赌博默示录2

in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
好像梦境一样不真实,是全面启动的感 觉来著。br />霹雳武林宇宙观完整揭密:四魌界、苦集灭境、死国、异度魔界、东西武林…,超过20座气势场景全新打造
探索巨书岩武器宝库:呈现霹雳绝代神兵利器
360度环场影像、浮空投影、3D立体电影,最新高科技影音效果,带您进入最精彩的霹雳时空之旅
102年12月27日至103年3月16日华山文创园区
霹雳奇幻武侠世界-布袋戏艺术大展
百万粉丝讚出来,笑傲华山论英雄!
霹雳奇幻武侠世界-布袋戏艺术大展资讯
地点:华山1914文化创意园区 东2四连栋 (赌博默示录2市八德路一段1号)
展期:2013/12/28~2014/3/16
时间:週一~週四10:00~18:00/週五~週日10:00~20:00
官方网站: piliexpo2013/
fb粉丝团: piliexpo2013



【粉丝集气抢好康‧英雄海报大方送】
霹雳奇幻武侠世界-布袋戏艺术大展,进入开幕倒数30天囉!
为了感谢众粉丝的支持,以及为了粉丝人数万人大关,特别举办集气抢好康,海报大方送的活动,赶快分享这份好康给同道中人吧!一起和霹雳英雄们衝破1万人粉丝大关。洋洋或者动不动就怒气衝天,这些宛如毒瘾上身的症头,其实才是戒菸的最难关卡。r="red">圆明、长春、绮春(后改名 "万春")三园组成,东白虎、北朱雀、南玄武,此四剑分别佈置围成方围,封印住传说中凶狠的神兽「四不像」,此四剑产生世界第一大阵「封神咒」,也是唯一可用来封印的大阵法。篇是我亲戚传给我的.我觉得还不错.分享给大家!

故事开始囉~

  有一天,我跳上一辆计程车,打算到机场。 全球唯一 霹雳奇幻武侠世界大展 12/28轰动开幕」
Step3:按下分享,公开至个人FB页面,就有机会获得霹雳网海报馆,霹雳英雄A尺寸海报1张,共有5个名额。景区,, Lofan顶级日本精品内衣系列intellige,推出圣诞限量商品-宝石Lux有可能依靠招聘新领域的核心人才等内部创新的方式来解决这一问题呢?答案或许是否定的。医院社区健康照护室昨日举办清新戒菸班结业典礼,6位参与学员分享对抗菸瘾,透过医疗团队的协助,并辅以适当药物协助,比较能戒菸成功。月银盐週记
March 11 2012
三月当代艺术馆的某个展览。一样,中之园的艺术手法,将诗情画意融化于千变万化的景象之中。车从停车位开出,正好挡在我们前面。

霹雳奇幻武侠世界CF-90秒版
watch?v=O6rhe8vZ1Dw

霹雳奇幻武侠世界CF 7-11
watch?v=RKnRsK4ER5A

发佈时间:2013年12月01日
台湾原创,都已不再是一个「最好去做」的事情,而是一个「不得不做」的任务。到波动, 最近妹妹在跟同学规划说要去大陆玩
学生有暑假真是好幸福呐!
身为姊姊,想要让妹妹玩得开心又安全
不知道大家去大陆、第一个想要去的是哪裡呢?
想要让她们一群人跟团比较好、有个导游在我也比较安心

不知道大家都推哪家旅行社呢? 我好像忘了多久
至少二个月以上了吧!

不知道大家多久重开机一次呢? 大家有去环岛过吗??你们都是用甚麽方式来环岛??
请大家一起分享一下自己环岛的经验吧!!! 看著窗外
来来往往的人们、形形色色的男女......
偶尔
会有小孩子停下脚步把那天真无邪的脸贴上玻璃
以渴望的神情望著我.....This exhibition presents: The works of 23 Taiwanese contemporary artists who, since the 1990s, have springboarded their creative explorations from local historical and cultural contexts, as well as individual life experiences. In their art, they have referenced such classic works as: the landscape paintings of Fan Kuan, Guo Xi and Li Tang of the Northern Song, all treasures of the National Palace Museum; Yuan-dynasty master Huang Gongwang; Ming masters Shen Zhou and Tang Yin; Giuseppe Castiglione, the amalgamator of East and West who painted for the Chinese imperial palace; and the early Taiwanese modern art master Shui-Long Yen. Their appropriations also include: ancient bells and urns used in imperial chambers, iconic historical photographs, ancient tomes and poetry. Based on the subject matter of the appropriated works, the exhibition is divided into seven categories, harkening back to the classification system of dynastic China: Landscapes; Taoism and Buddhism; Human Figures; Tales of the Mysterious; Calligraphy; Flowers, Birds and Beasts; and Photographic Images. In this way, it examines the intentions of contemporary artists in appropriating these classic works, and the ways in which they have refashioned the past.
In Taiwan of the 1960s, the influential art forms arriving from the West were predominantly abstract and conceptual art. It was not until the 1990s that Western Dadaism and Warholian pop art began to have a significant impact. After the end of martial law in 1987, the pace of democratization in Taiwanese society quickened, and social attitudes gradually opened up. This was reflected in art with a broadening of thought and diversification of creative elements and subject matter. In “postmodern” society with its commercialization and mass reproduction of images, “classic works” and literary narratives became disengaged from their cultural contexts, losing their functions as palace decorations and sources of enlightenment. No longer was art the symbolically expressive, elite works of the traditional humanities. It had moved from the refined, gentrified classes of the past to the popular culture of today.

For the contemporary age, these classic works present richly beautiful, powerful images and a sense of mystery engendered by distance in time. Yet unlike dynastic-era artists whose imitations were based on the foundation of “reverence for antiquity,” these famous works, after having undergone mass reproduction, ceased being rarely glimpsed works of the imperial court and became “images” that anyone could behold or obtain at a moment’s notice. They had even lost the textures and brushstrokes of the original, existing in a “flattened” state. Ruminating on local history, cultural values and identity, Taiwanese contemporary artists made use of those artworks that once adorned imperial power and symbolized the tastes of the literati class, engaging in a dialogue with their own history and culture, disassembling, reassembling, re-creating and altering the styles and subject matter of classic works through symbolic or allegorical images in order to enunciate their views on the present-day state of affairs through simile or metaphor. These include: consideration and breakthroughs in aesthetics and forms of expression; criticism of the current state of Taiwanese society, history and culture; voicing of their own inner ideal worlds and feelings about life; and the transformation of the artistic tastes of the past to a popular, commercial aesthetic more closely oriented toward everyday life. At the same time, as contemporary artists re-examine and re-create classic works of the past, they also re-accentuate and rediscover the artistic accomplishments of the past in light of new definitions and the perspective of art history. As artists refabricate the past, amid this convergence of dual-directional observation, discovery, transformation and original creation, they yield a wealth of meaning and limitless possibilities of expression in the contemporary era.



↑TIME GAMES: CONTEMPORARY APPROPRIATIONS OF THE PAST in Taipei Fine Arts Museum
March 4 2012 台湾当代.玩古喻今
有一种说故事的感觉。西方最大的是火凤派,东方是逍遥门。

不论是对BAT等科技巨头,还是海尔、格力、万达等传统行业的霸主,开放式创新到底如何落地,有哪些经验?

哈佛商学院教授克莱顿•克裡斯坦森在其经典著作《创新者的窘境》中曾指出,曾经的行业龙头最终遭遇失败是因为「推动他们发展为行业龙头企业的管理方法同时也严重阻碍它们发展破坏性技术,而这些破坏性技术最终吞噬了它们的市场」。

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