關於 seeing someone 意思 ，我們在網路上蒐集到這些相關的討論、資訊與評價

用心就是會被看見👍👍👍👍

五年長路，五年收成。
　
電影裡的王船祭典，在網寮村叫「五年到科」。每個久違科年，村人再次搭棚築船。極致的精雕細琢，在最高潮一刻入海化為灰燼，一切復始。
　
曾在祭典的村中稚氣地想著，五年啊，真是漫長；豈料自己的船造了一樣久。代號小船前鋒號肇始的電影，乘載了眾人協力打造的無數精力，終於長成它應有樣子，在昨晚回鄉啟航了。
　
拍的是回鄉，而親身帶著電影經歷回鄉，面對檢視，還是膽怯。首映前夜，即使一切準備就緒，逼著自己就寢，仍在夜裡醒來五六次。直到天色大亮，告訴自己時辰到了，木已成舟（好的意思），該打直腰桿，望不負眾人之力。
　
電影真是有魔力的。當你見到三年前一起經營的情節，終在廳裡逗起人們幾聲輕笑、幾聲嘆息。我瞥見身旁的喜翔哥望著螢幕上自己駕船離去的背影抽了幾下肩膀、隨著《走馬燈》旋律忘情哼了幾句。黑暗中的共感，讓一切依舊著迷也值得。
　
再次地，感謝五年來所有一起完成《蚵豐村》的人們。從最早的踏查、蹲點；2016年早春一起克難拍片的所有團隊；漫長橫跨各國緩慢邊填著資金缺口邊一步步修整完成的後期夥伴；協助讓影片走向國際的 SheeHeng Kuek 和他的 日映影像 aview images ；直到昨天台灣首映幕後功臣： 大島影像 TYDAL Productions的兩位合夥人Lung Wen Lin 和 陳艾琪 、現場協力 陳裕文 Lesley Chien、 以及超罩的攝影 洪綸陽
　
前幾天在影人活動和《狂徒》洪導演聊到，「導演」一詞，其實是個頗狹隘翻譯。要完成一部片，自始而終，囊括的面向實在太多，絕不是「指導表演」這麼簡單。在捷克那些年，我始終喜歡他們的說法：režiser ，「實現者」。
　
實現一部影片，豈止一人之力。謝謝所有身旁一同撞擊、完成所有事物的人們。望我們造出的船，帶大家一起，航向更多更遠的地方。
　
我們銀幕上繼續相見。
　　
A belated harvest.
　
They call the festival 'the five-year cycle' in the village we filmed. At the end of each long-waited cycle, villagers once again construct a wooden ritual ship with extensive decorations, and send it to the shore to be burned at the very climax. As the ship turns into ashes, a new cycle begins anew.
　
I once stood in the mid of the carnival crowd and wondered how long a 5-year period was. Unexpectedly, mine took even longer. Ohong Village, once titled Harvest Season, loaded with all the efforts from numerous people across all these years, finally set sail for its homecoming journey at the Taiwan premiere last night.
　
It's a story about homecoming indeed, but actually taking the film home, is a whole different story. With all the preparations set, I was still anxious with the act of bringing it onstage at home and being examined by all the local crowd - many of them contributors to the film. What's done is done, all you can do is expect that what turns up onscreen live up to the expectations of all those onboard.
　
Movie is indeed magic - when you witnessed how all those plot we carved up three years ago eventually turned into laughters and sighs in the grand dark cinema hall. I saw the leading actor Jieh-Wen King, sitting right next to me, gently sobbed upon seeing his final image as the character on the screen, and lightly singed along with the fading song. The compassion, create by cinema amidst the surrounding darkness, made all the efforts still captivating and worthwhile.
　
Once again, my sincerest appreciation to all of you who made Ohong Village possible throughout this 5-year journey.
　
Among all definitions of the role of a 'director', I favour how we called it there: a režiser, a realiser, someone who make things possible.
　
Yet all this won't be there with just one person. Thank you all for being here. May the ship we build, take us places further.
　
děkujeme/cпасибо/hvala/thank you. #蚵豐村 #OhongVillage

