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在environment competition 2021這個產品中，有3篇Facebook貼文，粉絲數超過2萬的網紅陳良基的創新筆記，也在其Facebook貼文中提到， 台灣創新的基礎仍待國會多多支持 由這幾天的趨勢，看起來台灣的疫情在指揮中心拼命防堵之下，只要大家維持社交好習慣的配合，應該有機會控制下來。真的是天佑台灣，在如此險峻條件下，我們守起來了！台灣屢屢展現在一堆人士的唱衰中，堅挺屹立，實在要更有信心面對艱困的未來以及不斷地挑戰。 當然，光是信心並不夠，...

environment competition 2021 在 陳良基的創新筆記 Facebook 的精選貼文

陳良基的創新筆記 By 陳良基的創新筆記

2021-07-01 11:34:28 有 201 人按讚
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台灣創新的基礎仍待國會多多支持

由這幾天的趨勢，看起來台灣的疫情在指揮中心拼命防堵之下，只要大家維持社交好習慣的配合，應該有機會控制下來。真的是天佑台灣，在如此險峻條件下，我們守起來了！台灣屢屢展現在一堆人士的唱衰中，堅挺屹立，實在要更有信心面對艱困的未來以及不斷地挑戰。

當然，光是信心並不夠，面對未知的將來，還是要有更多準備才行。我們都習慣講見賢思齊，讓我們來看看科技的強權，美國，最近做了什麼？

上個月初（六月八日），在台灣正為疫情及疫苗之亂所困之際，美國國會通過了非常重要的《美國創新與競爭法案》。這個法案也號稱是拜登政府上任最重要政策之一。當時，因為台灣疫情緊繃，似乎沒有多少人特別關注，頂多是講一下說，美國發現半導體很重要，特別訂定專法及經費要加強推動等等。事實上，這是一個非常關鍵且重要的科學基礎紮根計畫，大體而言，這個法案有數個特點：

ㄧ、將大家熟知的美國國家科學委員會（National Science Foundation)改為國家科學及技術委員會(National Science and Technology Foundation)，兩位副主委，一管科學，一管技術。法案中甚至特別強調出，技術副主委的重要職責之一是，Increasing federally-funded research and development to achieve national goals related to economic competitiveness, domestic manufacturing, national security, shared prosperity, energy and the environment, health, education and workforce development, and transportation。這與我離職前向蔡總統建議的，將科技部改制為國家科學與技術委員會，走向完全一致。科技不能只是自己專注研發，必須前接人才教育，後接經濟發展能力，這是科技時代的必要趨勢。

二、未來五年內（2022-2026)，選定十項科學與技術項目（如附資料），預定至少投入1100億美元以上，交由新的ＮＳＴＦ用於協助高教及研發機構，針對選定項目做基礎及前瞻研究。展現美國面對未來科技的謹慎和視野，唯有回到基礎的科學根本，才能帶領人類向前跳躍，找到更多創新機會。

三、再度強化STEM教育的重要，未來五年提撥至少五十億美元，用於強化人才培育的STEM教育。STEM教育這幾年在教育界也是很響亮的口號， STEM指的分別是，Science(科學）、Technology（技術）、Engineering(工程）、Mathematics(數學），正是為來人才走近高科技的必備基礎訓練。但在台灣，STEM 不只在國教中被弱化，更在未來高教的選材上被邊緣化，據說，未來甚至於，大學端的理工生醫等重要學科的入學考試中，根本被放生！台灣十年、二十年後，高科技的人才來源岌岌可危！

對國家長程的未來那麼重要的法案，在拜登政府和國會成員上任短短不到一年內完成立法程序！當然，這也可以看成是美國全民的鼎力支持，才能讓法案順利通過。

台灣的國會、台灣的政府，我們的國會、我們的政府當然也應該做得到，也應該看得到。這不是一兩年內會有大變化、或大政績的工作，但是不做，台灣在未來的競爭力將逐年慢慢減弱。但是，無論是政府、國會，他們的力量還是來自全民的支持，唯有台灣能有一股力量支持，督促政府、國會去思考這些長程競爭力的必要工作，政府、國會才能從每天焦頭爛額
的政治爭執中跳脫出來。

美國選定的十大重點項目：

The United States Innovation and Competition Act of 2021 (USICA), formerly known as the Endless Frontier Act, passed into law on 8 June 2021. It authorizes $110 Billion for basic and advanced technology research over a five year period. It includes investment in:

1. Artificial intelligence and machine learning
2. High performance computing, semiconductors, and advanced computer hardware
3. Quantum computing and information systems
4. Robotics, automation, and advanced manufacturing
5. Natural or anthropogenic disaster prevention
6. Advanced communications technology
7. Biotechnology, genomics, and synthetic biology
8. Advanced energy technology
9. Cybersecurity, data storage, and data management technologies
10. Materials science, engineering, and exploration relevant to the other focus areas

https://www.inside.com.tw/article/23806-usa-semiconductor-investment-contend-china

