從目前數位家庭產業的相關研究與發展中，本研究以廠商業者與消費者的角度探討對數位家庭的看法，整理各先進國家在數位家庭產業的發展，以及各個大廠的數位家庭發展策略。 本研究認為目前數位家庭產業以數位內容業者，數位服務加值廠商，網路與電信業者，以及資通訊與消費性電子產品廠商為核心，仍處於一起始階段，無明顯主導廠商；此外，光纖到府之高普及率、高度整合與互連性的數位設備、豐富且有價值的數位內容以及從消費者為出發點容易使用的數位家庭應用是為數位家庭產業成功關鍵因素。 另一方面，因應數位家庭的趨勢潮流，台灣除了參考美日韓等國的數位家庭相關政策與法令外，在產業策略面，必須利用台灣既有的優勢，除了為國內高科技電子產業找出下一階段的出路，更要積極累積異業整合的經驗，並以全球華人為目標，發展數位內容與服務。 / Involving in recent industry researches of digital home, the study has elaborated the development strategies of digital home industry in some advanced countries and manufacturers. The study tried to clear the digital home’s situation either from manufacturers’ or consumers’ opinions. Digital content providers, value-added service providers, ISP, and 3C manufacturers are seen as core roles in the development of digital home industry. However, who is the leader is not yet clear. In addition, the study showed that the popularization of FTTH, digital equipments with high integration, colorful digital contents, and all kinds of related digital applications should be designed from consumers’ concern are the key success factors in the digital home industry. Under the development trend of digital home industry, besides referencing related country strategies of America, Japan, and Korea, Taiwan government should take advantage of company’s superiorities well to help high-tech electronics companies find out their ways in the future. Furthermore, manufacturers in Taiwan should actively accumulate across-industry integrated experiences, and focus market on the Chinese people to develop all kinds of digital contents and service.

「知識經濟」時代裡，知識透過流通而生成更多文化資產帶給人類價值。知識，向來就是共有共享的。但起自智慧財產權出現後，開始出現知識私有、知識買賣的情形出現。難道，是著作權(copyright)戰勝了著作義(Copyleft)？近年來全球掀起一片「告！告！告！」的熱潮，無論是美國的Napster訴訟案，還是台灣的「成大MP3」事件；還是微軟在美國的反托拉斯訴訟，或是在台灣面臨合理議價調查，都顯示「著作權」引發的相關問題蔓延全世界。 本研究將知識/文化商品視為資訊資本主義社會的生產工具，並且探討當「智慧」變成「財產」時，資本主義、國家機器爭權奪利的過程中出現的問題與爭議。研究者先就著作權的政治經濟脈絡耙梳出「著作權」不是「道德問題」，而是「經濟問題」，更是國際關係中藉以制衡弱勢小國的利器。 實證部分以1960-2002年間台灣著作權發展過程中三個衝突事件為例，包括1960年代的《大英百科全書》翻印風波、1980年代的「蘋果電腦侵權事件」，及1990年代跨國公司進入後的台灣流行音樂產業作為個案，具體驗證台灣著作權發展過程中，的確受到資本主義與國家機器及國際依賴關係的影響。最終以近年來網際網路發展蓬勃，連帶引出的著作權爭議作結，本研究除了對台灣著作權的政治經濟發展提出看法外，亦在結論中對知識/文化產業，及著作權規範的未來發展提出意見。 / Under knowledge-based economy, knowledge brings more value to human beings by spreading and then generating cultural properties. Although sharing is the essential characteristic of knowledge, there have been some arguments that knowledge is private and knowledge can be traded after the idea of intellectual property rights emerged. Does it mean Copyrights overtops “Copyleft”? In recent years, there have been more and more lawsuits related to copyrights such as Napster vs. RIAA in 1999 in the US, and IFPI vs. NCKU MP3 lawsuit in 2001 in Taiwan. Moreover, Microsoft, the worldwide leading software company, also faced US federal government’s antitrust violations prosecution, and rational price investigation by Taiwan government. All these cases indicate that copyright has caused problems all over the world. This thesis regards both the knowledge and cultural products as the producing tools of information capitalism society. It also discussed the conflicts between Capitalism and state apparatuses when “knowledge” became “property.” By examining the context of political economy in intellectual property, the author achieved two conclusions. First of all, the copyright is not a moral issue but an economic one. Secondly, in international society, copyrights have been the weapon for powerful nations to control the powerless ones. We cited three copyright conflicts in Taiwan from 1960-2002, including the reprint issue of Encyclopaedia Britannica in the 1960s, copyright violation case of Apple Computer in the 1980s, and the international pop music piracy disputes in the 1990s, the author made an empirical research to conclude that the development of copyright in Taiwan indeed was affected by the capitalism, the state apparatuses, and the international interdependency. This thesis ended with the prospective copyright issues originated from the burgeoning Internet industry. Not only did the research indicate some suggestions regard to the development of political economy in copyright, also made comments about the future development of knowledge/culture industry’s copyright regulation.

