關於 er meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

《 #籠罩下的巨大哀愁 》
正式開展啦～
歡迎各位到台北當代藝術館

/
詳細資訊｜https://reurl.cc/bXy09v

________________________________________________

A Dark Cloud of Sorrow Looms Over

by Yu-Jun LIN

Late mornings and sleepless nights. Frustration. Anxiety.

They seem to have infiltrated our consciousness and entered our dreams. We recognize the shape of eaves, the folding line of streets, and return to our dwelling coordinates where we hide and live. We see restless men and women in full feather wandering through the brightly-lit city and then sitting shoulder to shoulder with countless strangers, between countless walls.

In the 1970s, urbanism started paving its way into Taiwan. Bidding farewell to the landscape of an agricultural society, life thus became crowded and repressive in cities. The meaning of “urbanism” does not merely lie in towering skyscrapers but in altered landscapes, living conditions, isolation and loneliness as well as increasingly complex social issues. Submerged in the capitalist system, every person has been assumed as a tiny component, whose labor force is needed by the whole mechanism, but not with one’s individuality as well.

However, the construction of liberalism constantly reminds us of our own subjectivity, along with the importance of being viewed as a whole. Such contradictory values leads to extreme unease and confusion that keeps building up and ceaselessly floods our minds with external chaos. As worries that never subside loom over us, we are forced to retreat to our dwellings, where we are perfectly alone, and safe. We can uninhibitedly be ourselves – yet under the lingering dark cloud of sorrows.

Frustrating questions as “Who am I?” seem to return in lonesome nights, invariably. When night falls, myriads of dazzling lights glisten in innumerous windows at the near distance. Gazing into the dreamlike, transient light, we recall things we hope to seal for good in our troubled mind. We question again and again, about what role we should be playing to integrate into the society but still maintain the integrity of our own subjectivity.

A Dark Cloud of Sorrow Looms Over features eight selected pieces and delineates the question of how people, as individuals, should coexist with others, a question deriving from urbanites’ perceptual conflicts experiences.

Zheng Er Qi | People
“People” mirrors the phenomenon of Taiwan’s transition from being an agricultural society to city since 1970. It precisely portrays everyday urbanity that people nowadays are familiar with: Although millions of people reside on one spot, their recognition of one another fails to grow with urbanization, despite the presumable nearness.

Chung Chih Ting｜I Am by Your Side
With the explanation by an offscreen sound and the roleplay image, “I Am by Your Side” depicts how urbanites try to be in company, revealing people’s natural urge for social connection. Yet it ends up to be talking to oneself or pointless mumbles, simply a futility of communication.

Wu Bo Sian | Chimps with Mona Lisa’s Smile
In the video, the chimpanzees form a spectacle, say, abnormality, in a seemingly normal context. “Chimps with Mona Lisa’s Smile” is a response to conflicts between public administration and individual freedom, zooming in on the contradictions or constraints between all the intervenable and the non-intervenable in everyday scenes.

Wang Ding Yeh | One-One
“One-One” depicts how people try to maintain an intact, rational space of survival while sometimes fail to avoid transgressing, under limited resources in a highly competitive society. With much precision, it captures the specific default interpersonal distance, and poses the question: How should each person navigate to find the best living posture at the moment?

Tsai Jie | When the Dust Settles
“When the Dust Settles” shows people restlessly beating on a possible exit to get out. However, does such an exit really exist? Or is it simply a delusion stemming from one’s untamable impetuosity? The work reflects the desolation of men and women, who are rumbustious, but aimless.

Huan Yen Chiao | 1, 2, 3. Are You Already in Hiding, Fish?
Fish in the bowl resembles people trapped in cities: extravagant outfits, splashing neon lights; sensational visual effects indeed. “1, 2, 3. Are You Already in Hiding, Fish?” presents how people escape from their anxiety and weariness for the time being. The work highlights the entire incompatibility and a sense of solitude after one’s subjectivity is highly developed.

Wong Shu Lian | I found myself floating and sinking down once in a while
The work addresses the enduring controversy between liberalism and capitalism that have been engendering people’s inner conflicts. It captures one’s self-doubt and angst in a profound way while, by exploring how to determine one’s best position, raises the ultimate question – Who are we after all?

