不同的作者賦予美麗島事件相關相片差異極大的圖說，混淆了我們對於美麗島事件的認識與記憶。本文的研究目的並非探究美麗島事件的歷史真相為何，而是從保有該事件記憶的相片著手，討論大眾傳播媒介如何運用相片再現此一事件，又呈現了什麼風貌的美麗島事件，以及從中形成了什麼集體記憶。對於美麗島事件的研究鮮少論及影像，因此本文期望能以相片與集體記憶的探討為起點，發現台灣民主化歷程中的軌跡與社會變遷的脈絡。 本研究的重心在於相片與集體記憶的相關意涵與二者之間的關連，應用論述分析的概念為研究取徑，以美麗島事件相關出版書籍中的相片為分析的對象。研究結果發現，相片可以再現真實，卻不一定能再現完整的真實。相片無法保存意義，因此不同的觀者因其知面之差異，與對相片背後社會文化脈絡理解之差別，賦予相片不同的意義，然而一則圖說只固定了相片的一種意義。美麗島事件發生二十年來，不同的解讀並非意味著對與錯的二分，而是反映了解讀背後的時空背景。我們由不同年代美麗島事件相關出版書籍中的相片與其所建構的集體記憶，可以發現歷史詮釋權的轉變，並了解社會脈絡對於相片與集體記憶的影響與重要性，以及台灣社會二十年來的相似與變化之處。 相片這樣的歷史記錄形式讓歷史詮釋有更大且更有力的詮釋空間，相片作為集體記憶表現、保存與傳遞的媒介形式，有助於集體記憶的建構與傳承。然而集體記憶的建構仍須受到歷史記錄的限制，有其不可任意性。因此集體記憶融合了「解剖者」與「拯救者」兩種研究取向，「現在」與「過去」在集體記憶中同樣重要，不可偏廢，二者相互扣連、互相辯證。

傳統的裝飾紋路，如獸面紋和雲紋，是經過工匠藝術家將其對於自然的變化與鳥獸的形態加以抽象化，藉由這些精妙的花紋傳遞豐富的訊息，形成具有象徵意義的紋路。本論文針對傳統中國雲紋進行分析，發現其保有高度的自我相似性，以此特性為基礎，我們發現到L-system也常被運用於此類特性紋路之創建，本論文以此語法為基礎撰寫生長規則，配合parametric L-system參數化的特性，不但可以讓雲紋達到很好的多樣性，同時配合非相片寫實電腦繪圖技術強化風格效果，讓我們的結果更忠於傳統雲紋，更進一步透過具時間序列的向量場資訊影響L-system之成長，產生具東方風格之動態雲紋。 / Traditional decorative patterns, such as animal mask and cloud patterns, are the art heritage from the abstraction of the changing nature and the shape of animals. These decorative patterns are not only exquisite art, but also meaningful symbolic patterns. In this thesis, we analysis the traditional Chinese cloud patterns, and find out the structure of self-similarity in cloud pattern. In this thesis, we design the growth rules base on the grammar of L-system and the parameterization of parametric L-system. We also combine the stylized line drawing to achieve a good variety of cloud patterns, and our results are faithful to the traditional art. Furthermore, we can generate the dynamic oriental cloud patterns with a time-varying vector field to affect the growth rule.

