關於 surrounding meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

This painting is one of my oil pastel series that i did before 2010. Will try to post some of my older stuff for those who never seen any of my old works. Till then.. Stay safe people..

Title : Journey to Happy Land
Medium : Oil Pastel on paper
Size: A2
2009
Current owner : @richard simon

Everyone have their own version of happy land. This thought or emotion happens randomly. It could be because of time, certain situation, surrounding environment or “just because”. So they do a journey to a certain goal that they set.

The green character depicted without arms is a representation of people that feels, think that they are missing something in their life. (It can be anything, nothing in specific). Most of the time they looking for that feeling of joy, happiness, achievement or a sense of fulfillment. During this time is where the doubt, excitement, paranoid kicks in and that's why he’s walk with a slouch with eyes open.

The smiling creatures or monsters on the sides is a representation of people around. Some will give encouragement or support, some will say good things in front and bad things at the back. But most of the time they will just look and thats about it. Your journey is their entertainment.

The road or path is colored in yellow is an adaptation of “the yellow brick road from the wizard of oz” that brings a meaning the road to success or happiness..

The jack in a box “Swindler, cheater” is a representation of the challenges that usually happen along the way, when a person is in search of their happy land.

This whole painting are basically everyone’s journey in life. You can’t see the goal here because (its a personal “something” to everyone, not all of us have the same happyland” but the “journey” that’s the most important part of life.

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Bahasa pasar/ sembarang sabah.

Semua orang ada angan-angan/ mimpi/ impian pasal dorang punya tempat/ keadaan hidup yang best. Ni fikiran pandai datang tiba-tiba. Mungkin pasal ada barang yang jadi dalam hidup dorang, mungkin pasal keadaan keliling dorang atau sengaja mau cuba. Jadi mulalah diorang mencari jawapan.

Tu orang hijau tiada tangan macam perumpamaan orang-orang yang rasa, fikir yang dorang ada kekurangan dalam hidup. (Ni boleh jadi apa saja, tiada 1 jenis jawapan). Biasa dia, yang kana cari tu perasaan gembira, semangat, pencapaian atau kepuasan. Ni masa lah datang tu perasaan/ fikiran tidak yakin, telebih semangat, fikir yang bukan-bukan (Ni kali maksud paranoid yang simple). Pasal tu dia jalan bongkok trus mata dia tingu-tingu. (ni yg part paranoid. Takut salah, takut orang cakap bukan-bukan.. macam-macam lah)..

Yang monster senyum-senyum di siring tu umpama orang sekeliling. (yang dekat kah yang jauh kah). Ada yang tolong, support. Ada yang cakap bagus-bagus di depan tapi kasi buruk-buruk di belakang. Biasa dia ada saja yang tingu tu biarpun ko tidak tau (macam drama tv).

Tu jalan warna kuning kana guna reference “the yellow brick road “jalan batu warna kuning” dalam wayang wizzard of oz). Maksud ni ayat jalan kejayaan atau kegembiraan.

Di depan tu jalan ada clown dalam kotak “Jack in a box”. Maksud jack in a box ni orang yang menipu. Dia jual kotak kosong sama orang yang beli barang. Jadi dalam ni perjalanan mau sampai tu “happy land” ada saja cabaran.

Jadi ni lukisan cerita dia pasal semua orang punya perjalanan hidup dalam mencari erti. Dia punya hujung tiada dalam ni lukisan sebab lain orang lain yand dia cari. Tapi perjalanan, pengalaman mo kasi sampai, itu yang paling mahal.

Taiwan is an island, but previous decades of martial law prevented
people from getting near the sea. This meant people still had an
inhibition about exploring the surrounding waters even years after
martial law was lifted in 1987.

Two retirees -- James Chang and Jeremy Chen -- both in their 60s,
challenged this mindset. In 2018, they used a 14-feet wooden boat they
had built to sail around the island in 26 days, stopping at different
fishing ports to spend the night. In doing so, they became the first
people to sail around Taiwan in a sailing dinghy.

