"MAYBE IT'S TIME TO REST ON OUR LAURELS."
--

Pandemic has brought up a lot of things I need to heal through, and this is one of them: the idea of the "perpetual achievement". Sound familiar?

We glooorify it. What you did today is good, yeah - but what about what you'll do TOMORROW? You'd better be going higher, stronger, faster - never stop, don't you dare. Post the next ig picture. Generate tomorrow's tiktok content. Hope for likes. Touched the sky? Blow a hole through the atmosphere and torpedo straight on to the next burning star. The you from yesterday? We don't know her. We're better. Upgraded. V 2.0.

I've been living my life like this for years now, but the past 2 years have forced us all to BE slowed down and re-evaluate.

Don't get me wrong. Ambition & achievement are wonderful. (There are certainly many more things I want to achieve, and much coming up that I'm going to be sharing with you guys. Never stop dreaming.) But dreaming becomes a problem when it turns living into a nightmare, because you can't stop trying to put distance between yourself and yourself. Stop being the shadow you are continually trying to win. It's EXHAUSTING. Aren't you exhausted? I am.

So maybe the truth is this: that we were put on this earth to do ONE good thing with our lives. ONE properly good thing.
And maybe that's winning a great Waterloo style battle, or achieving a certain dream. Maybe it's finishing one great performance. One great thesis. A beautiful painting. An espresso magnum opus.

And then - we let that be enough. And we rest on our laurels. "Greatness" does not have to be continually proven. Likes are transient, clout & remembrance fade. Do what you do because you love it, and it is good, and it fulfils you. If when your day comes to an end you can say "I did this one thing to the best of my ability and it was good" - that is enough, hero. Be at peace. The bards will sing of that one deed. The song will be equally wonderful without infinite stanzas.

So rest on your laurels, goddesses. You've earned it.
--
📸: @thejoshfather, before an epic storm blew in
🧜‍♀️: @finfolkproductions I LOVE THE FANTASIA
👙:@sirenallure
👑: @missgdesigns
📿: @mermaidmilynn

《 #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.
＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

《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

#尛外電 以為自己還是高中生 36歲男醒來照鏡崩潰：為何我又老又胖
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Artist: Eva Pu Illustration
----------------------------
美國一名36歲男子丹尼爾（Daniel Porter）去年7月經歷一場喪失記憶的意外，醒來後突然失去過去20年的記憶，忘記自己已婚也有10歲女兒，以為自己還是高中生，看著鏡子不敢相信自己已經36歲。

丹尼爾因為腦部問題突然喪失記憶，醒來時記憶還停留在1990年代的他還以為自己是高中生，對於自己已經有老婆的事實一無所知，更遑論是有個10歲的女兒麗比（Libby Porter）。

對於完全不知道「我是誰我在哪」的焦躁丹尼爾，老婆露絲（Ruth Porter）還得極力安慰他，不斷保證他真的沒有被人綁架，並向他解釋自己真的是他老婆。

但丹尼爾還是認定自己不是喝醉後和陌生女子回家，就是被綁架了，無奈之下，露絲只好動員丹尼爾的爸媽。

除了拒絕接受現況，丹尼爾對自己36歲的模樣完全無法接受，且非常憤怒，「為什麼我又老又胖！」醫師診斷他罹患短暫性全面腦失憶（transient global amnesia，TGA，患者會突然暫時性地失去短期記憶，通常會在24小時內會恢復）。

然而丹尼爾並沒有馬上康復，他仍不記得2006年與露絲相遇的過程，也忘記兩人於2007年完婚，甚至連自己身為聽力專家的工作技能也忘了。

丹尼爾現在仍持續接受治療，露絲也只能帶他到過去走過的地方試圖喚醒他的記憶：「我沒離婚，但是好像換了個伴侶，這感覺好怪！」

而就在失憶前一週，丹尼爾才剛替女兒買好禮物，並將這個驚喜藏了起來。他患病後，沒有人知道這個禮物被放去哪了。4個月後，他們才意外發現這份遲來的禮物，但女兒已經穿不下這雙新鞋子了。

失憶後，丹尼爾對食物的喜好也變了，個性也跟過去不同。露絲說：「他的幽默感更好了，也更友善和善於社交，沒事就喜歡往外跑。」

目前仍不清楚丹尼爾為何會發病，醫師推測可能是壓力使然。2020年丹尼爾失業後就變賣掉房子搬回家跟爸媽同住，但才搬家一個月不到，就癲癇發作，某次病發還讓他椎間盤突出、非常不舒服。

