landscape photography tours的八卦，Yahoo名人娛樂都在討論

乍看之下以為是法國薰衣草田，其實是英國肯特 Shoreham 的 Castle farm.

Date:18/01/2015 | Sunday
Theme:#Art #Photography #Landscape #Lavender #Fields #Farm
Contributing Editor: https://www.facebook.com/marialardi

The Hop Shop is based on our family farm, Castle Farm, near the pretty village of Shoreham in North Kent. The farm’s own beef, apples, apple juice, hops, dried flowers, Kentish lavender and honey are all sold through the unique, award-winning farm shop, along with carefully selected gifts, cards, crafts, seasonal decorations, food hampers and local, traceable produce.

The shop is open year round Mon – Sat: 9am – 5pm, Sundays & Bank Holidays: 10am – 5pm, and is popular with anyone seeking a relaxed shopping experience that’s the opposite of the High Street.

In summer, we organise tours of the lavender fields and oil distillery and memorable aromatherapy massages set in the heart of the lavender rows. In autumn there are hops, apples, pumpkins, inspirational gifts and Christmas foods, and in spring you can browse for cards and presents for Mother’s Day and Easter or buy hop plants and herbs for the garden.

Garlands of Kentish hop bines (or vines), lavender flowers, lavender and lavandin oils, culinary food essences, specialist teas and our popular hop and lavender ‘Sleepy Scent’ and ‘natural sleep’ pillows are also available by mail order and to the trade, nationwide.

The farm has a strong conservation policy to protect its wildlife and landscape and has an ever-growing reputation for its high ethical and environmental standards. It features regularly on radio and television and in many home, lifestyle and food magazines and the farm setting has been used as a location for advertising and TV filming.

Source:
http://hopshop.co.uk/
http://twistedsifter.com/…/stunning-photos-of-lavender-fie…/

░ 波傑克特三 PROJECT 3── 01. 第三章：印度、義大利與我 ░


CHAPTER III：INDIA, ITALY AND I



印度一直是個令我異常著迷的地方，這些年來陸陸續續去了幾回，體驗不同區域的特殊人文風情。兩年前和朋友一遊素有人間仙境之稱的喀什米爾，飛機降落後，顛簸小廂型車中播放的印度音樂、隨之瘋癲的友人、達爾湖的船屋、徹夜的誦經聲（當時適逢伊斯蘭教齋戒月）和清晨鳥兒群聚吱吱喳喳的 Bird Party，這一切怎能不用音樂記錄下來？


近幾年也因多次赴義巡演讓我對義大利產生了濃厚的情感，Elizabeth Gilbert 的書「Eat, Pray, Love」和 Stanley Kubrick 六零年代的電影「Spartacus」雖仍令我愛不釋手、回味無窮，但再生動地描述、再美的畫面也無法直接傳達艷陽下在西西里島跳進海裡游泳的爽快、隨時有美味 gelato 可品嚐的感動、濃郁香醇的咖啡、那不勒斯燙口鹹香好吃到掉淚的 pizza、飯後酒 amaro 和各種繽紛美味甜點。除了美景、美食以外，在義大利（尤其是羅馬）令我印象最深刻的要算是隨處可見的遺址、表情驚悚的雕像、噴水池和蜿蜒石子小路了──轉個彎遇到美女順便說聲 Ciao bella！在那片土地時也總讓我不自覺遙想很久很久以前⋯⋯。


於是某一天，我寫了首「給33歲的愛麗絲」送給自己，人生恰如一段美麗而永不停歇的奇幻旅程，和愛麗絲夢遊仙境一般、勇敢的冒險吧！



India has captivated my imagination for years, and I’ve returned again and again for its diverse culture and experiences. From the Indian music playing on the minibus after we landed in Kashmir, to the bumpy ride with my loopy friends; the boathouse on Dal Lake; all-night prayers during Ramadan; and the dawn tweets of the Bird Party —how could I resist capturing it through music?


