關於 what is the meaning of field ，我們在網路上蒐集到這些相關的討論、資訊與評價

9 Days Charity Menus: Food For Fighters continues their philanthropy work with the Kao Kin Kan (9 กิน กัน) campaign which involves 9 Bangkok Chefs over 9 days to cook 300 meals per day for Covid-19 affected patients at Bangkok field hospitals during 19th - 27th August 2021, using the ingredients from local farmers purchased by Food for Fighters project raised-fund.

Food for Fighters also would like to wish the public members with prosperity and good health with number 9 auspicious number by joining the campaign to donate 9 THB in order for the organisation to move forward with this charity food preparing activity.

The inspiration of Kao Kin Kan (9 กิน กัน) campaign which is literally translated as “Let’s Go Eating” or “Let’s Move” is a phrase which plays with the word “Kao” with similar pronunciation but with different spelling and meaning. “Kao” being the number 9 (“เก้า”), a lucky Thai number. Another meaning is “Kao or ก้าว” which means to “move forward”. Inspired by all these meaning, this is what Food for Fighters, chefs, volunteers, sponsors and friends are collectively doing together to donate food boxes daily to people and frontline medical staff who are in need during the COVID-19 pandemic.

There are many ways in which you too can help!
Contact info: @Foodforfighters
Call Center: +66 (0)2 016 9910
Khun First: +66 (0)93 924 4692
Khun Keng: +66 (0)84 265 5491

#9กินกัน #9KINKAN #WisdomOfSharing #FoodForFighters #supportfarmerssupportfighters

The Birth of a Serpent Slayer

“She gave birth to her firstborn son. She wrapped him in bands of cloth, and laid him in a feeding trough, because there was no room for them in the inn. There were shepherds in the same country staying in the field, and keeping watch by night over their flock.” (Luke‬ ‭2:7-8‬ ‭WEB‬‬)

This was the backdrop of Jesus’ birth. The King of glory, God’s precious gift to us, was born on a dark, silent night, and there was no room for Him.

He did not come with great fanfare or a welcoming procession like the kings of the world would have received.

Instead, He came humbly like one of no repute.

But Heaven was not willing to let the Son of God be treated like a nobody.

“Behold, an angel of the Lord stood by them, and the glory of the Lord shone around them, and they were terrified. The angel said to them, “Don’t be afraid, for behold, I bring you good news of great joy which will be to all the people. For there is born to you today, in David’s city, a Savior, who is Christ the Lord. This is the sign to you: you will find a baby wrapped in strips of cloth, lying in a feeding trough.” Suddenly, there was with the angel a multitude of the heavenly army praising God, and saying, “Glory to God in the highest, on earth peace, good will toward men.”” (Luke‬ ‭2:9-14‬ ‭WEB‬‬)

An angel and the heavenly hosts appeared to shepherds, shining with awesome glory, to announce the good news of the King who was born.

At that point in time, Israel was under Roman rule, and had been ruled by the Gentile kingdoms for many years. The devil had subjugated God’s chosen nation and pressed them hard under his thumb.

However, God’s answer was not loud or dramatic. He sent a baby to be born.

Just as He delivered the children of Israel from Pharaoh using a baby (Moses), He would deliver Israel once more from Satan using another baby (Jesus).

This time, the baby would not be a Lawgiver, but a Law-fulfiller. Jesus fulfilled the demands of the Law through His suffering and death at the cross, and established the New Covenant of Grace for us.

“I will put hostility between you and the woman, and between your offspring and her offspring. He will bruise your head, and you will bruise his heel.”” (Genesis‬ ‭3:15‬ ‭WEB‬‬)

No matter what its true origins are, today we celebrate Christmas because God made a promise in the Garden of Eden thousands of years ago, that the seed of the woman would crush the head of the serpent. He kept that promise, becoming the prophesied serpent slayer Himself. Christmas is about a promise kept!

Notice that in the prophecy, the one whose head is bruised is the serpent (Satan), but there is another person who is the “offspring” of the serpent. In the original Hebrew, the word “zaraka” is a noun in the singular, masculine tense, meaning one male child.

This wicked male child was destined to have hostility against the offspring (also singular and masculine tense) of the woman, who is our Lord Jesus Christ.