露絲表示，她知道人在經歷創傷後可能會失去記憶，但她沒想到竟會失去整整20年的記憶。現在丹尼爾正在積極接受治療，祈求某天能找回所有記憶。

尛評：那感覺就像剛經歷期末危機，一覺醒來立刻面臨到中年危機。
#無預警找回年輕時的幽默感 #可能是唯一的值得慶幸的事了 #歪編

--
Source: Daily Mail

➤ 我們的IG https://reurl.cc/A848rK
➤ 你知道尛？ https://reurl.cc/4mjkGD
➤ 我們的MeWe https://mewe.com/p/ani3small/
➤ 我們的YT https://www.youtube.com/c/Ani3small

#短暫性全面腦失憶 #失憶 #圖文 #阿尼尛

今天做這集的原因是我聽一個podcast聽到很生氣（他聽眾還不少喔），都2020年了，竟然還有人在推廣做什麼事情（他是說冰人呼吸）會讓你的身體變鹼，扭轉你身體的酸性，擺脫發炎。人不是燒杯，人體每個部位的酸鹼性不同，但就以流竄在全身上下的血液來說，大概是pH7.35-7.45之間，如果你因為這個所謂的冰人呼吸把你的身體變鹼先不管他說的是哪裡變鹼，以血液來說，只要超過7.45就是鹼中毒，低於7.35就是酸中毒，是要去看醫生的！！！然後他的podcast再跟你推廣說他創辦的這個線上課程，可以幫助你反轉自體免疫疾病等等。

像酸鹼學說這種東西，真的不是價值觀的問題，而是實實在在的偽科學，當然他的podcast也提到說類似像攝取微量營養素等等營養學的觀點，但這種人通常就是七分真話三分假話，披著科學的大旗，然後再跟你講有些東西科學沒有證實不代表它不存在.....這種人就會用「自身的經驗」告訴你他這樣做有效，所以你也來做等等。

總之，這集跟大家分享什麼是安慰劑效應、以及酸鹼學說提倡者的下場，順便講一點點媒體識讀。想要辨別假資訊的話，我在IG限動有推薦一本書叫做 新時代判讀力：教你一眼看穿科學新聞的真偽，沒有要付購書連結免得說我業配，大家去圖書館借也可以，以上癈話有點多，希望大家聽完這集可以有收穫！



時間表：
1.這個podcaster犯的三個錯誤 03:21
2.安慰劑效應是什麼 10:28
3.不可重現的個人經驗沒有實質效力 14:55
4.該Podcaster對於質疑的回覆 17:20
5.酸鹼學說提倡者被求償30億台幣 25:30
6.冰人呼吸法的科學證據 27:35
7.如果都要花錢了拜託請用健保看醫生（很便宜）31:15
8.我對替代療法的看法 32:00

如何收聽：⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀
1. iTunes, Spotify, Anchor, SoundOn,YouTube搜尋醬料心聲
2.點選醬料心聲IG首頁的連結選擇平台收聽

你對酸鹼學說的看法是什麼呢？還有什麼你也看不慣的偽科學嗎？歡迎留言讓我知道

歡迎留言或是用以下方式讓我知道喔～
我的信箱： medsoundtw@gmail.com
我的IG：medsoundtw

參考資料：
衛福部：檸檬水是鹼性食物，可以調整體質？
https://www.hpa.gov.tw/Pages/Detail.aspx?nodeid=1425&pid=11098
林慶順教授：呼吸養生
https://professorlin.com/2019/02/06/%e5%91%bc%e5%90%b8%e9%a4%8a%e7%94%9f/
BBC: The dying officer treated for cancer with baking soda
https://www.bbc.com/news/magazine-38650739
論文：
Do elite breath-hold divers suffer from mild short-term memory impairments?
https://www.ncbi.nlm.nih.gov/pubmed/29053942
The association of kidney function with repetitive breath-hold diving activities of female divers from Korea, Haenyeo.

https://www.ncbi.nlm.nih.gov/pubmed/28228118

Blood biomarkers indicate mild neuroaxonal injury and increased amyloid β production after transient hypoxia during breath-hold diving.

https://www.ncbi.nlm.nih.gov/pubmed/27389622

Prevalence of acute respiratory symptoms in breath-hold divers.

https://www.ncbi.nlm.nih.gov/pubmed/22908840

Increased serum levels of the brain damage marker S100B after apnea in trained breath-hold divers: a study including respiratory and cardiovascular observations.

https://www.ncbi.nlm.nih.gov/pubmed/19574501

#'02に同人サークルの上海アリス幻樂団が発売した 弾幕系STG。Windows版東方Projectとしては1作目にあたる。当初は"東方紅茶館"のタイトルで開発していたがストーリー上の構成が変えられた経緯で現タイトルに変えられた。
使用キャラは博麗霊夢と霧雨魔理沙、ノーコンティニューでラストボス撃破でエンディング。
但し難易度Easyでは5面が最終面で追い返されるというストーリーに変化する(初期・二次出荷版ではバグで6面に進める)。実行ファイルのアドレスに3人目に使われる筈だったと思しき"冴月麟"なるテキストと、未使用の敵キャラが存在する。