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陳良基教授，2013-2016年兼任臺灣大學學術副校長
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environment competition 2021 在 文茜的世界周報 Sisy's World News Facebook 的最佳貼文

文茜的世界周報 Sisy's World News By 文茜的世界周報 Sisy's World News

2021-05-02 01:00:04 有 2,372 人按讚
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《我的幸福5/2 週末》

*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

他選擇了李斯特。

在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

蝴蝶雖僅活了一天，已經歷了永恆。

當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

Meng-Chieh Liu
April, 2021

*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，

我為一雙眼眸魂縈夢牽。

祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。

祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。

〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。

我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。

欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。

憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉

我在塵世見到仙子的美，

她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。

妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。

愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

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文茜的世界周報 Sisy's World News

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environment competition 2021 在 黃心健 Hsin-Chien Huang Facebook 的最佳解答

黃心健 Hsin-Chien Huang By 黃心健 Hsin-Chien Huang

2021-03-20 00:25:43 有 101 人按讚
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🎉🎉🎉“Samsara Ep1.” Puts Taiwan On the Map! New Media Artist Hsin-Chien Huang Wins the Top Awards of SXSW🏆🏆🏆🥳

The awards ceremony of the American international film festival, South by Southwest Film Festival (SXSW), will be held in the morning on March 20, 2021. The latest VR production created by artist Hsin-Chien Huang has taken the festival by storm and bring home the prestigious “Jury Awards” in the virtual cinema competition category. “Samsara Ep. 1” is the first VR production from Taiwan to receive such honor and has put the creativity of Taiwan on the map!

In the acceptance speech, Huang mentioned that he would like to thank the jury of SXSW for the recognition and encouragement. It was absolutely his honor to win this award. He’d also like to thank the full support from the Ministry of Culture of Taiwan 文化部, the Taiwan Creative Content Agency 文化內容策進院 Taiwan Creative Content Agency , and Kaohsiung Film Archive 高雄市電影館 VR 體感劇院 VR FILM LAB to make it possible to complete the work. Finally, he thanked all the crew members of the production for letting the world see how amazing the VR production from Taiwan.

The story background of “Samsara” is set as a timeline when humans completely destroyed the environment on earth and begin to go on a quest through space for hundreds of years. People try to immigrant to a new planet, so they redesign the DNA to adapt to a new environment and evolve into a new life form. However, after so many years, people gradually realize that it is never possible to find a new planet to settle. They merely keep returning to the original earth they have damaged in a different era, in a different life form, as an endless circle of reincarnation.

The plot involves many different social issues, including ecology, technology, natural resource, and war, and calls on viewers to reflect themselves with a profound philosophical perspective. Moreover, several concepts of embodied cognition are used in the story to make viewers transform into different animals, including Taiwan’s indigenous species, such as Taiwan Blue Magpie and Formosan Black Bear, to interact with the scenes. “Samsara Ep.1” also features the latest somatosensory technology, including the 4Dviews shooting techniques by the Industrial Technology Research Institute and Taiwan Creative Content Agency, with 48 4DV-EX-Z cameras and a digital shooting system composed of a high-sensitivity 4 million-pixel full-color CCD sensor. “Samsara Ep.1” is able to be taken from an omnidirectional view without blind spots and be shot without any blind spots to create the ultimate immersive experience.

The first SXSW was held in Austin, Texas in 1987. This long-standing international event is held around March every year ever since. The festival features various themes, such as films, music, VR/AR, art and games, etc. The SXSW is the world’s largest event for creative content. Many creators and brand owners in the fields will not miss out on the festival. Therefore, the festival has become a trial balloon, attracting hundreds of bands and film crews to participate, estimated over 400,000 people joining the event. This year, the festival has changed the event to an online form for the first time since the pandemic is raging as before. All screening events, industry matchmaking, seminars will be carried out via its own online platform, SXSW Online, without difficulty. It has made it possible for all the artists, creators, and professionals to break down the physical borders and participate in this magnificent annual event together.

There are nine productions in total nominated in the Virtual Cinema Competition category this year, with teams from the US, Canada, the UK, France, Germany, Poland, Australia, South Korea, and so on. This is the first time that “Samsara Ep.1” has competed in the international film festival and has achieved a great result with much international recognition. This is also the first time for Taiwanese production to receive an award from the SXSW competition. The full version of “Samsara” is expected to start the global tour in the second half of the year. Huang said that “Samsara” would return to Taiwan for its Asian premiere and ask the fans in Taiwan to stay tuned!

✔️SXSW website: https://www.sxsw.com/festivals/film-awards/

✔️SXSW YouTube: https://www.youtube.com/watch?v=T9G_7NZh_Oo&feature=emb_logo

#黃心健 #HsinChienHuang #輪迴 #Samsara #Virtualcinemacompetition
#Juryaward
#VR #台灣VR #TaiwanVR
#SXSWFilm #SXSW #2021SXSW #SXSWOnline

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黃心健 Hsin-Chien Huang

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