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Soccer players have suffered from brain injuries due to the technique heading. A software company utilized virtual reality (VR) technology to help players prevent physical contact with the ball while providing them with realistic and professional training drills of heading. Interested in how the technology works? Read more at Reuters.
Restaurant in a box: Yo Kai Express lets you eat delicious food anytime and anywhere
https://pse.is/3le7na
#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
Yosuke Furusawa may as well be the aquatic superhero of Japan. Using a technique called biogroup control, electrotactile sensations are used to guide fish along a desired path. This can be used to separate the fish into different sizes, as well as streamline the fishing process. Furusawa hopes that his technology will be used to revolutionize aquaculture.
古澤洋将氏は、水産業界のスーパーヒーローと言えるかもしれません。
彼は、バイオグループコントロールと呼ばれる、電気触覚を利用して魚を目的の経路に沿って誘導する技術を開発しました。これを利用して、魚を大きさの違うものに分けたり、釣りのプロセスを合理化したりすることが可能となります。この技術が日本の養殖に、革命を起こすと期待されています。
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★ムービーサイト「アスキーTV」http://ascii.jp/asciitv/
★ニュースサイト「ASCII.jp」http://ascii.jp/
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#異能vation
01: 52 "Proposal to be good with one juice" https://goo.gl/gm62YW
07: 07 "Moana and the legendary sea" I have seen
09: 45 "Passenger"
11:20 Writing technique of Ryusuke Hikawa
15: 13 Ryusuke Hikawa appears
20:31 Is not the animation industry profitable?
28: 22 "Shin Godzilla" is an animation
37: 05 Do other animations change in "Shin · Godzilla"
47: 12 Who will make anime in the future
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The following "reverse broadcasting" can be seen when you join the BLomaga "Toshio Okada Broma Channel".
"Backcast" is here
https://youtu.be/v4p15xG-NDE
https://www.nicovideo.jp/watch/1576086123
Anime and guilt
Toshio Okada "Ginko father" role
Ideal geek old age
Think about 40 years later
Why you need an anime industry critic
Works that Ryusuke Hikawa is paying most attention this year
What Hikawa Ryusuke wants
Talk of special effects
Recorded April 2, 2017
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Toshio Okada
Born in Osaka. Founded the animation and game production company Gainax, left the company after serving as the first president. Rikkyo University, lecturer at Massachusetts Institute of Technology, Visiting Professor at Osaka University of the Arts etc.
Many books such as 'Evaluation Economic Society', 'Smart Note', 'Law of Life'.
Twitter: https: //twitter.com/ToshioOkada
Previous Video
●How to download Hyper-rom for S3
○ https://m.youtube.com/watch?v=Kw6tSIHl3Dg
Description
The objective of this technique is to provide a way to link to remote long descriptions in technologies that do not have a long description feature built directly into them (e.g., longdesc) or where the feature is known to not be supported.
With this technique, the long description is provided in another location than the non-text content. This could be at another location within the same URI or at another URI. A link to that long description is provided that is immediately adjacent to the non-text content. The link can be immediately before or after the non-text content. If the description is located along with other text then put "End of description" at the end so that they know when to stop reading and return to the main content. If a "Back" button will not take the person back to the point from which they jumped, then a link back to the non-text content location is provided.
This technique was commonly used in HTML before 'longdesc' was added to the specification. In HTML it was called a D-Link because it was usually implemented by putting a D next to images and using the D as a link to the long description. This technique is not technology specific and can be used in any technology that supports links.
ExamplesExample 1: Bar chart
There is a bar chart on a Web page showing the sales for the top three salespeople.
The short text alternative says "October sales chart for top three salespeople."
Immediately after the non-text content is a small image denoting a long description. The alternate text for the image is "Long description of chart". The image links to the bottom of the page where there is a section titled "Description of charts on this page". The link points to this specific description: "Sales for October show Mary leading with 400 units. Mike follows closely with 389. Chris rounds out our top 3 with sales of 350. [end of description]"
Example 2: Bar chart - in non-HTML technology where user agent "back" is not supported for security reasons.
There is a bar chart on a Web page showing the sales for the top three salespeople.
The short text alternative says "October sales chart for top three salespeople."
While technique is a way of doing a thing or activity, technology is a word used to refer to complex processes and principles of science used in ... ... <看更多>
technique technology 在 [問題] 想請問"技術"應該翻成technique還是te … - 精華區translator 的推薦與評價
※ 引述《dodoL (Because We Care)》之銘言：
: "技術"應該怎麼翻呢?
: Ex: 把某樣技術應用到一項產品上
: technique跟technology都可以翻成技術
: 但還是有區別吧?
: 依我的理解 technique是指比較精確的技術,技巧
: technology 是比較廣泛的指技術, 科技
: 對嗎? @@
: 但是我還是不知道 像我上面舉的那個例句 應該要用哪個字...
: 請大家指點一下 謝謝~
基本上，我會認為在這個時候使用 technology 會比較好，尤其是在探討牽涉到可申請
專利的科學、工業性生產技術時，應優先適用 technology。technique 比較適合用來
指稱因為「經驗」所造就出來的獨特作法，適合用來指稱手法、技法（可用來形容藝術
家、工匠或其他表演者），甚至可以用來指稱運用 technology 的巧妙。
例如：
the Wi-Fi technology（科學、工業性技術）
the brilliant technique of that pianist/artisan（手法、技法）
a special technique of utilizing Wi-Fi technology（運用 technology 的巧妙）
至於 know-how，則有可能指 technology ，也可能是指 technique。通常暗示著與營
業秘密有關。 technology 部份例如尚未對外公開的工業性技術，在 technique 部份
，例如沖泡奶茶時的茶奶比例等，都可以說是 know-how。不過以 know-how 這個詞最
初出現的場合來看，其意義是比較偏向 technique：因經驗的累積而「know（知道）
how（如何）」做某件事。
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※ 發信站: 批踢踢實業坊(ptt.cc)
◆ From: 61.218.0.48
... <看更多>