Thesis (Ph. D.)--University of Texas at Austin, 2003. / Supervisor: Mike Dahlin and Lorenzo Alvisi. Vita. Includes bibliographical references. Available also from UMI Company.

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This dissertation explores a shift in cultural memory theory and praxis that loosely coincides with the turn of the century. With Berlin as its focus, I trace this shift through three of its museum institutions (the Jewish Museum, the Masterplan Museumsinsel, and the Neues Museum). I specifically look at three aspects: their museum practices (how history is expressed), the main narratives embodied in their spaces (what history is being expressed), and the critical contexts in which they are embedded (what do these practices and narratives mean in the wider cultural context). Throughout, I develop the idea of a cultural memory that emphasizes how we use the past, or what we do with our cultural inheritance. This runs counter to the cultural memory that sees remembering as a categorical imperative ('never forget' or 'lest we forget'), a memory that is clearly embodied in Libeskind's Jewish Museum and is typified in critical work that either prioritizes trauma (Caruth, LaCapra) or stresses cultivating specific empathetic responses (Landsberg's 'prosthetic memory,' Hirsch's 'postmemory'). My cultural memory hypothesis fits within the general German field of Cultural Memory Studies, as typified in the work of Jan and Aleida Assmann. The outcome of thinking about memory as use, appropriation, and transformation of cultural inheritance is the characterization of the past as an analytical tool. This notion sits well amidst current work by Dekel and Arnold-de Simine who read museum/memorial spaces as facilitators of civic engagement. This new cultural memory can be found embodied in the architectural and curatorial framing of the Neues Museum, in its phenomenological approach to history, its narrative of fragmentary wholeness, as well as in its placing of the twentieth century in long narratives of historical continuity. These characteristics allow me to read the Neues Museum as an example of contemporary thinking about modernism, and thus as part of a discourse that looks to restore and transform crucial mythological tendencies.

Memory assembly and testing OEM as the IC semiconductor backend process by Taiwan conducts 30% manufacturing output globally. Mainly 50% of the output focused on DRAM. The quality and shipping were headed as the key factor all over the world. The manufacturing process improved in South Korea and mainland China accompanied with the raw material price rising after the 311 earthquake in Japan, enterprises encountering enormous challenge so their OEM manufacturing needs to incorporate the copper wiring process and lower the cost to enhance the competitiveness. The rush orders exhausted the DRAM on-hand parts after economic recovery during the first half of 2011. The shortage mainly came from raw materials, human resources and equipments. Precise planning with elastic resource and information system control became the top priority. Therefore as Elpida, the DRAM manufacturer in Japan, filed the bankruptcy protection, memory assembly and testing OEM manufacturers should be paced in tuning the policy of enterprise, organization, production elements and information system to face the rapid global economic environments change. We propose architecture-oriented memory assembly and testing OEM factory manufacturing resource planning management model (AOMATOEMFMRPMM) in this study. AOMATOEMFMRPMM is an enterprise architecture which uses structure-behavior coalescence to define the components, operations and task forces during the planning of the manufacturing resources. AOMATOEMFMRPMM lets corporation supervisors understand and manipulate effectively the manufacturing resources, lessen the risk of re-organization, improve the quality of maintenance and efficiency of communication of the information system.