- Aug 13 Mon 2012 05:42
我的msn被盜了嗎?!
- Aug 12 Sun 2012 22:28
先給自己承諾
先給自己承諾 每個人的感情都是自私的總是希望自己要的一定要能得到而然總往往忘了是否也該先付出才有可能奢求一份期許愛情 對很多人來說 都是不停止的傷痛 曾經.它是如此澎湖民宿......當有機會再撿拾 驚恐疑惑的心態是難以平復的.相信 這樣的年紀 不管男女都一般吧只是 有些免疫了 懂得淡化感情明白怎樣潛移默化自己的需求應該是許多男人的拿代償手絕活吧而女人 卻多半走不出自我的框框可笑亦或是可悲男女的不同生理構造竟然也造就了不同的心理與命運不過 我還是篤信一點.....真心的人 用真心換取真正的幸福 無景觀設計心的人 拿無心奪取一時的快樂 結果... 終究還是公平的 承諾 是愛情的某種制式語言 可能說天荒地老... 也可能海枯石爛... 但往往再多的保證都留不住已變的心... 頓時承諾成了刺九份民宿耳的諷語... 不管自己是承諾的給予者或接受者... 最後的解釋只剩力不從心我從沒給過關於未來的承諾因為我連下一秒的雲彩都無法預知了怎能告訴另一個人我們的將來有多美就連要給我支票貼現承諾我也要不起... 只怕是期待越高 失落越大....... 山頂的風景再美... 但是不管是跌下來或是走下山 都比上山痛苦相愛不難... 但是愛已兩難時 卻苦不堪言先給自己銀行利率承諾 先給自己承諾吧 承諾一下自己會愛多久承諾一下愛有多真承諾一下怎讓愛幸福 假如 連對自己的承諾都給不了... 怎有權利去對別人的未來負責怎有能力去給別人快樂 一酒店兼職顆裝滿愛的心... 是熱忱的 是傻氣的... 假如遇到另一顆對的心 那便是全天下最幸福的事了我們往往無法與最愛的人相愛到老... 卻能選擇與最懂自己的人相守這何嘗不是種最美好的過酒店經紀程 我們能求的不多 無非是種穩定與真心... 用心是一切付出的基礎激情後的溫暖是真的... 絕望後的領悟是痛的... 我們都該讓真心起飛 ~ ~ 別再問愛人與被愛哪個幸福 我只能機車借款說 真心的人最幸福 簡單一點 中庸一點 生活 快樂而滿足... 前進一點 後退一點 人生 悠游而自在... 愛自己一點 愛別人一點 幸福 為帛琉你而存在...
- Aug 12 Sun 2012 15:15
郎德上寨
- Aug 12 Sun 2012 07:57
喝普洱茶請小心了哦!!!
喝普洱茶請小心了哦!!! 喝普洱茶請小心了哦!!! 農委會茶業改場長廖慶樑說，大陸雲南出產的普洱茶近年席捲香港 、台灣，變成搶手的茶葉，但學者專家調查，普洱茶因特殊製程、陳 年儲藏辦公室出租環境等因素，使其總生菌數高的嚇人，必須煮沸才得以完全消 滅，一般人單用開水沖泡的飲茶方式，對人體可能有害。 廖慶樑說，雲南出產的普洱茶近年來被渲染成具有神奇保健療效的 茶葉，票貼對腸胃尤其有益等，使港台一帶掀起一股「普洱茶熱」，人手 一杯，且早、中、晚不停喝，部分人士更認為，喝得愈多，對身體愈 佳，事實上大謬不然。 廖慶樑解釋，普洱茶屬於後發酵茶，保濕面膜是將茶菁經殺菁、揉捻、乾燥 等手續後，堆置在倉庫中稱為「渥堆」，使茶葉內部多酚類化合物氧 化，其氧化可分自動氧化、酵素性氧化、麴菌氧化等三種不同方式。 廖慶樑說，普洱茶後發酵帛琉堆置倉庫有乾倉及濕倉二種，前種為自動 氧化作用與酵素氧化作用二者混合併行，後者則加上麴菌氧化作三者 混合進行，市面上出售的普洱茶，其貯存年限有五年、十年、甚至四 、五十年以上賣房子者，業者常標榜陳年普洱，愈陳愈香，更增醫療保健效 果，並抬高售價。事實上，廖慶樑調查，普洱茶在產地雲南西雙版納 、孟臘等邊疆地區，居住環境都離乾淨清潔有一大段距離，何況茶葉 結婚經長時間貯存，是否能維持好衛生安全品質？值得懷疑。 廖慶樑引用中興大學食品科學系教授區少梅的研究報告指出，從普 洱茶微生物的分析結果顯示，其總生菌數與黴菌數高的驚人，如五年票貼 特選普洱茶，散茶總生菌數每公克有一點廿六乘以十的六次方菌落數 ，黴菌數則每公克有一百十五個菌落數。 廖慶樑說，早年普洱茶是運往中國西北地區作為蒸煮調製奶茶的原 料，均經高溫小額信貸殺菌後再飲用，不會出問題，但現在人們均習慣用小壺 沖泡方式來飲用，則大大不妥，不但無法增進健康，反對身體有害。 廖慶樑鄭重警告，飲用普洱茶，務必以高溫充份煮沸為宜，例如以傳 關鍵字排名統中藥煎煮後飲用，亦可增加安全性，避免感染。
- Aug 12 Sun 2012 00:42
台北美麗華及五角船板
台北美麗華及五角船板周末, 想想沒事可以去台北走走可是台北人少的地方是那咧....就是大直的美麗關鍵字行銷華囉..(對不起)好停車, 而且剛好又不用停車費, 而且從新竹開過去才四十幾分鐘喲從竹北到新竹市區西服至少也要二十幾分, 而且又要排停車位(昨天爸比為了排停車位生氣)所以離開小小的新竹, 去了大台北酒肉朋友哦~~這是第二次去美麗華, 看了好多台灣的偶像劇都會在那拍咧~~坐上摩天輪~~ 淇淇會說[摩天輪哦室內設計], 不知什麼時候學的呀~雖然坐上去了, 可是見不出喜悅說....還問媽媽可以下來了嗎??逛了二個多小當鋪時了, 決定好好吃一下, 附近剛好有五角船板, 一直都很喜歡這餐廳的造型不過之前去的是台中店, 這小型辦公室是第一次去的大直店, 覺得很不錯喲~藝術和餐廳的結合~~ 覺得風味很獨特一定會有水的餐廳, 水的原烤肉食材素給人感覺很涼且不像在室內一定要吃的 [松板豬], 真的好好吃喲~~套餐的沙拉~炒山蘇套餐的小菜, 住商房屋一定要點一個套餐才豐富喲~有名的甜點~~不過我不知名字, 只知同事有時還去買回來吃大都是石頭的辦公室出租原素~~唯一的不好地方, 小孩好像很容易被撞到, 因為椅子也是石頭的, 和桌的距離不大, 因此淇淇被G2000撞的很慘~~
- Aug 11 Sat 2012 16:47
煩悶
- Aug 11 Sat 2012 09:27
Neo-Humanist Trends in Taiwan's Contempory Art
Neo-Humanist Trends in Taiwan's Contempory Art Neo-Humanist Trends in Taiwan ’s Contemporary Art By Pedro Tseng (Summary) Any artist in the world cannot refrain themselves from inclining towards the contemporary development, as environment , race and time are three inevitable and crucial factors. Hence, all the artists could carry on these three procedures: firstly, they could express their own ideal or aspiration through conventional arts or through literary symbols; secondly, they must connect themselves to certain representative experiences, events or facets of their time. They could then consequently comprehend the concept of staying with the time as ahead of time or avant-garde.The development of art in East Asia during the first half of the twentieth century has been through struggles from baptism of the western culture and