關於 philosopher meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

【國立臺灣大學109學年度畢業典禮 致詞代表 心理學系林世峰】
Student Address, National Taiwan University Commencement 2021
Shih-Feng Lin from the Department of Psychology

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校長、各位貴賓、師長，親愛的家長、同學、畢業生，還有所有螢幕前的觀眾朋友，大家好！我是臺大畢業生代表，心理學系四年級的林世峰。

四年來，真的很難忘，我們同學一起在新生書院互加好友，在醉月湖找校鵝，還到舟山路上觀察大笨鳥的慢動作，又騎腳踏車到溫州街裝文青，到118巷當吃貨。多希望一切歲月靜好，但新冠肺炎疫情揮之不去，年輕生命殞落的悲劇突然到來，讓我們成為最迷惘的一屆，也是最獨特的一屆。

學校的活動臨時停辦，線上課程堆積如山，畢業舞會、椰林辦桌又被忍痛取消，最後甚至連實體畢業典禮和謝師宴也成為永遠的遺憾。我有朋友被迫放棄出國交換的機會，而我夢寐以求的芬蘭教育見習也無法成行。計畫被打亂、不安變常態，我們卻又將面臨更多挑戰。

一天，我在溫州街二手書店翻到詹姆斯．卡斯的一句話，震撼了我。這位哲學家將人類活動分為兩種遊戲，他說：「有限遊戲以取勝為目的，無限遊戲以延續遊戲為目的。」當下我驚覺，或許求學路上感到煎熬，就是因為我們被困在有限的遊戲中。有限的學習是一場短跑，只是一種手段，是為了勝過別人來證明自己，而拼命地刷新履歷、獲得標籤。

我回想起大三的一晚，我陪高三的學弟妹們為大考奮戰，原本想說幫忙解題而已，但最後他們卻對我說 :「學長，我讀書感覺好空、好累、好悶……」、「學長，我學這些到底為了什麼……」

是啊！為了考試而讀書、為了標籤而學習，不問意義與價值，讓我們陷入空虛、疲憊與痛苦。於是，我和一群來自超過二十個不同科系的夥伴創立了「臺大青鳥教育社」，有來自超過五所大學甚至香港、加拿大的大學生，一起走進的社區、偏鄉引導國高中生探索學習意義和自我價值，我們一起描繪活用所學、開展生涯的美好未來。

驀然回首，當初那麼想到芬蘭，不就是為了回台灣實現讓學習更有意義的理想嗎？疫情是一位無形的嚴師，教導我們在變動中珍惜彼此，在家園築夢踏實，更讓我們重新發現，學習是一場無限的壯遊，本身就是一種目的，是為了提升自己來造福他人，而自在地探索未知、創造價值。

經過師生共同努力，今天的臺大更重視心輔資源，「防疫一號」、「線上杜鵑花節」、「未來大學」，都讓我們這最迷惘的一屆，不僅成為了最獨特的一屆，更將蛻變為最堅韌、最覺醒的一屆。無論如何我們堅信，來到生命的必有意義，即使畢業了、即使停課了，臺大人都將繼續沉思、繼續學習，在人生的無限遊戲，繼續締造壯舉，讓傅鐘在心裡迴響起，永不止息！

一路上感謝師長、同學，感謝親友、爸爸媽媽及阿公阿嬤。感謝臺大砥礪我們脫胎換骨。期許自己並祝福各位同學，艱難時刻盡己所能，抱持無限思維活學活用，超越自我、同理他人，我們一起創造共好的故事、貢獻宇宙的精神！我是林世峰，畢業後我們一起勇敢！謝謝大家！

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President Kuan, distinguished guests, professors, parents, graduates, and friends on the screen, Hi! I am the valedictorian on behalf of graduates. I am Lin, Shih-Feng from the Department of Psychology.

The past transient four years brought me lasting remembrance. We made friends with classmates at Orientation Camp, searched for geese at Drunken Moon Lake, watched languid birds, Malayan Night Heron, on Zhoushan Road, biked to Wenzhou Street like a hipster and took a bite at the Lane 118. Although I dream that serene days live on, Covid-19 pandemic and the tragic loss of young lives suddenly happened. Hence, we have become the most puzzled and unique graduating class of 2021.