My knowledge of Italy stems from my ongoing visits/tours in recent years; reading Elizabeth Gilbert’s Eat, Pray, Love; watching Stanley Kubrick’s Spartacus; and, of course, the many travel shows, movies and books about the country. But none of them could accurately capture what it’s like to dive into the Sicilian sea, lick mouthwatering gelato, savor aromatic cappuccino, consume tear-shedding pizza in Naples, down amaro digestive, and the multitude of “dolci”. Beyond the beautiful sceneries and food, the vivid statues dotting the streets of Rome, fountains sprouting around the windy streets (where at the turn of a corner, you’d often hear “Ciao bella!"), immersed in such a landscape propelled me to a place a long, long time ago …


Where Alice in Wonderland, or the “Alice” in Für Elise, are both 33 years old taking on wondrous journeys, wandering through Wonderland, like me.



許郁瑛 yuying hsu──〈波傑克特三 PROJECT 3〉


01. 《第三章：印度、義大利與我》 CHAPTER III: INDIA, ITALY AND I 17’17’’
02. 《荒廢古堡與公主王子的三部曲》 THE DESERTED CASTLE, PRINCESS AND PRINCE TRILOGY 24’50’’
03. 《印地安人的紗窗玻璃》 REMINISCENCES OF THE TRIBAL LIFE, ENVIRONMENTAL DESTRUCTION AND TAIPEI CITY WINDOW GLASS SERVICE TRUCK 16’25’’


TOTAL TIME: 58'33"



ⒸⒹ 實體專輯
誠品網路書店
https://goo.gl/DyLuPs
博客來
https://goo.gl/STZPwU
五大唱片
https://goo.gl/k9jeEB
佳佳唱片
https://goo.gl/sbsd4s
玫瑰大眾購物網
https://goo.gl/Z3t8RT


ⒹⒾⒼⒾⓉⒶⓁ 數位專輯
https://YuYingHsu.lnk.to/P3AW


WARNER MUSIC TAIWAN
release date/ august, 2018



all compositions by 許郁瑛 YUYING HSU
produced by 許郁瑛 YUYING HSU, 余佳倫 CHIALUN YUE


鋼琴 piano／許郁瑛 YUYING HSU
鼓 drums／林偉中 WEICHUNG LIN
吉他 guitar／陳穎達 YINGDA CHEN
玩弦四度 Interestring Quartet／
第一小提琴 violin I／黃偉駿 WEIJUN HUANG
第二小提琴 violin II／劉洧忻 WEIHSIN LIU
中提琴 viola／葉棣綺 CHIEE YEH
大提琴 cello／葉俊麟 JIRO YEH


recorded by 單為明 LINK SHAN , 蔡周翰 CHOUHAN TSAY
recorded at LIGHTS UP STUDIO, TAIPEI
mixed by 余佳倫 CHIALUN YUE
mixed at MUSDM, TAIPEI
mastered by DAVE DARLINGTON
mastered at BASS HIT RECORDING, NEW YORK CITY


project manager - 佘以安 YIAN SHE
album design - 陳吉寶 DICHUN CHEN
illustration - 陳狐狸 WHOOLI CHEN
inside photography - MOCCAS CHIU
copywriter - 許郁瑛 YUYING HSU, 張季岸 CHIAN CHANG


*
特別感謝 Special thanks to──
motion graphic - 王韋衫 WANG WEI SHAN
for all your help. :Ｄ



More about 許郁瑛 yuying hsu──
https://www.facebook.com/yyhsu.music



#專輯內頁文字首次分享
#金曲30 倒數3天



*
░ 波傑克特三 PROJECT 3 ░ 入圍 金曲 GMA 30 演奏類──


■最佳專輯製作人獎〈許郁瑛 ; 余佳倫〉
■最佳作曲人獎〈第三章：印度、義大利與我 CHAPTER III: INDIA, ITALY AND I 〉


░ PROJECT 3 ░ received TWO NOMINATIONS for The 30th Golden Melody Awards for──


■Best Album Producer
■Best Composer

2016中國大陸連州國際攝影年展 (2016 LIANZHOU FOTO, China )
再凝望-台灣當代攝影的新視野 (Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography) (海報設計 / 湯詠棉)

