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Grit: Unsaid, Unseen, Unsung

為了解決mend meaning的問題，作者Miller, Craig A. 這樣論述：

The greatest lesson I've ever learned in life is the need for balance. Balance of the mind and balance of the heart, or to take it a step further, trust and belief. I think trust is something that happens in our minds. Its measurable, it's predictable, it's scientific. We trust in the things in w

hich we can rightly determine the outcome of. But belief? Belief is different. Belief happens in our hearts. Belief is immeasurable, it's unpredictable. In fact it's nearly impossible to describe. Belief is more like an emotion. We feel belief. Maintaining the balance of these two critical aspects o

f me has proven to be the most difficult thing I have ever done. I lived most of my life in a sever state of imbalance. I was eight years old the first time I considered suicide. I struggled with mental health issues from my earliest memories. I was molested for several years of my childhood. I grew

up in a broken home, I was bullied at school. My mind was overrun with anxiety, depression, obsessive compulsive disorder and a constant state of overwhelming fear. I was taught from the start that life hurts. I could not trust in it. But for everything my mind struggled with, my heart did not. I b

elieved that there was purpose for all things. I believed that there was meaning, and reason, and significance to our life's events. And I believed, with my whole heart, that no matter how hard it got, life was worth living. But despite this belief life continued to worsen, and I slowly began to los

e faith that things would improve. My mind had always lacked trust. But it wasn't until my heart gave up on belief that I lost my fight. At twenty years old I attempted suicide. In waking from my attempt I made a commitment to myself to continue this life despite any challenge I may face. I worked t

o mend a mind that for so long had never allowed me to trust in life. And I worked to fill my heart with a belief that there is meaning in even the darkest of our life's events. Grit is a collection of writings and photographs I have created over the years. It documents my struggles with mental heal

th issues, God, love, passion, and the inner battle I have always fought to continue on. Grit is unfiltered. There are poems that read like suicide notes, riddled with fear, anger and resentment. There are images that are dark and chaotic. But ultimately there are writings and photographs filled wit

h hope. Grit is my journey through art. It is raw, painful, thought provoking and beautiful. It is where the belief that there is meaning and reason for all things in life balances with the trust that those reasons are simply to teach us something about ourselves and the lives we live. Grit is my he

art and mind working together to achieve the greatest lesson I've ever leaned in life: the need for balance.

mend meaning進入發燒排行的影片

照顧如同修行：障礙照顧的倫理困局、自我技術與精神性轉化

為了解決mend meaning的問題，作者黃奕偉 這樣論述：

我的研究將照顧身心障礙的經驗類比為修行，透過照顧主體化的歷程來呈現照顧者與障礙會遇的倫理困境與精神性轉化。我主要的研究對象有三位障礙者家長、三位機構照顧者、三位神職人員，我也以我自己的工作經驗、大江健三郎的小說意象、盧雲的靈修著作等相關的照顧者文本，來連結經驗資料以擴展理解。在研究方法上，我在詮釋現象學的基礎上構思研究的進行方式，我認為研究者的想像能將語言資料聯繫到身體經驗，也因此我嘗試了三種想像變異的作法，分別是直接從文本開顯經驗、從建構與再建構來擴大對經驗的理解，以及圖像式地從意象與意象的類比來拼湊出經驗的全景。我首先勾勒出照顧者所共同置身所在的健全主義世界樣貌。障礙與健全主義的關係猶如

圖像與背景，我透過現象學還原展示了健全主義如何透過醫療化的擴展來指認出障礙，障礙照顧者被要求要醫治損傷、修補遲緩、適應汙名，與之所對比出的正常，實際上指的是獨立而有生產力的人。其次，我認為照顧由承載、籌畫、抵抗與同行四個要素所共構，並以行者來總結作為照顧主體的意涵。照顧者可以類比為行者，源於其共同的自我歧異性，也就是自願或非自願的必須以新的自我替代舊自我。透過對照顧過程中自我技術的考察，我認為健全主義社會試圖損傷化主體，而照顧者則對被指認為汙名有三重皺褶的抵抗，分別是抵抗汙名歧視、抵抗被聯想為汙名，並且抵抗汙名的自證預言。照顧者對社會的抵抗，實則也被展示為自我詰抗，自我與自我鬥爭的自我技術即在

