political ecology的八卦，Yahoo名人娛樂都在討論

台灣綠黨：亞洲綠色運動中成功的故事
（今本秀爾，President of ECOXIA Institute日本綠色智庫執行長，國際綠色運動者）

台灣綠黨（Green Party Taiwan, GPT）在2012年全國大選中，贏得的票數幾乎是上一屆的四倍，也確立成為台灣第五大政黨。而2010年11月台北市議員選舉中，台灣綠黨亦在某些選區贏得百分之五的選票，並成功領回競選保證金。我相信，台灣綠黨正朝著成功之路邁進，我們日本綠黨，對其成就深感羨慕。

台灣綠黨的特色，在於堅持以「生態與多元」作為政黨哲學，並且毫不退讓。在日本，如果小黨堅守其原初的政治態度，最後總會失去支持而逐漸消失；相反地，台灣綠黨卻穩定地得到群眾的認同與支持。我認為，台灣綠黨之所以能夠成功，不僅因為其與公民運動、團體、議題相關的非政府組織間相互聯結；同時，也因為台灣綠黨持續、堅定地挑戰每一次的全國選舉與地區選舉。蒙古、尼泊爾與菲律賓等亞洲地區雖然也有綠黨存在，但我確信，在運動的推展上，台灣綠黨是最為成功的。

日本的綠色運動於八零年代便已開展，具有綠色導向的團體也經常參與國家選舉，但卻無法建立綠黨組織，以致於三十年來，不斷重複潰散的命運。台灣綠黨則以相反的方式運作：自開始就以政黨組織的形式活動，開拓成果，最後終於成功地贏得公民支持。因此，我想鼓勵台灣綠黨持續前進，並建議亞洲其他綠黨與運動組織，從台灣綠黨的成功故事中汲取經驗。

Green Party Taiwan is truly going on a success story in Asian Green Movement
SHUJI IMAMOTO (President of ECOXIA Institute, Japan Green Think Tank)


Green Party Taiwan(GPT) gained almost 4 times as many votes as before in this national election, confirmed the fifth biggest party in Taiwan. I am convinced that GPT is going on their success story, as we Japanese green activists are envious of their achievement. In the municipal election of Taipei, in November 2010, GPT gained 5 percent vote in some constituencies and their electoral deposit were successfully given back. The characteristics of GPT is that they have always kept insisting on “ecology and diversity” for their party’s philosophy, which they have never withdrawn at all until now. In Japan, if a small party sticks to their original political attitude, it always loses supporters and disappears; on the contrary GPT stably gains their supporters. The background of their success, in my opinion, comes from their success in networking with citizen movements, groups and related NGOs, as well as from their stable challenges for every national and municipal election these several years. Today, several Green parties exist in Asian region, such as Mongolia, Nepal and Philippines, but I am sure that Taiwan is the most successful case in developing their movement. In Japan, there already began Green movement since 1980s, and many Green-oriented groups challenged for national elections, but they always failed to establish Green Party organization, then repeated their collapsing every time for about 30 years. On the other hand, GPT is originally set up as a Party organization, developing their achievement, has been successful in gaining citizen supporters. Therefore I would like to send them cheer message frankly, suggesting that other Green parties and movements in Asia should learn much from their success story.

#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

去年的案子中我選了這幅參加美國ADC Award，雖然沒有得獎，但報名的時候滿心希望這幅台灣的作品和這個計畫能讓更多人看到。畫中其實有很多細節，有興趣的話下方是參賽時寫的作品描述（我還沒翻中文版）：

The illustration visualized an eco-political project that advocates for environmental protection, conservation and encourages people to search for their identity by walking into nature. The image not only depicts the project concepts, but also comprehensively shows 6 primary missions: The Green New Deal, Nature Protection, Carbon Valley, Rite of Passage, Soft Power, and Geopolitical Cornerstone. This enables the client to propose the project to the government, and promote ideas of environmental and political changes to the public.

Taiwan is an island divided by the Central Mountain Range. Located to the west of the range are the large cities inhabited by the majority of the population. In contrast, located to the east of the range are the natural sites and homes of the indigenous population for thousands of years. The 3 hikers depicted on the left are a metaphor for people searching for their identity. By walking through the Japanese Shrine, they cross over Taiwan’s complex history of colonization by many different countries. On the right side is an imaginary city called “Carbon Valley,” which is the idea of a sustainable energy research centre. The Formosan Sika deer is the endemic species in Taiwan but became extinct in 1969. In the illustration, it symbolizes and raises the awareness of nature conservation.

The commission was delivered in August 2020, however the project is still ongoing.

#illustration #illustrationartists #ecofriendly #ecology #greennewdeal #taiwan #nature #taiwanese #mountains #mountainrange #deer #indigenous #culture