Aesthetic person的問題，透過圖書和論文來找解法和答案更準確安心。 我們挖掘到下列精選懶人包

Life Among the Aryans

為了解決Aesthetic person的問題，作者Reed, Ishmael 這樣論述：

Ishmael Reed is the author of over twenty-five books including Mumbo Jumbo, Yellow Back Radio Broke-Down, Conjugating Hindi, Why No Confederate Statues in Mexico and most recently Why the Black Hole Sings the Blues and The Haunting of Lin-Manuel Miranda. He is also a publisher, television producer

, songwriter, radio and television commentator, lecturer, and has long been devoted to exploring an alternative black aesthetic: the trickster tradition, or Neo-Hoodooism. A regular contributor to CounterPunch and founder of the Before Columbus Foundation, he taught at the University of California,

Berkeley for over thirty years, retiring in 2005. Reed is the only person to be nominated for the National Book Award in two categories in the same year.

Aesthetic person進入發燒排行的影片

資料庫、介面與敘事化：數位影音資料庫敘事的歧路探索

為了解決Aesthetic person的問題，作者范虹 這樣論述：

在後現代文化中，視頻遊戲、互動影音、電影、網劇，逐漸呈現出一種資料庫的文化形式，這改變了延續上千年的敘事傳統。資料庫是資料的結構化集合，敘事是一種認知建構，在數位媒體時代，它們並不矛盾，而是一種共生關係。結合Manovich提出的資料庫邏輯；以及與裝置、文化、身體相關的介面理論；還有認知敘事學中的敘事化過程，能夠建立一種資料庫敘事的理論模型。 資料庫敘事是一種空間敘事，是基於故事世界的多序列、多形式的講述。它通過螢幕介面、文化介面、身體介面的空間化設計，為觀眾的敘事化過程提供一種個人化的仲介。而敘事化過程需要完成從資料庫中建立序列，以及將特定序列構建為故事世界的雙重任務。所謂的

空間敘事並非取代時間緯度的敘事過程，而是將空間緯度的敘述行為放置到與時間緯度同等重要的位置上，空間維度與時間維度的敘事性要如何進行協調，則是由資料庫中資料的粒度決定。 資料庫敘事理論雖然強調空間緯度的介面設計，但它卻不僅僅是指那些具有交互功能的敘事類型。它是一種中層理論，核心是敘事中展現出的資料庫邏輯，所以前衛電影的敘事、當代電影的複雜敘事、網劇敘事，甚至包括自動生成的「軟電影」都可以被稱作資料庫敘事。而超出單個文本範圍，但同樣基於一個故事世界（資料庫）進行多序列講述的跨媒體敘事，則是資料庫敘事的延伸。 不同符號體系（影像、聲音、文字）的敘事理論並不能通用，我們研究的對象是「數位影

音」。由於數位影音囊括的形式非常多樣，無法對其進行標準的定義，所以更恰當的方法是將數位影音作為一種「裝置」，包含著技術—文化—主體三元關係的特性。研究案例包括視頻遊戲《對馬戰鬼》、互動影音《黑鏡：潘達斯奈基》、網劇《旺達與幻視》、跨媒體敘事《瘦長鬼影》。以案例分析歸納出資料庫敘事的敘述美學：首先，吸引力美學，其受數位影音這一裝置的影響而形成的；其次，越界美學，是資料庫多序列、多形式的敘事方式產生的「序列協同作用」，以及擬像社會這一現實境遇所決定的；最後，介面效應，這是數位媒體時代，內容與媒材分開後，介面現身，藝術作品或文本所要處理的全新議題。

Spring and Autumn Annals: A Celebration of the Seasons for Freddie

為了解決Aesthetic person的問題，作者 這樣論述：

Feminist Beat poet Diane di Prima was born in Brooklyn, New York. She attended Swarthmore College for two years before moving to Greenwich Village in Manhattan and becoming a writer in the emerging Beat movement. There, she developed friendships with poets Amiri Baraka, Allen Ginsberg, Jack Kerouac,

