臺灣的戒嚴時期,還是在1996年政府決定鎮壓幾個團體的時候,還是在中國大陸,當局不認可的宗教和心靈團體都被貼上了 #邪教 的標籤。這個說法在英文中常被翻譯成 “cult(異端的宗教信仰或崇拜)”,或 “xie jiao(邪教)”,但翻譯並不準確,而且有些不合時宜。
There is, however, another possibility. Both in Taiwan, during the Martial Law period and when the government decided to crack down on several groups in 1996, and in Mainland China, religious and spiritual movements the authorities do not approve of are labeled xie jiao. The expression is often translated in English as “cults,” or “evil cults,” but the translation is not precise and somewhat anachronistic.
倫敦大學研究員吳俊卿發表了多篇關於邪教概念歷史的研究,包括《曼達林與異端》(Leiden:Brill,2017)一書。其他學者將邪教作為一個政治和法律範疇可以追溯到明代,而吳曉波則表明,它最早出現在 #唐代 要求消滅佛教的傅毅(554-639)的著作中,具有 “異教 “的含義。此後的宋(960-1279年)、元(1279-1368年)兩朝,則以「白蓮教」為 #共同標籤,呼籲消滅被禁止的新宗教運動。到了明朝(1368-1644年),邪教成為一個法律概念,並開始編制邪教名單,清朝(1644-1912年)、民國、共產黨都延續了這一做法,也影響了臺灣。
Wu Junqing, a research fellow at London University, has published several studies on the history of the notion of xie jiao, including the book Mandarins and Heretics (Leiden: Brill, 2017). While other scholars date the introduction of xie jiao as a political and legal category to the Ming era, Wu shows that it first appeared, with the meaning of “heterodox teachings,” in the writings of Fu Yi (554–639), who called for the eradication of Buddhism during the Tang dynasty. In the subsequent Song (960–1279) and Yuan (1279–1368) dynasties, xie jiao was used to call for the destruction of new religious movements banned under the common label of “White Lotus.” With the Ming dynasty (1368–1644), xie jiao became a legal concept, and lists of xie jiao started being compiled, a practice continued by the Qing dynasty (1644–1912), Republican, and Communist China, and which also influenced Taiwan.
https://act1219.org/raising-goblins-a-bizarre-accusation-against-asian-spiritual-minorities/
同時也有97部Youtube影片,追蹤數超過163的網紅蒙納米豎琴樂團 Monamis Harps,也在其Youtube影片中提到,更多有關蒙納米豎琴樂團 Monamis Harps 資訊 歡迎瀏覽官網 http://www.monamis.com.tw/ 影片由蒙納米豎琴樂團發佈 「蒙納米」團名直譯自法語Mon Amis(我的好朋友),並刻意「誤讀」Mon Amis法語單複數,用意在期許「許多人」能在一場音樂會中達成「合一...
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DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
precise meaning 在 AppWorks Facebook 的最佳解答
[Is There Such a Thing As Founder Syndrome?: Testing a New Idea for Entrepreneurship]
As a lover of language, I often will obsess and delight in a phrase or a word that I think offers unique insight into humanity or experience.
Language can sometimes open up doors into understanding, not simply because a definition is precise, or taken literally. Used in an inventive way, you can see the world differently and perhaps understand something for its unique traits.
I find this to be the case with understanding and learning about founders. Founders tend to break the mold, as we say, but we tend to see them -- I say "we" meaning the general VC and startups ecosystem -- through a really traditional business lens, contrary to how unique they are.
In fact, I am not so sure you can see a founder's traits through a business lens, because what founders do is much different than simply running a business. I think you have to creatively see them in a new way.
This idea struck me deeply while I was in Japan, where I was relaxing with a memoir about the late neurologist Dr. Oliver Sacks, while my colleagues skied and snowboarded on a cloud-covered mountain in the snow. Sacks died in 2015, but spent a career curing neurological diseases by taking a unique approach.
I came across the word "syndrome."
It has a nice ring to it, but first, the context.
First of all, Sacks is famous for a medical experiment that "unlocked" patients who were frozen in a kind of living coma situation. You may have seen this in a movie called "Awakenings."
These patients would be frozen in a state of hibernation, awake, but not able to move. Sacks came up with the idea of dosing them with a chemical called L-DOPA, and the results were extraordinary. Almost overnight, these "vegetables," as he empathetically described him in his memoir, awakened. In one case, Sacks took a red ball he kept in his pocket and threw it at a seemingly unmovable patient, who immediately snapped to and caught the ball, threw it back, and then resumed his catatonic state.
Sacks was also something of an eccentric, who was notorious for doing things that probably a normal sane person would never do.
For example, as a medical intern in California, he once drank a vial of blood, washing it down with a glass of milk, simply because he felt compelled to understand what it tasted like. A lover of motorcycles, he quite recklessly "stepped off," as he put it, his bike traveling at 80mph, just to see what would happen. What happened? A few bruises and a torn leather jacket and pants. But nothing horrible.
In certain circles, he is still considered to be notorious and misunderstood. But his view of diagnoses centered on finding the "syndrome," and treating the syndrome as a kind of identity.
And here is our word of the day!
I am not suggesting that founders are sick people. I am saying that they are different, because they present a type of syndrome that other humans do not possess.
Syndrome, in the Greek etymology, means "a running together."
