The Spring 2021 men's collection on.dior.com/menspring21 by Kim Jones represents an exploration of the meaning of 'Maison Dior' in its most literal sense. For Monsieur Dior, this meant both the public world of 30 Avenue Montaigne and the privacy of his Château de la Colle Noire refuge. This duality is expressed in a dialogue between couture heritage and the possibilities of Dior savoir-faire which results in refined but edgy sportswear, and traditional tailoring that has been subtly softened, in an equally relaxed and cool palette. The collection also sees the introduction of the 'Dior Oblique Galaxy', a new material effect with the House's iconic motif in precision-perforated leather with a reflective backing, featured on a host of covetable bags and leather goods.
同時也有7部Youtube影片,追蹤數超過267萬的網紅Rachel and Jun,也在其Youtube影片中提到,★Cat Merch! https://crowdmade.com/collections/junskitchen - 字幕は画面右下の字幕設定から、サイズ、色を、ドラッグで位置を変更できます。 Lets all take a moment to recognize Jun for his ou...
「heritage meaning」的推薦目錄:
heritage meaning 在 VOP Facebook 八卦
#新刊出版 New release!
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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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.
heritage meaning 在 美國在台協會 AIT Facebook 八卦
9月15日至10月15日是「拉美裔傳統月」!本月份我們慶祝拉美裔美國人的文化及貢獻。今天我們邀請到AIT@40活動策劃人Crystal,跟我們分享身為墨西哥裔美國人的傳統和價值觀:
「我的祖先來自墨西哥,但我和表姊妹都於1986年出生於美國德州;我們從小在牧場上長大,身邊圍繞者祖父母和家人的愛與支持。我們的父母非常重視墨西哥的價值觀和文化,因此讓我們從小學習芭蕾舞、踢踏舞、爵士樂和各種才藝課,並鼓勵我們在拉美裔傳統月時,在德州南部的嘉年華、公立學校和養老院表演「墨西哥民俗芭蕾舞」,這種舞蹈是傳統墨西哥舞的統稱,透過芭蕾舞的特色(尖頭鞋、誇大的舞步及精準的舞碼)來呈現墨西哥民族文化。
我的父母在舞蹈和人生中灌輸了我們很好的理念:「達成我們設下的目標、永不放棄堅定的基督教信仰,並尊重年長者及地球。」
他們也教導我們要對人和善、擁抱失敗並重新站起來,並追求能帶來成功及快樂的教育。
由於我的家庭和文化的影響,我目前在美國在台協會工作,而我的表姊妹則是當老師和護士。三個姊妹加起來共有9個小孩,我們會將同樣的傳統傳承給下一代。」#NationalHispanicHeritageMonth
September 15 to October 15 is National Hispanic Heritage Month, which celebrates the contributions and culture of Americans of Hispanic heritage. As part of our continuing series, AIT’s own Crystal offers her perspective on how growing up with strong Mexican-American heritage and values led her to become AIT’s @40 Campaign Coordinator.
Though our roots trace back to Mexico, my all-American cousins and I were born in Texas in the summer of 1986. Because of our parent’s’ strong Mexican values and culture, my cousins and I grew up on a ranch with the loving support of family, including my Abuela and Abuelo (Grandma & Grandpa). In addition to ballet, tap, jazz and other extracurriculars, my cousins and I grew up celebrating ‘Hispanic Heritage Month’ by performing ”Baile Folklórico” at festivals, public schools and nursing homes throughout South Texas. “Baile folklórico”, (literally meaning "folkloric dance”) is a collective term for traditional Mexican dances that emphasize local folk culture through ballet characteristics - pointed toes, exaggerated movements, and precise choreography.
Both through dance and in life my parents instilled in me their ideals: to achieve whatever goal I set, to never let go of my strong Christian faith, and to respect the elderly and our planet.
My parents and grandparents showed me that kindness always matters and to embrace failure when encountering it before getting right back up again. One of their most significant and on-going life lessons was to pursue an education that would not only bring me success, but most importantly, happiness.
