It’s been awhile since I last posted a picture of me. Without Layla, without Deon, not in home clothes, not without makeup. Just me, post motherhood, looking stylish, glamorous and unfriendly. Haha!
While I must admit that it is nice to have chio photos to showcase on social media, however as I age, more and more so I relish being in the present. And that means, when I am with my daughter I spend quality time with her instead of trying to capture the perfect moment, and be spending quality time with my phone instead. Likewise, when I’m with my friends, at work, with my family, with Deon, having a nice meal, all dressed up for an event or an editorial shoot, when I’m cooking, reading a book, taking my daughter out to park, cycling, working out, etc. I am in that moment with them and myself. It is such a beautiful feeling to be able to be completely engaged in something I am doing, such a privilege to be spending quality time with myself especially after being a mom.
It is unfortunate that in this time and age, people often do things for the sake of presenting it to the rest of the world. There’s this weird mentality of, 'if I don’t show then it doesn’t count because people wouldn’t know that I have done it.'
I’m proud to say, those days where I needed external validation is over.
When I first started Instagram, it was because I wanted to document my life’s journey. I posted my first picture on 10 June 2011, it’s been a decade (OMG)! It’s been through so many stages of my life with me. The good times and the bad, many relationships, heartbreaks, marriage, vacations, wonderful meals, hairstyles, fashion, deaths, births. I am delighted that 10 years later, ive stayed authentic and shared only things that matters to me at that point in my life. it’s like a little journal that I keep. I may not put in much effort with showing ‘Instagram-worthy’ pictures, but I sure do with writing my thoughts.
So thank you guys, for being here with me all these years. For accepting my less than perfect photos, my bad grammar, my infrequent posts, my long-windedness, my non-existent replies and comments.
But here I am, what you see is what you get.
Happy blessed Monday!
同時也有9部Youtube影片,追蹤數超過17萬的網紅Nanaki Piano,也在其Youtube影片中提到,『仮面ライダーディケイド』主題歌のGACKTさんの歌う「Journey through the Decade」をピアノカバーしました。 Twitter https://twitter.com/Nanaki_007 メインチャンネル https://www.youtube.com/c/Nanaki...
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journey through the decade 在 多益達人 林立英文 Facebook 的最讚貼文
Egypt’s Suez Canal: a maritime choke point
The 400-meter long, 220,000-ton MV [motor vessel ( )] Ever Given, classed as a so-called “megaship,” veered ( ) off course during a gale-force ( ) duststorm ( ).
The 59-meter-wide Taiwan-run, Panama-flagged vessel became stuck ( ) near the southern end of the Suez Canal, diagonally ( ) blocking the man-made ( ) waterway ( ) that connects the Mediterranean with the Red Sea.
Opened 150 years ago, Egypt’s Suez Canal has been regularly expanded ( ) and modernized, and it is today capable of ( ) accommodating ( ) some of the world’s largest supertankers ( ), handling roughly 10 percent of international maritime trade. In 2019 around 50 ships used the canal daily, compared with three in 1869.
The majority ( ) of oil transported by sea passes through the Suez Canal, which is the fastest crossing ( ) from the North Atlantic Ocean to the Indian Ocean, but demands hefty ( ) passage tolls ( ). The journey between ports in the Persian Gulf and London, for example, is roughly halved ( ) by going through the Suez Canal compared to the alternate ( ) route via the southern tip of Africa.
Most of the cargo ( ) traveling from the Persian Gulf to Western Europe is oil. In the opposite direction, it is mostly manufactured goods and grain ( ) from Europe and North America headed to the Far East and Asia.
The latest blockage ( ) highlights ( ) the risks faced by the shipping industry as more and more vessels transit ( ) maritime choke points including the Suez and Panama canals, the Strait of Hormuz and Southeast Asia’s Malacca Strait. Those routes ( ) are also having to accommodate increasingly larger ships that are more complex ( ) to rescue, while the container-carrying capacity of vessels has doubled in the past decade.
