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關於salt chemistry 在 Natalia Ng Facebook 的精選貼文
關於salt chemistry 在 VOP Facebook 的最佳貼文
關於salt chemistry 在 VOP Facebook 的最佳貼文

關於salt chemistry 在 MosoGourmet 妄想グルメ Youtube 的最讚貼文
關於salt chemistry 在 Ketchup Jo Youtube 的最佳解答
關於salt chemistry 在 ochikeron Youtube 的最佳解答

salt chemistry 在 Natalia Ng Facebook 的精選貼文

2020-08-01 17:56:32 有 96 人按讚

Yup. It’s happening. I have given birth to cookie flava no. 2 🤎 Errybodeh meet my Sinful Double Chocolate Chunk cookies topped with delectable sea salt flakes! Not sure which is more irresistible— me or the coooki— JK. Cookies always win 😋

DM @fudginggoodcookies to order our latest flava today!

Our healthy Oatmeal Chocolate Chip & Almond cookies are still going strong @ifonlykl 🤎 DM to reserve them so you won’t be cookieless at midnight when the snacking monster emerges!

PS, Does this mean Imma cookie sensei now? Maybe not yet, but I think I’m well on my way. I know way too much about cookie chemistry and slowly mastering the art of baking people happy 🤎
@ If Only.

Tags: salt chemistry

Natalia Ng

About author

My single 《I Dare U To》is now available for download on iTunes & Spotify!

salt chemistry 在 VOP Facebook 的最佳貼文

By VOP

2020-02-05 20:38:15 有 81 人按讚

新刊預覽~~✨👀

Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue

自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。

其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。

攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。

此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。

儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。

▍購買本期 BUY | http://bit.ly/vop-27

Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.

Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.

When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.

In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.

Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.

---
Voices of Photography 攝影之聲
www.vopmagazine.com

Tags: salt chemistry

VOP

About author

《Voices of Photography 攝影之聲》是一份影像文化獨立刊物。自2011年創刊，致力探索攝影的文化、歷史與思潮，並持續推動影像閱讀、書寫和研究。《攝影之聲》長期關注亞洲的攝影發展歷程，重視亞際連結，集結國內外眾多學者、藝術家與文化工作者共同參與撰述，透過每期不同的主題視野，製作出豐富的專題與單元，並收錄了重要的創作文獻與研究資料，同時亦以「影言社」為名出版相關叢書，是台灣少數專注於攝影與視覺文化論述領域的獨立出版單位，曾多次獲頒台灣出版界最高榮譽「金鼎獎」各類獎項。 Voices of Photography (VOP) is an independent publication dedicated to image culture. Since its inception in 2011, VOP has been exploring the culture, history and philosophy of photography, and continually promoting imagery reading, critique, and research. VOP has always focused on the development of photography in Asia and places special importance on inter-Asian connections. Through collaborative effort with scholars, artists and cultural workers locally and from all over the world, VOP has been gathering important literature and research materials, presenting rich and varied features with a different theme every issue. Now engaging in the publication of written work and criticism through VOP BOOKS, VOP is one of the rare few independent publishers in Taiwan that focuses on photography and visual culture, earning many accolades at the Golden Tripod Awards, the highest honor in Taiwan’s publishing industry. ＿＿＿＿＿＿＿＿＿＿訂閱雜誌 SUBSCRIBE www.vopmagazine.com/subscribe/ VOP書店 VOP BOOKSHOP bookshop.vopmagazine.com

一份影像文化獨立刊物. An independent publication dedicated to image culture.

salt chemistry 在 VOP Facebook 的最佳貼文

By VOP

2020-02-04 22:43:54 有 208 人按讚

Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue

自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。

其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。

攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。

此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。

儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。

▍購買本期 BUY | http://bit.ly/vop-27

Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.

Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.

When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.

In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.

Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.

