於西班牙東南部的馬爾梅諾潟湖,近日有近20噸魚及甲殼動物屍體被沖到岸邊。當區是西班牙主要農業生產地區之一,因大量含氮、磷等化學肥料的農業污染物流入潟湖,引致大量藻類繁殖,令水中氧氣量降低,海洋生物因而窒息。大量群眾聚集抗議要求展開調查,當局計劃收緊管制使用化肥。
20 tons of dead fish and crustacean were washed ashore recently in Mar Menor lagoon in southeastern Spain. That region is one of the major agricultural production area. Large amount of pollutants that contains nitrogen, phosphorus and other chemical fertilizers entered the lagoon, causing algae blooms which consume oxygen in water and lead to suffocation on marine creatures. the public gathered to protest and urge for investigations on the problem; Spanish authorities are going to tighten a ban on the use of harmful fertilizers.
同時也有6部Youtube影片,追蹤數超過2,030的網紅數位時代Official,也在其Youtube影片中提到,公司簡介 DataYoo悠由以資料分析與AI技術為核心,結合作物產地、在地生長數據及市場情報,預測生產端到採購端間整體供應鏈之完整風險控管解決方案,並提供農企業集團、金融業者包含銀行及產險業者,發展不同產業互利共生的資料應用服務解決方案。 The core competence of Data Y...
「agricultural production」的推薦目錄:
- 關於agricultural production 在 &dear Facebook 的最讚貼文
- 關於agricultural production 在 Facebook 的精選貼文
- 關於agricultural production 在 VOP Facebook 的最佳解答
- 關於agricultural production 在 數位時代Official Youtube 的最佳解答
- 關於agricultural production 在 Ghost Island Media 鬼島之音 Youtube 的最佳貼文
- 關於agricultural production 在 Smart Travel Youtube 的最佳貼文
agricultural production 在 Facebook 的精選貼文
"We call ourselves farmers and futurists."
Built in the heart of Appalachia, the biggest greenhouse in the US is also its most high-tech. For CNN's #TechForGood, AppHarvest Founder and CEO Jonathan Webb shares the technology he uses for sustainable crop production including AI and robotic harvesting.
"We don't have a choice," Webb tells me.
"China and India have 40% of the world's population and less than 10% of the world's fresh water. How are we going to feed continents? This is terrifyingly not sustainable."
The UN says we need to produce 70% more food to feed 10 billion people by 2050. Is AgTech the answer to feeding the planet?
#AppHarvest #AgTech #ClimateAction #FarmingNow #ControlledEnvironmentAgriculture #AI #robotics #data #hybridlighting #greenhouse #sustainability #technology #innovation #CNN #TechForGood #climate #climatechange
agricultural production 在 VOP Facebook 的最佳解答
#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
agricultural production 在 數位時代Official Youtube 的最佳解答
公司簡介
DataYoo悠由以資料分析與AI技術為核心,結合作物產地、在地生長數據及市場情報,預測生產端到採購端間整體供應鏈之完整風險控管解決方案,並提供農企業集團、金融業者包含銀行及產險業者,發展不同產業互利共生的資料應用服務解決方案。
The core competence of Data Yoo is data analysis and AI technology. By integrating the farm of production, local growing data and market information into the analysis, we are equipped with sufficient knowledge that enables us to predict the comprehensive risk management solution for the whole supply chain, ranging from the production aspect to retailing aspect. Furthermore, we provide “Data Application Service Solution” that facilitates the development of the mutually beneficial symbiosis in different industries to agricultural enterprise groups and financial companies, including banks and property insurance companies.
公司網站
https://datayoo.com.tw/
![post-title](https://i.ytimg.com/vi/25kedvB7F24/hqdefault.jpg)
agricultural production 在 Ghost Island Media 鬼島之音 Youtube 的最佳貼文
Nature N8 is calling out food companies that greenwash their products and limit our food options. On our last live recording at the 2020 AAAS Annual Meeting, N8 has a chat with Lydia Zepeda.
Zepeda is a Professor Emeritus of University of Wisconsin-Madison and an expert on food systems. She gives us a taste of everything food-related from food (mis)labeling to delivery services, and how we can make food choices that are healthier for both our bodies and the environment.
This episode was recorded at the AAAS annual meeting in Seattle in February, 2020.
