#城市交流北金連線
#齊心協力洋名國際
#一起為高齡健康與老人福利加油
「金門跟台北有落差」、「傳統縣市跟都會區不同只能因地制宜」、「利用各種方式把家裡長輩引出來」…鎮浯昨日與社會處長董燊、衛生局長李錫鑫參加台灣運動健康科學學會所主辦的高齡健康促進城市交流論壇,藉機把金門的社會福利與長照政策宣傳出去!
鎮浯認為,邁入超高齡社會是各縣市政府要面臨的共同課題,金門的醫療量能與社會資源比不上台北等都會區,但因規模小所以可以扮演示範項目的角色、先試先行。
對於台北力推的跨局處的「高齡健康前瞻中心」、「分齡長者運動場館」、「醫養合一」社會公宅等政策,鎮浯也希望透過城市交流來吸取更多經驗,以滿足金門鄉親長者的實際需求。
鎮浯此次跟柯文哲同時面對面交換經驗,也期待柯市長有機會再到金門走走,提供更多寶貴意見。
在台北市立大學與台北市陳重文議員的居中牽線之下,奧運羽球雙打金牌「麟洋配」也來到會場,同時推廣羽球、桌球、路跑、健走等適合長者等運動項目,期待北金的長者都能好好慢活、活出健康與幸福!
柯文哲
陳重文-臺北市議員
李洋/Lee Yang
王齊麟/Wang Chi Lin
同時也有10部Youtube影片,追蹤數超過0的網紅賴士葆 Abao Channel,也在其Youtube影片中提到,...
政策宣傳 在 台灣民眾黨 Facebook 的最讚貼文
#蔡政府體育政策又擺爛
#體發會一年半沒開會
東京奧運台灣選手寫下史上最好的奪牌成績,綠營民代及側翼粉專開始帶風向,直指蔡英文總統的體育改革成績斐然、對體育補助是歷屆總統最多,顯然 #完全忘了這個政府上一刻才剛讓選手搭經濟艙去比賽。
如今, 邱臣遠委員更踢爆,行政院轄下的「體育運動發展委員會」,竟然已經 #超過一年半沒有開會,運作形同停擺,民進黨政府究竟是重視體育,還是重視選手身上的那面獎牌,光看這個懶散態度就不言而喻。
行政院底下成立「體發會」,其實是蔡總統2016年的體育政策首要政見,這個任務編組的主要目的,是整合跨部會資源,#推動各項體育運動政策。
然而令人傻眼的是,體發會的外聘委員名單,平均年齡高達61.6歲,對比今年奧運代表團年輕世代當道,這樣的委員組成不僅世代失衡,選手更淪為政策宣傳的看板。
體發會自小英上任後開始運作,成立至今不到4年時間,結果 #已經長達一年半沒有開會,最後一次會議停留在2019年12月17日,而且第二屆委員任期至去年7月11日,#也沒有看到行政院打算提出新的名單。
選手奪牌全民同歡,我們也為這些選手感到光榮,但政府該做的事情還是得做,攸關體育產業發展的體發會擺爛至此,顯見蔡政府從頭到尾只是 #拿體發會作為體育改革政策的裝飾品,至於協會組織的根本改善,法修完了就當沒事。
先別提「#棒球三支箭」早就跳票,這種只在選手奪牌錦上添花的體育政策,你能保證協會與選手間的衝突不再發生?
#民眾黨
#台灣民眾黨
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民眾黨2歲了,#歡迎一起加入民眾黨,「起造新台灣」💪
https://joinus.tpp.org.tw/
政策宣傳 在 VOP Facebook 的最讚貼文
#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