科技的發展日新月異，數位影音壓縮、網際網路與行動通訊等的技術突破,讓在有線電視、電信網路與行動通訊系統上所能提供相同的服務變的簡單，跨業競爭因此越來越明顯，而數位匯流代表了這個整合的趨勢，然而科技時代進步如此快速，但政府的法令卻遲遲無法跟上時代的潮流演進，因此造成了有線電視產業的封閉與發展停滯不前，甚至造成與電信產業競爭的不公平。 因此本研究的研究目的是探討數位匯流法立法後對有線電視產業的衝擊與因應策略為何?以及新的商業獲利模式為何? 研究方法則是參考Afuah A (2004)經營模式理論為研究架構，先從營運環境的方向來看產業的主要變化因子分別為何，這些因子將如何影響公司，公司又該如何修正自己的定位並調整價值活動、策略資源及成本變化的評估，如此一來才能在這產業快速的變化中維持或創造更高的公司利潤績效。 本研究主張，數位匯流法立法後若在2017年實施分組付費，將會影響有線電視業者的每月營收，同時當頻道上架平台更自由及同業新進業者進入競爭後，有線電視的收視戶將開始出現外流的問題，然而新的立法雖然會產生破壞但也能創造出新的商機，有些新的商機需要雙向網路的機上盒才能達到，因此有線電視業者應全面佈建雙向機上盒同時大幅改善其基礎網路的品質與頻寬，將自己定位為匯流平台並多投入更多的創新應用以拓展新的財源。 / The rapid development of technology breakthrough, like digital video compression, Internet and mobile communications that makes CATV, telecom network and mobile communications operators to provide the same service becomes simple and easy also causing more and more cross-industry competition is obvious. However, it represents the digital convergence intergartion is the trend in the near future. The age of technology advances so quickly, but the government decree has as yet unable to keep up with the trend of the evolution of the times resulting in the CATV industry its the development of stagnation or even resulting an unfair competition with telecommunications industry. Therefore, purpose of this study is to investigate the impact on the cable industry after digital convergence Legislation. 1. What are the CATV operator’s coping strategies? 2. And what their profitable new business model will be? Research method is a reference Afuah A (2004) theory of the business model for the study of architecture, starting with the direction of the major changes in the operating environment in terms of the respective industry factors, these factors will affect how the company, how should revise their position and adjust value activities, resources and strategies to assess changes in cost, this way in order to maintain or create higher profits in the performance of rapid change in this industry. The study argued that the digital convergence Legislation if it is established in 2017 and implement packet charge that will affect the monthly revenue of CATV operators, meanwhile when the channel contents can cross to different platform more freedom and new operators enter the competition. Cable TV subscribers will begin outflow, however, although the new legislation will cause damage but can also create new business opportunities, new business opportunities require to deploy two-way network set-top box to achieve, so the cable companies should be fully provisioned two-way set-top boxes and enchance their infrastructure quality and bandwidth, then positioning itself as a plateform of digital convergence. put more and more innovative applications to expand new sources of income.