---
Voices of Photography 攝影之聲
www.vopmagazine.com

Tags: salt chemistry

VOP

About author

一份影像文化獨立刊物. An independent publication dedicated to image culture.

salt chemistry 在 MosoGourmet 妄想グルメ Youtube 的最讚貼文

By MosoGourmet 妄想グルメ

2019-05-09 20:14:52 有 69,105 人看過有 1,038 人喜歡

平たく焼いたタルトにクリームとフルーツをのせた簡単タルト作りました。フルーツとの相性がめちゃいいクリームは、さっぱり味に仕上げました。余ったタルト生地は、焼き上がりをそのまま食べても美味しいので、使い切って仕上げの飾りに使うなど自由にアレンジしてみてください。
*レシピ*
タルト生地作ります
１．無塩バター 50gを柔らかくする。
２．グラニュー糖（上白糖でも）30g、塩ひとつまみを入れ混ぜる。
３．卵黄 1個分を入れ混ぜる。
４．薄力粉 100g、アーモンドパウダー 20gをふるい入れさっくりと混ぜる。
５．ひとまとまりにしてラップに包み、1時間以上冷蔵庫で休ませる。
６．５ミリの厚さに伸ばし、18センチの円に抜く。
７．８等分にし、フォークで穴をあける（ピケする）。
８．180度に予熱したオーブンで20分焼く。
９．冷ます。
余った生地はタルトの上にのせる飾り用の顔にしてみました。焼成は、タルトと同じで180度で20分。ピケで膨らみを抑えられないので、天板などを上において焼いてください。

クリームチーズクリームを作ります。
１０．クリームチーズ 50gを柔らかくする。
１１．砂糖 20g、お好みの洋酒 10gを順に入れ、混ぜる。
１２．生クリーム 120gを少しずつ加えながら混ぜる。
１３．少しかたさが出るまで泡立てる。
１４．９に１３をのせる。
１５．フルーツなどで飾る。
１６．よく冷やしてからいただく。

We baked a simple, flat tart topped with cream and fruits. The cream really has the right chemistry with the fruits, giving it a refreshing flavor.The leftover dough tastes good baked as is, so please use it as you like, such as by using it to create some finishing touches.

*Recipe*

Making the tart dough.

1. Soften 50 grams of unsalted butter.
2. Mix a pinch of salt with 30 grams of granulated sugar (you may also use powdered sugar).
3. Mix in 1 egg yolk.
4. Strain 100 grams of wheat flour of low viscosity and twenty grams of almond powder through a sieve, and then lightly stir the mixture.
5. Wrap the mixture in a plastic wrap and refrigerate it for more than 1 hour.
6. Pull out clumps with a circumference of 18 centimeters, and spread them evenly with a thickness of 5 millimeters.
7. Around 8 minutes later, make holes in them using a fork (pique it).
8. Preheat the oven to 180 degrees, and bake for 20 minutes.
9. Let it cool down.

We tried using the leftover dough to make decorative faces for the top of the tart. You can bake it for as long as the tart, which is 20 minutes at 180 degrees. With a pastry pricker, the rising of the dough is not held in check, so please place and bake the dough on a baking tray or something similar.

Making the cream cheese frosting.

10. Soften 50 grams of cream cheese.
11. Pour 20 grams of sugar, followed by 10 grams of your Western liquor of choice, onto the cream cheese, and then stir.
12. While stirring, add 120 grams of fresh cream, a little at a time.
13. Whip until the mixture slightly hardens.
14. Place 13 on top of 9.
15. Decorate with fruits.
16. Consume the tart after letting it cool down sufficiently.

#grape #tart #recipe

grape tart recipe

MosoGourmet 妄想グルメ

About author

#OddlySatisfying & subtle humor. We are MosoGourmet. MosoGourmet is an everyday video channel of the ordinary homes in Japan. はじめまして！妄想グルメです。妄想グルメは日常系ファミリーチャンネルです。子どもに作ったお菓子やキャラ弁、買ったおもちゃや行った場所などを撮影している日本の普通の家庭の日常生活動画です。料理動画というわけではありません。時々、迷走グルメ、暴走グルメになります。最近はちょっと原点回帰中です。詳細は活動歴まとめをご覧ください。mosogourmet.com ご連絡は妄想グルメのFacebookページのメッセージまでお願い致します。よろしくお願いします。

salt chemistry 在 Ketchup Jo Youtube 的最佳解答

By Ketchup Jo

2018-10-19 18:47:30 有 237,864 人看過有 3,229 人喜歡

แอปเปิ้ลที่เรากินกันเป็นประจำ ทำไมถึงเปลี่ยนเป็นสีน้ำตาลเวลาเราตัด? วันนี้มาดูกันว่าสาเหตุที่ทำให้แอปเปิ้ลเปลี่ยนสีคืออะไร แล้วทำยังไงถึงจะทำให้ไม่เปลี่ยนเป็นสีน้ำตาลหลังจากผ่าออก!!

