Every ripple is significant, and I’m glad our community is engaging in discussion on issues that matter.

Diversity and Inclusion are topics not only for art and film, but for every aspect of our society. The fact that film has more reach and longevity than many art forms gives credence to the opportunity it presents to reimagine narratives, and for filmmakers and actors to advocate for their beliefs off-screen.

Thank you, @jaegerlecoultre , @goldenscenecinema , and @tatlerhongkong for this opportunity to engage in meaningful discussion with @tamara.lamuniere , @thebipinkarma , and the amazing people who joined our discourse and reimaginings.

—-
@maxmara / @maxmarahk
@debeersofficial
@jimmychoo
@vanessawmakeup + @gloomykwokmua
@styledbybhisan

@tatlerasia @petercheungasia

#TimelessStoriesofHKCinema #香港電影的永恆故事
#1931Cafe #MichaelMurphy
#JaegerLeCoultre #JaegerLeCoultreHK #ReversoStories
#GoldenSceneCinema #高先電影院 #Tatler #CriselConsunji #姬素孔尚治

#新文章 #聯合報專欄

經常忘記與大家分享我的外稿專欄。其實先前貼過幾次《聯合報》專欄連結，但近一年來觸及非常差，po文這件事也就被我擱在一旁。

再次與大家分享最新一篇文章，是因為這個專欄進入新階段：#美食論述。自從去年九月我重啟有關 #美食家 與 #美食評論 的討論後，接下來想探討的是「美食論述」。

首先是這樣一個問題：優秀的廚師能否和優秀的藝術家相提並論呢？

這是一系列文章的第一篇，單篇短文篇幅有限，之後會陸續更新內容。

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美食不耐久，美食論述可以
（原文發表於《聯合報》2020.08.20）

美國的幽默作家弗蘭．利波維茲（Fran Lebowitz），作品不多，卻暢行藝文圈，與之相交者不乏大明星、大導演、大總編，其中一位是奧斯卡名導馬丁．史柯西斯（Martin Scorsese）。史柯西斯以利波維茲為主角拍了二部紀錄片，較新的這部《假裝我們在城市》（Pretend It’s A City），正在Netflix熱映，內容為史科西斯或其他名人與利波維茲對談，鋪陳有關紐約與都會生活的種種議題，利波維茲的聰明機智與鋒利口才展露無遺，圈粉無數，也包括我。

在有關「文化事務」的討論中，美國導演製片人與演員史派克．李（Spike Lee）問利波維茲：「妳認為優秀的運動員可以和優秀的藝術家相提並論嗎？」利波維茲答：「我認為優秀的運動員可以和優秀的舞者相提並論，但不能和優秀的作家相提並論。」史派克．李不同意，他認為麥可．喬登和法蘭克．辛納屈、米開朗基羅、貝西伯爵、艾靈頓公爵具備同等地位，在某個領域最高水準的人，將一起躋身萬神殿；利波維茲卻妙回，在麥可．喬登死後四十年，你不會像聆聽艾靈頓公爵的專輯一樣觀賞麥可．喬登的籃球比賽。

利波維茲的論點是，音樂作品永流傳，你永遠可以擁有艾靈頓公爵，一張專輯的意義不僅僅在於黑膠唱片實體的存在，還在於其記錄了音樂家的作品，這個作品是一樣的；觀賞運動賽事卻不同，當麥可．喬登不再打球，你就沒有比賽可看，你也欠缺回顧他過往比賽的動機，因為你已經知道比賽結果。

我差點對著電視螢幕舉手發問：「請問利波維茲女士，優秀的廚師能否和優秀的藝術家相提並論呢？」

這一題隱含的問號是，廚師做出的料理是否為一種作品？

對照上述有關音樂與運動的辯論，或有人翻翻白眼，以膝蓋代替大腦回答：食物吃下肚就沒了，怎麼能成為一種實際存在的作品？話再講深一層，食物在物理上的短暫性與不可再現性，如何能被人反覆鑑賞？