modernization. Take the development of the western paintings in east Asia, for example: china applied the concept of “ Chinese 酒店兼職conception with western application “ under behind the background of conventional Chinese culture while Japan assumed “ Japanese spirit with western technique “ and Korea asserted “ eastern philosophy with western facility. “ modernism stresses on the presentation of individuality, and therefore, the notion of modernism has certain difficulties to expand in such east Asian society where Confucianism predominates.At the outset of Chinese art’s modernization, those Chinese artists were confronted by massive challenges and impacts from western art which was being introduced to the east at the same time. Nonetheless, if it were not for these dissimilarities, such as different painting concepts, materials and styles, between two systems of the east and west, such intricate versatility of contemporary Chinese arts would not have been accomplished. “western skills to embellish Chinese spirit” and “acquisition of novel techniques” are two obvious paths; take prominent artists like Liu 資產管理公司Haisu, Gao Jianfu, Lin Fengmian and Xu Beihong for example, after their return from France or Japan, they endeavored to integrate the theories and techniques of western painting into Chinese ink paintings, and thus created a brand-new Chinese ink painting by the notion of “ western skills to embellish Chinese spirit”. Modern Taiwanese artists thoroughly renounce the constraints of tradition when presented with “ tradition “or “ novel “ arts and devote themselves on the path of learning new approach by studying materials and techniques of western painting. For example, Taiwanese artists during Japanese colonial sovereignty embraced ishikawa kinichiro, readily acknowledged the authority of the imperial exhibition and Taiwan fine arts exhibition, and consistently pursued the painting style of impressionism and fauvism. Yet, few remain overseas among the elder generation of artists who went for studies abroad. For instance, Chang Yu and Pang Yuliang who died in Paris, Zhu Yuanzhi who died 長灘島of illness in New York, and Ho Delai who long resides in Japan; they are the first generation in the modernization in China. Their noble sacrifices composed a saddening epic for the first-generation oversea Chinese artists; as for those who received greater achievements, including Zhao Wuji, Wu Guangzhong, Ding Xiongquan and Zhu Degun, they didn’t set forth to study abroad until the closure of world war ii, and settled in Europe and the states later on.The circumstances were quite different for second half of the twentieth century. Despite the disadvantages of socialist realism in mainland china—less emphasis on developing students’ artistic perceptivity , which results in the rigidity of skill trainings and creative forms. However, socialist realism’s systematic basic training is quite practical, and helps students to become familiar with former knowledge and experience with efficiency. After the 70’ s, owing to Chinese reformation and Taiwanese emancipation, artists from china and 室內設計Taiwan progressively possessed more freedom to self re-exame, ponder and criticize, and hence, Chinese contemporary arts revealed more boundless and versatile forms of art.The development of Chinese contemporary art mirrored the diversity of