世界已經重視台灣
越來越多國家重視台灣的夥伴力量,我們呼籲聯合國正視並接納台灣在內的所有人,才能共同致力疫後復甦及永續發展。
大家可以到 GiveTaiwanAVoice.com 網站,幫台灣說出心裡話。
#完整呈現經典迷因啊
The world already has eyes for Taiwan.
As more and more countries understand the importance of partnering with Taiwan, we call on the UN to include Taiwan in a meaningful way, in order to realize sustainable development and economic recovery in the wake of the pandemic.
Visit GiveTaiwanAVoice.com to speak up for Taiwan.
#UNGA76
#HearTaiwan
#WorkingTogether
#FreedomForAll
#UNGlobalGoals
#TaiwanCanHelp
同時也有1部Youtube影片,追蹤數超過5,140的網紅Ghost Island Media 鬼島之音,也在其Youtube影片中提到,Gwhyneth Chen (陳毓襄) is a world-renowned classical pianist who's set to open the 2020/21 season for the NTSO (National Taiwan Symphony Orchestra) on Au...
「taiwan importance to world」的推薦目錄:
- 關於taiwan importance to world 在 外交部 Ministry of Foreign Affairs, ROC(Taiwan) Facebook 的最佳貼文
- 關於taiwan importance to world 在 外交部 Ministry of Foreign Affairs, ROC(Taiwan) Facebook 的最讚貼文
- 關於taiwan importance to world 在 VOP Facebook 的最讚貼文
- 關於taiwan importance to world 在 Ghost Island Media 鬼島之音 Youtube 的精選貼文
taiwan importance to world 在 外交部 Ministry of Foreign Affairs, ROC(Taiwan) Facebook 的最讚貼文
敬自由 / 性別平權
過去的台灣社會或許有男主外女主內的概念
但越來越多男性選擇以育嬰假方式陪伴小孩成長
.
在台灣可以申請領8成津貼的育嬰留停6個月
而整個社會的氛圍
也讓伴侶雙方能有機會協調、自由選擇
.
外交部在今年聯合國推案影片《敬 自由》中
我們就拍攝了這樣一位年輕爸爸
.
『在這裡 各種想法進步得很快
我和太太擁有完全一樣的選擇跟機會
因為想陪孩子長大
所以我跟公司請了半年育嬰假
他開口說的第一個單字就是爸爸
面對同樣重要的家庭與事業
我們一樣有力量』
.
若聯合國的重要任務之一是要讓國家尊重人民的權利
台灣的夥伴價值值得聯合國重視
.
Ingrained gender roles have taken a heavy toll on previous generations in #Taiwan and the greater Asia region. Many brilliant women were forced out of their careers and had to undertake the lion’s share of childcare duties, while men were denied the opportunity to be the primary care-giver to their children. Things are changing here in Taiwan and the government is trying to make this change easier, allowing both men and women to take up to six months parental leave to care for their child, with subsidies available allowing them to collect around 80% of their salary.
In the recent promotional short, "To Freedom," as part of MOFA’s #UNGA76 campaign, we feature the story of one such young parent, who represents many young men taking advantage of the recent changes to parental leave allowance:
“It’s quite progressive here. My wife and I have the same choices and opportunities. As I wanted to spend time with my child, I took six months parental leave from work and so his first word was “Daddy!” Family and career carry equal importance and require equal strength.”
If the UN states part of its mission as encouraging countries around the world to respect the rights of their people, Taiwan's vision of global partnership can serve as a valuable reference.
#UNGA76
#HearTaiwan
#WorkingTogether
#FreedomForAll
#UNGlobalGoals
#TaiwanCanHelp
#RespectTheRightsOfPeople
#GenderEquality #WomensEmpowerment
#SDG5
taiwan importance to world 在 VOP Facebook 的最讚貼文
#新刊出版 New release!!!
