過去研究發現助人行為是促進自己與他人建立友好關係，使得雙方產生對彼此有歸屬感的一種策略。然而，對於嬰兒而言，由於其助人行為能力正在發展，我們很難於自然情境中得知他們是否會為尋求此歸屬感，而促發其助人行為。因此，本研究之目的為探討嬰兒的助人行為是否會受到與他人建立友好關係的歸屬感而影響。本研究藉由兩個實驗來探討。實驗一藉由觀察60位18個月大嬰兒在接受不同認知意涵的內隱圖片促發其歸屬感後，進入助人任務的助人行為表現。實驗結果發現接受在一起性質圖片的18個月大嬰兒，並未因圖片促發其助人行為來維繫其歸屬感。為排除助人任務性質可能造成的干擾因素，實驗二調整了實驗一的助人任務後，在相同條件下進行觀察嬰兒的助人行為表現。結果發現雖然在一起性質的內隱圖片仍未促發其歸屬感而引發助人行為，但若將圖片分類方式改為知覺層級，將具有成對性質的內隱圖片（在一起、背對背與基準）與接受單獨性質圖片比較後卻發現，18個月大的嬰兒在特定時間區段（0至20秒、0至30秒）中有顯著較多的助人行為。此結果說明知覺層級上的刺激能夠穩定的促發18個月大嬰兒的歸屬感，進而引發其助人行為。 / Previous studies propose that helping behaviors can be an effective strategy for establishing friendly relationship and affiliation with others. However, for eighteen-month-old infants, the ability of helping is under development. Hence, it is difficult to evaluate whether they pursuit affiliation by helping others, especially in natural conditions. In this thesis, two controlled experiments were conducted to understand whether the helping behaviors can be evoked by priming. In the first experiment, sixty eighteen-month-old infants were recruited and primed by several implicit photos to evoke their tendency of affiliation and to measure the influence of the primes. Results show that the primes do not significantly evoke the subjects to perform more helping behaviors in both conditions: primed by the photos imply together and primed by other photos (back-to-back, baseline, and alone). To exclude the possible interferences of the previous helping tasks, the second experiment undertook the same procedures and settings with the first experiment, but modified the task to clarify the needs of helping. Results reveal that the difference of priming effect is still insignificant between together and others. However, if the photos are grouped by the easier-perceivable meaning: representing photos having two objects as together, and representing photos having only one object as individuality, the significance of priming can be observed. Subjects primed by together photos performed significantly more helping than those primed with individuality photos in specific periods (0-20s and 0-30s). Based on these findings, this study suggests that the perceptual stimulus can stably evoke affiliation of eighteen-month-old infants, and influence the tendency of helping others.

《身外物》為本人以「患病母親的女兒」視角，以影片創作詮釋媽媽初發病至今，我所感知到的家庭改變，以及家人與我共度媽媽生病的心境歷程。 《身外物》以紀錄影像為主，並藉由許多重建場景，以空鏡頭或意境式的影像之重演、動畫虛構方式，傳達有關個人成長記憶裡媽媽生病前／後的畫面，是屬於較具表現形式的個人紀錄片作品。 同時，影片的概念「身外物」，意指媽媽從前美麗的衣服，以及而今臥床狀態所必需的醫療用具；兩者分指向「健康」與「生病成為生命的一部分」的訊息，以兩種身外物象徵的故事敘事，帶出本人與家人陪伴媽媽生病一路走來的歷程。更期能在創作過程中，療癒自己多年面對媽媽生病以來的創傷心情，因此該作品是一則平靜卻也蘊含著對過去逐漸釋懷的影像述說。 / “Mother’s Belongings” is a film about how my family and I have been accompanying my mother with her illness all of the days, which has brought significant changes to our lives. As a daughter, I will depict my psychological journey based on what I perceive before and after my mother encountered the disease ever since my teenage. The film will include two parts: one is based on video records of my daily life, the other is some fictional clips about my past memories. The title “Mother’s Belongings” indicates different belongings (or apparels) of my mother’s “health” and “illness”. I intend to use the symbols of material nature to delineate the story of a daughter and her family facing the illness of her mother.