the transformation in Chinese modern culture; particularly after the 90’ s, such diversity not only presented the immense breakthrough against traditional Chinese paintings approaches and styles, but also presented the rounded, profound multi-dimensions of oriental cultures, history and social reality by means of conceptionism. Such cultural self-realization held by Chinese artists at this stage not only nourished and advanced the painting history of our own, but also imparted new concepts into entire art arena. Now, despite the geographical, background, and artistic style differences, contemporary Chinese artists all over the world have philosophically approached to the ideology of neo-humanism, for what they’ve achieved all these years had become 汽車借款precious resource of contemporary Chinese culture. There are briefly six stages in the development of Taiwan ’s contemporary art as followings :(1) Japanese occupation and its influence ( 1920’ s -1940’ s)Techniques and concepts of impressionism and fauvism from the west were introduced to manifest the enjoyment of local Taiwan activities. Different from original Chinese water ink painting, it suited people’s needs both in form and in content---local identity under colonial ruling. The representative artists in this stage are Liao Chih Chun, Hon Jui Ling, Lee May Shu, Lee Shih Chao, Yang San Lan, etc.(2) Rising of modernism after Taiwan retrocession (1950s-1960s)In the desperate conditions of politics, economy and military, American culture started landing in Taiwan after Japan lost the war. Modernism symbolized by abstract art provoked a batter between tradition and modernism in Taiwan . Re-demonstration of nature turned into the pursuit of pure art; sensitive perception moved to 591the research level. Groups included “May “, “ East”, “ Era”, “ Outside the frame”….etc. Artistsincluded Lee Chon Shen, Wu Hao, Hsia Yang, Lee Shih Chih, Hsiao Chin, Liu Kuo Son, Chuan Cheh, etc.(3) The 1970s---Returning to LocalismEvents such as “ U. S. financial support stopped “, “ Taiwan withdrew from the United Nations “, aroused the nationalism in intellectuals. In addition to questioning the old “ western viewpoint “, they related to the native hometown which bred them, and embraced “ conscious of localism”, At this point, “ super-realism “ from the west also helped complete the realistic techniques of localism. Artists included Ku Chon Kuan, Hsieh Hiao Te, Hsu Kuan Chen…etc.(4) Self-Identification and Individual aesthetic exploration instead of a sacrifice of Utopian idealismIn the 1980s, Taiwan declared martial law ended, politics was opened up, economy grew, international information was abundant, museums of the north, the central and the south started to 銀行利率establish, and cultural exchange increased. At the same time, considerable artists studying overseas came back to Taiwan . The concept went from previously lofty ideas to practical aspects, returning to self-identification, instead of a sacrifice of Utopian idealism. Artists included Lin Wen Chian, Yang Mao Lin, Lu Tien Yen …of New painting, and Lin sho Yu, Chuan Pu, Lai Chun Chun…of Minimalism.