「溫羅汀」指的是台北市大安區的溫州街、羅斯福路以及汀洲路的區域，在七、八零年代開始，隨著台灣大學為核心的運動氣息和自由氛圍，聚集著人文氣息濃厚的主題書店、獨立音樂及咖啡館所構成的文化地景，擁有著獨立、非主流、自由的精神。「溫羅汀」的獨立音樂場景也由著這樣的文化與歷史脈絡而於此落葉生根。 透過論文的整理與分析溫羅汀在地的獨立音樂的歷史、環境與文化，再以這個為背景，來討論台灣獨立音樂在台北的群聚與社會網絡，並觀察與分析溫羅汀做為台北獨立音樂場景的重要基地其主要的因素。最後，再從外部的政策環境以及內部的獨立音樂發展方向的矛盾，來討論台灣獨立音樂發展的限制。 研究認為，溫羅汀會成為台北獨立音樂的重要音樂場景主因是因為，溫羅汀的音樂人力聚集形成一種「創意型群聚」，而這樣密集的社會網絡提供了經濟機會，而且，這樣的群聚是集合了包含生活圈、社會網絡以及產業鏈的「生態圈」。因此政府在做相關產業政策時，絕對不能忽視獨立音樂場景之中，生活圈以及社會網絡對於獨立音樂發展的重要性。並且，政府在做獨立音樂產業政策時，各部會層級的溝通也都該有「文化」的思維，並且，部會間的橫向與縱向的溝通與協調機制也必須要能夠發揮。

韓國的文化工業發展興盛，「韓流」以韓劇的出口為開端，近年來隨著韓國流行音樂 (K-Pop) 不斷向海外擴張，韓流不僅影響亞洲各國，在歐美各國也掀起一股潮流，而社群媒體可說是這股風潮的重要推手。藉著社群媒體，K-Pop觸及了更廣大的聽眾群，歌迷也可藉著社群媒體直接表達對於偶像的喜愛及忠誠。 隨著網路及新科技發展，音樂本身對於消費者將越來越便宜，實體唱片的銷量註定會持續下降；在這情況下，消費者在演唱會以及非音樂性衍生商品的消費，對音樂產業的重要性上升。因此了解願意付費觀賞演唱會以及購買衍生商品的樂迷，對音樂產業日趨重要。 檢視過去對於迷社群的研究，多從社會學及心理學的角度出發，缺乏從商學的角度切入的觀點，本研究旨在瞭解在數位音樂時代，社群媒體以及利用社群媒體串聯的迷社群，對於迷群音樂消費的影響。本研究以韓國偶像團體Super Junior的迷群為研究對象，以深度訪談方式，訪談11位Super Junior迷，了解迷的社群媒體使用習慣，以及社群媒體上的互動跟迷的音樂消費之間的關聯性。 經過深度訪談及資料分析，本研究得出以下三點結論：(1) 透過社群媒體集結的迷群，相較傳統的迷社群，雖然信任關係發展較慢，但社群媒體的人際關係發展與真實生活較貼近，在社群媒體的上的互動，對社群內部成員有較高的影響力；(2) 社群媒體對於迷群而言具有多重的功能：與Super Junior成員直接互動的工具、獲取最新資訊的管道、擴散有時效性訊息的媒介、和其他迷互動的媒介。在音樂消費的過程中，社群媒體除了是消費資訊來源地，也是買家跟賣家的媒合地，迷對於來自於社群內部的消費資訊有較高的信任感，因此雖然社群媒體上的迷群互動不會直接將使用者變成消費者，卻可以促成消費的完成，對於音樂消費有重要影響；(3) 社群媒體在音樂產業中扮演三個角色：音樂消費與擴散的媒介、音樂相關資訊的集中地、促成產業內各角色 (迷、歌手、唱片公司) 之間的交換 (exchange)。 / Korea’s cultural industry has enjoyed rapid growth due to the rise of “Korean wave (hallyu)”, which is led by Korean drama since 1990s. Korean wave has conquered Asia, but now with the rise of K-Pop, Korean wave reaches a wider audience in the West. Social media plays a crucial role for Hallyu’s success in the global level. Social networking media make K-Pop brands easier to reach global audience, and those fans use these media tools to proclaim their devotion and to promote K-Pop to their friends. This research categorizes music products into musical product, including records and live concert, and non-musical associated product, including concert paraphernalia. New digital technologies have transformed the ways of music consumption which results in decline in sales of musical products. However, fans tend to engage with a variety of products related to their interests, and their consumption on live concerts and non-musical associated product is getting important for music industry. Existing research on fan culture mainly comes from sociology or psychology viewpoint. This research discusses fan music consumption from management perspective and tries to explore the role social media plays to influence music consumption. This research uses the most popular K-Pop group, “Super Junior,” as a case. Through interviewing 11 Super Junior fans, this research examines how fans use social media to communicate and interacts with other fans in the fan community. Through in-depth interviews and data analysis, there are three main findings concluded by this research. First, compared to traditional virtual fan community, in terms of virtual fan community, it takes longer to develop the trust relationship on social