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2000 Ad Regened Volume 4, 4

為了解決official music video的問題，作者Ramzee,Johnson, Liam 這樣論述：

RAMZEE is what happens to a kid who grows up on a diet of 90’s Image and 2000’s Toonami. Since being nominated for a British Comic Award for his debut indie comic in 2016, he’s gone on to draw illustrations for the BBC & MerkyBooks and write Cat Girl for Rebellion’s ’Tammy & Jinty’, ’FAB’ for StoryW

orlds and write & draw his first graphic novel ’LDN’ for Good Comics. Korinna is a half Greek/half Singaporean/half Goblin comic artist who is excellent at maths. She’s been self-publishing comics since 2015, including the hilarious webcomic Adventure of Croblin, and had lots of fun working on femal

e-led anthologies Smutcomic and Comic Book Slumber Party. She enjoys walking around to find ugly architecture, catching frogs, and beer Liam Johnson is a comics writer and winner of 2000 AD’s 2019 Talent Search, whose credits include Future Shocks and Venus Bluegenes (for 2000 AD) and Missing Person

s (for Markosia). He also writes for television, including a number of credits for ITV’s Emmerdale. Duane Redhead is a comic artist, whose previous credits with 2000AD include Terror Tales, Past Imperfect and Durham Red. Duane has also worked on the Games Workshop Codex for The Black Library, and co

ntinues to draw The Tick for New England Comics where he started his first title in 2012. Gordon Rennie is one of 2000 AD’s most prolific creators, with co-creative credits for Caballistics, Inc., Missionary Man, Necronauts, Storming Heaven, Rain Dogs and Witchworld. Rennie has written for Heavy Met

al and Warhammer, as well as Species, Starship Troopers and White Trash. Emma Beeby had established herself as a professional writer in the film and games industries before moving into the comics arena. The first woman to write Judge Dredd, she has also worked on several other strips for 2000 AD, in

cluding Judge Anderson, The Alienist and Survival Geeks (co-creating the latter two strips with frequent writing partner Gordon Rennie). Outside of the Galaxy’s Greatest Comic, she co-created (again with Rennie) the award-winning graphic novel Robbie Burns: Witch Hunter, and has co-written a Doctor

Who series for Titan Comics. Neil Googe has been lending his talent to 2000 AD for over twenty years, illustrating strips such as Judge Dredd, Pulp Sci-Fi and Hondo City Justice for the Judge Dredd Megazine. Beyond his work with 2000 AD he has also worked on WildCats and The Flash for DC Comics. Kar

l Stock has written Tharg’s Future Shocks for 2000AD, Dredd prose fiction for the Judge Dredd Megazine and strips including Sniper Elite and Death Wish for Rebellion titles such as Battle, The Vigilant and Cor! & Buster, as well as interviews and features about comics for the Judge Dredd Megazine, T

ripwire, Comic Heroes and more. He is the co-author of the 40th anniversary edition of Thrill-Power Overload, 2000AD’s official history, and lives in Scotland. Steve Roberts is a comic artist and Lead Creative and writer for children’s TV. He has drawn comics for 2000ad including Banzai Battalion, J

udge Dredd, Sinister Dexter and Bec and Kawl. Outside comics Steve has worked as a Lead Creative and writer for Ragdoll Productions Ltd. He worked on several shows that were broadcast on the BBC channel CBeebies. These included Dipdap which he co-created and which went on to win a Childrens BAFTA aw

ard in 2011. He also worked on The Adventures of Abney and Teal and Twirlywoos and recently co created B.O.T. and the Beasties. Ben Willsher got his break in comics in the ground-breaking Deadline magazine (home of Tank Girl), before being stolen by the world of computer games, where he has worked a

s an Art Director for many years. However, the lure of Comics was too strong and he came back to 2000 AD and has drawn Future Shocks, Pulp Sci-Fi, Tharg’s Terror Tales, Sinister Dexter, Damnation Station, but he is probably best known for his work on Judge Dredd. As well as reviving the uber cool gr

