Imagine的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

After Work: The Fight for Free Time

為了解決Imagine的問題，作者Hester, Helen/ Sprnicek, Nick 這樣論述：

A vital and timely proposal for a feminist post-work politicsWould you let a robot clean your house? When we think about work, we still tend to think about workplaces - if we think about reducing work, we think about reducing working hours and spending more time at home. But the home has never be

en free from work, and with the continued gendered division of labour, women still do the bulk of domestic activities. As two-income families find themselves ever more time-poor, many look to outsource to cleaners, nannies, and care workers. More and more, it would seem, people are finding themselve

s without either the emotional or the financial resources to take care of themselves and each other. The home, rather than an escape from the work and its pressures, is in fact an extension of it. After Work is a crucial corrective to this trend, extending its attention beyond paid jobs, to the impa

ct of domestic work upon familial relationships, social bonds, and our very conceptions of domestic space. What if we automated housework? In this groundbreaking work, Helen Hester and Nick Srnicek argue that there is a crisis that can and should be tackled. Only by rethinking the way we organise ou

r living arrangements, redefining our domestic standards and remaining open to the automation of work done in the home, they argue, can we imagine a world that is truly post-work.

Imagine進入發燒排行的影片

一種意念想像開闔拳(腳) F7 和F8 腦波希爾伯特黃轉換時頻特徵分析方法

為了解決Imagine的問題，作者李泓億 這樣論述：

本篇論文使用 BCI2000 (PhysioBank)資料庫進行分析，提出一種意念想像開闔拳(腳) (Imagines opening and closing the corresponding Fist (Feet) ，IOCFL) F7 和 F8 腦波訊號，希爾伯特黃轉換希爾伯特頻譜時頻特徵分析方法。F7 和 F8 通道位於額葉之間，而且左右腦互相對稱，額葉腦有學習、語言、判斷等控制。探索開闔拳(腳) F7 腦波訊號，8 個樣本、開闔拳(腳) F8 腦波訊號，8 個樣本、意念想像開闔拳(腳) F7 腦波訊號，8 個樣本和意念想像開闔拳(腳) F8 腦波訊號，8 個樣本，共 32 個樣本。

分析結果顯示，開闔拳(腳) F7 和 F8 腦波訊號，IMF 平均能量參考總能量比例超過 10 %，比例最高的是 IMF5，RF，分別為 49.18、30.47、42.44 和27.47 %。意念想像開闔拳(腳) F7 和 F8 腦波訊號，IMF 平均能量參考總能量比例超過 10 %，比例最高的是 IMF3，IMF4，分別為 22.49、61.22、20.63 和63.98 %。開闔拳(腳) F7 腦波訊號，本質模態函數 IMF5，δ 頻帶，300-400、400-500 和 500-600 毫秒，平均能量參考總能量為 7.59、 12.41 和 11.27 %；意念想像開闔拳(腳) F7 腦

波訊號，本質模態函數 IMF4，δ 頻帶， 500-600 和 600-700 毫秒，平均能量參考總能量為 10.76 和 18.68 %。開闔拳(腳) F8 腦波訊號，本質模態函數 IMF5，δ 頻帶，300-400、 400-500 和 500-600 毫秒，平均能量參考總能量為 10.16、 14.9 和 10.62 %；意念想像開闔拳(腳) F8 腦波訊號，本質模態函數 IMF4，δ 頻帶， 400-500 和 500-600 毫秒，平均能量參考總能量為 14.1 和 19.14 %。分析結果揭示，開闔拳(腳) F7 腦波訊號、開闔拳(腳) F8 腦波訊號、意念想像開闔拳(腳) F

7 腦波訊號和意念想像開闔拳(腳) F8 腦波訊號，希爾伯特黃轉換-希爾伯特頻譜時頻特徵。關鍵字: 意念想像、腦波訊號、希爾伯特黃轉換、希爾伯特頻譜、F7、F8和 頻帶