media. However, the way fans communicate on social media is closer to the real life. As a result, interactions on social media influence members much greatly. Second, social media is a multi-function tool for fans, which allows them to directly communicate with Super Junior members, to quickly receive the latest information from other countries, to quickly spread timeliness information, and to communicate with other fans. Therefore, social media and fan community do contribute to fulfillment of music consumption. Last, social media plays three roles in music industry: the platform of media of music consumption and diffusion, a place where all music-related information are collected, a contributor to exchange between different players (fans, singers, music companies) in the music industry.

智慧財產證券化係近年來智慧財產領域發展的重點。智慧財產證券化涉及到財務、會計、賦稅、法律、技術等跨領域的專業知識。本研究主要探討如何採用專案組合證劵化模式，發行專案組合擔保債券，並結合專案融資（Project Financing）、投資組合(Portfolios)、現金流量分析(Cash Flow Analysis)、風險管理(Risk Management)等投資分析工具，在智慧財產證劵化的應用。 本研究首先初步介紹證劵化的基本概念。如果能夠對證劵化的基本概念有初步認識，有利於對智慧財產證劵化的理解。其次，本研究介紹證券化的可行性研究及風險分析與評估。只有對投資專案風險做出正確的分析與評估，才能找出解決風險的方法及途徑，設計出可行的且風險能為投資人所接受的專案組合證券化架構及信用增強機制。專案組合證劵化架構的核心，係為SPV與專案公司之間的擔保貸款合約。該擔保貸款合約在本質上係智慧財產能夠從資本市場取得資金的橋樑。最後，本研究以流行音樂證券化為案例，說明如何將專案組合證券化模式應用於流行音樂證券化。 / The recent trends and developments of intellectual property focus on the securitization of intellectual property. Intellectual property securitization involves a variety of expertise such as finance, accounting, taxation, technical, etc. Intellectual property securitization is better to be defined as portfolio-backed securitization which should include a comprehensive business plan. This thesis is to study how to apply the proposed portfolio-backed securitization together with project financing, investment portfolio, cash flow analysis, and risk management to intellectual property securitization. This thesis starts with the introduction of basic concepts of securitization. Prior to entering into a specific discussion relating to intellectual property securitization, it is helpful to understand the fundamentals of securitization generally. This thesis also introduces the feasibility study and risk evaluation of intellectual property securitization. The risks for intellectual property securitization can be managed and the securitization structure and credit enhancements be accepted by investors only if the project risks have been properly evaluated. The core of portfolio-backed securitization is the secured loan agreement which bridges the project company’s income to the debt service by the SPV to investors. A hypothetical example of popular music securitization is illustrated to best explain the use of the proposed techniques. Keywords: Portfolio-backed Securitization, Intellectual Property, Portfolio, Cash Flow, Credit Enhancement, Security Interest, Popular Music