The events on campus were abruptly suspended. Online courses were augmented. The graduation prom and the feast at Palm Boulevard were cancelled. Even the onsite graduation ceremony and the banquet for thanking professors have become impossible but eternal regrets. One of my friends was forced to relinquish the opportunity to exchange abroad. And I could not fulfill my internship program of which I dream in Finland. Facing the disruption of planning and uncertainty as normalcy, we meet myriad challenges.

One day, I read a sentence written by James Carse in a second-hand bookstore on Wenzhou Street. To my astonishment, the philosopher categorizes human activities as two kinds of games. He said that "a finite game is played for the purpose of winning, an infinite game for the purpose of continuing the play.” All of a sudden, I realized that my struggling study arises from the trap of finite game. The limited learning like a sprint aims to prove superiority as means that we spare no effort to renew resume and acquire labels.

Reflecting back on one evening in my junior year, I accompanied third graders of high school who strived to prepare university entrance exam. I thought I could help answer their questions but eventually they said to me that “I felt aimless, exhausted, and suffocated…＂“What is the purpose for learning indeed…?”

Right. Studying for exams and labels without inquiring into meaning and value could ensnare us within emptiness, exhaustion and pains. Therefore, I found NTU Avizure Education Club in partnership with peers from more than 20 departments. Students from over five universities including those from Hong Kong and Canada enter the community and guide middle and high schoolers to explore the meaning of learning and the value of self through application of what we have learned, leading to promising careers in the future.

While viewing the past and thinking of Finland, wasn’t it the ideal that I wish to accomplish after return to make learning more meaningful? The pandemic is an invisible stern teacher who teaches us to cherish each other in times of turmoil, to pursue dreams step by step in homeland, and to discover again. Learning is infinite grand journey embodied in a purpose, improving oneself to benefit others, exploring unknown, and creating value.

With joint endeavors of faculty and students, National Taiwan University today draws more attention to counseling resources. The Device of Epidemic Prevention No. 1, Azalea Festival online, and the University of Future project allow us as the most puzzled class to transform into the most unique and perseverant class with self-awareness. We firmly believe that anything that brings to the life gives meaning. Regardless of gradation and end of class, members of NTU would continue to consider and learn as well as proceed to accomplish in the infinite game of life. And the resonance of ringing the Full Bell in our mind never ceases.

I would like to extend my gratitude to professors, fellow classmates, family, friends, parents and grandparents in my path. Thank National Taiwan University for urging us to change. I expect each student and myself to transcend ourselves and to be compassionate toward others as active learners during trying times. We together create stories of common good and embrace the spirit to contribute to the universe. I am Lin, Shih-Feng. We are brave upon graduation. Thank you all.

詳見：
https://www.facebook.com/NTUCommencement/posts/2718183551805402

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#臺灣大學 #畢業典禮 #NTUCommencement2021 #學生致詞代表 #臺大心理學系 #林世峰

新刊預覽 👀⚡️⚡️⚡️

Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image

延續我們對於攝影史的關注，本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發，自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影，到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象？如何化為一具科學標本和一幅想像圖騰？如何在視覺上被納編（或排除）於國族與文化的整頓編程，並糾結至今？此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。

藉此，本期試圖反詰「歷史」，思考致使我們「成為影像」、「進入攝影史」的支配與佈局，嘗試突破以往「攝影（者）的歷史」框架，開啟我們的「被攝影（者）的歷史」覺察，或許將能發現對我們而言更為重要的攝影的歷史遺產，生成屬於我們的另翼影像史觀。

專題中收錄的影像與文論，標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始，探看影像採集的知識化歷程及當代意涵；黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印，細述二人巨大的歷史身影；高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中，重新諦視「歸順者」肖像裡的幽微目光；瓦歷斯．諾幹以解／反殖民書寫，展現自身與族人生命經驗裡實切的影像歷史感知；松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演，析解形塑「台灣」的視覺策略。

本期Artist’s Showcase單元，我們與藝術家葉偉立進行長篇訪談，呈現他這些年來以行動介入所構成的獨特影像場域，記錄其未曾間斷的勞作沉思。而在影像論述單元，本期新闢由影像研究者李立鈞執筆的科學攝影專欄，揭示平時隱沒在科學實踐中的「影像問題」，首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起，一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像／視覺理論的引介，深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列，揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾．斯蒂格勒，記述其影像哲理綿延的技術與時間之論。

在本期出版（焦頭爛額）之際，也正是《攝影之聲》邁入第十年的開端，回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊，也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴，給予我們面對艱困的勇氣，繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
台灣讀者免運費優惠中！
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.