2013年，台灣本土出現第一個關心身障者「性」的義工團體－手天使，其組織免費提供重度身體障礙者性服務。當身障者「性權」議題逐漸檯面化時，來申請手天使服務的人卻皆為男性，經過手天使的努力，才終於在2016年9月出現第一位女性受服務者。本片記錄三位不同年齡的女性身障者，以及手天使團隊成員們，試圖從個人生命經驗，及社會「性」實踐，交織出女性障礙者在當今社會如何完成生命的渴望。 / In 2013, Hand Angels was founded. It is the first Taiwanese NGO with a focus on sexual rights, providing sexual services for people with severe physical disabilities. However, even amidst increasing awareness of sexual relief as an aspect of human rights for the disabled, all applicants for Hand Angels' services remained male until September 2016, when the organization serviced its first female applicant. Through the personal stories of three women with disability, and through following the work of the Hand Angels team, this documentary paints a picture of the struggles faced by disabled women in today's society, and their efforts to coexist with their physical disabilities and experience all that life has to offer.

隨著手持裝置的普及與社群網路的興起，大眾可以隨時拍攝影片並且上傳至網路上與他人分享。但是一般使用者產生的影片若少了配樂，將失色許多。除了原本影片帶給人們的視覺觀感之外，配樂可以帶給人們聽覺的觀感，進而使得人們可以更容易了解影片的情感，也可以讓人們更能夠融入在影片中。背景音樂推薦的研究主要有兩大種做法，Emotion-mediated Approach與Correlation-based Approach。我們使用Correlational-based Approach的方法，利用Correlation Modeling找出影片特徵值與音樂特徵值之間的關係。但是由於目前Correlation-based Approach的研究只有考慮到全域特徵，因此在此論文中，我們提出了區域特徵。區域特徵利用時間序列表達影片細部的變化，並且將區域特徵與全域特徵結合至Correlation Modeling中，透過 MLSA、CFA、CCA、KCCA、DCCA、PLS、PLSR演算法找出其中的關係並且產生背景音樂推薦的Ranking List，實驗部份比較了各個演算法在背景音樂推薦上的準確率，並且觀察Global Features與Local Features之間的準確率。 / Background music plays an important role in making user-generated video more colorful and attractive. One of current research on automatic background music recommendation is the correlation-based approach in which the correlation model between visual and music features is discovered from training data and is utilized to recommend background music for query video. Because the existing correlation-based approaches consider global features only, in this work we proposed to integrate the temporal sequence of local features along with global features into the correlation modeling process. The local features are derived from segmented audiovisual clips and can represent the local variation of features. Then the temporal sequence of local features is transformed and incorporated into correlation modeling process. Cross-Modal Factor Analysis along with Multiple-type Latent Semantic Analysis, Canonical Correlation Analysis, Kernel Canonical Correlation Analysis, Deep Canonical Correlation Analysis, Partial Least Square and Partial Least Square Regression, are investigated for correlation modeling which recommends background music in ranking order. In the experiments, we first compare the results of only global features, only local Features and incorporating global and local Features among each algorithm. Then second compare the results of different clip numbers and Fourier coefficients.