BGMはZUN氏が作曲、opl3版とmidi版があり、曲によっては差異がある。
そしてお馴染み「亡き王女の為のセプテット」(36:03)、「U.N.オーエンは彼女なのか?」(44:45) は長い間人気を持ち続けているMAD素材等の二次創作で定番として君臨する曲の原曲。

作曲：ZUN氏

Manufacture: 2002.08.11 Team Shanghai Alice
Computer: PC/AT (Windows98/SE/ME/2000/XP)
Hardware: YMF262 (SoundBlaster 16) (Midi)
Composer: Junya Ota
----------------------------------------------------
00:00 01.A Dream That Is More Scarlet than Red (Title Screen)　(赤より紅い夢/タイトル)
01:52 02.A Soul as Red as a Ground Cherry (Stage 1 Theme)　(ほおずきみたいに紅い魂/STAGE 1: 夢幻夜行絵巻　～ Mystic Flier)
04:29 03.Apparitions Stalk the Night (Stage 1 Boss - Rumia's Theme)　(妖魔夜行/STAGE 1 ボス: ルーミア)
06:22 04.Lunate Elf (Stage 2 Theme)　(ルーネイトエルフ/STAGE 2: 湖上の魔精　～ Water Magus)
09:13 05.Tomboyish Girl in Love (Stage 2 Boss - Cirno's Theme) (おてんば恋娘/STAGE 2 ボス: チルノ)
12:14 06.Shanghai Teahouse ～ Chinese Tea (Stage 3 Theme) 　(上海紅茶館　～ Chinese Tea/STAGE 3: 紅色の境　～ Scarlet Land)
16:12 07.Shanghai Alice of Meiji 17 (Stage 3 Boss - Hong Meiling's Theme)　(明治十七年の上海アリス/STAGE 3 ボス: 紅 美鈴)
19:13 08.Voile, The Magic Library (Stage 4 Theme)　(ヴワル魔法図書館/STAGE 4: 暗闇の館　～ Save the mind)
22:52 09.Locked Girl ～ The Girl's Secret Room (Stage 4 Boss - Patchouli Knowledge's Theme)　(ラクトガール　～ 少女密室/STAGE 4 ボス: パチュリー・ノーレッジ)
26:19 10.The Maid and the Pocket Watch of Blood (Stage 5 Theme)　(メイドと血の懐中時計/STAGE 5: 紅い月に瀟洒な従者を)
31:26 11.Lunar Clock ～ Luna Dial (Stage 5 Boss - Sakuya Izayoi's Theme)　(月時計　～ ルナ・ダイアル/STAGE 5 ボス: 十六夜 咲夜)
34:13 12.The Young Descendant of Tepes (Final Stage Theme)　(ツェペシュの幼き末裔/FINAL STAGE: エリュシオンに血の雨)
36:03 13.Septette for a Dead Princess (Final Stage Boss - Remilia Scarlet's Theme)　(亡き王女の為のセプテット/FINAL STAGE ボス: レミリア・スカーレット)
40:11 14.The Centennial Festival for Magical Girls (Extra Stage Theme)　(魔法少女達の百年祭/EXTRA STAGE: 東方紅魔狂 ～ Sister of Scarlet)
44:45 15.U.N. Owen Was Her? (Extra Stage Boss - Flandre Scarlet's Theme)　(U.N.オーエンは彼女なのか?/EXTRA STAGE ボス: フランドール・スカーレット)
48:55 16.An Eternity That Is More Transient than Scarlet (Ending Theme)　(紅より儚い永遠/エンディング)
50:41 17.Crimson Tower ～ Eastern Dream... (Credits Theme) 　(紅楼　～ Eastern Dream.../スタッフロール)
----------------------------------------------------

On 18 May 2021, 4-5pm at JPS Gallery | Hong Kong artist Elaine Chiu joins moderator Kenneth Chan in a conversation of Elaine’s working process, inspirations, and trajectory as an artist. Hong Kong’s endangered buildings, architecture, cityscape and memories are some of the cornerstones of Elaine’s research and practice. Her work not only explores space, memory and the city's evolving urban identity, but also conveys the transience and fragility of Hong Kong's cityscape. In this conversation, Elaine will share the story of her creative practice, her muses, and her work as a personal investigation of Hong Kong’s transient, fluidic, and intersecting memories. This conversation is presented as part of ‘Before Memories Expire’, an exhibition at JPS Art Gallery on view from 6 May 2021 to 6 June 2021.

Makeup @c_chungyee_
#BeforeMemoriesExpire
#回憶若有限期