Browsing by Author "Huang, Tsung-Yi"

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    A novel non-negative matrix factorization technique for decomposition of Chinese characters with application to secret sharing
    (2019-08-14) Lin, Chih-Yang; Kang, Li-Wei; Huang, Tsung-Yi; Chang, Min-Kuan
    Abstract The decomposition of Chinese characters is difficult and has been rarely investigated in the literature. In this paper, we propose a novel non-negative matrix factorization (NMF) technique to decompose a Chinese character into several graphical components without considering the strokes of the character or any semantic or phonetic properties of the components. Chinese characters can usually be represented as binary images. However, traditional NMF is only suitable for representing general gray-level or color images. To decompose a binary image using NMF, we force all of the elements of the two matrices (obtained by factorizing the binary image/matrix to be decomposed) as close to 0 or 1 as possible. As a result, a Chinese character can be efficiently decomposed into several components, where each component is semantically unreadable. Moreover, our NMF-based Chinese character decomposition method is suitable for applications in visual secret sharing by distributing the shares (different character components) among multiple parties, so that only when the parties are taken together with their respective shares can the secret (the original Chinese character(s)) be reconstructed. Experimental results have verified the decomposition performance and the feasibility of the proposed method.
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    全球流行文化中文化身份的跨國想像
    (2009) 何有田; Ho, Yu-Tien
    本論文旨在探討當代文化全球化的趨勢下，在地文化如何在全球流行文化的操作中被挪用、重組與重新包裝，使其可以在跨國的流動中具有吸引力。論文中以杜林（Simon During）所提出「全球流行」（the global popular）的概念出發，以四部與「全球好萊塢」（global Hollywood）的運作模式有關，且十分賣座的電影為例。目的在說明文化全球化的趨勢下，這些雜揉不同跨國文化元素的電影，如何再現文化身分（cultural identities），讓原本看起來地域侷限的文化表現，可以在全球的流通中被想像。 在文化全球化中，全球流行文化常以「差異性」（difference）標榜文化商品的特殊性，藉此殺出全球流行文化的競爭重圍。本論文處理二○○○年後在好萊塢（Hollywood）的機制下，透過跨國合作生產的四個電影文本。論文中第一章以兩部《BJ單身日記》為例（Bridget Jones’s Diary與Bridget Jones: The Edge of Reason），說明以好萊塢再現邏輯的浪漫喜劇如何重新包裝「英國性」（Britishness）討好全球觀眾。第二章與第三章則以李安的兩部電影為例，分別是《斷背山》（Brokeback Mountain）與《臥虎藏龍》（Crouching Tiger, Hidden Dragon），說明《斷背山》如何以美國西部文化為基礎再現同志議題，並在全球市場奏捷，其背後操作全球與在地想像的邏輯為何？而武俠片《臥虎藏龍》在全球廣受歡迎之餘，令人好奇的是李安如何再現華人世界中的武俠文化，賦予原是地域性十足的文化具有跨國的吸引力。 乍看之下，這四部作品似乎沒有必然連結的關係，然而這四部影片代表的是千禧年以來好萊塢電影工業在窮途末路下，透過跨國合作、尋找其他文化素材的例證。上述的電影文本不斷在東方與西方之間、在保守與開放之間，混搭早已行之多年的文化傳統，重新包裝成為當代文化全球化的炙熱商品，其背後所隱藏的文化身分如何得以被跨國想像正是本論文所要探討的重點。