Exactly 3 Years ago, in August of 2018- we were on site for 3 days to complete construction, do an architectural photo shoot, shoot commercials, and do a ribbon cutting for our studio's revamp of @tokyotokyophilippines - a 30+ year old fast casual restaurant which has by that time exchanged ownership about three times. Our design was probably Version 4 or 5.
It was great. #jjacunabespokestudio was able to help them with their "lifestyle" concept- an upgrade off the base concept that's Targeted to today's consumers in their 20 and 30s. The main brief- refresh the brand-new our response- let's stop the "disneyfication" of Japan- and just start a new Spatial brand based on the essence of Japanese pop culture and aesthetics... Well with a sprinkle of blade runner.
For the franchisees who have to buy in a higher investment for the "lifestyle concept" - mainly due to imported materials and bespoke lighting et al- I hear that the ROI has been absolutely amazing. Well in non-covid years. - there's more to this story that was published in an interview with @fnbreport.
#restaurantdesign #tokyotokyoph #interiordesign
同時也有12部Youtube影片,追蹤數超過80萬的網紅果籽,也在其Youtube影片中提到,As a Lolita-fashioned girl for 14 years, Melody Fang was first attracted to the subculture because of the 2004 Japanese film “Kamikaze Girls” when she...
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japanese aesthetics 在 桑拿大可 Facebook 的最佳貼文
嗨大家好!我很久沒發文跟大家互動了!
我的最新聯展即將發生嘍!這次跟了好多
藝術家一同展出!
這次展出了一系列新作品,把神奇寶貝結合香奈兒的服裝畫進畫中,從來就不是走優雅路線!
邀請大家8 / 7來誠品畫廊免費入場參觀!
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*策展:趙琍、賴盈成、顏寧志
*參展藝術家:
GRAFFLEX、U-die、牛木匡憲、王宗欣、卡沃、低級失誤、李承道、李奕諠、松浦浩之、林俊良、花臂老王、洪添賢、桑拿大可、堀越達人、張育嘉、張嘉穎、陳純虹、陳普、塗鴉阿諾、葉長青、鄒駿昇、廖堉安、劉正堃、鬍子大叔、蘇志成
*入場方式:2021年8月7日開展首日免票入場,8月10日至9月4日憑票入場
*票價:NTD100
*購票網址:https://www.accupass.com/event/2107171006196097145330
誠品畫廊將於8月7日至9月4日推出展覽「動漫未來」,邀請5國共25位藝術家參展,展出100餘件作品,包含油畫、版畫、雕塑、水彩、膠彩、絹印、動畫等多種形式,展覽將以藝術沙龍的方式,全面呈現藝術家們所帶來的精彩作品。
在疫情的天空下,病毒限制了人類的行動力,卻限制不住想像力。2020年末《鬼滅之刃:無限列車篇》在台、日兩地皆創下可觀的票房。現實世界的阻礙,反而助長我們在二次元世界馳聘的動力,幻想不死,隨時隨地都能復活再戰鬥。在社群網路推波助瀾下,ACGIT(Animation、Comic、Game、Illustration、Toy)產業持續進化,在與藝術、美學混血之後,逕自開出一片奇幻花園。
誠品畫廊自2007年首次舉辦日本動漫藝術家松浦浩之(Hiroyuki MATSUURA)Ultra New Visions個展,即長期關注動漫美學。2021年,誠品畫廊持續探尋動漫美學更多可能,我們邀集全亞洲具動漫基因的青年創作者,於後疫情時代的台北松菸誠品畫廊展出。
*Curators: Emily CHAO, Eric LAI, Andy YEN
*Artists:
Abei LIU, ANO9S, CHANG Chia-Ying, Chen-Dao LEE, Cowper WANG, Croter HUNG, Eszter CHEN, Grafflex, Hiroyuki MATSUURA, HORIKOSHI Tatsuhito, Kawo a.k.a Sushijojo, LAOWANG1102, LIAO Yu-An, LIN Jun Liang, Masanori USHIKI, Page TSOU, Pu CHEN, Saitemiss, Sangna Take, Tony SUEZ, U-die, Uncle Tommy, YEH Chang-Ching, Yi-Shuan LEE, Yu Chia CHANG
*Admission: Free entry on opening day (August 7, 2021); ticket admission from August 10 to September 14, 2021.
*Admission fees: NTD100
*Ticketing: https://www.accupass.com/event/2107171006196097145330
ESLITE GALLERY is delighted to present Animamix Flux from August 7 to September 14, 2021. Inviting 25 artists from 5 countries and featuring more than 100 works, the exhibition includes artworks as variegated as oil paintings, prints, sculptures, watercolors, eastern gouache, silkscreens and animations. Curated in the form of an art salon, it showcases these wonderful works in all their glory.
The pandemic reality has limited our physical mobility, but not our imaginative creativity. Anime film Demon Slayer: Mugen Train was a box office hit in both Taiwan and Japan as 2020 drew to an end. The obstacles in the real world are fueling our dream to roam in the two-dimensional world, where fantasy is immortal and we can come back to life to fight the bad guys over and over again. Driven by the power of social networks, ACGIT (Animation, Comic, Game, Illustration and Toy) industry continues to evolve and grow. It has organically opened up a fantasy garden after hybridizing with art and aesthetics.