本影音創作以筆者父親逝世的自身經驗為發想，創作動機從解決自我內在的焦慮感出發，欲以第三人稱的影像視角陳述從喪父至今，個人主體所感知到的自我認同轉折，以及一路走來所經歷的連續性心境變化。希冀可透過此實驗性創作表達出筆者最純粹的感受，以及帶給有相似經驗的觀者一種力量。 創作作品形式以三段實驗性質影像短片呈現，由演員肢體語言表演內心心境為主，輔以意境式的大自然場景和動物鏡頭，以編導式影像的建構與重演等方式，傳達三階段式的抽象心境畫面。公開放映時，依三段實驗影片的特色與展場空間，設計出適合的錄像藝術放映模式，輔以平面式編導攝影作品和展場敘事之營造，意圖使觀者完整感受到筆者一路從情感上的「腐朽」，過渡到「混沌」的自我掙扎，最後則是生命旅程「重生」的敘事過程。 從兩次公開放映的展演成果出發，多數觀者雖可明確接收到創作主題，但仍偏好事前以文字解說情境的敘事脈絡，影像的「敘事之道」在此作品尚無法獨立存在。另，展演空間與放映模式的互動，會影響觀者對創作作品的詮釋與情緒投射，故作品在後製剪接階段，即需依據展場敘事做出適當的調整。最後根據觀者訪談與問卷調查，檢視本創作成品的放映成效與製作檢討，希冀能帶給後續創作者相關的創作建議。 / This presentation is based on the author’s own experience, trying to solve the inherent anxiety as creative motivation and image a statement from the perspective of the third person who has lost her father, expressing individual subjects of perceived self-identity transition and the continuity of mood changes experienced along the way. This presentation is created to express the purest feelings of author, and hope to bring a power to the audience who have similar experiences through seeing this presentation. This presentation is composed by three experimental films, which presented by an actor performing body language to stand for one’s inside heart with Fabricated Photography, and supplemented by nature scenes and animals’ lenses to reconstruct and convey three-stage manner formula and abstract mood scene. When it comes to public performance, this presentation is designed to use video arts mode according to the characteristics of the exhibition space and three films, combined with works of Fabricated Photography and the narrative of the exhibition, with the intention that the audience can feel the narrative way as the author, starting from the emotional “rottenness” stage to the self struggle transition “chaos”, finally coming to the process “rebirth” of life’s journey. From the results of two public performances, the majority of the audience still prefer to narrative contexts by words rather than images although they can clearly receive the creative theme from three experimental films. “Another way of telling "of images doesn’t work independently in this presentation as imagined. Also, the interaction of exhibition space and videos mode will affect the audience the interpretation and emotional projection to the films, thus the films need to make appropriate adjustments based on the exhibition narrative in post- production editing stage. Finally, according to interviews and questionnaires of the audience, it shows the effectiveness and production review of this presentation, hoping to provide relevant suggestions for subsequent creators of this similar theme.

目前用來鑑別親子關系的實驗室方法有血型測試和DNA 限制 切割片段多形性(RFLP) 標識基因。然而, 血型測試并無法用來論定孩子的生父身份, 僅能說明某被控男子有 無“可能”為孩子的生父; 此外我們可以利用RFLP取得任何用以鑑別親子關系的標識 基因。 經由血型測試和DNA 限制 切割片段多形性標識基因兩種方法, 我們得到需要的基因 型或表型組合(M、C、G),其中M 表母親的基因型或表型;C表小孩的基因型或表型;G表 被母親指控為孩子生父者的基因型或表型。如果每組(M、C、G) 的組成都能符合孟德 爾遺傳定律(Mendelian Law),由此可計算G 與C 之間究竟存在有多少為父子關系的可 能性。根據貝氏定理的條件機率觀念,Essen-M ller(1938) 和Wiener(1976)先后提出 兩種方法來計算G 為F 之事后機率, 分別為(1):父系指數法和(2):不排除法。在幾篇 相關的文獻中曾就這兩種方法的適用性提出質疑, 本文將探討父系指數法和不排除法 的可行性, 根據不同的著眼點, 可由此二法引伸出另外兩種方法, 內容詳見第二章現 有方法探討及其延伸和第三章不排除法之修正與貝氏決策法。 第四章方法研究中將佐以圖片加以解釋前兩章描述之四種方法的差異及優缺點, 并針 對幾位學者就現有方法所提出的疑點作更進一步的探討; 第五章主要描述這四種方法 在多重標識基因上的應用。

本文旨在探討蒙古察合台汗國立國中亞期間，其游牧封建體制自形成，變遷、到式微 的過程。全文共計十三萬餘言，分為七章十七節。 第一章為緒論，分為三節。主要闡述研究動機、目的、範圍與架構，以及就整體歷史 發展的觀點來說明蒙古統治中亞的特殊意義。 第二章為文獻探討，分為兩節，包括史料分析與一般研究評述兩個部份。 第三章分為三節，旨在探討早期蒙古游牧封建體制的發展及演進，首先是分析游牧封 建體制的定義，其次再就大蒙古國時期游牧封建體制的強化及其向西域的推移過程進 行探討。 第四章共分三節，旨在探討察合台汗國的建立及其初期游牧封建體制的形成。除了敘 述察合台汗國立國中亞的基礎，背景及經過之外，並分析該汗國在大蒙古國時期其內 部封建結構的運作，以及在大蒙古國的整體封建秩序中，其做為西域宗藩的特殊性及 重要性。 第五章共分三節，旨在探討隨著封建戰爭以及大蒙古國的分裂，察合台汗國逐漸脫離 早期與大蒙古國之間所保持的封建關係。同時隨著獨立汗國型態的確立，察合台系宗 王在中亞的封建王權也由於對游牧及定居文化的抉擇而出現對立的趨勢。 第六章分為三節，旨在探討察合台汗國因內部宗王勢力的對立而分裂，以及在此之後 其游牧封建體制逐漸式微的過程。而其中東、西兩汗國內察合台王權的衰落更是此過 程中值得重視的現象。 第七章為結論，為全文的總結。