若是如此，這世上將沒有美食家、美食評論家、美食作家存在的餘地，也沒有與飲食相關的著述、報導、評鑑存在的必要。然而這有違事實，我們知道這世上有大量有關美食的「作品」散播著，無論是食譜、小說、論文、電影，或是在自媒體當道的此刻，嘈雜龐亂的貼文、美圖、短片、限時動態。

我要說的，是「美食論述」（culinary discourse）。美食難以永流傳，而美食論述可以。這也是本專欄爬梳美食家的淵源與脈絡的下一步，我們必須談談美食論述。我們已經談過餐廳是美食家誕生的舞台，上餐廳吃飯的人們形成用餐大眾，催生出有關美食的公眾輿論，進一步促成美食家作為意見領袖的崛起。這條脈絡，是由私密走向公共的過程，美食論述也是一個關鍵：讓美食由不耐久的、個人的體驗轉為可傳述的、公共的評論對象。

如果料理無法成為作品，美食論述總可以是。

#新刊出版 New release!!!​
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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​
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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。​
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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。​
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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。​
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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。​
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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。​
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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。​
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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！​
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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.​
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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.​
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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.​
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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.​
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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.​
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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.​
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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

“Democracy is a failure” - that’s the narrative the Chinese Communist Party has been trying to plant over the past year and hopes to take root in international discourse and in the minds of its 1.4 billion citizens. This disinformation has heavy implications for democracy in Taiwan, and it’s never been as serious as it is now.

CCP disinformation methods are detailed in a report issued late last year titled “Deafening Whispers” by Doublethink Lab, a Taiwanese organization whose mission is to strengthen democracy through digital defense. The report has just been made available in English.

This interview was recorded in January 2021 when the Chinese-version of the report was first published.

Online disinformation and influence operations affect offline real-world defense and security. Fake news is a global issue and this is The Taiwan Take. Today’s guest is Dr. Puma Shen (沈伯洋), chairman of Doublethink Lab (台灣民主實驗室) and an assistant professor at National Taipei University.


Deafening Whispers: https://medium.com/doublethinklab/deafening-whispers-f9b1d773f6cd

Today’s episode is hosted by J.R. Wu - Chief of the Secretariat for INDSR (Institute for National Defense and Security Research) in Taiwan. Wu is a former journalist with nearly two decades of media experience in the US and Asia. She has led news bureaus for Reuters and Dow Jones.

Support us on Patreon: http://patreon.com/taiwan
Follow us on Twitter: https://twitter.com/ghostislandme

SHOW CREDIT

JR Wu (Host)
Emily Y. Wu (Producer): https://twitter.com/emilyywu
Alice Yeh (Editing | Researcher)
Music: MB013KF2YKVG19A

A Ghost Island Media production
www.ghostisland.media

#東京電機大学生で結成されたサークル「Amusement Makers」内で、'96年から'98年にかけて活動した「ZUN Soft」から、98シリーズ上のMS-DOS用作品として、5作品を発表(これらを「旧作」と称す)、その第1作目となるシューティング風ブロック崩し作品。
'96年11月に開催された東京電機大学の第20回鳩山祭にて公開・無料配布された。

5の倍数面にはボスキャラがおり、陰陽玉をボスに当て、体力を無くせばクリアとなる。

BGMはZUN(太田順也)氏が作曲、本作のみドライバにmdrv2を使用。
以後の作品に収録されている靈異伝のBGMは全てアレンジ版であるため、原曲はこの作品でしか聴く事が出来ない。
楽曲はopn版とopna版が存在する。

Manufacturer: 1996 ZUN Soft / Amusement Makers
computer: PC-9801 series
Hardware: YM2608 (PC-9801-86K)
composer: Junya Ohta
-------------------------------------------------
00:00 01.A Sacred Lot (タイトル画面)
03:32 02.Shrine of the Wind [unused] (風の神社/未使用曲)
06:08 03.Eternal Shrine Maiden (永遠の巫女/1～4面、地獄16～19面)
09:14 04.Highly Responsive to Prayers (神へ捧げる魂/魔界6～9面)
13:36 05.Eastern Strange Discourse (東方怪奇談/地獄6～9面)
16:33 06.Oriental Magician (魔界11～14面)
22:05 07.Blade of Banishment (破邪の小太刀/地獄11～14面)
24:18 08.The Legend of Kage (魔界16～19面)
26:45 09.The Positive and Negative (陰陽/5面)
28:42 10.Angel's Legend (天使伝説/10面)
32:12 11.Magic Mirror (魔鏡/15面)
34:38 12.Now, Until the Moment You Die (いざ、倒れ逝くその時まで/魔界最終面1)
37:44 13.We Shall Die Together (死なばもろとも/Theme of 地獄めくり/魔界最終面2)
42:53 14.Swordsman of a Distant Star (星幽天使～The～★Alice-in-Wonderland～Angel/地獄最終面)
46:23 15.Iris (アイリス/エンディング)
-------------------------------------------------