A parent has to make a lot of decisions before the baby is even born. I know George Young and I did a lot of research on everything - from the type of labor, to the more important things (like what is the absolute BEST infant nose snot sucker, best tasting edible nipple cream, etc), and of course: cord blood banking.
一個新手爸爸媽媽在小孩還沒有出生之前有很多要考慮的事。我知道我跟George兩個研究很多關於所有該研究的事。比如說： 選擇生產方式、最好用的鼻涕吸引器、最好吃的奶頭乳液、然後，當然，關於臍帶血保存。

Like many parents, we weren’t sure exactly was involved in cord blood banking. Or even what it meant to be honest. We were unsure if it was something we needed or wanted to do. How do they take the blood? Would it hurt our newborn? How much blood is needed? Would we still be allowed to have a couple minutes of delayed umbilical cord clamping? (That’s a whole other thing…) Do we have to decide right away if we want to keep the cord blood they save, or do are we supposed to donate it right away? What’s the point of a cord blood bank anyway?!
像很多爸媽，我們不是百分之百清楚“存臍帶血”到底是什麼意思：我們需要嗎？我們想要嗎？臍帶血怎麼取得？會不會痛？需要多少血？我們還會有機會延遲鉗夾臍帶嗎？（這個又是另外的要討論的事！）我們需要立即決定要不要自己保存或是願意將臍帶血捐出去嗎？啊到底我們幹嘛要做這件事呢？有用嗎？

After asking the relevant questions, and more importantly, after meeting some of the families who have benefitted from cord blood banking, our decision was made. Seeing how a simple decision made at the time of your child’s birth can change the lives of so many people...in some cases giving the gift of life, made registering our son’s cord blood an easy choice.
問完很多問題之後，更重要的是，在和真正親身體會到存臍帶血的重要性的家庭相遇之後，我們就決定了。看著他們的案例，只是因為一個當寶寶出生時就做的簡單決定，卻能改變一個家庭甚至好多個家庭的命運，就像是天上掉下來的禮物一樣，讓我們在決定該不該作存捐互利這件事時更果決且更肯定！

Now that we are parents, we realize that we would do ANYTHING for Egan. Hopefully, he will never ever have to use his cord blood for any treatment, but if he does, we can rest assured that we have it saved. And if someone else needs it, we’re able to help and/or provide hope. Not like Egan’s nose snot. THAT’s totally useless and we will not save it no matter how much he and his daddy seems to enjoy eating it.
現在我們真的升格為人父人母了，我們才驚覺，什麼叫做願意為自己的孩子犧牲一切。當然我們也希望將來Egan不會有機會去使用到他的臍帶血幹細胞。但萬一真的他碰到狀況需要了，至少我們很放心當初有替他作儲存。甚至如果有其他人需要，我們也可以藉此去幫助他們並至少給他們一點希望。這可不像Egan的鼻涕，它一點用處也沒有而且毫無疑問的我們並不會儲存它，即便不知道為什麼他和他爸都很愛吃鼻涕！

If you, like us, have questions about cord blood registry, don’t be afraid to ask them! Bionet was able to help us in answering everything we wanted to know… and if all that isn’t convincing enough, hear from the people who have been given a second chance at life…
如果你/妳們，像當初的我們一樣對於儲存臍帶血幹細胞有許多的疑問，別擔心，大膽問！ 訊聯生技/訊聯臍帶血銀行 非常有耐心地一一回答我們的每一個問題，然而如果你聽到的回答無法說服你沒關係，聽聽這些受到臍帶血幫助而給了他們人生第二個希望的人們的故事吧。

https://www.youtube.com/watch?v=8V5BwD7SmxQ&feature=youtu.be

【時事分享】
關於台灣街頭藝人的生態

原文為已在世界各地巡迴過的舞蹈家/導演/教育工作者所著
分享者為台灣極少數進入太陽馬戲團表演過的 陳星合(目前正在推動當代馬戲、新藝術表演發展的重要推手)