Voices of Photography 攝影之聲
Issue 30:美援視覺性──農復會影像專題
U.S. Aid Visuality: The JCRR Issue
本期我們重返影響台灣戰後發展至關重要的美援年代,尋索過往在台灣影像歷史視野中遺落、但卻十分關鍵的美援時期台灣視覺歷程──「農復會」的影像檔案。
成立於1948年、以推行「三七五減租」和「耕者有其田」等土地改革與農業政策聞名的農復會(中國農村復興聯合委員會,JCRR),被認為是奠定二十世紀「台灣經驗」基礎的重要推手。然而很少人留意,這一農經專業的美援機構,在1950至60年代拍攝了大量的照片、幻燈、電影,並生產各種圖像、圖表、圖冊與海報,在冷戰年代與美援宣傳機制緊密連結,深深參與了戰後「台灣(視覺)經驗」的構成,影響著我們的視覺文化發展。
冷戰與美援如何形塑台灣的影像與視覺感知?本期專題透過採集考察眾多第一手的農復會早期攝影檔案、底片、圖像、影片與文獻資料,揭載鮮為人知的美援年代視覺工作,追尋這一段逐漸隱沒的戰後台灣攝影與美援視覺性的重要經歷。
其中,李威儀考掘農復會的歷史線索與視覺文本,探查美援的攝影檔案製程、「農復會攝影組」的成員蹤跡,以及文化冷戰期間從圖像、攝影到電影中的美援視覺路徑;蔡明諺分析1951年由農復會、美國經合分署與美國新聞處共同創辦的《豐年》半月刊,從語言、歌謠與漫畫等多元的視覺表現中,重新閱讀這份戰後最具代表性的台灣農村刊物潛在的意識形態構成與政治角力;楊子樵回看多部早期農教與政策宣傳影片,析論農復會在戰後台灣發展中的言說機制與感官部署,並從陳耀圻參與農復會出資拍攝的紀錄片計畫所採取的影音策略,一探冷戰時期「前衛」紀錄影像的可能形式;黃同弘訪查農復會在1950年代為進行土地與森林調查所展開的航空攝影,解析早期台灣航攝史的源起與美援關聯,揭開多張難得一見的戰後台灣地景航照檔案。
此外,我們也尋訪生於日治時期、曾任農復會與《豐年》攝影師的楊基炘(1923-2005)的攝影檔案,首度開啟他封存逾半世紀、收藏農復會攝影底片與文件的軍用彈藥箱和相紙盒,呈現楊基炘於農復會工作期間的重要文獻,並收錄他拍攝於美援年代、從未公開的攝影遺作與文字,重新探看他稱為「時代膠囊」的視覺檔案,展現楊基炘攝影生涯更為多樣的面向,同時反思「美援攝影」複雜的歷史情愁。
本期專欄中,李立鈞延續科學攝影的探討,從十九世紀末天文攝影的觀測技術,思考可見與不可見在認識論上的交互辨證;謝佩君關注影像的遠端傳輸技術史,檢視當代數位視覺政權中的權力、知識與美學機制。「攝影書製作現場」系列則由以珂羅版印刷著稱的日本「便利堂」印刷職人帶領,分享古典印刷傳承的工藝秘技。
在本期呈現的大量影像檔案中,讀者將會發現關於美援攝影的經歷與台灣歷史中的各種視覺經驗,還有許多故事值得我們深入訪查。感謝讀者這十年來與《攝影之聲》同行,希望下個十年裡,我們繼續一起探索影像的世界。
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● 本期揭載未曾曝光的美援攝影工作底片、檔案與文件!
購書 Order | https://vopbookshop.cashier.ecpay.com.tw/
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In this issue of VOP, we revisit the era of U.S. aid, a period that was of utmost importance to Taiwan’s post-war social and economic development, and explore Taiwan’s much forgotten but crucial visual journey during this era ── the visual archives of the JCRR.
Established in 1948, the Chinese-American Joint Commission on Rural Reconstruction, or the JCRR, is widely known for the implementation of various land reform and agricultural policies, such as the “375 rent reduction” and “Land-to-the-tiller” programs. Hence, the Commission is considered an important cornerstone to laying the foundations of the “Taiwan Experience” in the 20th century. That said, very few are aware that this U.S. aid organization specializing in agricultural economics was also closely associated with the American propaganda mechanism during the Cold War, and had in its possession countless photos, slides and movies, and produced various images, charts, pamphlets and posters. All these contributed to the formation of the post-war “Taiwan (Visual) Experience”, deeply influencing the development of our visual culture.
How exactly did the Cold War and U.S. aid shape Taiwan’s image and visual perception? This issue’s special feature uncovers the little-known visual activities from the U.S. aid era by investigating the collection of JCRR’s first-hand photo files, negatives, images, films and documents, and traces this important journey of post-war Taiwan photography and U.S. aid visuality that has gradually faded from people’s minds.