There is a growing interest in bringing online and streaming content to the television. Gaming platforms such as the PS3, Xbox 360 and Wii are at the center of this digital convergence; platforms for accessing new media services. This presents a number of interface challenges, as controllers designed for gaming have to be adapted to accessing online content. We conducted a user study examining the limitations and affordances of novel game controllers in an interactive TV (iTV) context and compared them to "second display" approaches using tablets. We looked at task completion times, accuracy and user satisfaction across a number of tasks and found that the Wiimote is most liked and performed best in almost all tasks. Participants found the Kinect difficult to use, which led to slow performance and high error rates. We discuss challenges and opportunities for the future convergence of game consoles and iTV. We also analyzed the usability of the interfaces themselves with respect to each device. Accuracy ratings and context of task type were used to determine ideal component attributes such as button size and spacing. Additional strategies like snapping cursor to buttons in the case of small targets were also suggested. Paying attention to the strengths and weaknesses of each input method, we put forth a set of design recommendations for future iTV interfaces that leverage novel input devices. / Graduation date: 2012

主管機關於發照機制之選擇及其執照核發決定，不僅是滲透到無線廣電產業管制架構的每一處縫隙，也反映出社會價值之優先序位。 從上個世紀以來，解除管制、數位科技與匯流現象高度衝擊了過去以執照為核心的無線廣電管制體系，也引發了一波管制革新之需求。形式上，無線廣電服務與電台執照是一系列權利義務與一套法律程序之化身，但從其功能面來看，執照之核發寓含至少有「註冊登記，分類管理」、「資源分配」、「限制市場參進與競爭」、「費用徵納」及「行為監管」等多元之目標功能。在英美，無線廣電執照之核發反映出該國無線廣電體系之社會角色定位，也反應出不同廣電體系下執照釋出及其頻率核配方式與結果之影響；管制革新也同樣令其重新認知了傳統執照制度中課予廣電業者公益義務之價格問題。 拍賣法在廣電頻譜及經營特許之應用上，除有先例可循外，亦被認為將可以矯正過去傳統以命令與控制模式支配下之執照核發制度之缺失，並將因此增加頻譜使用效率、提升全體福祉。本文因此透過英美等國之制度規範與經驗之分析，來檢驗此一說法。期待藉由瞭解拍賣法及其相關特殊背景下運作之優劣得失，及晚近崛起之相關替選方案，能提供未來政策制訂者在商業廣電執照管理之改革議題上有更豐富的視野。 儘管拍賣法在無線通訊領域應用上，現階段看來有相當誘人的成果，但本文認為，無線廣電事業有其特殊性，傳統頻率指配結合營業特許之執照體系，在使用拍賣法上，將可能產生近用、市場競爭、使用效率、內容多元等目標上無一討好之結果。再者，要達成自由市場或市場模式追求之效率目標，也並非單純使用拍賣法即可；相關配套措施之施行，同樣不可或缺。再者，我國無線廣電體制與英美更有不同，因此如何避免出現主管機關缺乏落實政策目標之能力，至關重要。 目前我國無線商業廣電執照核發制度之問題，可說在頻譜與內容管制雙重目標間迷失；問題焦點並不在於拍賣或審議制的二選一習題上，而應是致力於明確化分配標準、公開透明的競爭程序。此外，在引入市場機制於執照制度、期能促進效率與效能之同時，如何平衡執照管理中的私益與公益問題，仍是數位匯流時代無線廣電執照管理議題之核心。 / The authority's choice of a licensing mechanism and decisions thereof not only permeate nearly the entire regulatory fabric of our broadcast industries, but reflect our society's priorities. Licensing, nominally, is a mutual promise by the legal procedure; moreover, it is also about the registration, limited competition, distribution of resourses, charges, and the code of conduct. Since last century, broadcast laws and regulations have been bombarded with deregulation, digitization, and convergence, and that is conglomerated to push the reform of broadcast licensing. Simultaneously, the communications revolution, like U.K. or U.S., has thrown into question the value of imposing public interest obligations on radio and television broadcasters. Broadcast licensing seems to be so daunting that some people anoint a few constituencies with very pressing appeals, give them special leverage, and throw everything else back on the market. The auction apologists would argue that the government should set clear and definite standards and tough performance requirements to ensure that good systems and service will result, whoever is the highest bidder. In a pure auction era, where dollars are equated with public worth and maximizing dollars will be the most important criterion, there will be strong pressure to also base allocation and allotment decisions on this standard. The merit of auctions in wireless communications licensing may be conspicuous, but the broadcast industry is unique and more complicated so that the change of a licensing mechanism, from the marketplace approach, could be made that a revised public interest standard and obligations failed to address the fundamental challenge--to reassess the power of the regulator when implementing the public interest obligations. Auctions of radio spectrum or broadcasting concession, in other words, will generate their own serious problems that should not be underestimated or denied. On broadcast licensing of Taiwan, auctions will not be the life buoy to predicaments of broadcast industries; on the contrary, a top priority is to enhance the clearness and definition, transparency, and fair competition, whether the authority prefers imitating an auction to innovating the traditional selection procedure, beauty contest, through a more competitive approach or not. Besides, we shall inspecting the key point of whether or not competition and the public interest are compatible in the ongoing dialectic still, continuing to struggle toward a balance between private initiative and public oversight.