今天，小編不希望從新聞等第二手消息來源分享，相反的，把當事人最直接的反應和感受緣由呈現給大家

進入正題

首先小編必須很遺憾的說
台灣的藝術生態真的相較歐美國家還要落後許多。不僅發展時間短、投入經費少、人力匱乏、且大眾認知普遍不足，甚至，培育"藝術相關人才"的體系，除了相關院校有較為完整的配套，基礎上都是破碎的。要超英趕美，同志尚待努力，也許還要幾百年的時間。

回到街頭藝人為什麼會被這樣對待？

這是政府重視街頭文化程度的問題。
可以這樣說的原因是：

1. 沒有足夠的經費、人力去安排街頭藝人考試。

場地租金算天數的(而且很貴)，工作人員算時薪的。活動廠商沒有資源去安排一個為期足夠長的寬裕時間讓街頭藝人考試。也就是說，政府沒有想要投入更多的錢，反而是招標找最便宜的廠商解決活動。

如此一來，在時間十分緊湊的狀態下，要評審一天之內評審數百位街頭藝人，評審的品質如何維護？有時甚至會陷入如公車司機的窘境：delay趕場。我沒辦法聽你唱完，只能大概看一下就得評了。你還會什麼？趕快表演給我看，不然我就下分數了哦。

2. 評審的來源和資格一直都是爭議。

街頭表演五花八門，卻是少數幾種類別的表演人(甚至不是表演者)來評。

沒有相關背景的人來評分其實不是問題，畢竟街頭表演就是在街頭上表演的，也就是面對一般民眾。並不是開演唱會、音樂會、或者要進國家戲劇院演出的。

難的是：評審到底知不知道技巧難度與否？注意事項有哪些？也許評審不會做，但他必須看得出來，並有大致的概念。

政府要怎麼找到這些視野足夠寬廣且有公信力的人？
現在台灣政府普遍和藝術界還是有點代溝，因為這是一個很難看到成效的投入，你沒辦法用數字說人民的藝術氣息提升了十分。再者，會聯繫上政府的，只有出國成名回來，或者長期接案與政府合作者。

也許有人會說：街頭藝人不就是要在很短的時間內獲取觀眾的注意力嗎？
是的，在不同場合有各自適合的表演模式。不適合的，自然會被市場淘汰。

但，難道所有的表演藝術都"應該怎麼樣"嗎？
有些表演就是需要時間醞釀，有些表演需要足夠空間揮灑，有些表演需要觀眾安靜的看，他們都可能成為使社會藝術成份提高的一分子，可能是獨特的藝術文化起源。
如果是街頭藝人，又規定你的表演一定要短時間(一分鐘誇張的短)怎麼樣，這絕非一個可以助長各種多元藝術成長的環境。