Often we look at disease as this kind of failure of the system. Something has invaded. Something has harmed the corpus of the human. But Sacks looked at syndrome issues quite literally as a grouping of things that made the patient unique.
Instead of instantly diagnosing and medicating neurological patients, he would sit and talk to them for hours, trying to understand the unique syndrome of their identity.
In one instance, he talked for four hours to a raving manic dementia patient, later concluding that there was something "inherently human about that identity in there."
Can the same be done with founders? Do they present a syndrome of entrepreneurship?
What are the characteristics of this founder syndrome?
I won't spend this whole post describing my idea, but I think a central and core attribute of a Founder Syndrome is that the discomfort that founders experience with reality is also the impetus and the catalyst that moves them to "solve" reality with their own attributes.
This syndrome manifests itself in an overarching belief that they can change the world. They are somewhat delusional and even maniacal in their approach to reality solutions. The world doesn't work for them, and rather than mire themselves in depression and disappointment in it, their syndrome rather creatively enables them to, in an expansive way, impact the lives of other people, and create things that shift reality.
Steve Jobs once said that you can only understand your journey by looking backwards, and connecting the dots after you have completed them. This is quite symptomatic of a founder syndrome.
There are no dots to connect, until you make them. A consciousness that sees the world for what it can be can seem to some like crazy talk. Just look at Elon Musk. For how long has he heard that his ideas are stupid, crazy, not worth the paper they are printed on?
Or Nikola Tesla, who died in poverty, not being believed?
Or Marie Curie, who obsessively hunted down invisible radioactivity, which killed her, but without whom we would not be able to treat cancer, or plausibly have nuclear energy?
All of these people have something of the Founder Syndrome, an ability to see what is not seen by others, and to manifest it into reality, creating incredulity until the new reality is undeniable.
Are you suffering from a syndrome, friend? If you would like to be part of our accelerator and invent what has not existed before, and if you would like to be around other unique people like you, track our application process at https://appworks.tw/accelerator
Our next cohort will start in the summer.
We would be glad to take your application when they launch later in the year. We will be accepting founders working in AI and Blockchain.
Doug Crets
Communications Master, AppWorks
Photo by Franck V. on Unsplash
precise meaning 在 蒙納米豎琴樂團 Monamis Harps Youtube 的最佳貼文
更多有關蒙納米豎琴樂團 Monamis Harps 資訊
歡迎瀏覽官網 http://www.monamis.com.tw/
影片由蒙納米豎琴樂團發佈
「蒙納米」團名直譯自法語Mon Amis(我的好朋友),並刻意「誤讀」Mon Amis法語單複數,用意在期許「許多人」能在一場音樂會中達成「合一的共融」。如此親切、溫暖的意涵,拉近了和大家的距離,亦象徵著豎琴旋律溫暖每個人的心扉,可以成為大家的好朋友。
Monamis Harps was founded in the Summer of 2012.
The name of the ensemble is directly translated from French ‘ Mon Amis ’, meaning ‘ my buddies ’. Moreover, the name is intentionally misspelled in forming a complete unity.
Furthermore, the talents and characters of the members are varied ; graceful with precise while elegant softness versus heartfelt boldness with the harmonization attuned by the Director.
The sole purpose is to indulge in a fulfilled moment with the audience.
precise meaning 在 蒙納米豎琴樂團 Monamis Harps Youtube 的最佳解答
更多有關蒙納米豎琴樂團 Monamis Harps 資訊
歡迎瀏覽官網 http://www.monamis.com.tw/
影片由蒙納米豎琴樂團發佈
「蒙納米」團名直譯自法語Mon Amis(我的好朋友),並刻意「誤讀」Mon Amis法語單複數,用意在期許「許多人」能在一場音樂會中達成「合一的共融」。如此親切、溫暖的意涵,拉近了和大家的距離,亦象徵著豎琴旋律溫暖每個人的心扉,可以成為大家的好朋友。
Monamis Harps was founded in the Summer of 2012.
The name of the ensemble is directly translated from French ‘ Mon Amis ’, meaning ‘ my buddies ’. Moreover, the name is intentionally misspelled in forming a complete unity.
Furthermore, the talents and characters of the members are varied ; graceful with precise while elegant softness versus heartfelt boldness with the harmonization attuned by the Director.
The sole purpose is to indulge in a fulfilled moment with the audience.
precise meaning 在 蒙納米豎琴樂團 Monamis Harps Youtube 的精選貼文
更多有關蒙納米豎琴樂團 Monamis Harps 資訊
歡迎瀏覽官網 http://www.monamis.com.tw/
影片由蒙納米豎琴樂團發佈
「蒙納米」團名直譯自法語Mon Amis(我的好朋友),並刻意「誤讀」Mon Amis法語單複數,用意在期許「許多人」能在一場音樂會中達成「合一的共融」。如此親切、溫暖的意涵,拉近了和大家的距離,亦象徵著豎琴旋律溫暖每個人的心扉,可以成為大家的好朋友。
Monamis Harps was founded in the Summer of 2012.
The name of the ensemble is directly translated from French ‘ Mon Amis ’, meaning ‘ my buddies ’. Moreover, the name is intentionally misspelled in forming a complete unity.
Furthermore, the talents and characters of the members are varied ; graceful with precise while elegant softness versus heartfelt boldness with the harmonization attuned by the Director.
The sole purpose is to indulge in a fulfilled moment with the audience.
precise meaning 在 Precise Meaning - YouTube 的推薦與評價
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