近年來電腦科學的進步只能以一日千里來形容，不管在軟體或是硬體方面都有驚人的發展，軟體方面有網際網路Web 2.0技術的興盛及普及，使得人們在分享及交流資訊更加快速且便利，硬體方面則有數位相機和有照相功能智慧型手機的發明，造就了分享資訊很快的從文字模式演變成影音、相片等多媒體模式。Flickr社群網站為目前網路世界裡最重要的相片分享平台，每個人都可以將生活中擁有喜、怒、哀、樂情緒的相片上傳至該網站上與他人分享，而且此網站平台也提供下標籤功能，讓上傳者可以更正確的傳達要分享的情感。如當相片被加註上快樂的標籤，也就代表上傳者對這張相片當時的環境情緒反應為愉快、或甚至於興奮，相反地；當相片被加註上生氣的標籤，就表示該相片給上傳者的情緒反應是不愉快的、或甚至於憤怒。當同一區域(如城市)透過大量情感標籤的累積，自然而然就會呈現出該區域的情感輪廓。 　　情緒議題的研究近年來在各知識領域中已被廣泛的討論著，但針對區域性的情緒表現之研究探討似乎還不多。本研究藉由Flickr社群網站的全球性特質，結合Derudder and Taylor兩位學者於2005年提出的「The cliquishness of world cities」研究報告，定義出41個商務活動頻繁城市作為本研究的研究範圍，並應用Flickr社群網站上強大又完整的API介面功能，撰寫Client端程式擷取這些城市在Flickr網站上有加註情緒標籤的相片數共761,854張、其相關的標籤數有21,569,593個，再經由本研究提出的研究方法及步驟，逐一處理這些各城市相片上傳者所加註的大量標籤，就可以找出每個城市各情感象限數量最多的前30個標籤當作顯著標籤。 　　最後本研究綜合分析從Flickr網站上取得的大量城市、相片、及顯著標籤相關資料，分別計算出每個城市正負向情感象限的強度百分比，再以正向情感象限強度百分比為基準，定義出這些商務活動頻繁城市的「快樂指數」數值；並利用社會網絡分析軟體NodeXL來觀察各城市、情感性標籤與顯著標籤所呈現的網絡關係。 / In recent years, the computer science progress is extremely fast, whether in software or hardware has an alarming growth. The software aspect has the Internet Web 2.0 technology prosperity and popular, causes the people in share and exchange information are faster and convenient. The hardware aspect has the digital cameras and the smartphones invention, causes the share information from the writing pattern to the multimedia patterns very quickly. The Flickr social website is the most important of shared photograph in the network world for currently,everyone can shared the joy, anger, sadness, happy mood photograph by uploading to this website. This website platform also provides the tagging function, lets the uploader can more correct transmission their emotion. When the identical region (such as a city) through a large number of emotional labels cumulatively, naturally will be showing the emotional contours of the region. Emotional issues have been widespread discussion in various area of knowledge in recent years, but research the performance of emotion for region seems not much. This research because of Flickr social website global special characteristic, combined Derudder and Taylor two scholars to propose "The cliquishness of world cities" research reports in 2005, Defines 41 economics and trade activity frequent city to take this research the study scope. Finally, this research made a comprehensive analysis by a large number of cities, photos, and significant label information from the Flickr website, and calculates the percentage of each city to the strength of positive and negative emotions quadrant.Then the percentage of positive emotional intensity as a benchmark quadrant, Defines these economics and trade activity frequent city's "happiness index".

獸面紋又稱做饕餮紋，其盛行於商代至西周早期，但早在夏代青銅器上就已發現這種紋飾，饕餮是古人想像出來的怪獸，進而再融合自然界中各種猛獸的特徵而成。一般形象是以鼻樑為中線，兩側成對稱排列，有大眼和頭上兩個大角，以及一個沒有下唇的大嘴。非相片寫實電腦繪圖技術(Non-photorealistic Rendering)不同於傳統的電腦圖學技術，著重於產生各式各樣不同於光學物理的繪圖效果。最重要的是如何分析各種藝術的結構和技巧，進而加以統整之後，建立系統性的演算法，將其重現於數位空間。本論文便是針對中國古代所流傳下來的獸面紋圖樣的設計創作去做分析，從而發展出一套系統，讓使用者輸入一張任意的動物圖像，將此圖像標示出特徵部位後再與我們收集的獸面紋樣資料庫做簡單的比對和變更，自動的產生繪製出具有中國古代獸面紋圖樣特徵的結果。 / Animal-mask decoration, also known as the taotie pattern, is an art stylization commonly found on bronze vessels from the Shang Dynasty to the early Western Zhou Dynasty. Taotie is an imagined gluttonous monster, which is composited with the characteristics of various wild animals. The general layout of taotie is a symmetrical face with pair of large eyes and horns, and a big mouth without lower lip. Non-photorealistic computer graphics (NPR) technology tries to produce all kinds of effects different from the optical physics, and focuses on analyzing and integrating the principle of the various arts and skills to establish a systematic method to reproduce the stylization. This thesis tries to analyze the structure of the traditional animal-mask decoration, and building a system to transfer the stylization. The User can input an animal photograph and manually select few feature points. Then the proposed algorithm will automatically extract the feature and find the correspondence in the example Database to create the new animal-mask decoration with the feature in the input photograph.