Because of the influence of my family and culture, I now work for the American Institute in Taiwan, while one of my cousins works as a teacher and the other as a nurse. With nine children among the three of us, we will pass on the same traditions that have guided our families to the next generation and beyond.”
heritage meaning 在 Rachel and Jun Youtube 的評價
★Cat Merch! https://crowdmade.com/collections/junskitchen
- 字幕は画面右下の字幕設定から、サイズ、色を、ドラッグで位置を変更できます。
Lets all take a moment to recognize Jun for his outstanding accomplishment of supporting me without complaint while I shopped for clothes for 3 1/2 hours!
This is a special type of thrift store (古着屋/furugiya, meaning old 古 clothes 着 store 屋) known as mai shuu sagaru (毎週下がる). 毎 means "every" 週 means "week" and 下がる means "lowers." The price on all clothing items lowers every week through a set schedule. This type of thrift store is the lowest end where brand clothes that can't be sold in higher end thrift stores are taken, and all other inexpensive clothing are sent for the purpose of super quick resale. The lowest price in this particular 毎週下がる古着屋 is only ¥100 (~$1).
You will also see 毎週下がる written out partially or completely in katakana: マイシュウサガール.
The store in the video is the マイシュウサガール branch of 買取王国 (kaitori oukoku): http://okoku.jp/
I am an admitted thrift store shopaholic in both America and Japan! My family didn't have the money to buy me new clothes growing up so I began shopping at thrift stores for myself as a teen. I would say that 90% of my clothes, shoes, and accessories have come from these stores. I LOVE thrift stores because it is like treasure hunting and they're so cheap!! Japanese thrift stores are especially incredible because the clothes are almost all young and fashionable compared to America where in the low-end thrift stores you have to dig through a sea of old people things to find anything decent! Almost everything I've worn in all of my videos have come from thrift stores. :) "Thrifting" as it's called is also great since you're having a positive impact on the environment by recycling and avoiding purchasing new products. I highly encourage everyone visiting Japan to seek out a mai shuu sagaru thrift store! Don't be intimidated by the thought of small Japanese sizes--there are plenty of larger and baggy clothes to be found as well. :)
日本の古着屋さんが大好き!! ❤
Spanish subtitles thanks to: *See note below
Want to help subtitle our videos?
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【You can also find us:】
×Gaming channel: http://www.youtube.com/user/RachelandJunGame
×Extra videos: http://www.youtube.com/user/RachelandJunExtra
×Jun's Kitchen: http://www.youtube.com/user/JunsKitchen
×Twitch: http://www.twitch.tv/rachelandjun/profile
×Facebook: https://www.facebook.com/RachelAndJun
×Twitter: https://twitter.com/RachelAndJun
×Instagram: http://instagram.com/rachelandjun
×Our blog: http://rachelandjun.blogspot.com/
The songs are Heritage Place: http://www.joshwoodward.com/song/HeritagePlace
and Untitled: http://www.joshwoodward.com/song/Untitled
by Josh Woodward.
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heritage meaning 在 Tina Yong Youtube 的評價
I took a DNA test to reveal my true ethnicity and the results shocked me! Turns out I’m not full Vietnamese.
Subscribe to my channel for more videos http://www.youtube.com/subscription_center?add_user=tinacreative
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My heritage DNA Test
https://www.myheritage.com
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Disclaimer: This video is not sponsored. All thoughts and opinions are my own. Some of the links provided above are affiliate links meaning I do make a small commission when you purchase using the link. This does not cost you extra. You can also purchase from the brand’s websites so don’t feel obliged to use my link if you don’t want to. Thanks for all your support! xx
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heritage meaning 在 SenzaACappella Youtube 的評價
http://senzahk.com
SENZA A Cappella
SENZA A Cappella is an a cappella group from Hong Kong Baptist University established in September 2009. The name 'senza' is an Italian word meaning 'without', which coincides with its unique a cappella singing style where songs are performed without musical instruments.
