The video decribes a Chinese temple, Kwan Kong temple. This documentary follows the ceremony of this temple. We will watch the interaction between the worshipers and their God. The accompanying paper reports on the production background, preproduction process, and includes discussion of the problems encountered from production through postproduction stages.

This research uses extended case studies undertaken in two artists’ neighbourhoods, the Hong Kong’s Jockey Club Creative Arts Centre in Shek Kip Mei and Taipei’s Treasure Hill Village in Gongguan, to examine how historical state-owned spaces in old urban cores now have become new sites of production for artists and arts practitioners. It addresses how and why the two cities, with similar histories and urban strategies, have created and defined the artists’ neighbourhoods in different ways, resulting in diverse paths of socio-spatial development. Hong Kong and Taipei have constituted the few examples amongst East Asian cities that have converted state-owned properties into artists’ clusters under the management of non-profit organizations in recent years. In both cities, artists have become a vanguard for the revitalization of urban spaces that aim to serve the interests of the state, the cultural sector and local community through place-making practices, which entail participation in the production of meaning and local specificities of a place. Research on urban cultural strategies of East Asian cities has put more emphasis on the political-economic factors as shaping cultural spaces but little on the social dynamics involved in spatial production. This study suggests that the new form of artists’ clusters in Hong Kong and Taipei requires an approach that incorporates the social dimension of space into an analysis of the artists’ neighbourhoods, which have tended to be less economically driven than the art districts run by business corporations. By focusing on Hong Kong and Taipei, this study shows that not only are the orientation and socio-spatial outcomes of the two artist neighbourhoods shaped by history and state definitions of cultural governance, but also by the social dynamics on the ground as configured by the different compositions of cultural space, the relationships between the management, cultural producers and local community, as well as their associated spatial practices. This study demonstrates that Hong Kong’s Jockey Club Creative Arts Centre exemplifies a regulated space that has been shaped by contentious politics, in which incompatible spatial practices between the management by the non-profit company and the artists have created confrontations on a daily basis. The tendency of the non-profit company toward management practices, accommodating leisure and consumption experience, and including a wide variety of artistic experience has created contradictions and undermined social cohesion within the artist community. In the case of Taipei, Treasure Hill Village manifested the civic orientation of the state in cultural governance. The officials’ endorsements of social activists as cultural planners and artists as the drivers for community revitalization have reinforced public participation in cultural activities and public meanings of cultural space. The primary aim to foster collective sense of action within the artist community and the local residents in promoting civic engagement and social inclusion through arts has generated greater cohesion among the local actors. The differences between the two cases suggest that social dynamics have been central to how the experimental processes in place-making are realised and unfolded. / published_or_final_version / Sociology / Master / Master of Philosophy

published_or_final_version / abstract / Education / Doctoral / Doctor of Philosophy

Chan John. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2007-2008, design report." / Includes bibliographical references (p. 86). / Abstracts in Chinese and English. / Thesis abstract --- p.04 / Chapter Chapter 1 -- --- Prologue --- p.05 / Chapter Chapter 2 -- --- Research study --- p.12 / Chapter Chapter 3 -- --- Thesis design --- p.17 / Chapter Chapter 4 -- --- Case study --- p.44 / Chapter Chapter 5 -- --- Appendix --- p.85

本論文係自我國智障福利政策出發，檢視台北市之執行現況，以探討其間所產生之差 距，並試圖尋找差距發生的原因，及未來的展望。 全文共五章，各章要點如下： 第一章為緒論，說明智障福利之意義及我國智障福利政策之內容，並介紹本文之研究 重點及研究方法。 第二章為台北市智障福利現況之介紹，敘述其執行機關、執行經費及執行措施。 第三章為台北市執行措施與政策內容間一致性之探討，檢視二者之間所發生的差距。 第四章為理論解釋，分別就政策內容的明確性、執行機關的能力及政策的優先性三方 面，尋找差距發生之原因。 第五章為結論，台北市智障福利施行之現狀及未來的展望分析。