With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.

The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.

In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.

At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
#胡家瑜 Hu Chia-Yu

「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
#黃翰荻 Huang Han-Di

「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
#高俊宏 Kao Jun-Honn

關於日據時期老照片的解／反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
#瓦歷斯諾幹 Walis Nokan

人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
#松田京子 Matsuda Kyoko

如何「做」視覺民族誌？——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
#顧錚 Gu Zheng

我們可以祛除帝國主義嗎？——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬．席海 #StephenSheehi

Artist’s Showcase: #葉偉立 Yeh Wei-Li

故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
#李威儀 Lee Wei-I

「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
#李立鈞 Lee Li-Chun

偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
#謝佩君 Hsieh Pei-Chun

追夢人的藥控——離散的「貝拿爾．斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
#黃建宏 Huang Chien-Hung

浴火重生的香港攝影（上）——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
#黎健強 Edwin K. Lai

攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
#羅苓寧 Lo Ling-Ning

七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I

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更多訊息 More info :
www.vopmagazine.com

Voices of Photography 攝影之聲
Issue 29 : #被攝影史──成為影像的台灣
History of the Photographed:
Taiwan as an Image

延續我們對於攝影史的關注，本期審視屬於我們自身的攝影經驗──被攝影的歷史。從台灣的殖民史出發，自十九世紀中葉以降歷經的人類學調查採集、二十世紀初隘勇線推進下的暴力顯影，到帝國博覽會裡的「台灣」意象與人種展示──這是一段最為系統性地將台灣影像化的初始時期。我們如何成為被攝影的對象？如何化為一具科學標本和一幅想像圖騰？如何在視覺上被納編（或排除）於國族與文化的整頓編程，並糾結至今？此一影像的潛歷史──被攝影的歷史──是我們返視「攝影史」的一處起點。

藉此，本期試圖反詰「歷史」，思考致使我們「成為影像」、「進入攝影史」的支配與佈局，嘗試突破以往「攝影（者）的歷史」框架，開啟我們的「被攝影（者）的歷史」覺察，或許將能發現對我們而言更為重要的攝影的歷史遺產，生成屬於我們的另翼影像史觀。

專題中收錄的影像與文論，標記了我們在「被攝影」的歷史經驗裡的複雜和衝突──我們從已故人類學者胡家瑜對早年台灣人類學田野調查至戰後發展的介紹專論開始，探看影像採集的知識化歷程及當代意涵；黃翰荻追尋日本人類學者鳥居龍藏與森丑之助在殖民年代的台灣原住民族群踏查足印，細述二人巨大的歷史身影；高俊宏在總督府「理蕃時期」的諸多「討伐」寫真帖中，重新諦視「歸順者」肖像裡的幽微目光；瓦歷斯．諾幹以解／反殖民書寫，展現自身與族人生命經驗裡實切的影像歷史感知；松田京子則以東京拓殖博覽會中對殖民地的活人陳列展演，析解形塑「台灣」的視覺策略。

本期Artist’s Showcase單元，我們與藝術家葉偉立進行長篇訪談，呈現他這些年來以行動介入所構成的獨特影像場域，記錄其未曾間斷的勞作沉思。而在影像論述單元，本期新闢由影像研究者李立鈞執筆的科學攝影專欄，揭示平時隱沒在科學實踐中的「影像問題」，首篇從圖繪細菌與拍攝細菌在十九世紀引發的論爭談起，一探科學家對於攝影「客觀性」的認知辯證。謝佩君接續前期對於影像／視覺理論的引介，深入闡論歐美學界近年如何反駁過去以視覺機具作為現代性發展的線性觀點。黎健強探究香港攝影源流的連載系列，揭載「作為影像的香港」在1850年代末首次出現於可供西方觀眾賞玩的遠東立體照片。此外本期亦特邀黃建宏撰文紀念近期辭世的法國哲學家貝拿爾．斯蒂格勒，記述其影像哲理綿延的技術與時間之論。