Among them, Lee Wei-I examines the historical clues and visual texts of the JCRR, and explores the production of the U.S. aid photographic archives, following the traces of the members of the “JCRR Photography Unit” and the trails of U.S. aid visuals during the Cold War from images and photography to films. Tsai Ming-Yen analyzes the diverse visual manifestations, such as languages, ballads and comics, contained in the semimonthly publication Harvest, which was co-founded by the JCRR, the U.S. Economic Cooperation Administration, and the U.S. Information Service in 1951, presenting a new take on the ideological and political struggles that were hidden beneath the pages of this agricultural publication that could also be said to be the most representative publication of the post-war era. Yang Zi-Qiao looks back at the early agricultural education and propaganda films, and analyzes the discourse and sensory deployment utilized by the JCRR in the development of a post-war Taiwan and the possibilities of the “avant garde” documentary films from the Cold War period through the audio-visual strategies gleaned from director Chen Yao-Chi’s documentary project that was funded by the JCRR. At the same time, Houng Tung-Hung checks out the aerial photography taken by the JCRR in the 1950s for land and forest surveys, and uncovers the origins of Taiwan’s aerial photography with U.S. aid, giving readers a rare glimpse at post-War Taiwan’s aerial landscape photographic archives.
In addition, we will explore the photographic archives of Yang Chih-Hsin (1923-2005), a former photographer who was born during the Japanese colonial period and worked for the JCRR and Harvest, unearthing negatives and documents kept away in the ammunition and photo-paper box that had stayed sealed for more than half a century. This feature presents important files of Yang during his time with JCRR, and photographs taken and written texts produced during the U.S. aid era but were never made public. We go through the visual archives enclosed in what he called a “time capsule”, shedding light on the diversity of his photography career, while reflecting on the complex historial sentiments towards “U.S. aid photography” at the same time.
Lee Li-Chun continues the discussion on scientific photography in his column, exploring the interactive dialectics between the seen and the unseen through the observation technology of astrophotography in the late nineteenth century. Hsieh Pei-Chun focuses on the history of the technology behind remote transmission of visuals and examines the power, knowledge and aesthetics that underlies contemporary digital visual regime. Finally, this issue’s “Photobook Making Case Study” is led by the printing experts at Japan’s Benrido, a workshop that is renowned for its mastery of the collotype printing technique.
Through the large collection of photographic archives presented in this issue, readers will see that there remain many stories on the photography process in the U.S. aid era and various types of visual experiences in Taiwan’s history that are waiting to be unearthed. We thank our readers for staying with VOP for the past decade and we look forward to another ten years of exploring the world of images with you.
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Voices of Photography 攝影之聲
vopmagazine.com
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#美援 #農復會 #冷戰 #台灣 #攝影
#USAID #JCRR #ColdWar
#Taiwan #photography
#攝影之聲 #影言社
taiwan importance to world 在 Ghost Island Media 鬼島之音 Youtube 的精選貼文
Gwhyneth Chen (陳毓襄) is a world-renowned classical pianist who's set to open the 2020/21 season for the NTSO (National Taiwan Symphony Orchestra) on August 29 and 30. Born in Taiwan and trained in the U.S., Ms. Chen is a Pride of Taiwan 台灣之光. Ms. Chen recounts performing for the late President Lee Teng-Hui and chats about the value of music, the importance of practice and staying humble, and what she calls “piano kungfu”.
Ms. Chen's album - a recording of a 75-minute mission-impossible of “Etudes d’execution transcendante” by Franz Liszt - has just been nominated for a Golden Melody for Traditional Arts and Music. We feature three numbers from this album: No. 10, No. 1, and No. 8. More on Ms. Chen on her website: http://www.gwhynethchen.net
Today’s episode is hosted by J.R. Wu - Chief of the Secretariat for INDSR (Institute for National Defense and Security Research) in Taiwan. Wu is a former journalist with nearly two decades of media experience in the US and Asia. She has led news bureaus for Reuters and Dow Jones.
Support us on Patreon:
http://patreon.com/taiwan
Follow us on Twitter:
https://twitter.com/ghostislandme
SHOW CREDIT
Emily Y. Wu (Producer / Editing)
https://twitter.com/emilyywu
Sam Robbins (Researcher)
https://twitter.com/helloitissam
Thomas Lee (Brand Design)
Ghost Island Media (Production Company)
https://twitter.com/ghostislandme
www.ghostisland.media
![post-title](https://i.ytimg.com/vi/nY7fChHRXMw/hqdefault.jpg)
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