在德希達的《明信片：從蘇格拉底到佛洛伊徳之外》(1987)一書中，〈郵寄〉這個文本由許多交換傳遞的明信片所組成。這些收錄於同一文本中的明信片令我們聯想到書信小說中編纂成冊的信件。許多十七、十八世紀的英國與法國書信經典名著構成了書信文類的主要架構，如吉樂哈格的《葡萄牙修女的情書》(1669)、理查生的《潘蜜拉》(1740)與《克萊麗莎》(1747-1748)、葛芬妮的《祕魯公主的情書》(1747)、盧梭的《茱莉，或新伊珞絲》(1761)以及德拉克勞斯的《危險關係》(1782)。面對這些書信文類的前導者，且處於二十世紀傳統書信寫作式微的時代中，是什麼因素促使德希達創作〈郵寄〉這部書信文本呢？〈郵寄〉的書信文本又與傳統書信小說有何不同呢？ 關於這個議題，我所提出的論點是，德希達的〈郵寄〉企圖解構書信文類。〈郵寄〉一方面強化了書信文類特有的書信特質，另一方面又以明信片的郵件傳遞效果取代替換傳統書信小說的書信文類特質。明信片的郵件傳遞效果主要呈現出「傳送終點」與「預期的收信者」這兩種特定規範的不可能性。明信片總是暗示信件傳送過程中「被攔截」與「多元收信者」的可能性。這樣的特質使明信片得以打破囿於最初起點與最後終點做為邊界的直線軌道。如此的突破有助於德希達解構西方知識體系的架構。明信片的郵件傳遞效果動搖了源自蘇格拉底的知識遺產直線傳承，顯示出知識遺產是經由多元讀者所傳遞的，且容許眾多不同的詮釋方法參與其中。多樣性的想法損毀了「原作與衍生」，「在場與缺席」以及「公開與隱私」之間的二元對立邏輯。明信片「半私密，半公開」(《明信片》62)的形式在多樣化所隱含的不確定性之間來回擺盪，游移不定。這種不確定性正是德希達藉由〈郵寄〉這個文本所要強調的。因此，即使身處電信通訊網絡遍佈的時代，德希達依然期望引發「不受拘束的明信片化帝國」(《明信片》104)的可能性。明信片化的意義並非加速書信寫作的「衰微」(《明信片》104)，而是希望能夠不斷地散佈差異產生的可能性。 在本論文中，我從迂迴、延宕與延異這三項特性來闡述明信片的書信特質。這三項特性同時交織於我對〈郵寄〉這個書信文本的討論中。在第一章〈書信文類：強化與替代〉裡，我提出了〈郵寄〉所呈現的似非而是的矛盾，既強化又替代書信文類的特質。書信文類因此被置於差異的迂迴內，而延遲了其文類身份認同的最後裁定。在第二章〈書信他/她者：欲望投射〉裡，我援引拉岡「小寫他/她者」的概念來闡釋書信寫作行為中的自我建構過程。由於寄信者需要缺席收信者的存在以召喚差異的產生，因此寄信者的自我認同總是不斷地在迂迴的信件傳遞空間中被延宕。第三章〈書信寫作：添補的矛盾〉裡，我將德希達對「添補」的概念與書信寫作中添加與替代的效果作了連結。書信寫作彌補了距離造成的溝通差距，同時也以距離替代了最後與缺席收信者真實相遇的那一刻。第四章〈書信交換：Fort Da消失與返轉的遊戲〉中，我比較了佛洛伊德、拉岡與德希達對於fort da遊戲不同的觀察角度。在書信交換的過程裡，當多元讀者的可能性被納入考量時，書信的傳送與接收便會持續地滯留迂迴於讀者的多元閱讀與詮釋，而延遲了到達預定目的地的時間。在第五章〈書信傳承：知識遺產的明信片〉裡，我探討了德希達對於〈郵寄〉中明信片上蘇格拉底與柏拉圖位置返轉圖所做的種種推敲。這些推測暗示了脫離知識體系直線傳承，迂迴而行的可能性。為了再現知識的意涵而創造出的多元詮釋角度會不斷地延宕知識傳承的最終意義。 / In Jacques Derrida’s The Post Card: From Socrates to Freud and Beyond (1987), the part of “Envois” is composed of many exchanged post cards. This collection of post cards reminds us of the letters compiled in epistolary novels. There is a lot of prestige attached to many seventeenth- and eighteenth-century English and French epistolary novels, such as Gabriel de Guilleragues’ The Portuguese Letters (1669), Samuel Richardson’s Pamela (1740) and Clarissa (1747-1748), Françoise de Graffigny’s Letters from a Peruvian Woman (1747), Jean-Jacques Rousseau’s Julie, ou la nouvelle Héloïse (1761), and Choderlos de Laclos’ Les Liaisons dangereuses (1782). These epistolary novels constitute the main frame of the epistolary genre. Then, confronted with the epistolary predecessors, what prompts Derrida to write the epistolary text of “Envois” in the twentieth century, in which the telecommunications networks appear to overpower the importance of writing letters or post cards? What is the difference between “Envois” and the previous epistolary novels? On this issue, I want to argue in my thesis that Derrida’s “Envois” is intended to deconstruct the epistolary genre by paradoxically valorizing and substituting the postal effects of the post card for the generic identities of epistolary novels. The postal effects of the post card primarily invoke the impossibility of the predestined destination and intended receiver. The post card always implies the possibilities of interception and multiple receivers in the process of transmission. In this way, the post