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Emily Y. Wu (Producer / Editing)
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agricultural production 在 Smart Travel Youtube 的最佳貼文
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以聖經中「迦密山」為名的「Carmel Market」,希伯來文意思是花園或果園,可以一次見識以色列在地的所有農產,明明60%的土地都是沙漠的國度,卻能生產出無花果、石榴、柳橙、椰棗、堅果、橄欖和許多五顏六色的新鮮蔬果。這裡也是上帝應許的奶與蜜之地,酪農業發達到台灣人都來取經,乳酪種類數也數不清。
「Carmel Market」的攤子商店都沿著長街而建,一攤攤仔細逛下去,至少得花2小時。
市場裡的專門店,供應以色列人餐桌上必備的各色乳酪。橄欖是以色列人最愛的開胃菜。
新鮮無花果是環地中海國家的特產,以色列也有。以色列出產橄欖,當地產的橄欖油,風味品質都不錯。中年男子正在選購猶太麵包。豔紅的石榴也是本地產的。
客人看著魚販將鯡魚現場拆骨去皮切塊,鮮度有保證。
醃漬過的鯡魚,是老饕最愛的味道。
Carmel是一個長條形的市場,一攤攤認真地逛、慢慢地看,至少要花上2個多小時,我先是試喝本地產的初榨橄欖油,柔滑清香,舌根無刺辣感,相當美味,當場採買幾罐,又在雜糧行買到店主自豪口味的混合米飯,裡頭有小扁豆、印度香米與茴香、蒔蘿,也好奇入手幾款可直接撒在沙拉上的綜合香料,準備回台灣試做以色列大餐,唯一可惜的是無法將最愛的漬鯡魚帶回家,只能留在記憶裡慢慢回味了。
在傳統市場裡走一趟,大概可以知道,特拉維夫的飲食生活裡藏著多元融合的密碼,地中海飲食中常見的橄欖、乳酪是餐桌上必備,偏好醃漬魚類,喜歡用氣味強烈的香料調味,米飯與麵包都吃,中東式袋餅是日常食物,土耳其式的甜點也不少見。
一盆盆香料、乾蔥、香米與堅果混合,是雜糧行裡的獨特的氣味與風景。
雜糧行的店面算是市場裡規模較大的。專賣Pita的小店,中午生意很好。
「Pita」是市場裡最常見的食物,袋餅裡包著油炸鷹嘴豆做的Falafel,簡單就可解決一餐。老媽媽熟練地把剛在熱鐵鍋上烙好的餅收起,等著客人上門。
吟唱家鄉曲調的走唱歌手,是「Carmel Market」裡令人駐足的一景。
Carmel市場外的悠閒風景。走訪Carmel Market隔天,我來到高樓包圍的一片花園綠地,當地人說,這裡是中產階級最愛的市場,要進去還要經過嚴格的安檢,走進之後發現大樓裡別有洞天,這裡叫做「Sarona Market」,不僅是市場,還是有故事的古蹟。
原來早在1871年,有一群虔誠的德國基督徒來到這一帶定居,開鑿水井、釀葡萄酒,發展各種農工業,讓這裡成了獨樹一格的德國殖民地,直到第二次世界大戰爆發,英國人宣布德國人是敵人,把這群基督徒驅逐回德國或澳洲。戰後,Sarona成了英國軍營,後來移交給希伯來人,成了以色列政府辦公室,直到1949年,以色列當局將首都遷移到耶路撒冷為止。
2006年,這裡的36棟房屋獲得永久保留,並將當年的5座教堂重新遷回此地,之後,園區周邊蓋起了大樓,大樓裡又建起整潔美麗的市場,新舊建築融合為一體,Sarona不再是殖民地,而是時髦現代的購物中心。
採買完的老夫婦,悠閒地在「Sarona Market」的美食街用早午餐。
色彩繽紛的軟糖,甜得要命,卻是特拉維夫人的心頭好。
夫婦倆對著水果攤品頭論足,孩子頑皮地在下面鑽來鑽去。
攤上隨處可見猶太傳統的辮子麵包,這是當地人的主食之一。
杯子蛋糕在架上閃耀誘人色澤。
市場裡專賣鮮魚料理的餐廳,時髦有型。
「Sarona Market」隱身在大樓裡,進去需經過安檢。
「Sarona Market」隱身在大樓裡,進去需經過安檢。
在這座時髦的菜市場裡,魚肉、蔬菜、油品都包裝得更高檔,服務更周到,甜點也顯得精緻多了,還添了許多國際元素,我見到許多情侶牽著手、夫妻推著嬰兒車來買菜,這裡也供應東方風味的食物,光是壽司吧就有好幾個。
走到戶外,園區保留了當年的釀酒廠、水井遺跡,數十棟老屋原貌仍在,只是內裡換成了以色列原創時尚品牌、設計商店,雅致的咖啡館、名廚開的餐廳,以及世界精品。
The "Carmel Market" named after "Carmel Market" in the Bible means Hebrew means a garden or orchard. You can see all the agricultural products on the land in Israel at one time. Obviously, 60% of the land is a desert country. Produces figs, pomegranates, oranges, dates, nuts, olives and many colorful fresh fruits and vegetables. This is also a land of milk and honey promised by God. Dairy farming has reached Taiwanese people to learn from it, and there are countless types of cheese. "Carmel Market" stalls and shops are all built along the long street. It takes at least 2 hours to walk around carefully.