雖還不能自稱藝術家，但小編希望這些訊息能夠讓大家更了解關於街頭藝人、關於台灣藝術生態的一小部分。

甚至，我們應該要有所行動。

對於社會的不公不義站出來，以各種合法的形式付諸行動，這是公民的權利與義務。
為的，是攜手讓社會更加美好。
因為我們，就在這裡。

By 蝶編

感謝黃翊 （Yi Huang）的中文翻譯。

『街頭藝人遴選制度需要被關心。
今日令我感到震驚的一幕
今天是我第一次在公眾場合、眾人面前表達我的憤怒與失望。
這一切開始於美好的一日，我以為這天只會因為參觀台北街頭藝術家徵選而更美好。當我看到所有的表演者們都在散佈於中正紀念堂各地的徵選位置準備時，一切都看起來完美極了。但在我看到評審團首席如何對待這些奮力演出的街頭表演者時，我無法對這一切保持沈默。
先讓我說明，每位表演者都必須支付報名費參加街頭藝人的徵選。徵選時他們獲得3分鐘的時間來呈現他們的表演，希望透過徵選獲得街頭藝人證，所以他們可以有機會透過他們熱愛的事物（表演）賺取收入。照片中的這位評審，帶領著一組看起來對觀看或聆聽街頭藝人的表演完全不耐煩的評審團。演出大約進行一分鐘時，他暫停了歌手的演唱，並對歌手說：許多歌手能唱不同語言的歌，像是英文，唱另一種語言！隨後歌手唱了一首台語歌，但大約唱了2句，他就和另一位評審交談，並不在意歌手的表現，這位評審團的主席就離開了，並招手要其他評審跟著他。
這位歌手只唱了不到一分半鐘（他們規定為3分鐘，而且這位評審中途不斷地打斷），請記得，這位評審的出席費是由這些充滿的期待的表演者們支付的，過程中他不斷的踐踏這些藝術家的熱情與努力。沒有任何一個正面的字眼，他的行為就像他是這裡的大老闆，高高在上的看著這些卑微的表演者們。他隨意地與他人閒談以及離席，從未有任何言語或動作上給予任何人肯定。一位擊樂演奏者的呈現被打斷，並被要求演奏不同的內容，第三次時他就離席了，而其他評審就跟著他這麼做。
所以，我禮貌的接近他，詢問他的姓名以及希望索取他的名片。我告訴他我希望未來能與他對談。他鄙視的問我是誰？他用看待一位學生的眼神看著我，但我並不是。我是一位已40歲，並曾於世界各地的大學與藝術節工作的的舞蹈、電影、和教育工作者。
他不想給我他的名片，他看起來很不耐且驚訝有人對此表達意見。所以我說我可以給他我的聯絡資訊，但我們必須對徵選方式做討論。
今天台北市徵選街頭表演者的方式是對整體的藝術工作者與環境的不尊重與侮辱，我不想否定這一切，但他讓我無從選擇。
我和他說，第一點，他對待表演者的方式過於失禮。身為一位教育者，我無法對我所見的保持沈默。
第二點，評選的流程對藝術領域來說並不公正，若他不能尊重藝術家，那他對藝術的觀點又是什麼？我可以看出他對我的發言嗤之以鼻。但他的行為使我無從選擇。他嚴重踐踏這些表演者，我自己身為藝術家與藝術支持者，我必須要做點什麼。
承辦人對我表示道歉，並說程序必須要繼續下去。我和他說我並沒有意思要停止他們，我僅不過是想知道我該怎麼與他們取得聯繫，討論這件事情。如果你對我有足夠的了解，會知道我的個性，我是一個隨遇而安，很好相處的人。我幾乎未曾在公眾場合發過脾氣。但今日他們對在場所有藝術家做的一切，是真正的污辱與踐踏。
我可以從這位傲慢的評審眼裡看得出，他並不在意我的意見。他認為他是權威，而且他的做法是對的，他也總是這麼做。所有的年輕職員總是畏懼他。今天他的無禮、粗暴、傲慢，使我非常想了解他為何這麼做。
事後，幾個人前來感謝我站出來發聲，表示他們也有同感但沒有勇氣對評審、主辦單位反應這些評議、授權機制的問題。其中一位台北縣政府承辦人說，她也對藝術家被對待的方式感到難過。
我不懂為什麼人們不為彼此挺身而出。台北市的社會已經失去它的功能，在藝術領域更是嚴重。
身為一個理應支持與保護藝術的機構，不論在文化或專業上，今天他們都完全失格。這一切看起來像是一個考一條狗、一隻貓、一隻鳥和一尾魚去爬樹一樣的荒謬。
我留給了他們我的聯絡資訊，他們說他們會聯絡我，如果他們沒這麼做，這可以是我下一部電影的標題《一部關於那些帶著希望與期待的表演者被如何對待的紀錄片》。
我非常的憤怒，我真的希望能夠改變他們對藝術膚淺的觀點。
翻譯William Lu文章』

謝謝大家關注這個議題，我剛剛把評審的照片拿掉了，原因是我希望大家不要將這位評審當成壞人，而也我們把焦點專注在這個事件上，而不是人身上，我們才能真正長期的改善這個問題．因為我不會中文，所以我會和我的夥伴們一起再產出一篇更詳盡完整的中文文章，屆時也煩請大家一同關注，讓台灣的藝術環境更好，最好也謝謝幫我翻譯以下文章的朋友，我非常訝異這篇造成的影響力，感謝你們！

I CAUSED A SCENE TODAY IN THE PUBLIC

Today I got very angry and upset for the first time in public in front of a crowd.

