issued a document frequency, by holding physical activity, combination of virtual and physical creativity, to achieve an extension of long-term business.

札米亞京的文學作品中常帶有大量象徵、隱喻與反諷，使讀者在閱讀上不易理解。特別是非俄語母語者，由於缺乏對俄語文化概念的理解，常常對於文字中的特殊寓意難以領會。因此本論文就文化概念上的意義，與作家本人的哲學思考和創作思想，來分析與解讀札米亞京文學作品中的象徵意義。論文的主要內容以作家的四部小說《我們》、《洞窟》、《人類獵人》、《島民》為研究範圍，並以「火」和「水」的形像為本文研究對象。

本研究旨在探討同一文本不同形式讀物對國小高年級學生閱讀理解與創作之影響。學生閱讀純文字形式或圖文形式文本後，以閱讀理解測驗來檢測不同形式文本對學生閱讀理解之影響。在創作部份，透過續寫創作來了解不同形式文本對學生創作力表現之影響。最後，從課程問卷了解學生在閱讀圖文形式文本時對文字與圖畫關係的看法以及閱讀活動之喜好。 本研究以臺北市某國小之高年級學生為研究樣本，實驗組與對照組皆為28人，採準實驗設計和問卷調查法。依據學生之閱讀理解和創作前後測成績，用T檢定和單因子共變數分析來分析比較兩組學生之閱讀理解表現和創作力表現。從學生問卷填答狀況來統計分析學生對圖文關係之看法和閱讀活動的喜好順序。根據研究結果，可獲得以下結論： 一、 國小高年級學生閱讀圖文版文本在閱讀理解表現明顯優於閱讀文字版文本且不受性別因素影響。 二、 國小高年級學生閱讀圖文版文本時認為圖像與文字具有輔助、對稱與增強之關係。 三、 國小高年級學生閱讀圖文版在創作表現明顯優於閱讀文字版。 四、 國小高年級學生最喜歡的閱讀活動為影片欣賞，其次是續寫創作，而喜歡程度最低為閱讀理解測驗挑戰活動。 最後，根據本研究結果提出建議，以作為國小閱讀課教材選擇、課程設計與未來研究之參考。

隨著科技的進展，產生了許多新興的創作媒介與方式，使得終端的網路使用者不再甘於僅做為主流媒體所提供內容之接收者，也想進一步地成為內容的提供者，網路上混搭創作的興盛正是在此種潮流趨勢下的一種社會文化現象。網路混搭創作可依其創作內容之不同而區分為三種：網路混搭、影片混搭與音樂混搭；但其創作之方式都有一個共同的特徵：將不同來源之資訊、素材，經由混搭創作者發揮創意後，以嶄新面貌而呈現之作品。著作權制度之目的乃在促進人類智識文化之進展與累積，因此對於新興之網路創作也應賦予一定之保護，才能真正發揮著作權制度之功能。然而，現行著作權制度制定時並未充分考量到數位時代下各種創作方式與媒介之特性，所以並無法提供此類創作適當之保護。為了社會文化之發展，現行的著作權制度有其修正之必要，讓負責平衡公私益之合理使用原則能夠發揮其功能，而不再僅具有象徵性之意義，而是能更實際地落實保護之功能。此外，在現行著作權制度尚未修正前，本文也嘗試提出兩個體制內解決之方法：創作共用以及創新之商業模式。透過創作共用可以讓目前的著作權制度更有彈性；創新的商業模式則能讓所有著作權關係人能夠互利共生，更有助於問題之實際解決。 / This thesis aims to study on copyrights concerning the mashups on blogs. The technology evolution brings about new media and new mode for creation and the end-users can both be the information recipients and providers. Mashups become one of the frequently adopted modes among the internet creation and the copyright of mashups call for a closer study. The main idea of mashups is to mash and recombine materials taken from different sources with the creator’s own creativity. Mashups are regarded as a creation, which requires legal protection. However, the protections for mashups and their creators in current laws are still incomplete and needed to be amended for a better environment for creators. Beside the amendment of copyright laws, other solutions are as well available, such as Creative Commons and new business models. Creative Commons provides authors with some licensing clauses, which helps to create a more flexible creative environment. On the other hand, a good business model could transform legal issues into a commercial opportunity and provide the best solution for all parties related. The first chapter of this thesis will outline the main purpose and possible contribution of this thesis. The second chapter will introduce the blogs. The introduction will begin with the streaming technology and concerning legal issues. Streaming technology is a crucial factor in the developments and the functions of blogs. Further on, the thesis will elaborates the history and future trend of blogs. In the third section of the chapter, some main copyright issues of blogs will be brought into discussion. The third chapter is the introduction of audio-visual mashups on blogs. The discussion begins with website mashup technology and the types of mashups. Remix Culture plays an important role in the development of mashups and its connection between audio-visual mashups on blogs will be elaborated. The chapter will also include some copyright issues of audio-visual mashups on blogs and a detailed discussion on the fair use doctrine of the current copyright law. The fourth chapter will focus on the Creative Commons and new business models, which should be an alternative solution beside the law amendments. The discussion will involve with an introduction about Creative Commons. The ccMixter and Jamendo can be taken as two examples of combination of Creative Commons and audio-visual mashups. The chapter will as well include some latest digital music business models and suggestions for future mashup business models. This thesis indicates the deficiency of current copyright laws concerning the protection of mashups and calls for attentions to the necessity of law amendments. In addition, the thesis propose two alternative solutions for the copyright dilemma: the Creative Commons and new business models, through which the mashups problems can hopefully dealt with in a more practical way.