Chen, who had been drawn to the sea from a young age but only sailed
for the first time at age 50, recently published a book called
"Sailing Around Formosa in a Self-Built Dinghy," which chronicles
their months-long adventure, from building the boat to setting sail.

The more than 1,000-kilometer journey taught them not only how to
navigate a boat in Taiwan's surrounding waters under sometimes rough sea conditions, it also exposed them to the impact of human
activity on the marine ecology.

Along the way, they discovered the importance of friendship and the
meaning of life.

#NFTsummer A few weeks ago, we interviewed Xixi Huang (AW#17) in Mandarin and as the AppWorks Fellow who helps us out on the blockchain side, Xixi has a lot of ideas that are worth sharing to a bigger audience. Here's his interview in English:

西西 (Xixi) 黃士晉 is an AppWorks #17 alumni and co-founder of Rydeit. His mission is to bring the applications of blockchain to everyday life because he believes that blockchain can make the world a more fair and better place. As an AppWorks Fellow, he is responsible for guiding founders to think about blockchain and providing insights on blockchain-related investment deals. Before AppWorks, he led his previous team to build more than 10 dapps, including famous games in Taiwan such as 柚子打魚 and Shrimp.Finance. Within a month of launching these games, they had amassed over NT$ 100M (~US$ 3.5M) in transactions. His favorite pastime is traveling with his grandma, and his ultimate goal is to persuade her to buy Bitcoin!

Check out what Xixi has to say about blockchain and NFTs.

#NFTevolution

I started to learn how to write smart contracts in 2016, and learned the entire logic of ERC-20 for tokens and ERC-721 for NFTs. While I was learning about NFTs, I realized that the combination of NFTs with video games was very fitting. In video games, the treasure and equipment you collect becomes virtual assets as NFTs. And the process of using smart contracts to exchange items was very efficient on the blockchain.

At the end of 2018, I designed and created a zombie video game, integrating the concept of playing and drawing cards and packs. Within a pack were 3 NFTs with zombies on them. As a player, the more cards with zombies you collect, the higher your score, and the more tokens you can ultimately earn. From this game, I got connected to other game manufacturers and publishers who were also interested in creating virtual game assets through NFTs. We all had the same idea -- NFTs can bring more meaning and value to the players.

However at the time, many people in the market still believed that tokens and games were riddled with fraud. Since the lifecycle of video games can be short, many traditional gaming companies in the end didn’t find it worthwhile to learn how to integrate NFTs or blockchain into their games.

While the nature of NFTs hasn’t changed, the market has evolved. People’s curiosities are growing, more applications are being developed, and more creators are cropping up. I think now is the right time to start talking to companies about how to integrate NFTs or blockchain into their businesses or games.

#NFTplayground

I think there are many opportunities to start a business these days, and people who want to start one should think about coming to blockchain. Not only is there a huge opportunity but the possibilities are endless. And within blockchain, NFTs currently offer the biggest opportunity. However, it can also pose a new challenge to the team’s endurance, because while easy to obtain traction and users with NFTs, the challenge lies in retaining them.

Similar to other blockchain applications in the past few years, when a new concept is invented, it’ll be flushed with many early users. However, because the surrounding infrastructure wasn’t in place, it was difficult for founders to make valuable extensions or applications. And many of these users don’t actually care about these blockchain products and they are only trying to leverage the ecosystem to make a quick buck. Once they earn all that they can, they will move on to another project.

Right now working on NFTs, you can collect a lot of data in a short amount of time and also make some income to keep you afloat. Founders should seize this opportunity to understand these users, then modify and optimize both their products and mentality to retain them.

Since there’s no geographical restriction on blockchain, I would encourage founders to look beyond your country and region in expanding your NFT products. Also, since blockchain is closely related to finance, if you don’t have a good pricing strategy (or token economics) for your NFT products, the prices might fluctuate greatly. You need to be prepared and remind your users of the risks, otherwise you’ll ultimately get scolded!!

