When tracking the virus means tracking your citizens
Apple and Google on Friday unveiled ( ) a rare ( ) partnership to add technology to their smartphone platforms ( ) that will alert users if they have come into contact with a person with COVID-19. Apple’s iOS and Google’s Android — the operating systems used in iPhone and Samsung Galaxy devices, among others — are used by about 3 billion people around the globe.
Since the outbreak of the coronavirus pandemic, some democracies ( ) around the world have used technology to avoid having to impose draconian ( ) mass quarantines ( ) that were common earlier this year in China. That’s reassuring — and it’s also worrying, because the very strategies that can help fight a plague can also be abused once it’s over.
Consider Taiwan, where an “electronic fence” allows local police to make regular phone calls to everyone who is home under quarantine; if the citizen doesn’t answer or the phone is out of power, police come to the home within 15 minutes. In South Korea, the government constantly updates a Web site that tracks the movements of people who have been infected, and issues alerts to the mobile phones of people in the geographic vicinity ( ) of an infected citizen. The Israeli government gained access to an archive ( ) of phone data to map the movements of infected people, then alerted those who had been in contact with them to self-isolate.
Invoking ( ) these powers is reasonable during a pandemic. Once the outbreak is over, however, this kind of power can and probably will be abused. What’s to stop a corrupt ( ) (or merely unscrupulous [ ]) leader from using such technologies to learn or even publicize the location of political opponents or dissidents ( )?
“This is a genuine emergency and that justifies ( ) a lot of things that would not normally be justified,” says Jay Stanley, a senior policy analyst at the American Civil Liberties Union (ACLU). “But we have to make sure that these temporary ( ) powers do not become permanent ( ) in a way that hurts everybody else.”
The good news is that the pandemic is not an endless war. Once there is a treatment or a vaccine ( ), there will be a clear end date to the state of emergency.
Stanley says it’s crucial to set up strict rules beforehand ( ). Any location data, for example, should only be used by public health authorities for public health purposes. The programs should be temporary and the data should be deleted after the crisis ( ) ends.
Along these lines, Freedom House released a set of principles on March 24 for protecting civil and human rights in the fight against COVID-19. It says any surveillance ( ) programs that use new technology to fight the spread of the disease should be “subject to ( ) independent oversight ( ), and ‘firewalled’ from other commercial and governmental uses such as law enforcement and enforcement of immigration policies.”
In the middle of a crisis, all of this might seem theoretical. The most essential tasks for democratic leaders are providing for the public’s safety and working to revive ( ) the economy. Yet it’s also important to remember that the state rarely relinquishes ( ) powers it amasses ( ) in a crisis.
After 9/11, the FBI was given broad new powers to demand data from private businesses. A dozen years later, both the ACLU and the Justice Department’s inspector general found that the use of that extraordinary power had become routine ( ) and unchecked. As Americans grapple ( ) with the current pandemic, they must be vigilant ( ) that their government not repeat the same mistake.
當監控病毒與監控人民劃上等號時
蘋果和谷歌兩大公司上週五破天荒宣布一項合作,將在他們的智慧手機平台新增技術,如果用戶接觸了武漢肺炎患者,便會發出警示。蘋果的iOS和Google的安卓(iPhone和三星Galaxy手機等使用的操作系統)在全球約有三十億人使用。
自冠狀病毒大流行爆發以來,世界各地一些民主國家已運用科技,以避免實施像中國今年年初所實施的那種嚴苛的大規模隔離。這令人寬心——卻也令人憂心,因為一旦疫情結束,這些可幫助打擊瘟疫的戰略也可能會被濫用。
以台灣為例,台灣採用「電子圍籬」技術,讓當地的警察可以定時打電話給每位居家隔離者。若電話沒人接或沒電,警察在十五分鐘內就會到他們家去。在南韓,政府有追蹤染疫者動向之網站,會不斷更新,並對染疫民眾附近的人發出手機警示。以色列政府可以調出電話數據檔案,以便將染疫者的活動在地圖上定位出來,然後提醒與其接觸的人進行自我隔離。
在疾病大流行期間訴諸這些權力是合理的。然而,疫情一旦結束,這種權力很可能會被濫用。怎樣阻止腐敗的(或只是不道德的)領導人使用此種技術來得知甚至公開政敵或異議人士的所在位置?