Made available in DSpace on 2014-06-11T19:29:40Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-21Bitstream added on 2014-06-13T19:26:56Z : No. of bitstreams: 1 rodolpho_er_me_sjrp.pdf: 574275 bytes, checksum: 043fcbc5983dd0afa9401355ed6da3b8 (MD5) / A construção de Objetos de Aprendizagem (OAs) é um importante processo de Educação a Distância. Padrões têm sido definidos com estruturas de metadados para favorecer a reutilização e portabilidade dos OAs, como SCORM, LOM, ARIADNE, entre outros. Mesmo assim, a portabilidade entre diferentes sistemas de e-Learning requerem conhecimentos específicos. A dificuldade aumenta quando se direciona a diferentes meios digitais e de comunicação, como ambientes da Web e da TV Digital Aberta (TVDA) – um meio alternativo de acesso à Educação que vem sendo integrado à vida dos brasileiros. Nesse contexto, o principal objetivo deste trabalho foi a investigação de um novo modelo, OAX, para implementação de OAs com portabilidade para ambientes Web e para a TVDA. O modelo, baseado em metadados e codificação Base64, foi definido com base na estrutura SCORM. Para a criação e gerenciamento dos OAs, segundo o modelo OAX, foi proposta a arquitetura de um sistema de autoria, SOAX – uma aplicação Web, composta por quatro componentes, visando: encapsulamento do átomo de conteúdo OAX, armazenamento do conteúdo, aplicativos de gerenciamento/visualização de conteúdo e APIs (Application Programming Interface) de importação e exportação para padrões de OAs. O sistema SOAX foi projetado com a finalidade de atender educadores com conhecimentos básicos de Informática, de forma que pudessem construir os OAs preocupados apenas com os aspectos didático-pedagógicos. O sistema converte automaticamente os OAs para os formatos de padrões de OAs e para ambientes da TVDA. Está disponível uma versão beta do SOAX. / The construction of Learning Objects (LOs) is an important process for distance education. Standards have been defined with metadata structures to enhance the reutilizability and portability of LOs, such as SCORM, LOM, ARIADNE, among others. The portability between different systems of e-Learning requires expert knowledge. The difficulty increases when different digital media and communication environments are used, for example: Web and Open Digital TV (ODTV) – an alternative means of access to education that is being integrated into daily life of Brazilians. In this context, the main goal of this work was to investigate a new model for implementation of LOs (OAX) with portability to Web and ODTV environments. The model was defined based on the SCORM standard and was based on metadata and base64 encoding. The architecture of an authoring system (SOAX) was proposed for the creation and management of LOs, according to the OAX model. SOAX is a Web application and is composed of four components for: encapsulation of the OAX content atom, content storage, applications of viewing/management of content and APIs (Application Programming Interface) for import and export LOs for standards formats. The SOAX system was designed for educators with basic knowledge of computer. So they could concentrate efforts on didactic-pedagogic aspects of the LOs. The system automatically converts the LOs for the formats of the LOs standards and ODTV environments. A beta version of SOAX is available.

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.