card disrupts the linear path confined in the hierarchical opposites between the original departure point and the final destination. This disruption facilitates Derrida’s attempt to deconstruct the construction of knowledge in the Western intellectual genealogy. The postal effects are applied to destabilize the linear succession of intellectual inheritance originated since Socrates. The inheritance is transmitted by multiple readers and hence susceptible to a myriad of interpretations. The binary logic between the original and the derivative, the present and the absent, and the public and the private is undermined in the multiplicity. The form of the post card, which is “half-private half public” (Post Card 62), oscillates in the indeterminacy of multiplicity. The postal effects of indeterminacy aroused in the post card are what Derrida emphasizes in “Envois.” As a result, even in the age replete with the telecommunications networks, Derrida still proposes the possibility of “the unlimited empire of a postcardization” (104). The postcardization does not mean to precipitate the “decadence” (104) of epistolary writing, but it aims to disseminate and recurrently stimulate the possibility of difference. In my thesis, I propose three perspectives to illuminate the epistolarity of the post card: detour, deferral, and différance. They are interwoven in my discussion of Derrida’s “Envois.” In chapter one “Epistolary Genre: Valorization and Substitution,” I propound a paradox that “Envois” simultaneously valorizes and substitutes for the epistolary genre. “Envois” therefore puts the epistolary genre in a detour of difference and defers its determination of identity. In chapter two “Epistolary Otherness: The Object of Desire,” I apply Jacques Lacan’s concept of the object of desire to elucidate the self-construction in the act of writing post cards. The sender’s self-identity is continually deferred in a detour, because s/he requires the absent receiver to evoke his/her difference. In chapter three “Epistolary Writing: Paradox of the Supplement,” I relate Derrida’s concept of the supplement to the paradoxical effects of addition and substitution in epistolary writing. Writing post cards adds to a compensation of the distance, but it also simultaneously substitutes the distance for the final encounter with the absent receiver. In chapter four “Epistolary Exchange: Play of the Fort Da,” I compare Sigmund Freud’s, Lacan’s, and Derrida’s different observations on the fort da game. The fort da movements of epistolary exchanges are interminably deferred in a detour, when multiple readers in the process of transmission are taken into consideration. The multiple readers replenish possibilities of differences with a variety of interpretations. In chapter five “Epistolary Inheritance: Post Card of Intellectual Legacy,” I explore Derrida’s speculations on the scene of reversal copied on the post cards collected in “Envois.” The scene of reversal between Socrates and Plato is speculated to imply possible detours away from the linear succession of genealogy. Different representations of knowledge persistently defer the final determinate meaning of the intellectual inheritance.