「美國公民自由聯盟」高級政策分析師傑伊‧史丹利說:「這是真正的緊急情況,它使許多通常是不合理的事有了正當性」。「但我們必須確保這些臨時權力不會變成傷害其他人的永久權力」。
好消息是,這場疾病大流行不會是一場無休止的戰爭。一旦有了治療方法或疫苗,緊急狀態就會有明確的結束日期。
史丹利表示,事先訂定嚴格的規範至關重要。例如,任何位址資訊僅應由公共衛生主管機關用於公共衛生目的。此應為臨時程序,這些資訊在危機結束後應予以刪除。
同理,人權組織「自由之家」在三月二十四日發布了一套原則,以便在對抗武漢肺炎期間保障公民權與人權。自由之家表示,任何使用新技術來對抗疾病傳播的監視程序都應「受到獨立監督,且不能作為其他商業及政府之用途,例如執法及移民政策之執行」。
在危機之中,這些似乎都是理論上的。民主國家之領導者最重要的任務是確保公眾安全,並努力振興經濟。但同樣重要的是要記住,國家很少放棄它在危機中所集聚的權力。
九一一恐怖攻擊發生後,美國聯邦調查局獲得了新的、廣泛的權力,可以要求私人企業提供資訊。十幾年後,美國公民自由聯盟和司法部總監察長都發現,這種非常時期權力的使用已成為常態,且沒有受到約束。美國人在與當前的病毒大流行奮力搏鬥之同時,也必須保持警覺,確保政府不會重蹈覆轍。
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Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
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在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com
china taiwan war map 在 VOP Facebook 的最佳解答
#新刊發行 | New Release
Voices of Photography 攝影之聲
Issue 21: 影像刊誌考
A Study of Photo Publications
在本期專題裡,我們埋首雜誌報刊堆中,透過梳理台灣、中國和香港攝影雜誌的出版歷程,作為初探東亞影像刊誌的歷史迴路及攝影文化脈動連結的支點,試圖疊映出這個影像時代過去與現在的考驗和變貌。
走過日本殖民與國府戒嚴的重重歷史,歷經戰後攝影發展的流變,台灣影像雜誌的存在與承續,彷若一趟崎嶇蜿蜒的旅程——陳佳琦追蹤台灣攝影刊物的沓雜步履,瞭望島嶼影像出版百年來的起落波潮;張世倫重訪七〇年代發行的《ECHO》英文漢聲雜誌,追述這份台灣民俗調查攝影先鋒刊物的歷史脈絡與文化影響;梁秋虹考掘日治期間出版的「黃色刊物」,剖析台灣女性作為視覺消費商品的殖民結構與政治關係;李威儀蒐集台灣戒嚴年代官方編印發行的「今日」系列政宣畫刊,探查國府曾經透過出版啟動的對外影像心戰。
在對岸中國,長久以來由政府當局全面管控的媒體與出版體系,塑造了「具中國特色」的攝影媒介生態——顧錚回看自1949年至今、在文革到改革開放帶來的政經變化下,攝影雜誌所承載的理想、現實與時代肌理;此外,何伊寧書寫近年中國獨立刊物的多樣風景,體現這些在限制中試圖開拓道路的紙本與網路同人誌的某種可能與想像,為中國攝影注入了不同以往的革新感與清新氣息。放眼香港,李泳麒則細數自戰後以來發行的眾多香港攝影刊物,揭示早期攝影雜誌與左派團體的隱密關係,以及面對商業市場的掙扎取捨,回溯這些影像刊誌曾經點燃的火花。
本期Artist’s Showcase單元,我們專訪台灣藝術家侯怡亭,在她的作品《歷史刺繡人》系列中,藉由刺繡、勞動生產與殖民時期歷史照片的交疊展現,反射出社會集體意識灌輸的性別設定與身體感。在「Q」單元裡,法國攝影雜誌《The Eyes》創辦人文森.馬熙哈希與我們分享這份新的半年刊的編輯概念以及他對攝影的前線觀察;同時,我們也造訪巴黎視覺藝術空間「LE BAL」,一探這個位在紅燈區、前身曾是酒館舞廳的展演場,如何變成新穎的歐洲影像文化據點。
我們在籌備本期專題、記述這些影像刊物生命史之時,特別能夠感受到催生與維持一份刊物背後所需付出的心血與懷抱的理想,在此我們向眾出版人們致敬。出版的路上時而快意、時而蹌踉,我們也想再次感謝親愛的《攝影之聲》讀者給予這份刊物持續的動力,謝謝你與我們一起共度這段雜誌時光。
◼︎ 購書 | Order : http://bit.ly/2uhMNd6
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
In this issue of VOP, we combed through and compiled numerous photo publications from Taiwan, China and Hong Kong. Using this as a fulcrum in our primary examination of the historical development and cultural ripples of photo publications in East Asia, we tried to map the past and current challenges and transformation of this age of images.
Through the Japanese colonization and martial law eras, the existence and evolution of post-war photo publications in Taiwan is not unlike a winding journey. Chia-Chi Chen traces the complex development and the ups and downs of Taiwanese photographic journals in the last century; Shih-Lun Chang revisits ECHO, a magazine published in the 1970s, and recounts the historical context and cultural influence of this pioneering