其中。第三，我接著對自我技術提出空間性的描述。在橫向擴張與縱向開展所共構的螺旋型運動中，照顧者以專業化精壯自我，試圖橫向同一化異己的障礙者，而在遭遇挫敗下落，或者遭逢異己者上提時，縱向運動使得照顧者得以在困境中有所轉圜，我也試圖指認出這個得以轉動的軸心，是源於對異質時間性的體認，也就是在線性時間被中斷時才得以進到意象湧出的空間，我以空間化的時間轉為時間化的空間來指稱這個機制。之後，我也從修行自我的內在性與身體操演來深化自我技術的身體意涵。我藉著宗教照顧者修行自我與照顧自我的相互牽引，來說明神學論述需要回到照顧現場，讓臨床來深化人文。由陪伴到底的經驗，我歸結出回返耶穌愛的行動、關注陪伴的瑣事、同

等軟弱的人論以及關係性的救贖等等有能力照顧的障礙神學成分。從盧雲以肉身入道的身體經驗，可以從感知覺經驗的黝黑陰鬱來描述自我技術過程中的自我崩解，也可以進一步觀察到道成肉身的神學語言如何導引照顧者由身體操演豐厚內在性，藉由構築人文厚實的身體，照顧者才得以重獲新生。結論部分，我認為自我技術中的精神性知識是人文臨床得以中介苦難的依憑，並以自我技術的螺旋型運動來說明照顧過程中的精神性轉化歷程。我也針對我的研究限制提出說明，最後以我自身的差異實踐做為本研究回應人文臨床的測試。

Planets on Tables: Poetry, Still Life, and the Turning World

為了解決mend meaning的問題，作者Costello, Bonnie 這樣論述：

Poets have long been drawn to the images and techniques of still life. Artists and poets alike present intimate worlds where time is suspended in the play of form and color and where history disappears amid everyday things. The genre of still life with its focus on the domestic sphere seemed to some

a retreat from the political and economic pressures of the last century. Yet many American artists and writers found in the arrangement of local objects a way to connect the individual to larger public concerns. Indeed, the debates over still life reveal just what is at stake in the long-standing q

uarrel over poetry's meaning and usefulness. By exploring literary works of still life by Wallace Stevens, William Carlos Williams, Elizabeth Bishop, and Richard Wilbur--as well as the art of Joseph Cornell--the eminent critic Bonnie Costello considers how exchanges between the arts help to establis

h vital thresholds between the personal and public realms. In her view, Stevens and Williams bring the turmoil of history into their struggle for local aesthetic order; Bishop "studies history" in the intimate objects and arrangements she finds in her travels; Cornell, an artist inspired by poetry a

nd loved by poets, links his dream boxes to contemporary events; and Richard Wilbur seeks to mend a broken postwar world within the hospitable spheres of art and home. In Planets on Tables, Costello describes a period when some of America's greatest poets and artists found in still life a way to "co

ntemplate the good in the midst of confusion," to bring the distant near, and to resist--rather than escape--the pressures of their times. Bonnie Costello is Professor of English at Boston University. She is the author of Shifting Ground: Reinventing Landscape in Modern American Poetry, Elizabeth

Bishop: Questions of Mastery, and Marianne Moore: Imaginary Possessions. She is the editor of The Selected Letters of Marianne Moore.

非同步學習「過渡」及「延音」以改善中文歌聲合成之基頻軌跡

為了解決mend meaning的問題，作者朱贊全 這樣論述：

在歌聲合成的領域中，不同語言在語言學上所需考慮的特徵不同，例如中文是聲調語言，比起日語、韓語或英語，還需要考慮到聲調影響字義以及基頻的因素。於是本實驗室團隊先前重新定義了上下文本相關特徵的組成，並且自行蒐集了中文流行歌資料庫，建立一套基於雙向遞迴神經網路的中文歌聲合成系統，只要給定樂譜即可合成出歌聲，歌者的咬字及音色都可以被模型學習。然而合成歌聲中有幾個比較明顯的問題是，不同音高間轉換不夠平滑，甚至會有明顯的機械音，以及合成基頻過度平滑導致顫音等個人歌唱技巧消失的情況。這些跟音準有直接相關的問題，我們認為會非常直接地影響到聽者的感受。在本篇論文中，我們著重於改善基頻合成的效果，首先使用了殘差

連接來確保音準不會偏離樂譜音高太多，並開發了過渡及延音演算法來解決這些問題，藉由權重計算使得音高轉換過渡區間更加自然，以及保留了單一音符間顫音的表現。除此之外，由於基頻抽取後，會有不少過高或過低的跳點，這些數量不少的跳點會影響模型的學習效果，於是參考等化器中壓縮器的概念來減低跳點的影響。根據客觀計算結果，經由使用的演算法以及其他前處理後，歌聲合成的效果會比較好，均方根誤差下降超過15赫茲，主觀計算也顯示新方法所合成的音檔獲得較高的分數。