#NFTera

This year, I finally consider myself an official NFT collector. I pay special attention to NFTs with contemporary significance, such as Hashmasks. It signals to the public that NFTs are not just for collecting but that game mechanics can also be applied to interact with users. If we look back ten years from now I’m confident to say that the project that really brought the NFT wave in 2021 would be Hashmasks.

In addition to veteran projects like Hashmasks, other collections I care a lot about are related to Metaverse, such as The Sandbox. I believe that the world will become more and more decentralized and virtual. It is very likely that the next generation will be immersed in a virtual world like Ready Player One, so I am also very optimistic about NFTs in digital worlds like The Sandbox.

The possibilities are endless when it comes to NFTs. Right now, few NFTs are connected with our daily lives. For example, I bought a Hashmask. If I want to show it in my apartment, I might still need to print it out. In the future, how will we connect NFTs to the physical world? I believe they can be applied in many ways, including frames, wallets, cars, house deeds, leases, etc. These products in daily life can be combined with NFTs. We just haven’t opened our imagination yet. It’s hard to imagine that only 20 years ago we were having a hard time believing in the power of the internet.

The development of science and technology not only relies on infrastructure, but also the user's learning curve. The world needs to talk about blockchain more, so that everyone will gradually become familiar with it and it’ll continue to evolve.

If you're a founder working in blockchain or NFTs, welcome to apply to AppWorks >> https://bit.ly/3w0WyIl

「封景．志異-臺南市美術館典藏主題展」精選60件本館典藏作品，分成兩個階段展出，將藝術家創作視為一種當代的志異實踐，一種探知世界、考掘社會文化、提陳徵候異樣、檢視物我關係的媒介，依展間區分成「人間」、「神境」、「自然」三個子題，訴說這些典藏風景，從覺知及揭露政治社會和日常生活中的闇影，藉由入景形見，指認出猶待感應和思忖的所在；或者深入民俗場域，呈現眾生與神交陪、祈求顯靈保佑的精神表現和影像歷史；再到移情入景、重返自然，為心靈找到安適棲居的歸處；再再點示出，人不斷經由掌握自我與周遭環境之牽涉，追問本身的存在如何與世界彼此相容相攝，採取適當回應或介入，進而開啟其經心所願的向度和形廓。另則，選件的題材紛陳，亦增添了風景圖像的意義、開擴了風景再現系統的邊界。



on view in this exhibition are 60 artworks selected from the collection of the Tainan Art Museum, with the artworks presented in two stages. The exhibition sees the artists’ practices as contemporary records of anomalies, which act as mediums for exploring the world, excavating social culture, proposing signs of irregularities, and examining the self-other relationship. The exhibition is divided into the following three sub-categories: “Mortal World”, “Mystic Realm”, and “Nature”, showing how these selected landscape artworks from the collection have evolved from a state of being aware to exposing the dark sides of politics, society, and also in everyday ordinary life, and then by immersing in the scenes and allowing them to manifest, they also point out places that still await to be experienced and contemplated. Some of the artworks have gone deep into places of folklore, showing historical images of people’s interactions with deities and their spiritual behaviors of praying for divine protection. Emotions are also transferred into the landscapes depicted, with a secure sense of spiritual belonging sought after by returning to the embrace of nature. These artworks suggest that through self-awareness and involvement with our surrounding environment, people are constantly questioning our own existence and our relationship with the world, with suitable responses or interferences conducted to open up dimensions or contours that we envision inside. Additionally, the themes presented by the selected artworks are diverse and different; they enhance the meaning embodied by images of landscape and push the boundary of landscape representation.