(5) Multi-presentation and co-existenceIn the 1990s, a reflection of world trend appeared in Taiwan art field---installation art, performance, new pop art, new object and new concept prevailed. Diversity, multi-presentation, co-existence and merger are all topics for research. Homogeneous and heterogeneous mixed space is rich in expectations. In the past one hundred years, Taiwan cultural ecology was interfered due to political factors. It confused people separated apart in their cultural identification. It is natural consequence that the presentation of Taiwan ’s contemporary art appear to 票貼diversify. (6) Heterogeneity and trans-orientation in new centuryIncreasing electronic data storage, both artistic creation and art history research will open a more individual and lively space for interpretations. The aesthetics of trans-orientation in new century Taiwan is not a restricted ethnical concept of opposition between the east and the west, but to tolerate various aesthetic ideas. Heterogeneity will be implemented with a sharing attitude. The “ Grand style “ is gone with the diminishing of western cultural hegemony. Today is just a time of cross-breed, cross-media, and cross-discipline. Such modern neo-humanism that amalgamates the east and west is comprised of ambiguous and marginal oriental attribute, by which these artists instill their works intensely with oriental obsession and Zen. Judging from the works of the 23 Taiwanese contemporary artists participating in the 19th Asia International Art Exhibition at Fukuoka Japan 2004, such as Shu Hsiu Hsu’s Illusionary 西裝外套Landscape, Quan Pui Lee’s North City, Shi Chi Lee’s Re-orientation-10, Chung Tsang Chen’s Un-disclosed, Chung Kuang Koo’s Flying Buddha from Kizil, Yung Sung Huang’s Keeping Peaceful, Jenny Chen’s Representation of Phenomenon, Yang Jer Liu’s Two Dragons Face to the Sun, Pedro Tseng’s Aesthetics of the Margin, Yao Huang Chang’s Figure, Rue Teresa Hsu’s Position, Chin Ta Yuan’s Gambling set of Politics, Xian Zhong Liu’s Betel Nut’s Pulp is White, Christian Wu’s Drama of Life, Hon Tah Hsieh’s Abstraction, Ming Dye Yang’s Water Clothes No.3, The Lin’s Flowery, Li Hung Pan’s Hold the Ring II, Hsien Ming Lu’s Another Grandma, Ming Fong Hsu’s Landscape No. 2, Chin Piao Lin’s Historical Glory, Fu Chuan Lin’s Fantasy and Tsung Jen Lee’s the Reflection. It is clear that all works of these artists are in the style of Trans-Orientalism with Neo-Humanist tendencies in content and spirit. (曾長生）
- Aug 11 Sat 2012 02:09
兩塊錢的啟示
兩塊錢的啟示有個年輕人到公司應聘會計，這位剛剛本科畢業的大學生在面試時就遭到拒絕， 因為他實在太年輕了。公司找的是要有豐富工作經驗的資深會計人員，年輕人一再堅持，他對主考官說：「請給我一次機會，讓我參加澎湖民宿你們的筆試。」主考官拗不過他，只好答應了他的請求，結果這為位年輕人居然通過了筆試，由人事經理親自複試。人事經理對這位年輕人非常有好感，因為他的筆試成績是最好的，不過年輕人本人呢？ 面試時年輕人的話讓經理酒店工作極為失望，因為他坦率的對經理說自己沒有工作過，唯一經驗就是在校時掌管學生會財務。找一個毫無工作經驗的人做會計無疑是很不划算的，經理決定收兵。他對年輕人說：「今天就到這裡吧!如有消息我們會打電話通知你。」房屋買賣年輕人從座位上站起來，向經理點點頭，從口袋裡掏出兩塊錢雙手遞給經理：「不管你們是否錄取我，請都給我打電話。」經理從來沒有遇見過這種情況，竟一時呆了。不過他很快回過神來，問：「你怎麼知道我們不給沒錄取的有巢氏房屋人打電話呢？」「你剛才說有消息打電話，那言下之意就是說沒錄取的人就不打電話了。」經理對這位年輕人產生了興趣，接著問：「如果你沒被錄取，我們打電話給你，你想知道什麼呢？」「請你們告訴我在什麼地方不能達到土地買賣你們的要求，我在那方面不夠好，這樣我好加以改進。」「這兩塊錢是……」年輕人微微一笑：「給沒錄取的人打電話不屬於貴公司的日常開支，所以由我來付，請你們一定給我打電話。」經理也微微一笑：「請你把這兩塊錢收保濕面膜回去，我們不會打電話給你了，我現在就通知你，你被錄取了。」很多人都不理解為什麼要找一個剛剛畢業的大學生，經理在工作會議上說：「一開始就被拒絕，仍堅持參加筆試，說明他有堅強的毅力。清算帳務 是一件十分繁瑣負債整合的工作，沒有足夠的耐心和堅強的毅力是不可能做好的；坦言相告自己沒有工作經驗，則顯示他的誠實，這對於從事財務會計的人尤為重要；即使不能錄取也希望得到別人的評價，證明他有面對不足的勇氣和取於承擔責任及力求汽車貸款更好的上進心。員工不可能在工作中不出現差錯，也不可能把每項工作都做得十分完美，我們可以接受員工的失誤，卻不能接受員工滿於現狀止步不前。」 「我們需要員工和企業共同前進，自己掏電話費，反應出他 公私分明 的居酒屋良好意識。 堅強的毅力，可貴的誠實，敢於承擔責任的勇氣，力求更好的上進心，公私分明的做人原則 ，都是公司所需要的，經驗不足可以積累，公司發展的希望就寄託在這些優秀的年輕人身上。」—— 態度，決定一個人的高酒店打工度。——
- Aug 10 Fri 2012 18:45
情人節