Leaking Vessels: Issue 1

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為了解決Imagine的問題，作者 這樣論述：

Leaking Vessels is a new platform forwriting by visual and performance artists. Moving between critical, conversational, autobiographical, and poetic approaches, the journal entanglestheory, practice, and everyday life. For this first issue, we askedcontributors to consider the journal’s title. Leak

ing vessels are porous siteswhere bodies, histories, and ecologies are constituted and contested. Thepieces gathered here reflect on messy beds and menstrual art, ectoplasm anduncanny figuration, obsolete currency, rematriated cultural belongings, andmore. Contributors include Juan Betancurth, Tsohi

l Bhatia, Agnes Borinsky, LenaChen, Tara Fay Coleman, Matthew Constant, Jamison Edgar, Emily Johnson, AdilMansoor, and Zoe Sandoval. JamisonEdgar is aqueer southerner working between Los Angeles and Atlanta. Their work entanglespainterly abstraction, devised performance, video installation, and cr

eativenonfiction to share stories of flourishing, joy, and exuberance within the USAmerican south and beyond. A graduate of Carnegie Mellon University (MFA) andThe University of Georgia (BFA), Jamison is often covered in glitter, and theycollaborate with filmmakers, historians, archivists, data scie

ntists, andperformance makers to abstract historical records and sculpt cultural memories.They have shown in solo and group exhibitions throughout the United States aswell as London, Berlin, Singapore, and Budapest. They have been invited toparticipate in the Pilotenkueche International Arts Program

(Leipzig, Germany), and the D’Clinic Residency (Budapest, Hungary) and are the recipient of theFrank-Ratchye Fund for Art at the Frontier, The Carnegie MellonInterdisciplinary Project Grant, and the New Works Artist Fellowship at theKelly Strayhorn Theater (Pittsburgh). Their writing has been publi

shed by the Miller Institute forContemporary Art and ContemporaryPerformance, and they are currently writing a counter history of Bermuda grassthat will be part of the Estonian pavilion at the The59th Venice Biennale. WesleighGates (they/them) is aperformance maker, writer, and researcher based in L

os Angeles. Inperformance, they deploy queer, choreographic, and participatory strategies tocreate structures of connection and care that imagine and realize collectivespaces. As a researcher, they attend to the embodied experience ofnavigating urban space, investigating the everyday choreographies

imposed bystate and corporate power, as well as counter-choreographies of resistancecreated by artists and activists. Wesleigh’s work as a creator and director hasbeen seen in New York, Pittsburgh, Philadelphia, Boston, and Prague, and hasbeen supported by the Foundation for Contemporary Arts and th

e Frank-RatchyeFund for Art at the Frontier. They have been published by Gulf Coast Journal, PARtake: The Journal of Performance as Research, and Contemporary Performance, and were writer-in-residence at the 2019 zürich moves! festival. Wesleigh holdsan MFA in Directing from Carnegie Mellon Universi

ty and is currently a PhDstudent in Culture and Performance at UCLA.

彈性的身體：臺灣大溪地舞舞者的跨文化體現

為了解決Imagine的問題，作者陳智培 這樣論述：

本研究探索臺灣的大溪地舞舞者如何在跨文化的情境中透過身體感知並體現大溪地的彈性特質，進而理解與重新定位在自身社會文化中的位置。1956年大溪地舞從百餘年的基督教禁令下解禁復興後，相繼在美國、墨西哥、法國、日本等海外地區風行，各地的Heiva（大溪地舞比賽）活動也開始舉辦。大溪地舞在臺灣的發展已超過十年，目前在台灣有教大溪地舞蹈的舞團大致有六個，除了平時的教學表演外，Heiva i Taiwan（台灣大溪地舞蹈比賽）也在今年邁入第七年。每年的競賽不只聚集台灣各地的優秀舞者進行競賽，來自國外的鼓團與舞者也會前來擔任評審或上台表演，是進行跨文化交流與連結的盛會，也可以見證大溪地舞在台灣的盛況。為了

理解這群台灣的大溪地舞舞者為何想要持續學習大溪地舞這個來自遙遠太平洋島嶼的舞蹈，本研究以台灣第一個專門教授大溪地舞的舞團Te Natira‘a為研究對象，親身參與舞蹈課程、表演、比賽、以及舞團所舉辦的交流活動，並與其中以女性為主的老師與學員進行深度訪談，試圖理解其學舞經歷與生命故事，觀察與分析舞者如何重新模塑她們的身體、從身體體現出大溪地文化特質、並且在學習大溪地舞後產生生活上的轉變。本研究指出，台灣的大溪地舞舞者學舞的過程中，在身體技藝、南島連結、性別以及自我這幾個面向中，深刻感受到大溪地舞的彈性（flexible）特質。此彈性特質使她們在原本單一、僵化的身材、性別、族群身分認同、與他者的互

動關係等框架能夠中取得平衡，並且看見不同的可能性。