Chen Chia Jen | SWEETWATER
“SWEETWATER” was born under Chen’s reflections during his artistinresidence experience in Southeast Asia. Between people living in urban and rural areas, there is a grand difference of perspectives, regarding how to survive and live a good life. It implies the fact that the widely-recognized future image, constructed by our society, might not be as clear or real as it seems, or perhaps what people accepted is simply a vague, even somehow out-of-focus, prospect.
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《籠罩下的巨大哀愁》展覽資訊
展覽日期｜2021/08/07(Sat.) ─ 09/12(Sun.)
展覽地點｜台北當代藝術館廣場電視牆 MoCA Plaza LED TV Wall
播映時間｜ Mon. ─ Sun. 16:00-21:00

特別感謝｜ 贊助單位
厭世會社 @mis.society

#王鼎曄 #吳柏賢 #陳嘉壬 #黃彥超 #黃淑蓮 #蔡傑 #鄭爾褀 #鍾知庭 #林郁晉 #A_Dark_Cloud_of_Sorrow_Looms_Over
#MisanthropeSociety厭世會社
#厭世會社

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

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。
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

購書 Order | http://bit.ly/vop-29
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

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 Stephen Sheehi

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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It was established by Arthur and Walter's Dabiddoson brother and William Sylvester Harleys in 1903.

The motorcycle manufacturer in the United States existed in the past and time only of one
company of Harley Davidson existed, too.

An actual pronunciation is near "Hurley Davissn" though an official name in Japan is "Harley
Davidson".
Feature

The feature of the maximum motorcycle made by the Harley Davidson company is a peculiar pulse feeling, externals that large displacement air cooling OHV and V type twin engine bring, and has a lot of charm fans in this. The drive is a belt drive that is converted the crank movement into the belt by the chain in a primary case and told the rear wheel. Most of the category that is called "American" of the domestic production manufacturer is OHC, V type twin engine, and the style that mimics features other than the drive. Blustan CEO of an American headquarters and chairman shows the idea, "Aim at the Harley that everyone can get on from a high-level Harley to a popular Harley" in 2001.

The shift started, twin cam 88B(balancer) was piled up from evolution 1340cc to present engine and twin cam 88.1450cc by the Softal system in 2000 in 1999, and those engines were improved to 1584cc in the boa in 2007(stroke). It is appearance of twin cam 96(cubic inch). The agreement of exhaust emissions regulations became a problem along with the large exhaust. The catalyst technology is introduced into the muffler in 2001, and all models to whom a new car is sold are made an injection in 2007. However, because the feeling etc. of the engine are different along with make to the injection from the one of a past carburetor specification (A peculiar feeling heavy to the cab was canceled), the deep-rooted popularitys are collected in the model of the cab specification. A present system is completed very much and has finished very much high about reliability though keeps sending the fuel even if the distortion occurs in the piston for the injection in 2003, and is reported on the case where Baspakkin of the cylinder mount is burnt.

Moreover, the motorcycle equipped with the first, water-cooled DOHC V twin engine (Revolution engine) was born ..this company in 2002.., too. (Refer to the page of VRSC for details. )

The model where the profit cannot be taken by the competition with the motorcycle manufacturer in Japan reduces the scale as abolition etc. , and the designed model ..straightening now "Run in the long distance with the United States freeway".. is centered though a small scooter etc. also were manufacturing the Harley company before. Therefore, the ability cannot be demonstrated in the mountainous district and the circuit. It was used in the United States for the police traffic management (Recently, a foreign car such as Kawasaki and BMWs is used).

The home manufacturer was acquired in the inside and 2001 when the entire two-wheel market reduced and the large-sized car share head position of more suppression 750cc was acquired in a Japanese market. It is assumed to two person in the expressway getting on opening of an automatic two-wheeled vehicle by the Road Traffic Law revision in the license acquisition system establishment in the car driving school by the large-scale automatic operation two-wheeled vehicle license foundation in 1996 and 2005 that a foreign manufacturer such as Harleys demanded in the background strong.

The Harley was a vehicle that enjoyed the sound and the pulse. Environmental protection..viewpoint..twin..cam..balanc er..engine..appearance..catalyst..techno logy..introduction..sound..pulse..model. .suppress.

The installation of an illegal muffler was controlled voluntarily by the notice of Harley Davidson Japan that was the sole agency by Japan in around 2003. The agreement of the installation self-imposed control of an illegal muffler was made also between the agency and the sales network in each administrative divisions. This is a meaning that prevents differences from being in the shop that installs it and the shop that doesn't obtain the defense of the notice in numbers of sales.

Hi, everyone. :) Today we'll show you how to make a terrific Classic BLT Sandwich!

BLT is the most famous Sandwich in US and UK, the name “BLT” comes from the initials of its primary ingredients, they are Bacon, Lettuce and Tomato. It’s the basic sandwich, but can be created and mixed up different ingredients to be more variety. Like add avocado, it’s BLAT, add cheese to be BLCT. Also you can use chicken instead of bacon to make a Club Sandwich.