The ensemble comprises students from various disciplines in school. Active both on and off campus, it aims to promote a cappella culture to the Hong Kong society, through performing a rich repertoire from classical pieces to songs from Broadway, jazz and Canton-pop.
SENZA A Cappella made its debut appearance in November 2009 in the 3rd anniversary concert staged by The Contemporary A Cappella society of Hong Kong. It continues to perform in other public events, including the 5 evening Season Of Love concerts in 1881 Heritage, Tsim Sha Shui, and as the guest performers in The Chinese University of Hong Kong -- Tung Wah Group of Hospitals Community College's singing contest, as well as in ICAC I-Generation Farewell Party.
In March 2010, SENZA A Cappella attended the masterclass coached by Angelina Choo, the founder of Singapore's A Cappella Society, in the University of Macau. The next day it costarred with other a cappella groups in a joint-places concert in the University of Macau, starring FindaVox from Shanghai, Oops from Taiwan and UM Singers from Macau.
Senza has just won their Championship in Hong Kong Baptist University Joint-Society Singing Contest in April, 2011. In the same period, they represent Hong Kong Baptist University to compete in the "Inter College Singing Competition 2011" and Senza has won their first group championship in this Joint University Competition. At the same time, they also won the "Best Choreograph Award" in this competition.
In 2012, Senza was invited to perform with Kay Tse in "Kay Tse Concert 2012", first time singing on the stage of dream - Hong Kong Coliseum. In the same year, Senza was invited to perform in the Hong Kong 2012 International A Cappella Festival - Alfresco A Cappella.
無伴奏合唱組合 - SENZA A Cappella
SENZA A Cappella 是香港浸會大學於二○○九年成立的無伴奏合唱組合。「Senza」一字本為意大利文,解作「沒有」,跟組合「沒有伴奏」的風格相符。
以浸會大學為基地的 SENZA A Cappella 於2009年11月首次亮相,所有成員都是來自浸會大學的不同學系。組合在學園內外皆十分活躍,短短2年間已有多次演出經驗,並獲得好評。他們旨在以不同類型的樂曲(包括來自古典樂,音樂劇,流行曲,爵士樂等)向社會推廣無伴奏合唱。
組合曾獲邀分別參加了由新加坡無伴奏合唱組織創辦人Angelina Choo指導和著名組合Key Elements成員Vaughan Tan先生所指導的大師班,被喻為"a group of talented young singers!"。SENZA更獲邀於澳門舉行的跨地域音樂會中演出。
組合於同年5月份,獲邀前往海南島演出,同台藝人有謝安琪、張雨綺和張靜初等。SENZA更有幸能與謝安琪合唱《囍帖街》的無伴奏合唱版本。同年,SENZA獲邀於"抱抱低碳生活音樂會"中再度與謝安琪合唱。
組合更於2010年9月12日舉行了他們的首場周年音樂會,並於2011年在浸會大學的聯系歌唱比賽中得到冠軍。同年,SENZA代表浸會大學以自己改編的《約定》參加《大專聯校歌唱比賽2011》,獲得合唱組別的冠軍以及最具台風獎,廣獲一致好評。
組合獲邀於2011年11月舉行的亞洲無伴奏音樂節2011中擔任演出嘉賓,更與C All Star同台合唱。SENZA更在2012年1月首度踏上紅磡體育館舞台,於《謝安琪你們的幸福演唱會2012》中演出。SENZA更將會於人2012國際無伴奏音樂節中的無伴奏音樂會中演出。
SENZA將不斷提升其演出水平,希望在來年和以後的日子為大家帶來更多好聽的音樂。
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heritage meaning 在 meaning of Heritage - YouTube 的八卦
What is HERITAGE meaning ?----------Susan Miller (2021, December 23.) Heritage meaning www.language.foundation© 2021 Proficiency in English ... ... <看更多>