《封景．志異－臺南市美術館典藏主題展》
地點：南美館2館展覽間F-H
展期：2019.6.14(五)－2020.5.12(二)


Sealed Landscapes, Records of Anomalies - Selected Works from the TNAM Collection
Venue: Gallery F-H, TAM Building 2
Period: 2019.6.14(Fri)－2020.5.12(Tue)

) is ..Tsutenkaku (.. belvedere that builts in the center part in the vicinity of the new world in Osaka Prefecture Osaka City Naniwa Ward. Registering material cultural asset in country. It is familiar as one of the symbols of Osaka, and famous as the tourist spot.
Design and structure

* Main body: Iron frame make (a part of iron frame ferroconcrete make)
o ..tower.. height: 100m on the ground
o Width: 24m
o Between legs: 24m.
* Observatory: Iron frame reinforced concrete Concut make (two surrounding
glass -lined stories)
o Height: Even 84m and the second floor floor are 87.5m even in the
first floor floor.
* Supplementary building: Iron frame ferroconcrete make
* The performance: The earthquake of the Great Kanto Earthquake class and
the strong wind of 70 meters in the velocity of the wind can be stood.

Outline

Present Tsutenkaku was completed by the second generation in 1956(1956). Sightseeing..Ltd...Ltd.. It is managed. Height including the lightning rod is 103m(The height of the tower is 100m). The designer is Naito multi relations that handle the Nagoya television tower and Tokyo Tower, etc. almost made a simultaneous period. It is Okumura Construction that constructed construction.

It is a Confucianism person, and Fujisawa south Gaku that named, "Tsutenkaku" in the meaning "High
building that runs to the heaven" at the beginning of the Meiji era.

Hitachi Ltd. of the total electric machine enterprise has published an ad to the side in the tower since 1957 a finished year of Yoc (1957). It is assumed that it is a start that the speculation of sightseeing in Tsutenkaku to look for the major company that can publish an ad by extending over a long period of time for Hitachi and the funding to have tried to advance to Osaka in rivalry with the major electric machine enterprise (Matsushita Electric Industrial Co., Ltd., SANYO Electric, and Sharp, etc.) in local at that time agreed with coming put on the advertisement by Hitachi. Detaching (Refer to the Cda article) and the citizens who felt the sense of incompatibility for the signboard without the mark at that time were not few in 2001 when Hitachi had discontinued it before though "Child mark of the turtle" that was the company pin of Hitachi had been put on the upper part of the advertisement either.

It interrupted, the environmental pollution etc. such as the urban ozones became factors, too and one million people were decreased sharply to about 200,000 people in 1975 in 1965 in 1956 when Ta was gotten in the second generation Tsutenkaku though the visitor had been exceeding 1.55 million people during year. The recovery tendency was gradually shown afterwards, there were a television program that made Tsutenkaku a stage and a rise among which the spit cutlet was popular, too and it recovered by one million people or more in 900,000 people and fiscal year 2007 in 2006. As for attendance figures increase in Tsutenkaku, sightseeing in Tsutenkaku is one to comment, "A young person might be requesting the emotion that seems to be Osaka from the new world".
It shines when 0 minutes per hour have passed in addition since the entire tower was colored because of the light of the neon based on the golden color and white at nighttime by the gradation with a vivid face of a large clock on the tower east side side. Neon is remodeled every about five years, and the present one is the 12th generation. Moreover, the neon light that shows next day's weather forecast by combining four colors lights to the tower top (fine = white and cloudy weather = bitter orange and rain = blue and snow = pink). The device of this neon light is connected with Osaka District Meteorological Observatories by the lease line, and is the one that the mechanism that forecast is displayed based on information from there it, was produced by Hitachi Ltd. in 1979(1979), and set up.

It was removed when the neon of this age was renewed, and the belt in three main lines in side was installed afterwards though it hung under the view room out the chapter of the monogram company of Hitachi Ltd. in 2001.

It was updated made in Hitachi in 2001 though an elevator at that time at the time of completed the second generation was made of the Orient Ortis elevator (present and Japanese Ortis elevator).

When the 50th rebuilding anniversary came in 2006, repair work was done. The color of neon was changed besides the shape of a large clock was changed to the octagon by Maru, and it came to stand out more.