What started out as a nice day, I thought it would only get better by attending the street performance artist's exam in Taipei. Everything seemed nice when I saw the performers were all prepared in their provided locations around the Sun Yat Sen Memorial Hall. But after I saw the head of the judge panel treated the street performers while performing, I couldn't keep my mouth shut.

Let me explained: each performer had to pay to register for the license exam. They were given 3 minutes to present their work(s) hoping they'd get a lisence so they can earn some sort of living from their passion. This one particular judge (pictured) leading the group seems impatiently listen and watch the street performers. It barely hit the one minute mark, he aggressively cut into the song of a singer and told the performer "many singers sing in different languages like English etc, sing in another language!"(I paraphrased with my bad Chinese translation). Then the singer started singing in Taiwanese language. But barely two sentences, he talked to another judge barely paying attention to the performer this head judge basically just left and gestured to the rest of the group to follow him.

The singer sang barely a minute and a half (they were promised 3 mins and they kept being interrupted by this judge). Bare in mind, this judge is earning a wage while these hopeful performers were paying him to be there. He basically did the same thing over and over again disregarding the artist's intent and hard work. Not a single word of appreciation. He just acted as he was a big boss looking down on these petty performers. He chatted as he wished and walked away without saying a "thank you" or a gesture of acknowledgement. A percussionist kept being interrupted asking him to do something different. Then he just left after the third time. The rest of the judges just followed.

So, i approached him politely asking for his name and his business card. I told him I wanted to talk to him one on one in the future. Degradingly he asked me who I was. I could see in his eyes that he saw a young man who looked like a student to him. But I was not and am not. I am a 40 year old dance artist, filmmaker and educator that have taught around the globe and in many prestigious colleges and festivals.

He didn't want to give me his business card. He seemed annoyed and surprised that someone spoke up. So I said I can give him my contact info but we needed to talk on how the exam went.

The way Taipei city exams the performers today was both disrespectful and insulting to the arts community in general. I didn't want to say this all out. But he left me with no choice.

I told him, for one, the way he treated the performers was disrespectful. As an educator I could not be quiet when I see something like that. Second, the process of the exam is not doing the art community any justice. If he cannot see the artists as a human being first, then what does it say about his view on the Arts. I could see him pissed off. But again he left me with no choice. He was very degrading towards these performers. As an artist myself and an art advocate I had to do something.

The organizer apologized to me said the process needed to go on. I told him I wasn't trying to stop them. I merely want to know how I could get in touch with them to discuss this. If you know me well enough, you should know my temperament. I am a happy go lucky person. I almost never get angry in the public. But it was genuinely insulting and degrading to every artists based on what I saw today.

This arrogant judge didn't care of my opinion. I could see it in his eyes. He was basically the superior in his world and his way was the right way. That's how he had always done it. All the young staffers there were afraid of him. Today he was disrespectful, rude, and arrogant. I really want to know why he does what he does.

After the incident, a few people came up and thanked me for speaking up. They felt the same way but they didn't have the courage to say it to this judge or the organization that issues these licenses. One organizer from the New Taipei City said even she felt bad seeing how the performers being treated.

I don't understand why people don't stand up for each other. The Taipei City has failed their community and even more so to their arts community.

For an organization that is supposed to advocate for the arts, culture and authenticity, they did miserably today. It is like giving an exam to a dog, a cat, a bird and a monkey then telling them that their exam is climbing a tree. It's absolutely ridiculous.

I left them my contact information. They said they will contact me. If they don't, this could be an interesting subject for my next film project. A documentary on how these hopeful, aspiring performers being treated.

I am mad and I am angry. I really hope they will change their shallow way of seeing Arts.

P.S. Share or repost in Chinese. They need to change. Thanks.

台北國際藝術村－寶藏巖 Taipei Artist Village－Treasure Hill
Taipei National University of the Arts
臺北表演藝術中心 Taipei Performing Arts Center
National Theater and Concert Hall, Taipei
中正紀念堂 Chiang Kai-shek Memorial Hall
National Taiwan University of Arts