策展人 / Curator : 沈昭良 (Chao – Liang Shen)
藝術家 / Artist : 李立中 (Li - Chung Lee) – 神遊 (Space Out), 李岳凌 (Yehlin Lee) – 黑暗聆聽(Listening to the dark), 李雅妍 (Ya - Yen Lee) – 俄頃的呢喃 (Flash of Whispering), 杜韻飛 (Yun - Fei Tou) – 生殤相(MEMENTO MORI), 陳以軒 (I - Hsuen Chen) – 遍尋無處 (Nowhere in Taiwan), 陳伯義 (Po - I Chen) – 遺留 (Remains), 陳淑貞 (Shu - Chen Chen) – 婚移全家福 (Interracial marriage family portrait), 黃建樺 (Chien - Hua Huang ) – 編碼者 (Transcoder), 羅晟文 (Sheng - Wen Lo) – 白熊計劃 (White Bear), 蕭又滋 (Arron Hsiao) – 列車計畫 (Train Project) 。

開幕導覽 / Guided Tours : 2016. 11. 20 / PM : 18 : 30 - 19 : 45
地點 / Location : 二鞋厂3、5 展示区 / Shoe Factory - Display Area 3 & 5
展期 / Duration : 2016. 11. 19. - 12. 9
http://www.lianzhoufoto.com/exhibition.aspx

再凝望 - 台灣當代攝影的新視野
文 / 沈昭良

台灣整體藝術創作的發展，自1987年解除戒嚴令以來，明顯透過對於歷史、土地的溯源，聚焦在更為貼近現實的議題建構與意識盤整上，援引生命、生態、環境、城市、空間、能源、消費、權力、殖民、國族、全球化、後工業與內在探索等個別或複合紋理，進行兼具結構性與時代性的回應與提問。

其中，攝影創作的發展，自然也在這種內外衝擊的交流轉向中，一方面逐步調整視覺語法，一方面扎根於在地關注、全球論述與數位融合的基礎上，透過直視景物、排除 / 貫徹個人情感、對於生命哲理與存在價值的探究、關注人類與環境間的議題，數位材料技術的引用，以及大尺幅或視覺群化展示等等形式特徵，具體產生了各式發想自現實題材，時而宏觀遠眺，時而微觀凝視的創作。

此次的＜再凝望-台灣當代攝影的新視野＞展，則是在上述的發展脈絡下，針對台灣內部，相對具備特定方向與論述的攝影創作內容，所進行的集結與梳理。包括杜韻飛(Yun-fei Tou)的「生殤相」 (MEMENTO MORI)，藉由西方藝術史裏的肖像語境，拍攝台灣數家公立收容所內的流浪犬，於安樂死當日的最後身影。在觀看與被觀看、主體與客體的轉換中，以接近人身大小的作品展示，探討人類與他者間的支配與宰制關係。羅晟文 (Sheng-wen Lo)的「白熊計劃」 (White Bear)，則是透過在全球各地所拍攝，人類圈養的白熊與其所處的人造環境，進而延伸人與自然環境、動物圈養及動物權等命題。

陳以軒 (I-hsuen Chen)的「遍尋無處」(Nowhere in Taiwan)，主要描述自身因為留學而經歷了反向的文化衝擊，在非純粹風景與城市景觀的曖昧交界，透過公路攝影，不自覺望向孤立疏離的自我身影。李岳凌 (Yehlin Lee)的「黑暗聆聽」(Listening to the Dark)，試著將抽像聽覺做為視覺書寫的因子，隨著攝影，徘徊在日沒微光的幽暗邊界。李雅妍 (Ya-yen Lee)的「俄頃的呢喃」 (Flash of Whispering)，則是藉移動在都市裏的無預警遭遇，透過直覺反射式的隨機抓拍，一方面回應來自城市街頭的呢喃召喚，一方面探索周遭景物與自身靈魂間的密碼囈語。

陳淑貞 (Shu-chen Chen)的「婚移全家福」 (Interracial marriage family portrait)系列作品，內容聚焦在外籍配偶的家庭合照。藉由她們所居住的空間、內部陳設與神韻樣態，進一步思考異國婚姻在語言、文化、習慣乃至於信仰的融匯上，可能的和諧與曲折。蕭又滋 (Arron Hsiao)的「列車計畫」 (TRAIN PROJECT)則是搭配高速閃光燈，以無差別的隨機方式，拍攝快速行進中的列車車廂，呈現個體在封閉空間與人群中的精神樣態。陳伯義(Po-i Chen)的「遺留」(Remains)系列，主要拍攝台灣自1949年起至1960年代，來自中國大陸各省的國民黨部隊及眷屬所居住的眷村，在拆遷後現場所遺留的物件，藉以回溯在大時代下的顛沛遷徙，所隱含的政治、社會、族群與認同議題。李立中(Li-chung Lee)的「神遊」 (Space Out)，則是針對現今台灣廟宇內部的空間採集，探索靈界的空間配置在現代化進程中，展現的特異與多元組合。