當您看到此份研究計畫書時，五分鐘內可能您的e-mail郵箱已湧進二十封垃圾郵件（通稱SPAM）。據Ferris Research指出，社會花費在圍堵垃圾郵件的成本開銷上一年高達一百億美元。而根據聯合國國際電信聯盟（International Telecommunication Union，ITU)統計， Spam每年更浪費全球各國250億美元。這個驚人的數據傳達出一個訊息：對多數人而言－聽到「You've Got Mail!」，已經不再是令人愉悅的聲音了。Spamhaus的調查報告顯示 ，台灣及HINET一直是垃圾郵件主要輸出來源，過去AOL曾封鎖由HINET 寄送的郵件，一度造成台灣HINET使用者相當大的困擾。隨著數位匯流（Digital Convergence）時代的來臨，除了Email Spam外，電話行銷、Mobile Spam、SMS簡訊SPAM及VoIP都是數位匯流時代下垃圾郵件客攻掠的戰場，而我國行政院所草擬之「濫發商業電子郵件管理條例」草案明文只規範垃圾「郵件」問題，而未及其它垃圾訊息，法律若未對此議題及早規範，可能草案還沒出立法院大門就已經被時代淘汰。 因此，本文欲針對數位時代下可能興起之垃圾訊息型態作全面性的檢討，以建構一更為完善的垃圾訊息法制已未雨綢繆。本文之研究方法如下： 第一，針對美國之垃圾訊息法制的內容與立法背景，進行比較法研究。台灣的濫發商業電子郵件管制條例草案，內容主要係參考美國法，但在若干立法例仍有所不同，例如於是否需要標示主旨欄（Subject Line Labeling）則有不同選擇。對此，筆者曾於在律師雜誌發表對美國聯邦貿易委員會（FTC）研究報告反對強制行銷業者寄送廣告信必需標示主旨欄的不同意見，且建議台灣的「濫發商業電子郵件管制條例」草案做相反規定 。此外，在處罰對象及門檻之設計亦大相逕庭，例如沒有刑罰規定。而在於規制主體上，我國草案的內容明文只限於垃圾『郵件』之規範，對於日益惡化的的新型態未經邀約的商業訊息，像是透過無線傳輸設備或是行動設備所接收的未經邀約之商業訊息等，草案並無法可管。因此，本文並將針對垃圾電子郵件以外的其它新興垃圾訊息法制進行說明與分析，以供未來立法及執法的參考。 再者，本文將藉由國內外的實務案例研究了解法律實際操作情況。因為台灣法律目尚前無法處理垃圾郵件這個新興法律問題，導致檢察官無法可用，之後通過草案亦可能會面臨到法律不足的問題，因此實有必要針對實際案例操作深入了解。 第三，本文擬就我國之「濫發商業電子郵件管理條例草案」內容進行通盤檢討，提出更符合數位匯流時代之法制架構，以更有效防堵垃圾訊息。美國史丹佛教授Dr. Dan Boneh在「the Difficulties of Tracing Spam Email」 一文中提及垃圾郵件客技術日新月異，防不勝防。可預見SPAM這個議題將隨著科技演進而日益嚴重。隨著數位匯流（Digital Convergence）時代的來臨，除了垃圾郵件外，電話行銷、行動簡訊（Mobile Spam）、簡短訊息服務SMS 及網路語音（Voice over Internet Protocal）、多媒體圖片訊息（MMS）都是數位匯流時代下垃圾郵件客攻掠的戰場，實有必要針對此些新興類型之Spam進行防範。 / Within the five minutes it takes for you to read this essay, your e-mail box may have already received 20 spam mails. Ferris Research has pointed out that the costs incurred to society in blocking spam has reached US$10 billion per year. And according to International Telecommunication Union (ITU), the annual global cost of spam is US$2.5 billion. These startling figures convey a bit of information: for most people, the message “You’ve got mail!” is no longer welcome.. Based on a survey conducted by Spamhaus, Taiwan is a leading source of spam messages. AOL once blocked all e-mail messages coming from Hinet, which at one blow caused huge difficulties for Taiwanese Internet users. With the coming of the Digital Convergence era, besides e-mail spam, new forms are emerging such as mobile spam, telemarketing calls, SMS messaging spam, and VoIP spam. The Digital Convergence era will provide all kinds of opportunities for spammers to attack. However, Taiwan’s draft Anti-UCE Act addresses only e-mail spam. If the law does not address the broader issue early on, it may be outmoded even before it is passed. The US remains the main source of reference for Taiwan in the area of technology law. Long ago, before the US enacted the “Can-Spam Act,” there was “Shiksaa.” I would like to do in-depth research on American cyber and technology law so I can develop a suitable legal solution to Taiwan’s very serious UCE problem, to reduce the losses to society and to business productivity that are caused by spam, to eliminate Taiwan’s bad reputation for being a main spam exporter, and to spur e-commerce development. My research project would be as follows. 1. To examine the inner traits of various SPAM regulation and do interdisciplinary research 2. Deploy case-based and comparative law study to gather practical material 3. Combine the research results from technology and law to contribute to the ultimate resolution of SPAM.