#jaysbabyfood #storytime #lgbtinkorea
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- References -
- Ahn, P. (2009). Harisu: South Korean cosmetic media and the paradox of transgendered neoliberal embodiment. Discourse, 31(3), 248-272.

- Arora, S., Singhai, M., & Patel, R. (2011). Gender & Education determinants of individualism — Collectivism: A study of future managers. Indian Journal of Industrial Relations, 47(2), 321-328.

- Berry, C. (2001). Asian values, family values: Film video, and lesbian and gay identities. In Sullivan, G., & Jackson P. (Ed.), Gay and lesbian Asia: Culture, identity, community. (pp. 211-232). Binghamton, NY: Harrington Park Press.

- Bong, Y. D. (2008). The gay rights movement in democratizing Korea. Korean Studies, 32(1), 86-103.

- Cho, J. P. (2009). The wedding banquet revisited: "Contract marriages" between Korean gays and lesbians. Anthropological Quarterly, 82(2), 401-422.

- Choi, J. S. (2014). Korean culture orientation: Daily-life and religious culture volume. Sonamoo Publishing.

- Jang, H. S. (n.d.). Resource center of young women service review (늘푸른 사업 리뷰). Retrieved from http://www.seoul.go.kr/info/organ/center/1318_new/info/review/1253299_13874.html

- Kim, H. Y., & Cho, J. P. (2011). The Korean gay and lesbian movement 1993-2008: from "identity" and "community" to "human rights". South Korean Social Movements: From Democracy to Civil Society, 206-223.

- Kim, Y., & Hahn, S. (2006). Homosexuality in ancient and modern Korea. Culture, Health & Sexuality, 8(1), 59-65.

- Kwak. L. G. (2012, April 25). Who murdered a 19-year old LGBT teen (누가 열아홉살 동성애자를 죽였나). Oh My News. Retrieved from http://www.ohmynews.com/nws_web/view/at_pg.aspx? CNTN_CD=A0001724998

- Lee, J. E. (2006). Beyond pain and protection: Politics of identity and iban girls in Korea. In Khor, D., & Kamano, S. (Ed.), Lesbians in east Asia: Diversity, identities, and resistance. (pp. 49-67). Binghamton, NY: Harrington Park Press.

- Novak, K. (2015). The problem with being gay in South Korea. Retrieved from http://edition.cnn.com/2015/10/18/asia/south-korea-being-gay/

- Park, H., Blenkinsopp, J., Oktem, M., & Omurgonulsen, U. (2008). Cultural orientation and attitudes toward different forms of whistleblowing: A comparison of South Korea, Turkey, and the U.K. Journal of Business Ethics, 82(4), 929-939.

- Seo, D. J. (2001). Mapping the vicissitudes of homosexual identities in South Korea. Journal of Homosexuality, 40, 65-79.

- Song, J. (2014). Living on your own: Single women, rental housing, and post-revolutionary affect in contemporary South Korea. SUNY Press.

- Do Koreans Support LGBTQ+? (Ft. Seoul Queer Parade) | ASIAN BOSS https://youtu.be/p_vsIEs72p8

- Koreans React To K-pop Singer Coming Out As Bisexual [Street Interview] | ASIAN BOSS https://www.youtube.com/watch?v=BKL9VrqLJZE

- Is South Korea's LGBT+ community being scapegoated for COVID-19 spread? https://www.dw.com/en/is-south-koreas-lgbt-community-being-scapegoated-for-covid-19-spread/a-53423958

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