publication on Taiwanese folklore and documentary photography. Chiu-Hong Liang takes a look at “adult publications” from the Japanese colonial period and examines the relationship between politics and the colonial structure of objectifying Taiwanese women as a form of visual consumer product. Wei-I Lee puts together the Today series of KMT government propaganda materials published during the martial law era and explores how the government engaged in psychological warfare through the use of such publications.
Over in China, the media and publication industry, which has long been heavily controlled by the state, has given birth to a photographic media ecology with “Chinese characteristics." Gu Zheng takes a look at how political and economic changes since the Cultural Revolution and the Reform Era gave shape to the expectations, reality and texture that photo publications have had to bear since 1949. Yi-Ning He also explores how independent publications in China, in an attempt to blaze a trail in a much-restricted environment, with their dedication to possibility and imagination, have brought with them a new sense of innovation and a breath of fresh air into the scene of Chinese photography. Turning to Hong Kong, Wing-Ki Lee showcases Hong Kong’s post-war photo magazines and recounts their impact on the society as he reveals the close relationship between early photo publications and leftist groups and their struggles with the commercial market.
In this issue’s “Artist Showcase”, I-Ting Hou tells us how her work Li̍k-sú Tsiam-tsílâng reflects gender definition and sensory perceptiveness instilled by the social collective consciousness through the overlapping historical photographs of embroidery and labor productivity from the colonial period. In the “Q” segment, Vincent Marcilhacy, the founder of French photography magazine The Eyes, shares with us his editorial concept for this new magazine and his first-hand observations of photography. At the same time, we also pay a visit to Le Bal, a visual art space in Paris, and see its transformation from a haven of drinks and dance to a new cultural stronghold in Europe.
While preparing for this volume of VOP, we had renewed respect for all the work and effort these publications put in as we articulate their histories. Hence, we would like to pay tribute to our fellow publishers. The same time, we also want to express our gratitude to our beloved VOP readers for giving us the reason to persevere with this publication. The road of publishing is at times smooth-sailing, and at times discouraging. Thank you for always staying with us on this journey.
---
Voices of Photography 攝影之聲
www.vopmagazine.com