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Railway Studios: How a Government Design Studio Helped Build New Zealand

為了解決Photography studio的問題，作者Wolfe, Richard,Alsop, Peter,Atkinson, Neil 這樣論述：

Richard Wolfe is an art, design and cultural historian who has a PhD in Art History from the University of Auckland and a BFA from the Elam School of Fine Arts. He was Curator of Display at Auckland War Memorial Museum from 1977 to 1997, and has written or co-authored around 40 books covering aspect

s of New Zealand art, history and popular culture. He has contributed over 50 articles to the quarterly Art New Zealand, as well as articles to other journals, and has curated or supported the development of multiple art exhibitions. Peter Alsop is a senior executive who has worked across the public

and private sectors. He is a keen collector of New Zealand art, with particular interests in tourism publicity, hand-coloured photography and mid-century New Zealand landscape paintings. He is the author and co-author of six previous books, including Promoting Prosperity, Hand-Coloured New Zealand

and Scenic Playground. Neill Atkinson is Chief Historian/Manager of Heritage Content at Manatu Taonga - Ministry for Culture and Heritage, where he is responsible for the Ministry’s history and reference websites: Te Ara - Encyclopedia of NZ, Dictionary of NZ Biography, Te Tai Treaty Settlement Stor

ies, 28th Maori Battalion and NZ History. He is the author of six books and a number of articles and chapters, mostly on New Zealand political and transport history, including Crew Culture: New Zealand Seafarers under Sail and Steam (Te Papa Press, 2001) and Trainland: How Railways Made New Zealand

(Random House, 2007). Katherine Milburn is the ephemera collection curator at the Hocken Library, Dunedin, and has extensive knowledge of the Railways Studios’ output.

Photography studio進入發燒排行的影片

迷境:一個時/空錯置的偽裝之新媒體創作研究

為了解決Photography studio的問題，作者紀俊年 這樣論述：

本創作研究以「偽裝」概念為核心，結合3D技術發展新媒體藝術創作，偽裝是生物的自我保護作用，使其不被看見或看不清，兩次創作個展《迷境》與《Dazzleland》利用3D虛擬空間的維度產生視覺上的「錯置」，圖與地的分野不再清晰，並與偽裝的策略結合，探討人與環境間的關係。本研究先梳理偽裝在藝術中的發展脈絡與文化上的轉譯，偽裝本是動物的生存策略之一，一次世界大戰轉借偽裝的概念，融合與破壞性的著色方式，用於保護軍事武器設備或人員，影像創作中的時間與空間的錯置感與偽裝模糊輪廓相仿，兩者維度相互影響而產生模糊不清的變化，從偽裝的看不見與看不清中，使其產生多義的性質，在文學與藝術創作上都有相同之處，因著每個

人對於曖昧不明的影像中有多重的闡釋。藝術中有許多透過偽裝的概念創作，將空間扁平化、錯置是其中的特徵之一，或是利用時間的錯置展現於作品之中，透過偽裝可以使人與環境做區別或是連結，創作《迷境》與《Dazzleland》的偽裝是透過點、線、面、體不同空間為度之間的映射與轉換的錯置，來產生「偽裝」的認知效果，時間維度也是如此。創作研究發現偽裝是一種將空間維度提升或降級的動作，也就是藝術創作是在不同維度之間做轉換，包含同維度的映射、轉換，以及不同維度的增維與降維，本論文將「偽裝」視為一種時／空錯置的現象，提出以時／空維度的錯置作為「偽裝」的新程序，並提供一種新的觀看模式。

Weekend Makes: English Paper Piecing

為了解決Photography studio的問題，作者Quail Studio 這樣論述：

Weekend Makes: English Paper Piecing teaches this traditional patchwork & quilting techniquewith a stylish collection of 25 simple projects for homewares and gift items. English Paper Piecing (EPP) is a hugely popular form of quilt-making that originated in England in the 1700s. It is a metho

d of hand-piecing using a variety of paper templates to create an accurate mosaic-style pattern with a variety of fabrics. Beginner quilters will love the opening step-by-step instructions, while advanced sewers will enjoy using their existing skills to learn a new technique and create beautiful pa

tchwork from a variety of interesting shapes including diamonds, triangles & clam shells as well as the traditional hexagon. Complete information on tools & equipment plus reusable templates and modern life-style photography give clear instructions for the construction of each project. The p

atterns are ideal for using up left-over fabrics, with a variety of colours and patterns throughout. Projects include: Brooch, small basket, tea cozy, notebook cover, cushion tote bag, tablet storage

「神的部將」紀實攝影創作論述

為了解決Photography studio的問題，作者夏麗敏 這樣論述：

　　本創作研究動機來自拍攝廟會陣頭家將團，鏡頭前的家將臉譜是威嚴兇猛且色彩豐富的線條與圖案，威風凜凜踩腳步，舞動藝術力與美。在民國八十年代時期，部分家將團因為開臉後抽菸、打架鬧事的負面行為，被認為是不良幫派，到目前還沒有完全撕掉負面標籤。拍攝廟會活動中遇到很多優秀家將團隊，認真在執行任務，扮演好家將的角色。藉由創作過程深入了解家將文化特色，家將團是具備宗教功能和表演性質的陣頭，透過創作作品改變大眾對家將團的看法，重新去看待家將的另一面貌。　　經由文獻分析探討家將文化起源發展及儺文化的關聯，家將團成員組織和職務，面具與臉譜的發展及家將臉譜衍變。分析紀實攝影的性質與參考紀實攝影師們拍攝照片的技法

和特色，以其手法創作拍攝「開臉」和「神的部將」兩大系列作品。「開臉」系列是面師描繪家將臉譜的過程；「神的部將」系列以廟會繞境活動為主，拜廟踩腳步表演、幫信眾收驚祭改等儀式。　　創作結論有三點：一、八家將由什家將衍生而來，八家將的組織成員沒有文、武判官，家將職務是擔任主神駕前護衛和驅瘟除疫。面具掩飾戴者的外表，臉譜勾勒出角色的個性與特徵，家將臉譜由勾勒法到填色法演變到現今對稱性、漸層彩繪法。二、紀實攝影師發展出「決定性瞬間」的攝影美學概念，影響後繼攝影人，照片有見證歷史的功能，引起世人的關注，抗議不公不義之事，為人類爭取真善美的生活。三、展覽「開臉」和「神的部將」兩大系列創作作品，來呈現八家將和

什家將的真實面貌，冀望用心去看待台灣民俗廟會文化、發揚家將文化的特色。　　藉由創作更瞭解家將文化起源與發展，啟發拍攝創作思維與自省，期待日後拍攝出更不一樣的家將作品。