本篇論文意在分析探討葛拉斯的小說《錫鼓》中主角侏儒奧斯卡照片影像式的敘事觀點，以其顛覆且批判德國二次大戰納粹時期的歷史。透過侏儒奧斯卡以回憶述說故事的方式，從被主流歷史掩埋的廢墟殘跡中，提出斷簡殘篇但相互關聯如星宿圖般的照片影像，以存留於照片影像中破碎的個人歷史抵抗正統歷史泯滅真相的力量。由奧斯卡小人物般卑下的目光如攝影鏡頭或伸縮、或放大、或停格的控訴納粹法西斯的惡行，及支持此一罪行的共犯結構— 德國中產階級的狂熱盲從，指摘納粹歷史如場荒誕鬧劇，德國小市民的亂倫敗德與搖旗吶喊的愚昧瘋狂。本論文欲透過班雅明(Walter Benjamin)、蘇珊•宋塔(Susan Sontag)、巴特(Roland Barthes)及德勒茲(Gilles Deleuze)與瓜達里(Félix Guattari)等人之理論架構逐章論述，分析奧斯卡之敘事觀點。首先以其畸形矮小身形猶如攝影式觀看，維持自身與外在世界的批判距離，且將事件做極度怪奇的放大或縮小，試圖還原歷史洪流中被淹沒或為人輕忽的細節。接著透過奧斯卡親人的死亡和他們留存在家庭相簿中的身影，以之視為凝結停頓時空的休止(caesura)和刺點(punctum)，交互出生者與死者，過去與現在，個人與歷史之間的辯證對話。最後探討照片式影像如部份物體(partial object)具有流動、多元、破碎的顛覆特質，檢視奧斯卡的觀點如何逃脫歷史、民族、國家所匯聚的統一整體，解除支配社會場域的「父–母–我」的伊底帕斯關係之力量，揭露納粹如父如神之形象背後的壓抑與荒謬，使其造成的歷史浩劫定格顯影。 / This thesis investigates Gűnter Grass’s The Tin Drum from the perspective of photographic images, using theories drawn from Walter Benjamin, Susan Sontag, Roland Barthes, Gilles Deleuze and Felix Guattari. Acclaimed as the greatest German novel written since the end of World War II, The Tin Drum is supposedly an autobiographical fiction of Oskar Matzerath, a character who, willingly stunting his growth at the age of three, has lived through the long Nazi nightmare and the loss of Danzig City. Wielding his tin drum and piercing scream as weapons, Oskar furnishes the reader with a profound yet hilarious recollection in the form of fragmented yet correlative photographic images on both German history and the human predicament in the modern world. Chapter One explores the effect of alienation resulting from Oskar’s grotesque perspective from Sontag’s idea of photographic seeing and Benjamin’s “distraction” element of the technical media. Oskar observes the adult world, from which he chooses to withdraw, from an unusual angle gained by his dwarfish size. His perspective, likened to the enlargement or close-up of a camera, displays the grotesquery in ordinary events to reveal what is hidden from us. Chapter Two prospects the force of interruption or arrest grounded on Oskar’s bereavement, with Benjamin’s caesura and Barthes’ punctum of photographic images. Death in the photographic images is endowed with the capacity to arrest and petrify the historical movement. The break from the present moment enables the rereading and refiguring of history. The Deleuzo-Guattarian conception of partial objects is employed in Chapter Three to explore how Oskar viewing the external world as objectivized images helps engender revolutionary forces to subvert the orthodox history. The photographic images in the appearance of partial objects break through the totalizing power of orthodox history and bring forth a dialectical optic to examine the past, present and future.