聖書の「カーメル市場」にちなんで名付けられた「カーメル市場」は、ヘブライ語が庭または果樹園を意味することを意味します。イスラエルの土地のすべての農産物を一度に見ることができます。明らかに、土地の60%は砂漠の国です。イチジク、ザクロ、オレンジ、ナツメヤシ、ナッツ、オリーブ、多くのカラフルな新鮮な果物や野菜を生産しています。これはまた、神によって約束されたミルクと蜂蜜の土地です。酪農は、台湾の人々にそれを学ぶために到達しました、そして、無数の種類のチーズがあります。 「カーメルマーケット」の屋台とお店はすべて長い通りに沿って建てられています。慎重に歩き回るには少なくとも2時間かかります。
"שוק הכרמל" על שמו "שוק הכרמל" במקרא פירושו עברית פירושו גן או פרדס. אתה יכול לראות את כל המוצרים החקלאיים על האדמה בישראל בפעם אחת. ברור ש 60% מהארץ הם מדינה מדברית. מייצר תאנים, רימונים, תפוזים, תמרים, אגוזים, זיתים והרבה פירות וירקות צבעוניים טריים. זו גם ארץ של חלב ודבש שהובטח על ידי האל. חקלאות החלב הגיעה לתושבי טייוואן ללמוד מכך, ויש אינספור סוגים של גבינה. דוכנים וחנויות "שוק הכרמל" בנויים כולם לאורך הרחוב הארוך. לוקח שעתיים לפחות להסתובב בזהירות.
Le "Marché du Carmel" nommé d'après le "Marché du Carmel" dans la Bible signifie que l'hébreu signifie un jardin ou un verger. Vous pouvez voir tous les produits agricoles sur la terre d'Israël en même temps. De toute évidence, 60% des terres sont un pays désertique. Produit des figues, des grenades, des oranges, des dattes, des noix, des olives et de nombreux fruits et légumes frais colorés. C'est aussi une terre de lait et de miel promise par Dieu. La production laitière a atteint les Taïwanais pour en tirer des enseignements, et il existe d'innombrables types de fromages. Les étals et les magasins du «marché du Carmel» sont tous construits le long de la longue rue. Il faut au moins 2 heures pour se promener avec précaution.
Η "αγορά Carmel" που ονομάζεται "Market Carmel" στη Βίβλο σημαίνει εβραϊκή σημαίνει κήπος ή οπωρώνας. Μπορείτε να δείτε όλα τα γεωργικά προϊόντα στη γη στο Ισραήλ ταυτόχρονα. Προφανώς, το 60% της γης είναι ερημική χώρα. Παράγει σύκα, ροδιές, πορτοκάλια, ημερομηνίες, καρύδια, ελιές και πολλά πολύχρωμα φρέσκα φρούτα και λαχανικά. Αυτή είναι και η γη του γάλακτος και του μελιού που υποσχέθηκε ο Θεός. Η γαλακτοπαραγωγή έχει φτάσει στους Ταϊβανούς να μάθουν από αυτήν και υπάρχουν αμέτρητοι τύποι τυριών. Οι πάγκοι και τα καταστήματα "Carmel Market" είναι χτισμένα σε όλο το μήκος του δρόμου. Χρειάζονται τουλάχιστον 2 ώρες για να περπατήσετε προσεκτικά.
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