以往的音樂資訊檢索方法多使用歌詞、曲風、演奏的樂器或一段音頻訊號來當作查詢的媒介，然而，在某些情況下，使用者沒有辦法清楚描述他們想要尋找的歌曲，如：情境式的音樂檢索。本論文提出了一種基於圖像的情境式音樂資訊檢索方法，可以透過輸入圖片來找尋相應的音樂。此方法中我們使用了卷積神經網絡（Convolutional Neural Network）技術來處理圖片，將其轉為低維度的表示法。為了將異質性的多媒體訊息映射到同一個向量空間，資訊網路表示法學習（Network Embedding）技術也被使用，如此一來，可以使用距離計算找回和輸入圖片有關的多媒體訊息。我們相信這樣的方法可以改善異質性資訊間的隔閡（Heterogeneous Gap），也就是指不同種類的多媒體檔案之間無法互相轉換或詮釋。在實驗與評估方面，首先利用從歌詞與歌名得到的關鍵字來搜尋大量圖片當作訓練資料集，接著實作提出的檢索方法，並針對實驗結果做評估。除了對此方法的有效性做測試外，使用者的回饋也顯示此檢索方法和其他方法相比是有效的。同時我們也實作了一個網路原型，使用者可以上傳圖片並得到檢索後的歌曲，實際的使用案例也將在本論文中被展示與介紹。 / Listening to music is indispensable to everyone. Music information retrieval systems help users find their favorite music. A common scenario of music information retrieval systems is to search songs based on user's query. Most existing methods use descriptions (e.g., genre, instrument and lyric) or audio signal of music as the query; then the songs related to the query will be retrieved. The limitation of this scenario is that users might be difficult to describe what they really want to search for. In this paper, we propose a novel method, called ``image2song,'' which allows users to input an image to retrieve the related songs. The proposed method consists of three modules: convolutional neural network (CNN) module, network embedding module, and similarity calculation module. For the processing of the images, in our work the CNN is adopted to learn the representations for images. To map each entity (e.g., image, song, and keyword) into a same embedding space, the heterogeneous representation is learned by network embedding algorithm from the information graph. This method is flexible because it is easy to join other types of multimedia data into the information graph. In similarity calculation module, the Euclidean distance and cosine distance is used as our criterion to compare the similarity. Then we can retrieve the most relevant songs according to the similarity calculation. The experimental results show that the proposed method has a good performance. Furthermore, we also build an online image-based music information retrieval prototype system, which can showcase some examples of our experiments.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

近年來，寬頻網路與數位內容的興起，受到世界先進國家的注意。在台灣，寬頻網路與數位內容不僅是產業界及學術界熱門的研究及發展課題，也是政府既定的產業政策方向，但卻少有研究同時針對兩者進行完整的討論和其關連之研析。 本研究旨在針對科技、產製、市場、經營與政策五個面向，透過文獻分析與深度訪談法，從趨勢發展的角度探討數位內容與寬頻網路彼此的前景和關連。 本研究認為，寬頻網路與數位內容在科技、產製、市場、經營及政策等面向上的發展關連緊密，彼此相輔相成，並可以產生整合的效果： （一）科技面：寬頻網路傳輸效能與效率的提升，加上科技匯流與IP網路的整合，提供內容已成為寬頻網路必然的發展趨勢。 （二）產製面：數位內容可以發展多元創新的應用，主要仍是寬頻網路的推波助瀾，因此寬頻網路未來勢必成為數位內容最重要的傳輸通路。 （三）市場面：寬頻網路與數位內容的市場需求彼此重疊。提供加值內容可以創造寬頻市場的範疇經濟優勢，透過寬頻傳輸則可以擴大數位內容的市場規模。 （四）經營面：寬頻網路與數位內容經營者的核心能力不同，彼此價值鏈的關連緊密，並可以提供創新和多元的經營模式。 （五）政策面：世界重要國家都很重視寬頻網路與數位內容的推展，同時推展寬頻網路和數位內容可以滿足彼此在政策上的供給和需求關連。 在台灣，近年來寬頻網路和數位內容產業發展迅速，但少有相互合作以發揮整合優勢的成功案例，另外在寬頻連線速率和線上內容的品質方面，也還有進步的空間。因此，政府除應持續加強寬頻網路和數位內容的推展，也可以同時思考寬頻網路與數位內容產業政策之間的支援與整合。 / While the upsurge of broadband and digital content has attracted considerable attention in developed countries recently, in Taiwan, despite the fact the fixed official policy has propelled the R&D on the subject either in the field of industry or academia respectively, integrated program researches are inadequate. This research aims to explore the prospects and correlation of digital content and broadband through literature analysis and intensive interviews, focusing on five dimensions of technology, production, market, operation, and policy. In conclusion, the broadband and digital content developing cooperatively and coordinately results in synergy out of the five facets as below： A.Technology：The upgrade of transmission effect and efficiency, as well as the digital convergence and IP network integration, broadband entrepreneurs offering content has inevitably become a trend. B.Production：Broadband fostering the growth of digital content enables it be applied in an innovative way, making it definitely a significant transmission material for digital content. C.Market：The market demand of broadband and digital content overlaps, and the economy scope advantages in broadband market is reachable when broadband is provided with value-added content. D.Operation：Broadband operators and digital content operators, closely correlating with each other in value chains, vary in core competence, which may innovate and variegate business models. E.Policy：Most advanced countries have been making efforts to promote broadband and digital content, while the policies of broadband and digital content are both enforced, the supply and need of both industries can be fulfilled. Despite of broadband and digital content industries developing in Taiwan in recent years, successful synergy cases out of cooperation between broadband and digital content run short. The speed rate of broadband access and the quality of online content issues remain to be strengthened. It is suggested that the government persist in popularizing broadband and digital content, besides working out interdisciplinary policies for broadband and digital content.

《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩，其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在，以解失去對於個人時空感受所造成的罣礙，體驗生命的當下？於多數奧菲爾斯版本之中，到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景，其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中，不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國，再再顯示了維持恆常的重要性。作為重回秩序的工具，奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量，也就是所謂的共時性，其中蘊涵了奧菲爾斯文本中自身與世界的關係，及其與變動時空，延續感，以及重建秩序的關聯。 奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作，為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發，此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係，也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80)，奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此，他對於靈魂律動所提出的解釋，以及記憶是一種出於心智印象 (phantasiai) 的看法，為我們提供檢驗精靈王國時空感的理論基礎。 為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心，此篇論文分成四個章節：第一章介紹相關主題及評論。第二章介紹 中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中，我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀，將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式，透過精神蛻變 (metamorphosis) 和冥界之旅等面向，增進我們了解失去及無常的主題。最後，我將在第四章以豎琴的社會意義作結，解釋其對於口說傳統的文化傳承帶來什麼樣的影響，並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order. Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world. To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.