本論文共一冊，約七萬餘言，分成六章，其內容如下： 第一章為緒論，描述從事本研究的動機、目的、內容、範圍、及所採取的研究方法。 第二章為重劃效益之理論性探討，共分二節，先從市地重劃的內涵中，探討理論上辦 理重劃所能帶來的效益情形，並試擬重劃效益之評估準則項目，以做為實際效益分析 之參考依據。 第三章是台北市市地重劃效益之分析，共分七節，藉著重劃區之實地調查訪問及資料 、問卷分析，分別就公經濟及私經濟的立，分析台北市實際重劃效益情形，並從中發 現影響重劃效益之因素。 第四章為影響市地重劃效益之因素，共分五節，分別探討影響重劃效益之原因，做為 研擬改進市地重劃之方法及作業內容之參考依據，以達提高重劃效益之目的。 第五章為促進市地重劃效益之方法，共分五節，即針對影響重劃效益之因素，研擬改 進措施，提供市政府改進現行市地重劃作業方式及內容之參考，期能使市地重劃作業 ，符合都市建設實際需要，進而提高重劃效，滿足人民需求，改善都市生活環境。 第六章結論。就研究結果作出本個案的結論。

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撰寫本文的目的，在於對家用電器產品的消費市場作一系統性分析。以便能為廠商提供有價值的資料，作為其行銷決策上的參考。由於家用電器產品所涉及的範圈頗廣，故吾之研究項目只限於電視機。電水箱、洗衣機、冷氣機等大宗產品。本文共分六章。 第一章「緒論」，為就研究動機、研究目的與範圍、資料蒐集與研究方法作一簡單的介紹。 第二章「抽樣方法」，乃是有系統地將本文如何抽取樣本作一明晰的介紹。 第三章「社會因素對於消費行為的影響」，乃是就影響購買家用電器產品的社會因素如所得、職業、教育等加以分析，並利用相關表，求出各別的社會因素與家用電器產品消費的相關程度。 第四章「消費者購買動機分析」，此乃就消費者購買家用電器產品及寵顧特別品牌的因素加以分析，並就消費者對於主要電器產商的一般印象加以說明。 第五章「台北市家用電器產品之銷售慨況」，此乃就電器產品之普及率、主要品廠之市場佔有率、消費者之購買習慣、未來市場之預測等作一分析與說明。 第六章「結論與建議」，簡述以上各章分析結果，就廠商之產銷概況與困難作一介紹，並論今後家用電器業住產銷上所應改進之方針與方法。 第六章「結論與建議」，簡述以上各章分析結果，就廠商之產銷概況與困難作一介紹，並論今嘔家用電器業在產銷上所應改進之方針與方法。

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Culture is an active process. It does not lie dormant in things (that is, any commodity, object or event that can be made to signify), waiting patiently to be awoken by an appropriate consumer. It is the practice and making of meanings. Culture is not in the object but in the experience of the object: how we make it meaningful, what we do with it, how we value it. John Storey (2003) Inventing Popular Culture, page viii The traditional arts, dance theater, music, visual arts and multi media are all accepted as being part of culture. In the same way that culture can be defined by the perceptions and feelings of each individual the arts belong to everyone. Bruno Frey (2003) in his book Arts and Economics: Analysis and Cultural policy considers the ways in which the arts are funded and supported and argues that a decision making system involving the diverse participants, audience, experts, artists and administrators is best equipped to establish and safeguard the constitutional rights to artistic expression (Frey, 2003:17). Can the experience of the arts be protected in the same way? This is an examination of the process, physical, historical and emotional issues that all play a part in the definition of the arts in Taipei. Entering the experience as a mother, artist, foreigner and long time resident of Taipei gave the researcher the opportunity to use many lenses simultaneously. This multifaceted view informed the choice of this topic. Can heritage sites and old buildings be successfully made into public arts venues? Do the underlying elements of history and conservation contribute to the venue’s ability to reach a large audience? Can free access be in part supported by in these sites through the use volunteers instead of paid staff? In order to better understand the role of the arts in contemporary Taipei life, the researcher, under the parameters of the Volunteer Services Act of Taiwan, conducted her research while a volunteer in the venues.