浮雕是雕刻藝術中重要的表現方法，藉由在平板上雕刻出高低落差，傳達出豐富的形狀視覺線索，是介於3D雕塑和2D畫作中間的一種物體外形的表現方式。本論文將針對淺浮雕這類型相對高度較低的浮雕技法，將要表達的3D場景壓縮到接近平面但盡可能保留細節。我們使用適應性直方圖均衡化技術去壓縮高度的動態範圍並盡可能強化細節，且經由降低取樣點數量的技巧加速適應性直方圖均衡化的計算，以利於使用者進行互動性自訂風格化。另外依照場景特徵的流向，增加特殊的刻紋去豐富淺浮雕的風格表現。 / Relief is a sculptural technique to express the shape feature on a flat surface. It is an art medium between 3D sculpture and 2D painting. In this thesis, we focus on bas-relief, which is a relatively low relief to compress the depth of 3D scene to a shallow overall depth and preserve details of the shape. We use the adaptive histogram equalization (AHE) to compress the depth range and enhance details, and accelerate the AHE computation by sample reduction, which is in favor of the user interaction of custom stylization. Furthermore, adding special carving patterns according to feature flows of the scene enriches the stylization of the relief generation.

攝影問世以來，所帶來的影響與文化一直都是人們研究的對象，數位時代後，攝影的樣貌更是大幅改變。隨著智慧型手機的普及，以及各式後製app的興起，分享後製過照片至社群平台成為人們日常生活的常態；在廣受年輕人歡迎的Instagram上，也可看見許多精心後製、特別設計過的相片。本研究探討當今高中女生如何使用app處理手機相片，並發佈於Instagram上展現個人與集體的美感與風格，並進一步了解攝影於她們的意義。 本研究將以符擔性理論（Affordance Theory）作為切入點，透過深入訪談法與實物分析法，了解高中女生後製照片的實踐想法與過程，並持續追蹤、觀察高中女生Instagram上照片風格的呈現及變化。透過兩種研究方法，以更深入理解高中女生對待相片的心態。 研究發現，智慧型手機與Instagram等科技提供了多種符擔性，高中女生與科技互動，並依不同的需求感知到不同的符擔性，並據此做出不同的行為特性；同時，她們也因應自己所需，翻轉科技符擔性的限制，呈現了更多樣的實踐與互動可能。而在現實與虛擬社群中，她們的創意相片也共享了基本的設計原則，創造出屬於她們自己的藝術世界，並重新召喚了靈光再現。 / Since the time of its emergence, the effects that photography has had on culture has been studied by countless people. When it comes to the face of photography, the digitalization era changed it dramatically. The ubiquitousness of smartphones and rise of phone-editing applications has also made sharing apped photos to become part of our daily routines. On the photo-sharing app known as Instagram, the most popular site among teenagers, many well-crafted and expressive images can be found. This study aimed at exploring how Taiwanese high school girls use apps to manipulate their photos, and share these photos on Instagram, in order to demonstrate their personally creative and collective aesthetics. 　 This research was based on the Affordance Theory and contained two methods: in-depth interviews and methods of practical analysis in order to gain a deeper understanding of high school girls’ attitudes toward photography. 　 The study displayed that smartphones and Instagram provide a variety of affordances. Through interactaction with technology, high school girls perceive different affordances based on their own demands. They also interpret the limits of affordances, and thus do more or less designing practice on their photos, depending on their needs. The creativity of high school girls’ images share basic design principles which enable them to create their own art world and a specific aura with their photos.