The basic ingredients of BLT sandwich are bacon, tomatoes, lettuce and mayonnaise between two slices of toasted bread. You can use any kind of bread or toast you like. This recipe will share with you a simple way to make a classic BLT. Of course includes many yummy tips. Hope you like. Happy cooking! :)

This is an #ASMR ver, you can check out the other v er that with BGM and Voices in Chinese if you like:
https://youtu.be/poxXXdk9-Gk
------------------------

Classic BLT Sandwich Recipe

✎ Ingredients
bread 2 slices
bacon 3 strips
lettuce 1-2 pieces
tomato 2 slices (8~10mm thick)
black pepper a pinch
butter 10g
mayonnaise 20g
ketchup 10g
dijon mustard 5g

✎ Instructions
1. Preheat the oven to 200°C. Line a parchment and rack on baking sheet.
2. Place the bacon strips in a single layer and bake for 12-15 minutes until the bacon is crispy.
3. Soak up the extra bacon grease, and season with some black pepper.
4. Cut the tomato into 1cm slice, then place them on a paper towel, use another paper to remove the extra juice. Set aside.
5. Combine the mayonnaise, ketchup and dijon mustard, mix well.
6. Add a little butter in the frying pan, swirl it to coat the bottom. Put 2 slices of bread in the pan, and toast them on each side until golden brown.
7. To assemble the sandwiches, spread a thin butter layer on one side of two breads, then layer the bacon strips, tomato slices, mayo dressing and folding lettuce. Top with the remaining slice of bread.
8. Cut the sandwich in half and serve, enjoy.
----------------------------------------------------------------------
#sandwich
#breakfast
#eastrecipes

It was established by Arthur and Walter's Dabiddoson brother and William Sylvester Harleys in 1903.

The motorcycle manufacturer in the United States existed in the past and time only of one
company of Harley Davidson existed, too.

An actual pronunciation is near "Hurley Davissn" though an official name in Japan is "Harley
Davidson".
Feature

The feature of the maximum motorcycle made by the Harley Davidson company is a peculiar pulse feeling, externals that large displacement air cooling OHV and V type twin engine bring, and has a lot of charm fans in this. The drive is a belt drive that is converted the crank movement into the belt by the chain in a primary case and told the rear wheel. Most of the category that is called "American" of the domestic production manufacturer is OHC, V type twin engine, and the style that mimics features other than the drive. Blustan CEO of an American headquarters and chairman shows the idea, "Aim at the Harley that everyone can get on from a high-level Harley to a popular Harley" in 2001.

The shift started, twin cam 88B(balancer) was piled up from evolution 1340cc to present engine and twin cam 88.1450cc by the Softal system in 2000 in 1999, and those engines were improved to 1584cc in the boa in 2007(stroke). It is appearance of twin cam 96(cubic inch). The agreement of exhaust emissions regulations became a problem along with the large exhaust. The catalyst technology is introduced into the muffler in 2001, and all models to whom a new car is sold are made an injection in 2007. However, because the feeling etc. of the engine are different along with make to the injection from the one of a past carburetor specification (A peculiar feeling heavy to the cab was canceled), the deep-rooted popularitys are collected in the model of the cab specification. A present system is completed very much and has finished very much high about reliability though keeps sending the fuel even if the distortion occurs in the piston for the injection in 2003, and is reported on the case where Baspakkin of the cylinder mount is burnt.

Moreover, the motorcycle equipped with the first, water-cooled DOHC V twin engine (Revolution engine) was born ..this company in 2002.., too. (Refer to the page of VRSC for details. )

The model where the profit cannot be taken by the competition with the motorcycle manufacturer in Japan reduces the scale as abolition etc. , and the designed model ..straightening now "Run in the long distance with the United States freeway".. is centered though a small scooter etc. also were manufacturing the Harley company before. Therefore, the ability cannot be demonstrated in the mountainous district and the circuit. It was used in the United States for the police traffic management (Recently, a foreign car such as Kawasaki and BMWs is used).

The home manufacturer was acquired in the inside and 2001 when the entire two-wheel market reduced and the large-sized car share head position of more suppression 750cc was acquired in a Japanese market. It is assumed to two person in the expressway getting on opening of an automatic two-wheeled vehicle by the Road Traffic Law revision in the license acquisition system establishment in the car driving school by the large-scale automatic operation two-wheeled vehicle license foundation in 1996 and 2005 that a foreign manufacturer such as Harleys demanded in the background strong.

The Harley was a vehicle that enjoyed the sound and the pulse. Environmental protection..viewpoint..twin..cam..balanc er..engine..appearance..catalyst..techno logy..introduction..sound..pulse..model. .suppress.

The installation of an illegal muffler was controlled voluntarily by the notice of Harley Davidson Japan that was the sole agency by Japan in around 2003. The agreement of the installation self-imposed control of an illegal muffler was made also between the agency and the sales network in each administrative divisions. This is a meaning that prevents differences from being in the shop that installs it and the shop that doesn't obtain the defense of the notice in numbers of sales.