‘Ways of the World’: Don’t judge by words but by actions (Lee Yee)
The tables are turned as the Sino-US relations have reverted to half a century ago. No, it is even worse.
In 1969, the evil flames of the Cultural Revolution were still burning and the leadership of the Chinese Communist Party (CCP) led the blind crowd to shout every day, “Down with American Imperialism, Down with Soviet Union Revisionism.” During that year, there was the Sino-Soviet border conflict between the Soviet Union and China in the vicinity of Zhenbao (Damansky) Island. The border clashes were so serious that the Soviet Union was ready to employ nuclear weapons on China’s nuclear military base. At that time, the Soviet ambassador to the US informed the US National Security Advisor Heinz Alfred Kissinger of this intention, hoping that the US would remain neutral. However, President Nixon categorically rejected as he believed once Pandora's box of nuclear weapons was opened, the entire world would kneel before the polar bear. He opposed the Soviet’s operation and leaked the news to a newspaper for publication. China immediately called “the entire nation to enter a ‘Ready to fight’ mode.” The actions of the Soviet Union were contained and the nuclear disaster did not occur.
The following year, in 1970, Mao Zedong invited American pro-CCP journalist Edgar Snow who made a trip to China for an informal talk. Snow might have been entrusted by Nixon to investigate the possibility of breaking the ice in Sino-US relations. In July 1971, Dr. Kissinger made a secret visit to Beijing and facilitated Nixon’s ice-breaking journey to China the year after, and thus began the China and US strategic interactions.
After the Cultural Revolution, China and the US established diplomatic relations in 1979. In that same year, Deng Xiaoping visited the US. On the plane, he said to his associate, “As we look back in the past few decades, all those countries that were in good relations with the US have prospered.”
China has indeed become rich. The American policymakers and businesses all expected that economic freedom would lead China towards political freedom, but no such thing happened. On the contrary, China’s authoritarian politics became harsher and harsher and finally fulfilled Nixon’s frightful prophecy: fearing that he had created a “Frankenstein” by opening the world to the CCP.
If dictatorship does not carry out political reforms in response to economic needs, then all dictators will eventually become a giant monster. What is more terrifying than any other dictators in history is that the US and the Western world have fattened China. Rich and powerful in military strength, its money and influences have penetrated across the globe, giving rise to a situation of what US Secretary of State Mike Pompeo described in his speech last week, “If we don’t act now, ultimately the CCP will erode our freedoms and subvert the rules-based order that our societies have worked so hard to build...If the free world doesn’t change – doesn’t change, communist China will surely change us.”
Pompeo’s speech not only declared the start of the cold war between the US and China, but also signified that a tougher, close-to-war era is looming.
He quoted President Reagan’s saying, that he dealt with the Soviet Union on the basis of “trust but verify.” When it comes to the CCP, said Pompeo, they must “distrust and verify.” “Trust but verify” means they would trust what one says but also observe how one acts; “distrust and verify” on the other hand, means they do not listen to what the person says, but only watch what the person does. Facing deterioration of the relationship with the US, the CCP keeps saying both parties should resume dialogue. But the US is fed up with dialogues. As Pompeo said, all the dialogues with Yang Jiechi are nonsense.
Comparing with speeches made by Chinese politicians, which are often lacking substance but full of self-praise, what touched me most about Pompeo’s speech was how he acknowledged and reflected on previous policy mistakes. He said, “Perhaps we were naive about China’s virulent strain of communism, or triumphalist after our victory in the Cold War, or cravenly capitalist, or hoodwinked by Beijing’s talk of a ‘peaceful rise.’”
Actually, being naive, triumphalist, hoodwinked, were all one, or all of the mistakes committed by numerous countries, investors, people in the past 50 years. Now Pompeo, openly reflecting on these, suggested that the US has completely awakened. Yesterday, Xinhua News Agency was still mumbling about “China-US cooperation would be a win-win situation; fighting against each other would only lead to a lose-lose one.” From the US point of view, the win-win of working together only means China would win twice; when fighting against each other, it would be lose-lose, losing twice for China.