另外在數位攝影的創作實踐上，黃建樺(Chien-hua Huang )的「編碼者」(Transcoder)，透過詼諧馳騁卻猶如社會縮影的樂園，試圖在社會形態、生存機制與角色身份的相互指涉中，折射出人們對於世界的想像與追尋。

最後，期望透過＜再凝望-台灣當代攝影的新視野＞－這個群展，階段性描繪，在全球當代攝影的發展進程中，台灣新世代攝影創作者的凝望和步履。

Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography
By Chao-liang Shen

The evolution of the creation of art in Taiwan as a whole has been calling for an answer to the structural questions of the times since Martial Law was abolished in 1987. Undoubtedly, through tracing back to the sources of history and the origin of the homeland, artists have been able to focus on agendas that are closer to reality and the correction of ideology, leveraging individual or compound cases of life, ecology, environment, the city, space, energy, consumption power, authority, colonization, nation, globalization, post-industrial revolution, and inner searching.

Amid these topics, the development of photography naturally echoes the aforesaid internal and external shocks and changes, and different visual languages have gradually been generated. Moreover, photographers have begun to plant their creative roots in the combination of local focus, global discourse, and digital convergence. These concepts are characterized by direct view, including and excluding one’s emotions, combing through life philosophy and the value of existence, addressing human-environment relations, borrowing digital material or techniques, large-scale pieces, conceptual grouping, and so on. All of these have led to concrete creations inspired by real-life topics in views both macro and micro.

The “Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography” exhibition collects and combs through the aforementioned context, featuring Taiwanese photography pieces with specific angles or arguments. MEMENTO MORI by Yun-fei Tou presents euthanasia in a couple of public animal shelters in Taiwan with the images of the stray dogs on the last day of their lives through portrait works in the style of western art history. Switching roles between the gazing and the gazed-upon, or the subject and the object, the influx of true-to-size photography works probe the dominance relationship between human beings and others. White Bear by Sheng-wen Lo, on the other hand, discusses topics extending to animal rights and captive breeding from the interactions between human and Mother Nature through images, taken all over the world, of captive white bears and the artificial environment in which they are fenced.

Nowhere in Taiwan from I-hsuen Chen mainly illustrates the photographer’s reverse culture shock after returning home from studying overseas. On the vague line between atypical sceneries and city landscape, the photographer looks into his own isolated and lonely shadow. Listening to the Dark by Yehlin Lee attempts to write visually through the abstract sense of hearing. The photographer has been wandering along the dim boundaries in the low light of sunset with his camera. Flash of Whispering by Ya-yen Lee is a collection of reflective snapshots as the response to the summons of the city streets. The images are the code-talk of her surroundings and her soul.

Interracial marriage family portrait by Shu-chen Chen features portraits of foreign spouses and their family in Taiwan. Through representation in details of their facial expressions and living space and interior decorations in their families, Chen’s images demonstrate both harmony and conflicts reflected in the contrasts of their languages, culture, habits and regional beliefs. TRAIN PROJECT by Arron Hsiao uses high-speed flash to engage in a “shooting spree” to capture moving trains. The photographer intends to show the psychological states of individuals in a confined space and among crowds. Remains from Po-i Chen mainly shoots the things left behind by the families of KMT troops who moved from various provinces in China to Taiwan from 1949 to 1960 in their military villages after the demolition and relocation of the military communities. The photographer reviews the historical journey as well as hidden political, social, racial and identity debates. Space Out from Li-chung Lee focuses on picking up of pieces of space in Taiwanese temples to build his narration of the bizarre and diverse combination of space planning of the invisible world in modernization.

On the implementation and practice of digital photography, Transcoder by Chien-hua Huang seeks the refraction of people’s imagination and wants of the world through inter-references of forms of society, the survival mechanism, and role/identity playing in humorous ways, as if society were an entertainment park.

In conclusion, I hope that the group exhibition “Yet Another Gaze - New Horizon of Contemporary Taiwanese Photography” can bring together the creative momentum of the new generation in Taiwan to portray the gazes and steps of the stage we are now at as part of the progress of global modern photography.