Frank O’Hara, and Audre Lorde. After joining Timothy Leary’s intentional community in upstate New York, she moved to San Francisco in 1968.Di Prima’s poetry mixes stream-of-consciousness with attention to form and joins politics to spiritual practice. In an interview with Jacket magazine, di Prima

spoke about her life as a writer, a mother, and an activist. ＂I wanted everything--very earnestly and totally--I wanted to have every experience I could have, I wanted everything that was possible to a person in a female body, and that meant that I wanted to be mother.... So my feeling was, ’Well’--

as I had many times had the feeling--’Well, nobody’s done it quite this way before but fuck it, that’s what I’m doing, I’m going to risk it.’＂Di Prima had published more than 40 books. Her poetry collections include This Kind of Bird Flies Backwards (1958), Revolutionary Letters (1971, expanded 2021

), the long poem;Loba (1978, expanded 1998), and Pieces of a Song: Selected Poems (2001). She is also the author of the short story collection Dinners and Nightmares (1960), the semi-autobiographical Memoirs of a Beatnik (1968), and the memoir Recollections of My Life as a Woman: The New York Years

(2001).With Amiri Baraka, she co-edited the literary magazine The Floating Bear from 1961 to 1969. She co-founded the Poets Press and the New York Poets Theatre and founded Eidolon Editions and the Poets Institute. A follower of Buddhism, she also co-founded the San Francisco Institute of Magical an

d Healing Arts.Di Prima was named Poet Laureate of San Francisco in 2009. She has been awarded the National Poetry Association’s Lifetime Service Award and the Fred Cody Award for Lifetime Achievement and had also received grants from the National Endowment for the Arts, the Committee on Poetry, the

Lapis Foundation, and the Institute for Aesthetic Development. St. Lawrence University granted her an honorary doctorate.She had taught at the Jack Kerouac School of Disembodied Poetics at the Naropa Institute, the California College of Arts and Crafts, and in the Masters-in-Poetics program at the

New College of California. Selections of her papers are held at the University of Louisville, Indiana University, Southern Illinois University, and the University of North Carolina at Chapel Hill’s libraries. Di Prima lived in Northern California.She passed away on October 25th, 2020.

利用腦波訊號探討情緒變化之研究

為了解決Aesthetic person的問題，作者鄭明玲 這樣論述：

過去認為「情緒」為主觀感想和行為產生的心理和生理狀態，包含有愉悅、生氣、哀傷、驚嚇、恐懼等。但情緒有時很難從表情或肢體表現觀察出有細微變化，本研究以腦波訊號和情緒的關聯，嘗試以觀賞影片方式作為素材，量測實驗者腦波訊號，用訊號處理方式來具象化和數值化，分別選用愉悅(cheerful)、恐懼(fear)和感動(moving)三種情緒類型影片素材試驗。受測者配戴 Emotiv EPOC 14通道腦波儀，經藍芽連線接收腦波訊號，以「EmotivPro」紀錄腦波訊號，作為觀察受測者情緒分析之依據。數據整理分為三部分，一以SQL Server資料庫將腦波訊號歸類，以C#撰寫資料庫分析介面，觀察腦波點位與

情緒的相關。另一以Python撰寫分析腦波儀14通道頻譜數據，再利用工程統計盒鬚法推算腦波訊號點位對情緒強度，最後再以MATLAB中的EEGLAB進行腦波訊號處理。實驗結果發現腦波量測位置右顳葉(T8)、右額葉(F8)和右頂葉(P8)與愉悅情緒最有相關，而右顳葉(T8)、右額葉(F8)、右頂葉(P8)和左顳葉(T7)與恐懼情緒有關聯性，而右顳葉(T8)、右額葉(F8)、右頂葉(P8)和右後額葉(FC6)則與感動情緒最有相關。從三方面調查與驗證方式都有符合點位的趨勢，這些實驗方法與設計驗證可以對後續在醫療上腦波情緒偵測更有實質幫助與評估。