Since ESLITE GALLERY staged Ultra New Visions, a solo exhibition of Japanese artist Hiroyuki MATSUURA, for the first time in 2007, we have been keenly following the aesthetics of anime and manga. In 2021, ESLITE GALLERY intends to explore the boundless possibilities of anime aesthetics. We are inviting young artists empowered with anime and manga DNA from countries in Asia to put on a group exhibition in August in post-COVID Taipei.
japanese aesthetics 在 VOP Facebook 的最佳解答
#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
japanese aesthetics 在 果籽 Youtube 的最讚貼文
As a Lolita-fashioned girl for 14 years, Melody Fang was first attracted to the subculture because of the 2004 Japanese film “Kamikaze Girls” when she was 14 years old. Now in her 20s, Melody still finds Lolita fashion a lifestyle of elegance and confidence.
The term “Lolita” is first derived from Vladimir Nabokov’s 1955 novel about a middle-aged man’s obsession with a 12-year-old girl named Lolita. When the word took root in Japan in the 80s, it was turned into alternative street-fashion highly influenced by clothing and aesthetics from the Victorian and Rococo periods.
https://hk.appledaily.com/feature/20210516/IE563XM7GJERHOXWLJTSY252WI/
影片:
【我是南丫島人】23歲仔獲cafe免費借位擺一人咖啡檔 $6,000租住350呎村屋:愛這裏互助關係 (果籽 Apple Daily) (https://youtu.be/XSugNPyaXFQ)
【香港蠔 足本版】流浮山白蠔收成要等三年半 天然生曬肥美金蠔日產僅50斤 即撈即食中環名人坊蜜餞金蠔 西貢六福酥炸生蠔 (果籽 Apple Daily) (https://youtu.be/Fw653R1aQ6s)
【這夜給惡人基一封信】大佬茅躉華日夜思念 回憶從8歲開始:兄弟有今生沒來世 (壹週刊 Next) (https://youtu.be/t06qjQbRIpY)
【太子餃子店】新移民唔怕蝕底自薦包餃子 粗重功夫一腳踢 老闆刮目相看邀開店:呢個女人唔係女人(飲食男女 Apple Daily) https://youtu.be/7CUTg7LXQ4M)
【娛樂人物】情願市民留家唔好出街聚餐 鄧一君兩麵舖執笠蝕200萬 (蘋果日報 Apple Daily) (https://youtu.be/e3agbTOdfoY)
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健康蘋台: http://applehealth.com.hk
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#果籽 #StayHome #WithMe #跟我一樣 #宅在家
japanese aesthetics 在 Point of View Youtube 的最佳解答
ใครสนใจมาผจญภัยแบบมุ้งมิ้งกะวิวโหลด Alice Closet ได้ที่ https://alicekol.onelink.me/cnMI/71591f2e
อะ อันนี้แถมใครเล่นแล้วใส่โค้ด 248E-DYA6-KCTS-7YNW มีของแจกด้วยนะคะ
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อ้างอิง
- Beeler. (1970, January 01). Creation of the lolita: The legacy of the victorian and the rococo. Retrieved January 28, 2021, from https://ufdc.ufl.edu/AA00059501/00001
- Chan, C. (n.d.). Why is Lolita CALLED "LOLITA"? Does Lolita fashion have anything to do With Nabokov? Retrieved January 28, 2021, from http://www.fyeahlolita.com/2013/11/why-is-lolita-called-lolita-does-lolita.html
- Galler, S. (2019, April 19). Victorian fashion. Retrieved January 28, 2021, from https://www.hisour.com/victorian-fashion-32796/
- MILLER, L. (2011). Cute masquerade and the pimping of Japan. International Journal of Japanese Sociology, 20(1), 18-29. doi:10.1111/j.1475-6781.2011.01145.x
- Monden, M. (2008). Transcultural flow of Demure AESTHETICS: Examining Cultural GLOBALISATION through GOTHIC & Lolita fashion. New Voices, 2, 21-40. doi:10.21159/nv.02.02
- Monden, M. (2020). The “Nationality” of Lolita fashion. Asia through Art and Anthropology, 165-178. doi:10.4324/9781003084716-16
- Winge, T. (2008). Undressing and DRESSING LOLI: A search for the identity of the JAPANESE LOLITA. Mechademia, 3(1), 47-63. doi:10.1353/mec.0.0045
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ฟัง นิทานไทย วรรณคดีไทย สนุกๆ https://www.youtube.com/playlist?list=PLfqt6BlTNYnWUtrSsqOEiTjxVsJH_WBJl
ฟังเรื่องเกี่ยวกับ รามเกียรติ์ รามายณะ https://www.youtube.com/playlist?list=PLfqt6BlTNYnXfrgoQ5GVLgbjpzgOWplHi
โลลิต้า
00:00 ทำไมเล่า
01:01 แรงบันดาลใจแฟชั่นโลลิต้า
06:53 ที่มาของชื่อโลลิต้า
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10:35 แต่งตัวโลลิต้าสะท้อนอะไร
14:18 แนะนำ Alice Closet
japanese aesthetics 在 LADIES FIRST Youtube 的最佳貼文
East or West, whose makeup is the best? Doesn't matter as long as you love it!!! All you need is a great primer to start you off, and we LOVE the Cezanne Make Keep Base!
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japanese aesthetics 在 Tanizaki Junichiro on Japanese Aesthetics [4K UHD] - YouTube 的推薦與評價
Watch more documentaries on NHK WORLD-JAPAN: ... Tanizaki Junichiro on Japanese Aesthetics [4K UHD] - In Praise of Shadows. ... <看更多>
japanese aesthetics 在 36 Japanese aesthetics ideas - Pinterest 的推薦與評價
Aug 17, 2015 - Explore alana1031's board "japanese aesthetics", followed by 1207 people on Pinterest. See more ideas about japanese aesthetic, japanese, ... ... <看更多>