Over a hundred years ago, Alexis de Tocqueville, a French historian famous for his studies on the new world’s politics and culture, said, “America is great not because she is cleverer than the other countries, but she is more capable of repairing mistakes she made.” This is down to the fact that the US has sufficient freedom of speech, which China lacks. And it is exactly because China prohibits people from “unwarranted public distortion” of the central government, that it keeps making mistakes, again and again.
同時也有1部Youtube影片,追蹤數超過75萬的網紅志祺七七 X 圖文不符,也在其Youtube影片中提到,#白色恐怖 #人權 按這裡,你可以幫助志祺七七繼續日更: https://www.youtube.com/channel/UCiWXd0nmBjlKROwzMyPV-Nw/join ✔︎ 成為志祺七七會員:http://bit.ly/join_shasha77 ✔︎ 訂閱志祺七七頻道: ht...
french revolution war 在 VOP Facebook 的精選貼文
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
◼︎ 訂閱 | Subscribe : http://bit.ly/2tTlqn6
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
french revolution war 在 VOP Facebook 的精選貼文
#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
french revolution war 在 志祺七七 X 圖文不符 Youtube 的最佳解答
#白色恐怖 #人權
按這裡,你可以幫助志祺七七繼續日更:
https://www.youtube.com/channel/UCiWXd0nmBjlKROwzMyPV-Nw/join
✔︎ 成為志祺七七會員:http://bit.ly/join_shasha77
✔︎ 訂閱志祺七七頻道: http://bit.ly/shasha77_subscribe
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✔︎ 志祺七七 の 粉專 :http://bit.ly/shasha77_fb
各節重點:
01:15 為什麼是「白色」恐怖?
02:46 白色恐怖 = 迫害共產黨?
04:18 制定這些法律有什麼用?
05:20 白色恐怖時期的大家怎麼生活?
07:10 我們的觀點
09:25 提問
09:57 掰比
【 製作團隊 】
|企劃:羊羊
|腳本:羊羊
|編輯:土龍
|剪輯後製:絲繡
|剪輯助理:中藥
|演出:志祺
——
【 本集參考資料 】
→ 🤐 :蘇瑞鏘,《白色恐怖在臺灣:戰後臺灣政治案件之處置》
→ 🤐 :Stephen Clay,〈The White Terror - A Companion to the French Revolution 〉
→ 🤐 菜市場政治學》五0年代初期白色恐怖簡述:國民黨國家的重建與台灣左翼政治的消逝:http://bit.ly/38VSjmI
→ 🤐 白色恐怖的緣起:http://bit.ly/2T0iCCZ
→ 🤐 「白色恐怖」是什麼?:http://bit.ly/2Vkt6yh
→ 🤐 走過白色恐怖 從二二八事件到解嚴:http://bit.ly/2w32png
→ 🤐 First White Terror-Wiki:http://bit.ly/2Vm9pq6
→ 🤐 Second White Terror-Wiki:http://bit.ly/32nsqcY
→ 🤐 Thermidorian Reaction-Wiki:http://bit.ly/2ushDlk
→ 🤐 Creative Cockades:Europe:http://bit.ly/2VmRwXV
→ 🤐 Henri de la Rochejaquelein-Wiki:http://bit.ly/38VSv5q
→ 🤐 Muscadin-Wiki:http://bit.ly/381lKSZ
→ 🤐 無套褲漢-Wiki:http://bit.ly/37XjRqL
→ 🤐 Finnish Civil War-Wiki:http://bit.ly/2HRS1Bt
→ 🤐 什麼是「二條一」?:http://bit.ly/2w1QXZe
\每週7天 每天7點 每次7分鐘 和我們一起了解更多有趣的生活議題吧!/
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french revolution war 在 French Revolution: Timeline, Causes & Summary - HISTORY 的相關結果
In April 1792, the newly elected Legislative Assembly declared war on Austria and Prussia, where it believed that French émigrés were building ... ... <看更多>
french revolution war 在 French Revolutionary Wars - Wikipedia 的相關結果
The French Revolutionary Wars were a series of sweeping military conflicts lasting from 1792 until 1802 and resulting from the French Revolution. ... <看更多>