在本期出版（焦頭爛額）之際，也正是《攝影之聲》邁入第十年的開端，回想起來真是一段不可思議的旅程。感謝所有的讀者共同撐起這份小刊，也要再次感謝參與《攝影之聲》、支持我們的朋友與工作伙伴，給予我們面對艱困的勇氣，繼續在蜿蜒的道路上行進。
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購書 Order | http://bit.ly/vop-29
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As we continue on the topic of the history of photography, we turn to our own photography experiences in this issue – our history of being photographed. It takes root in Taiwan’s colonial history, from the collection of anthropological surveys in the 19th century, to the acts of violence at the defence lines as they pushed on during the Japanese colonial era in the early 20th century, as well as the exhibition of the “Taiwanese” imagery and ethnicity at various expositions held during the Japanese colonial rule. These form the beginnings of a systematic effort to visualize Taiwan. How did we become the photographed, a scientific specimen, a totemic image? How did we become visually part of (or excluded from) the rectification process of nationality and culture, that continues to trouble us till now? The veiled history of such an image – the history of being photographed – guides the beginning of our journey of looking back at the “history of photography”.

With this, we attempt to cross-examine “history” and think through the control and disposition that led us into “becoming an imagery” and “going into the history of photography”, hoping to break free from the existing framework of “the history of the photograph(er)” and enlighten our awareness of the “history of the photographed”. We reckon this could allow us to discover the historical heritage of photography that is even more important to us and generate our very own alternative view of the history of photography.

The collection of imagery and essays in this series marks the complexity and conflicts in our historical experience of “being photographed”. We begin with the late anthropologist Hu Chia-Yu’s field research of Taiwan’s anthropology from the early years to the post-war period as we explore the knowledge-based development and contemporary meaning of imagery collection. Huang Han-Di traces the footsteps of Japanese anthropologists Torii Ryuzo and Mori Ushinosuke in their study of the Taiwanese indigenous peoples in the colonial era, detailing the historical impact that they had. Kao Jun-Honn takes a second look at the faint gaze in the eyes of those who had pledged allegiance, as captured in the many portraits of the “submissives” kept at the Governor-General’s office during the Japanese rule. Walis Nokan expresses his and his fellow people’s real perception of the history of photography as they had experienced it in his de-/anti-colonization writings. Matsuda Kyoko analyses the visual strategy of shaping “Taiwan” through the living displays at the Tokyo Colonization Exposition of 1912.

In this issue’s “Artist’s Showcase”, we feature an in-depth interview with artist Yeh Wei-Li, showing our readers his unique field of imagery that extends from his art of intervention, a record of his neverending contemplation with regard to labor and art. Moving on to essays on visual imagery, we present a new scientific photography column by imagery researcher Lee Li-Chun, who unveils the “imagery problem” that underlies scientific practice, beginning with cognitive dialectics of “objectivity” of photography by scientists that stemmed from the debate sparked by illustrating and photographing bacteria in the 19th century. Hsieh Pei-Chun continues with her introduction to imagery/visual theory from an earlier issue, and explains in detail how Western academia has refuted the existing linear view of visual machinery as a modern development. Edwin K. Lai’s series on the origins and development of Hong Kong photography tells us about the first 3D photograph from the Far East that aimed to entertain a Western audience with “Hong Kong as an image” in the late 1850s. In addition, we specially invited Huang Chien-Hung to commemorate the French philosopher Bernard Stiegler, who had recently passed, and the continuous techniques and time that stems from his philosophy of imagery.

At the same time as we (run off our feet to) prepare for the publication of this issue, Voices of Photography is going into its 10th year, and what an incredible journey it has been. We sincerely thank all our readers for keeping us going, and express our heartfelt gratitude once again to all our friends and partners who have worked with us and given us the courage to overcome our difficulties to march on on this winding road.
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本期目錄 Contents
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文化調查、標本收藏與攝影
——十九世紀中葉起的台灣調查採集動力與歷史脈絡
Cultural Investigations, Material Collections and Photography:
Agencies and Historical Contexts in Taiwan Since the Mid 19th Century
胡家瑜 Hu Chia-Yu

「空中鳥跡」與「依風彩畫」——寄鳥居龍藏與森丑之助
“The Trail of Birds in Flight” and “Paintings in the Wind”: A Letter to Torii Ryuzo and Mori Ushinosuke
黃翰荻 Huang Han-Di