在機器學習與深度學習技術帶動第三次人工智慧熱潮，特別是與機器人、大數據、3D列印等結合，「人工智慧」成為各大科技企業重點發展技術，無論是透過成立研究小組或是併購的方式，在2016年即有40多家人工智慧技術公司被併購，同時這些技術也被應用在各式產品與服務中。此外不同產業中也陸續引進人工智慧，從事需要耗時費力的基礎工作，節省成本，也引發人類被取代的恐慌。世界各國除著力投資發展人工智慧之外，也重視人工智慧為社會及經濟產生的影響與現行法制的衝擊。 人工智慧技術也應用於創作與發明過程中，且在機器學習技術下，人類僅需輸入指示與限制，人工智慧完成內容創作所產出作品，與人類創作成果並無二致。或是像是神燈精靈一般，人類只要以人工智慧可理解的方式定義問題、要件分析、功能設計，人工智慧即能完成最重要的物理設計，解決人類之問題，其產出物可能是符合產業利用性、新穎性與進步性等專利要件。這些人工智慧創作與發明物是否符合我國現行著作權法與專利法之規定而受到保護，將是本文探討重點，本文將以文獻研究以及比較法的方式深入研究。 智慧財產權制度設立的主旨是為保護人類精神活動成果，以人類為創作主體為前提，人工智慧參與創作之成果對於現行制度而言自然有所扞格。然而人工智慧創作力對於未來創作與發明而言，都是有所助益，可豐富文化的多樣性並加快技術的發展。而日本知識產權戰略本部也於2016年四月時也將針對人工智慧創作物之法律保護，擬修訂智慧財產權法。如我國未來亦研擬將人工智慧創作物納入法律保護，本文參考日本立法相關討論以及美國學者之見解，提出立法時應考量的權利歸屬以及衍生的相關問題。 / Machine Learning and Deep Learning are leading the new artificial intelligence era, especially when integrated with technologies of robot, big data, and 3D printing. As A.I. gradually became the one of the most popular technologies, corporate giants, such as Google, IBM, Facebook, and Apple, have been setting up research labs and acquiring A.I. startups to improve the quality of their services and products. Meanwhile, through using their service and products, our daily life is filled with A.I. Moreover, in many different industries, companies are using A.I. to reduce their cost by replacing labors from time-consuming jobs. Governments not only invest in the development of A.I. technology, but also response to the impact A.I. brings to the society, economic and Law. Artificial creativity is a new way for creation and invention. With machine learning, human only need to input the indication and limitation for A.I. to generate the outcome which is almost the same as what human can do. A.I. is also being described as a “genie in the machine”. Human input the description of their problems, functional analysis, and functional design, then A.I. will do the physical design to solve the problems and generate inventions which are useful, novelty and un-obviousness. Whether these creations and inventions are copyrightable and patentable is the core of this essay. Intellectual property system is aimed to protect the result from human’s mind activity, so the author or inventor must be human beings. When A.I. is not just a creation tool, but a creative subject, that’s where a conflict occurs. However, A.I. creativity is beneficial to human creative and inventing activity, because it can quicken the progress of technologies and improve culture diversity. Legislators in Japan are planning to protect A.I. creation through modification of intellectual property law. If we also expect to protect A.I. creation and invention in Taiwan in the future, with Japan legislative discussion and America scholars’ theories, this essay might offer some useful indications on the right attribution and other derivation problems.

「預兆」即為民間創作微體裁，作為語言中的固定格言，同時也是具勸諭性的完整句。它的存在相當根深柢固，因為人人皆有將時、事、已知與未知連結起來的心理需求，並希望獲知未來訊息、根據預測修正自己的行為。 近年來，民間創作微體裁引起俄羅斯與各國學者的興趣，並受到各流派的研究。大部份的民間創作體裁已逐漸消亡，其中包括壯士歌、童話與歷史歌曲等。但是作為話語體裁的民間預兆不同於上述創作，在現代俄羅斯語言文化學的地位仍極為穩固，Primeta.yaxy.ru、Primety.net等相關網站即可間接證明該論點。 本論文旨在研究民間預兆於俄語國家語料庫(НКРЯ)十八世紀末至二十一世紀初文學及政論作品中的語義與語用功能。學者的首要研究著重在天氣徵兆、與天氣息息相關的禮俗、產業、日子以及其他主題性的預兆。對與物品相關，且含有「錢」、「房屋、器具」、「食物」、「衣服、鞋、配飾」等意義關鍵成分的預兆研究相對少很多。因此，對它們的研究便顯得更加重要。