埃及蘇伊士運河:世界海運之吭
長達四百公尺、二十二萬噸,屬於所謂「超大型船舶」的內燃機船「長賜號」,在沙塵暴的大風中偏離了航道。
這艘五十九公尺寬,由台灣企業經營、以巴拿馬為船旗國的船卡在蘇伊士運河南端附近,以斜角堵住了這條連接地中海與紅海的人造水路。
埃及的蘇伊士運河一百五十年前開航,一直定期進行擴建及現代化改造,如今能夠容納世界上最大的一些超級油輪,經手大約百分之十的國際海洋貿易。二○一九年,每天約有五十艘船通過運河,在一八六九年則為每日三艘。
大部分經海路運輸的石油都會通過蘇伊士運河,但需付高額通行費,蘇伊士運河是由北大西洋通往印度洋最快的渡口。例如,要來往波斯灣諸港及倫敦之間,經由蘇伊士運河要比繞道非洲南端的替代路線縮短了大約一半的行程。
由波斯灣運往西歐的貨品大部分為石油;而反方向的運輸,主要是將歐洲及北美洲的製成品與穀物,運往遠東及亞洲。
近日的蘇伊士運河堵塞事件確實凸顯出航運業所面臨的風險,因為有越來越多的船通過海上戰略咽喉要塞,包括蘇伊士運河、巴拿馬運河、荷莫茲海峽,以及東南亞的麻六甲海峽。這些路線還必須容納體積越來越大的船舶,體積越大,救援起來就越複雜。船舶的裝載貨櫃容量在過去十年中整整翻了一倍。
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#高中英文 #成人英文
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#國立大學外國語文學系講師
journey through the decade 在 VOP Facebook 的精選貼文
#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
journey through the decade 在 Nanaki Piano Youtube 的最佳解答
『仮面ライダーディケイド』主題歌のGACKTさんの歌う「Journey through the Decade」をピアノカバーしました。
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journey through the decade 在 ひろみちゃんねる Youtube 的最佳貼文
《毎週月曜日 22:00〜23:00》
YouTube生配信始めました🌟
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→https://twitter.com/hiro3nimum
チャンネル登録&高評価、お願い致します!
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journey through the decade 在 謙預 QianyuSG Youtube 的最佳解答
「世界上最厲害的經是什麼?」
我這十多年能度過重重難關,也因爲我有唸誦這部經。感恩根本傳承上師聖尊蓮生活佛的加持!
這部經能滅生死苦,消除諸毒害。
無論你是面對官非、被下降頭、事業不振、重病連連等等的問題,這部經都能夠幫您消災解厄。我大力推薦!
問題是,您是否有這恆心毅力來幫助自己扭轉命運?
您又否願意守戒,相信佛菩薩不可思議的力量嗎?
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"What is the most powerful sutra in the world?"
The last ten over years of my life were fraught with many difficulties and obstacles. I managed to surpass them, also because I have been reciting this sutra the past decade.
This sutra can vanquish the sufferings of birth and death, and eradicate all forms of malicious harm.
Whether you are facing legal disputes, being cast a vile spell, suffering from a lacklustre career, or severe illness, this sutra can remove your ill fortune and resolve your difficulties. I strongly recommend it!
Problem is, do you have this tenacity and perseverance to help yourself turn the tide to your favour?
Also, are you willing to abide by the precepts and have faith in the incredible powers of the Buddhas and Bodhisattvas?
******************************
阿彌陀佛,你好!我是李季謙,來自新加坡的風水命理師。我將我的一生貢獻於弘揚佛法和中華玄學。這過程曲折離奇,卻也充滿了許多人生的領悟。
通過我的影音與寫作,我希望能與你分享,盼你也能夠突破自己命運的束縛,真正活得精彩:我命在我,不在天。
人生長短無所謂,最重要的是活得有價值,有貢獻。
??? 服務諮詢 :
https://qianyu.sg/consultations/?lang=zh-hant
***********
Hi, I am Lee Ji Qian, a Chinese Metaphysics practitioner from Singapore. This journey in propagating Buddhism and Chinese Metaphysics has been full of hard knocks and exciting discoveries.
Through my videos and online writing, I hope to share my journey with you. So that you too can break free from the limits of your destiny and truly live a life you can call fulfilling. My destiny is in my own hands, not Heaven. So is yours.
It does not matter whether we can live a long or short life.
What matters most is living a life of value and contribution.
??? FOR MY SERVICES:
http://www.qianyu.sg/consultations
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