#การทดลอง #Experiment #KetchupJo

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salt chemistry 在 ochikeron Youtube 的最佳解答

By ochikeron

2015-11-13 21:38:28 有 45,299 人看過有 1,437 人喜歡

Matsutake Gohan (pine mushroom rice) is a very simple rice dish to enjoy the flavor of Matsutake mushrooms!

I saw on TV that you can create the Matsutake flavor by cooking Eryngii (royal trumpet) mushrooms and unshelled Edamame together since Eryngii mushrooms have the same texture as Matsutake and Edamame pods have the same flavor component as Matsutake. Very scientific logic. haha

It went viral in Japan, so I tried it out. Yes, it becomes a very dainty Matsutake rice dish. Try out and see how you like it ;)

---------------------------------
Mock Matsutake Gohan (Pine Mushroom Rice)

Difficulty: Super Easy
Time: 1hr
Number of servings: 4

Ingredients:
3 cups uncooked Japanese rice (short-grain rice)
100g (3.5oz.) Eryngii (royal trumpet) mushrooms
100g (3.5oz.) unshelled Edamame *fresh ones
Dashi Broth
* 600ml water
* 10cm/4inch-square Konbu (kelp)
Seasonings
* 1 tbsp. Sake
* 1.5 tbsp. soy sauce
* a pinch of salt

Directions:
1. Wash rice and leave for about 30 minutes. If you are using pre-washed rice (musenmai) you don't have to wash it.
2. Clean Konbu with moistened towel. Soak in 600ml water for 30 minutes.
3. Slice Eryngii mushrooms. Rub the Edamame bean pods with 1 tsp. of salt to remove the surface fuzz and wash.
4. Place the rice in a pot, add Kombu Dashi (2) and the seasonings, then mix well. Place the Eryngii mushrooms and Edamame on top of the rice.
5. Place the pot into the rice cooker. Cover and press the button to start.
6. When it's done, remove Edamame (you can eat them as an appetizer), toss the rice lightly using a rice paddle, then serve.

Garnish with chopped Mitsuba (Japanese wild parsley) if you like.

レシピ（日本語）
http://www.cooklabo.blogspot.jp/2015/11/blog-post_13.html
---------------------------------

#ochikeron #なんちゃって #JapaneseCooking

Authentic Matsutake Gohan Recipe is HERE:
https://www.youtube.com/watch?v=RbxEjX3mVXk

This beautiful rice bowl is from Akomeya :)
http://www.akomeya.jp/

Music by
甘茶の音楽工房
月を飛び立つアポロ
http://amachamusic.chagasi.com/

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NO MORE hard copies... those who got one are lucky!

♥More Written Recipes are on my BLOG♥
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ochikeron なんちゃって JapaneseCooking

ochikeron

About author

NEW RECIPE EVERY WEEK ? I am a Japan based YouTuber (a mother of 2 kids). I share easy-to-follow Japanese HOME cooking that you can try right away ? My Goal is to share the joy of real life Japanese home cooking and make your everyday cooking more exciting ? Please check my playlists or search within my channel to find the recipes you need. https://www.youtube.com/user/ochikeron/playlists If you have recreated any of my food, you can share some pictures at any SNS #ochikeron If you have any request, you can freely write under any video. I check new comments once in a while. Thank you for subscribing. Have fun cooking and enjoy your day ? 毎日の料理が楽しい日本の家庭料理を海外の人にも知ってもらいたくて2011年4月20日から料理動画を作っています。少ない材料と行程で作れる料理やスイーツを中心に紹介しています。海外の人には本格的な和食のイメージが強い日本食ですが、そうではない今の日本の家庭料理の楽しさが共有できたらいいなと思っています。 Written Recipes in English: http://createeathappy.blogspot.jp 日本語レシピ Recipes in Japanese: http://cooklabo.blogspot.jp Updated 2021.3.3. Channel Since 2011.4.21.

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