วีดีโอ hand on กล้อง Canon R3 ที่คาดว่าจะเปิดตัวช่วงเดือนกันยายนนี้
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in possession 在 Facebook 的最佳貼文
同時也有85部Youtube影片，追蹤數超過5,140的網紅Ghost Island Media 鬼島之音，也在其Youtube影片中提到，The state of #cannabis in Taiwan with the country’s only lawyer who only takes on cannabis-related cases. In 2020, she ran for a seat in the parliam...
in possession 在 VOP Facebook 的精選貼文
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30：美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代，尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會（中國農村復興聯合委員會，JCRR），被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意，這一農經專業的美援機構，在1950至60年代拍攝了大量的照片、幻燈、電影，並生產各種圖像、圖表、圖冊與海報，在冷戰年代與美援宣傳機制緊密連結，深深參與了戰後「台灣（視覺）經驗」的構成，影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知？本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料，揭載鮮為人知的美援年代視覺工作，追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中，李威儀考掘農復會的歷史線索與視覺文本，探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡，以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑；蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊，從語言、歌謠與漫畫等多元的視覺表現中，重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力；楊子樵回看多部早期農教與政策宣傳影片，析論農復會在戰後台灣發展中的言說機制與感官部署，並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略，一探冷戰時期「前衛」紀錄影像的可能形式；黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影，解析早期台灣航攝史的源起與美援關聯，揭開多張難得一見的戰後台灣地景航照檔案。
此外，我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘（1923-2005）的攝影檔案，首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒，呈現楊基炘於農復會工作期間的重要文獻，並收錄他拍攝於美援年代、從未公開的攝影遺作與文字，重新探看他稱為「時代膠囊」的視覺檔案，展現楊基炘攝影生涯更為多樣的面向，同時反思「美援攝影」複雜的歷史情愁。
本期專欄中，李立鈞延續科學攝影的探討，從十九世紀末天文攝影的觀測技術，思考可見與不可見在認識論上的交互辨證；謝佩君關注影像的遠端傳輸技術史，檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領，分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中，讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗，還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行，希望下個十年裡，我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件！
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
in possession 在 Facebook 的最讚貼文
【我為何在自己的家鄉不受歡迎】有信仰沒信仰，我想快樂才重要！ Homesick in Taiwan | Struggles and Benefits of Leaving America：https://youtu.be/-3TGNMbFGtI
[ENGLISH BELOW]
我四年前搬到台灣的時候已經有計劃在三年內搬回去美國，但是住在台灣的第一年我就知道我應該會永遠在台灣. 一開始搬到新的國家不簡單，但是透過適應和學習的過程中可以慢慢地建立一個新的家. 因為疫情和其他發生的問題我很久沒回家而應該三到四年不會回去我開始有「想家」感覺. 但是想久之後發現我的家就在這，我想念的事就是我的家人，朋友和墨西哥菜.
我想家最大的原因是因為我永遠不能回去我心裡中的家. 已經離家太久了，家庭的小孩們都長大，環境都改了，而因為我最近的生活選擇我與一些家人朋友的關係永遠不會一樣. 我一開始想到這一點感覺有點難過，但是我現在對於這一點感覺很開心！我們的生活是該我們計劃的，並不是其他人，文化，或宗教. 我找到了一個適合我的地方，快樂的生活道路和一直支持我的朋友，不關我信什麼.
此影片的畫面已經在我的硬碟三年，我一直都在想我要什麼時候完成，如何剪接，和我在美國最後一天可以變成一個生命的教訓. 我想家，但是我也不想家. 我因為一些社會上的問題感覺好像我失去了我在美國的家，這樣我才那麼感謝把台灣叫做我的家. 大家，別以為我難過沮喪，我反而很快樂而高興！
When I initially moved to Taiwan, I had a three-year plan to move back to the United States. However, upon my first year in Taiwan, I knew that plan would never follow through. Moving abroad is not an easy thing, but after molding yourself through experiences and new life opportunities creating a new home is easy to accomplish. Unfortunately, due to the pandemic I haven’t and my parents moving to Guam, I may not return home for quite some time and have started to miss home. But thinking long about the term “Missing Home” has made me realize that I don’t miss home because I have one here; it’s my friends, family, and Mexican food that I miss.
I have had this video on my hard drive for three years now, not knowing how to edit it and always postponing it. This video is a great way to look back at what matters most to me and see how I have grown and what I have realized and learned while living abroad, a place much different than I grew up. Leaving home, family, culture, religion, or any prized possession is complicated, but they should never hold you down. Home is where you make it; your life should be paved by yourself, with no outside influences. I’ve allowed myself to think through this stage of being homesick to realize that I am happier now and have found my purpose despite the new differences in life.