「不看」的能指——關於理蕃攝影中的「歸順者」之眼
The Significance of “Not Seeing”: On the Eyes of the “Submissives” in the Photography of the Aboriginal Taiwanese
高俊宏 Kao Jun-Honn

關於日據時期老照片的解／反殖民書寫練習
Interpreting Old Photographs from the Japanese Occupation Period De-/Anti-Colonization Practice Writings
瓦歷斯．諾幹 Walis Nokan

人類的「展示」與殖民地再現——以1912年拓殖博覽會為中心
The “Exhibition” of Mankind and the Resurgence of Colonization: A Look at the Tokyo Colonial Exposition of 1912
松田京子 Matsuda Kyoko

如何「做」視覺民族誌？——讀《學做視覺民族誌》
How to “do” a visual ethnography?: Understanding Doing Visual Ethnography
顧錚 Gu Zheng

我們可以祛除帝國主義嗎？——《潛在的歷史》的指引
Can We Unlearn Imperialism?
Methods and Lessons from Potential History by Ariella Azoulay
史蒂芬．席海 Stephen Sheehi

Artist’s Showcase: 葉偉立 Yeh Wei-Li

故事之野——訪葉偉立
A Field of Stories: Interview with Yeh Wei-Li
李威儀 Lee Wei-I

「可怖的客觀性」——十九世紀的顯微攝影
“Dreadful Objectivity”: Photomicrography in the 19th Century
李立鈞 Lee Li-Chun

偉大的否定——負影像史
The Great Disavowal: A Counter History of Image
謝佩君 Hsieh Pei-Chun

追夢人的藥控——離散的「貝拿爾．斯蒂格勒」影像
Pharmakon by Dreamer: Discrete Image of Bernard Stiegler
黃建宏 Huang Chien-Hung

浴火重生的香港攝影（上）——最早為香港留下照片的攝影師
Hong Kong Photography: Rising from the Ashes (I) – The Photographer Who Left Behind the First Images of Hong Kong
黎健強 Edwin K. Lai

攝影書製作現場⑤ : 便利堂
Photobook Making Case Study #5: Benrido
羅苓寧 Lo Ling-Ning

七等生 : 重回沙河
Qi Deng Sheng(1939-2020): A Return to Sand River
李威儀 Lee Wei-I

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更多訊息 More info :
www.vopmagazine.com
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60 A Minute 在作品『與時間牽手』的結構核心，是採用心理學角度作為出發，觀者在60個一分鐘的結構裡，體驗大腦對時序、時距和時點的不同感知，證明時間是主觀和人性化的，不同人對其意識程度和認知也有不同。

在董怡芬的編舞經驗中，「時間」一直在她的創作元素裡佔有極大且重要的位置，時間長度地掌握也一直是創作裡非常重要的功夫，巧妙運用時間的長短與快慢變化，產生所需的效果傳達。時間是一條持續向未來延伸的長線，20世紀的天才哲學家海德格（Martin Heidegger），把人生描繪為不斷做選擇並「被拋向未來」的存在。此製作其最終目標並非在於辯證出時間理論其正確性，而是藉此製作處理一向以時間推進為主要感官知覺的觀舞方式，能夠有其他的閱讀機會。安娜琪舞者一向擅長處理現場表演與觀眾之間的對應關係，在精細舞蹈編排設定後，時而慘入對時序的打破、時而對現實時間的推移做改變、時而藉由空間的流轉改變時間的定義。

The core structure of “60 A Minute” derives from a psychological perspective. In 60 one-minute-sections, the audience find themselves experience time order, time interval, and timing differently, proving that how we perceive time is subjective, human-centered, and variant among one another.

In I-Fen Tung’s choreography, “time” has been a constant key element. She values the mastering of time, utilizing different time length and speed to create the desired effects in her pieces. Time is a continuous extension into the future. Martin Heidegger, a renowned philosopher of the 20th century, depicts life as incessant decision-making and “being tossed towards the future”.

The aim of this production is not to debate the theory of time, but to generate an alternative to the usual perception of viewing dance in the chronology of time. Anarchy Dance Theatre excels in creating strong interfaces between audience and live performance. Their choreography, delicate and well thought out, integrates the shatter of time order, the shifting of real-time, and the influence of space transformation towards the meaning of time.