摘要 經濟發展是我國生存重要基石，而撐起這基石的正是我國多年來所發展的電子產業，積體電路設計公司的成立讓我國電子產業由代工模式轉而產品設計與發展模式。基於全球化的商業環境，積體電路設計公司若要永續生存發展，除了從傳統組織內部努力外更需重視產業環境所帶來的影響。而半導體產業從1947年開始到現在近一世紀的歲月歷經三次主要變革，使得矽智財產業興起，而矽智財產業是對於我國的半導體產業而言是一項極為重要的轉機，所以我國成立「矽島計劃」而其中之一的計劃就是成立SIP MALL ，期望藉由SIP MALL 的成立來活絡矽智財交易以促進新的半導體產業商業價值，進而提升我國半導體的競爭力。然而我國積體電路設計產業習慣做”Me Too ”的產品，大部分的業界對於我國是否有矽智財公司的空間都是懷疑。當然SIP MALL 的成功與否和我國的矽智財產業存活並沒有關連。而現階段SIP MALL 之現況除了授權模式外，仍存在著技術整合、模擬驗證、資訊揭露及合約簽定等交易瓶頸待解決，但其存活機率是很大，這和我國兩大晶圓代工的策略有很大關連，而半導體產業演變到現在這態勢，兩大晶圓代工勢必成為IDM 式晶圓代工公司所以各自會去支持集團中的SIP MALL。而本文是探討我國矽智財產業如何經營才能存活，總體環境對我國矽智財技術交易平台產業，矽智財供應商的主要關鍵成功因 素包括「利基市場的選擇」、「技術研發能力」、「軟體系統的支援」以及「系統廠的支援」四項。我國的IDM 、積體電路設計、系統廠、、等應取得目前我國市佔有率高的系統 規格制定主導權， 以下游推動上游的創新設計，將系統廠Concept 透過系統單一晶片規格的方式，跟積體電路供應商合縱連橫發展系統單一晶片。而矽智財交易平台則必須在矽智財的認證、鑑價及智慧財產權的制度下設計良善的運作管理機制，以大陸廣大的內需市場為基礎，培養我國進入高障礙矽智財的領域。同時本文也提出在我國產業環境中以車用微控制器、顯示、省電、記憶體、、等矽智財是可以進入利基市場，並以SWOT 分析其優劣，這是本文對我國矽智財產業小小的貢獻。 關鍵字：SIP MALL (Silicon intellectual property MALL )、IDM (IC Design Manufacture )、矽智財(Silicon intellectual property )、系統單一晶片(System on chip )、 晶圓代工(Foundry )、SWOT(Strength、Weakness、Opportunity、Threat)、 積體電路(Integrated Circuit )、微控制器(Microcontroller ) / Abstract Economic development is very important foundation for our country surviving, and that propped up this foundation is exactly the electronic industry that our country has developed for many years, The establishment of the IC DESIGN HOUSE lets the electronic industry of our country transfer from OEM way to design and developed way. On the basis of the globalized business environment , if the IC DESIGN HOUSE should continue survival and development forever, not only pay attention to the influence brought of industry's environment but also that organize the inside from the tradition hard . the semiconductor industry meets three main evolutions since 1947, rising the SIP (Silicon Intelligently property ) industry, and the SIP is an extremely important favorable turn as to semiconductor industry of our country, So that our government establishs the project which name is “Silicon Island Project”, one of this project’s plan establishs the SIP MALL, expect to activate the trade of the SIP in order to promote new semiconductor industry's commercial value with the establishment of SIP MALL, and then improve the competitiveness of the semiconductor of our country. But IC DESIGN HOUSE of our country is used to doing "Me Too" products, most companies in our country suspect that SIP industry can survives in our country. The succeeding or not succeeding of SIP MALL is not relation with the SIP industry survive in our country, In Current stage, the SIP MALL in our country depends not only on the licensing model but also on technology integration, simulation & verification, the information disclosure, and contract service.SIP MALL it survives probability is very high because the tactics of two major foundries in our country have very great connection, and this situation till now that the semiconductor industry develops, two major foundries certainly will become IDM Foundry and will support one's own SIP MALL each. And this page discussion how SIP industry of probing into our country manage could survive , the overall environment, to SIP technological trade platform industry of our country, the choice including “niche market selection”,”core technology research and development ability” , “software company supporting” and four items of “the support of the system company”.The business value chains in our country such as IDM, IC DESIGN HOUSE and the system factory should take the lead in the specification of system standards in where R.O.C.’s industry has high market share, thus the SIP ＭALL may serve the purposes ofleveraging the system know how and successfully delivering the SOC products. To improve the SIP MALL operation, we also need to build up SIP identification, valuation and IPR management systems. In the meantime, it is also crucial to take advantage of emerging markets in China, as well as to create the territories of Star IP with killer applications. And this pager also indicate the car’s microcontroller, the showing device, saving the electricities , Menory device are niche market selection in our country’s SIP industry, and its is good and bad with SWOT analysis, It is this pager which is a little contribution to SIP’s industry of our country. Key Words：SIP MALL (Silicon intellectual property MALL )、SOC (System on chip )、 SIP (Silicon intellectual property )、IDM (IC Design Manufacture )、Foundry 、 SWOT(Strength、Weakness、Opportunity、Threat) 、IC (Integrated Circuit ) 、Microcontroller