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透過你們的支持我能夠繼續跑來跑去台灣各地介紹給國外看！
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#Homesick #想家 #小貝
in possession 在 Ghost Island Media 鬼島之音 Youtube 的最佳解答
The state of #cannabis in Taiwan with the country’s only lawyer who only takes on cannabis-related cases.
In 2020, she ran for a seat in the parliament on the platform of legalizing medical marijuana. She’s currently deputy secretary general of the Green Party in Taiwan. In March 2021, Ms. LEE won “Best Show Host” at the inaugural KKBOX Podcasts Awards for her podcast on cannabis, “In The Weeds with Lawyer Zoe Lee #大麻煩不煩,” produced by Ghost Island Media
Marijuana remains a taboo in Taiwan. It’s a Class-2 narcotics. That’s the same class as meth. Possession over 20 grams can get you 5 years to life time in jail.
There is a movement for #CannabisLegalization here in Taiwan, and Ms. Zoe is a key person leading it. The global legal marijuana market, by one estimate, is predicted to be at 65 Billion USD by 2027. Cannabis is a global trend, and this is The Taiwan Take.
Today’s episode is hosted by Emily Y. Wu, co-founder of Ghost Island Media and producer of The Taiwan Take.
Support us on Patreon:
http://patreon.com/taiwan
Follow us on Twitter:
https://twitter.com/ghostislandme
SHOW CREDIT
Emily Y. Wu (Producer, Host)
https://twitter.com/emilyywu
Alice Yeh (Researcher)
Elise Chan (Assistant)
A Ghost Island Media production
https://twitter.com/ghostislandme
www.ghostisland.media
MB015DVBQHSUFCH
in possession 在 Shiney Youtube 的最佳解答
Borderlands 3
Buy the game at https://store.epicgames.com/legendauser/borderlands-3
Borderlands 3 is an action role-playing first-person shooter video game that is the sequel to 2012's Borderlands 2, and the fourth main entry in the Borderlands series. Developed by Gearbox Software and published by 2K Games, Borderlands 3 was released on 13 September 2019 for Microsoft Windows, PlayStation 4 and Xbox One. A Google Stadia port has been confirmed for a later release date.
Some time after Handsome Jack's death and the fall of Hyperion, the game's antagonists Troy and Tyreen Calypso learn of other Vaults beyond the planet Pandora, and form a violent cult named the "Children of the Vault" to gain possession of them. Lilith, one of the player characters from the first Borderlands game, recruits the player's new "Vault Hunter" character to help stop the Calypso twins. Many characters from previous Borderlands games are set to return, including those from the spin-off game Tales from the Borderlands.
in possession 在 Laowu老吳 Youtube 的精選貼文
Little Hope is presented as an unfinished story in the possession of the omnipresent Curator, who requests the player's assistance in completing it. The story follows college students Andrew , Angela, Taylor, Daniel, and their professor John who become stranded in the eponymous fictional town after their bus crashes.
《黑相集：稀望鎮》是由《直到黎明》研發團隊 Supermassive Games 開發的獨立電影式恐怖冒險遊戲《黑相集》系列第二部作品。請到威爾‧普爾特、“嘻哈鬥牛㹴” 托倫斯等知名影星參與演出，承襲《黑相集：棉蘭號》的電影式冒險玩法，讓玩家操作多名角色，依循各自的抉擇來體驗多重故事路線與多重結局。
LIKE & SHARE 絕對是更新的動力
#TheDarkPicturesAnthologyLittle Hope #LittleHope #黑相集稀望鎮 #稀望鎮
Cyberpunk 2077《電馭叛客2077》老吳特別版預購：
（只限馬來西亞的大大）
https://buy2077.co/laowu
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in possession 在 in possession - Yahoo奇摩字典搜尋結果 的相關結果
in possession of sth. 查看更多. ph. 佔有, 控制(某物)(致使他人無法使用) ... ... <看更多>
in possession 在 in possession of - 英中– Linguee词典 的相關結果
code for dealing in the Company's securities by relevant employees, who are likely to be in possession of unpublished price-sensitive information in ... ... <看更多>
in possession 在 possession中文(繁體)翻譯：劍橋詞典 的相關結果
possession 的例句. possession. Moreover, he obtained a large extent of control over the labourers working on his possessions. 來自Cambridge ... ... <看更多>