Who is the offspring of the serpent? If you are curious to find out his name as revealed in the Bible, and also the details about his eventual destruction and Jesus’ victory, you can read all the exciting details in “Sandcastles Don’t Last Forever”: https://www.ko-fi.com/s/7b9e3783ae

新刊預覽 👀⚡️⚡️⚡️

Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image

延續我們對於攝影史的關注，本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發，自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影，到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象？如何化為一具科學標本和一幅想像圖騰？如何在視覺上被納編（或排除）於國族與文化的整頓編程，並糾結至今？此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。

藉此，本期試圖反詰「歷史」，思考致使我們「成為影像」、「進入攝影史」的支配與佈局，嘗試突破以往「攝影（者）的歷史」框架，開啟我們的「被攝影（者）的歷史」覺察，或許將能發現對我們而言更為重要的攝影的歷史遺產，生成屬於我們的另翼影像史觀。

專題中收錄的影像與文論，標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始，探看影像採集的知識化歷程及當代意涵；黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印，細述二人巨大的歷史身影；高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中，重新諦視「歸順者」肖像裡的幽微目光；瓦歷斯．諾幹以解／反殖民書寫，展現自身與族人生命經驗裡實切的影像歷史感知；松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演，析解形塑「台灣」的視覺策略。

本期Artist’s Showcase單元，我們與藝術家葉偉立進行長篇訪談，呈現他這些年來以行動介入所構成的獨特影像場域，記錄其未曾間斷的勞作沉思。而在影像論述單元，本期新闢由影像研究者李立鈞執筆的科學攝影專欄，揭示平時隱沒在科學實踐中的「影像問題」，首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起，一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像／視覺理論的引介，深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列，揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾．斯蒂格勒，記述其影像哲理綿延的技術與時間之論。

在本期出版（焦頭爛額）之際，也正是《攝影之聲》邁入第十年的開端，回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊，也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴，給予我們面對艱困的勇氣，繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中！
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.

With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.

The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.

In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.

At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu

「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di

「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn

關於日據時期老照片的解／反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan

人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko

如何「做」視覺民族誌？——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng

我們可以祛除帝國主義嗎？——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬．席海 #StephenSheehi

Artist’s Showcase: #葉偉立 Yeh Wei-Li

故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I

「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun

偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun

追夢人的藥控——離散的「貝拿爾．斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung

浴火重生的香港攝影（上）——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai

攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning

七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I

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更多訊息 More info :
www.vopmagazine.com

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This video is about Does Persistence Really Pay Off?

Selamat Menyambut Ulang Tahun Hari Kemerdekaan Ke-57!

Thanks Instill Films for helping out: http://www.youtube.com/user/instillfilms

and thanks to those who were so sporting to be interviewed. It was a lot of fun, even for myself.
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What is National Day?
Definition: Designated date on which celebrations mark the nationhood of a nation or non-sovereign country, which nationhood can be symbolized by the date of independence.

Who came up with the Negaraku Song?
The tune was originally used as the state anthem of Perak, which was adopted from a popular French melody titled "La Rosalie" composed by the lyricist Pierre-Jean de Béranger.

How many times did Mahathir shout Merdeka in 1957?
First of all, that was a trick question... it was Tunku Abdul Rahman. Not Mahathir, nor Najib. and he shouted 7 times.

How many points does the star have in our flag? and how many stripes?
Number of points the star and stripes are both 14. Representing 13 states and Federal Government. The 14-pointed star symbolises the unity of the 13 states with the Federal Government. The stripes all have equal width.

What is the name of our flag?
Jalur – A Malay word meaning a band or stripe of colour. The 14 parallel red and white stripes symbolise a common mission, a common direction and a virtuous path followed by the peoples of all states regardless of creed, race and religion.

Gemilang – A Malay word meaning bright, brilliant, resplendent or excellent.

Jalur Gemilang represents the excellence of the peoples and the nation of Malaysia in every field, be it at national or international level. Jalur Gemilang symbolises a nation and peoples who are hard-working, patriotic, strong, courageous and prepared to sacrifice for the race, nation and religion.

How many prime minister was there before Najib came into position?
Answer is 5. Najib is the 6th Prime Minister.

How many states in Malaysia?
13.
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*This content was based on true responses*

Know Malaysia, Love Malaysia, Be a true Malaysian.
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