ifter Lenny Zero, with original creator Andy Diggle, Willsher has just concluded a movie Dreddverse strip titled Dust. Beyond his accomplishments in the world of comics he has also worked in film, television and the music industry, and is heavily involved in the World of Doctor Who, where he has ill

ustrated work for the Time Lord luminaries such as Russell T Davies, Mark Gatiss, and comic giant Neil Gaiman. David Baillie is a Scottish writer and artist who works in comics, film and television. As well as various strips for 2000 AD and the Megazine, he also created and wrote the series Red Thor

n for Vertigo/DC. He lives in London with his darling wife, mischievous daughter and a multitude of unforgiving deadlines. Since joining 2000 AD in 1986 Colin MacNeil has worked on many strips, including Chopper: Song of the Surfer and the infamous death of Johnny Alpha in Strontium Dog: The Final S

olution. He went on to collaborate with John Wagner on the award-winning America for the Judge Dredd Megazine. He has also worked on Shimura, Maelstrom and Fiends of the Eastern Front: Stalingrad, and, outside of the Galaxy’s Greatest Comic, provided the atmospheric artwork on Bloodquest for Games W

orkshop. He also enjoys creating large abstract paintings. He says it’s art therapy! Author and comic book writer Cavan Scott is a UK number one bestseller who has written for such popular worlds as Star Wars, Doctor Who, Star Trek, Vikings, Warhammer 40,000 and Sherlock Holmes. He is the author of

Star Wars Dooku: Jedi Lost, Judge Dredd: Alternative Facts, The Patchwork Devil, and Cry of the Innocents, and is part of Lucasfilm’s Project Luminous publishing initiative. He has written comics for IDW, Dark Horse, Vertigo, Titan, Legendary, 2000AD, and the Beano. Luke Horsman is an illustrator an

d comic book artist and has been working in the design and illustration industry for nearly 20 years across a variety of media platforms for 100s of clients, including printed publications, websites and games. Now solely a comic book artist he has done scores of work for multiple clients, independen

t publishers and authors. He’s also currently working on a creator owned project ＂Oathbound＂, an illustrated saga of Norse tales. James Peaty has written for publishers including Marvel Comics, DC Comics and Dark Horse Comics in the US as well as Rebellion Publishing and Titan Comics in the UK. Duri

ng that time he has written for titles including The Batman Strikes!, X-Men Unlimited, Green Arrow. Supergirl, Justice League Unlimited and Doctor Who. For 2000AD he wrote and co-created Skip Tracer (with artist Paul Marshall), while for The Judge Dredd Megazine he wrote and co-created Diamond Dogs

(with artist Warren Pleece). Colin Harvey is a London-based writer working across comics, games, books, audio and Virtual Reality. His work includes the video games Blood and Truth (Sony 2019) and Sniper Elite 4 (Rebellion 2017), as well as tie-in material for Big Finish’s Doctor Who and Highlander

ranges. He’s the author of ’Dead Kelly’, a novella for Abaddon Books’ Afterblight series, and comic stories for 2000AD and Commando. His book Fantastic Transmedia, an analysis of large and small-scale crossmedia storytelling in science fiction and fantasy franchises, was published by Palgrave in 201

5. Tom Newell, 34, is an illustrator, designer and comic artist from the West Midlands, UK. His many influences include Simon Bisley, John Buscema and Sean Gordon Murphy. In 2016 Tom decided to take learning to draw seriously and joined a university comic art course, with the single goal in mind of

one day to be a successful comic artist. For the last year Tom has worked closely with UK based comic artist John Charles, on his creator owned project, Technofreak.

official music video進入發燒排行的影片

運用責任漸轉模式（GRR模式）以實踐學習者中心教與學之個案研究—以六年級國語文領域教學為例

為了解決official music video的問題，作者洪千惠 這樣論述：

為協助學生於教育以及生活之中展現真正的能動性，成為夠面向未來的學習者，以探索複雜且不確定的世界，須以學習者為中心思考教與學的議題。然而，實踐以學習者為中心的教與學時，於重新分配學習責任此一重要區塊，卻是教師們感到棘手之處。責任漸轉模式（GRR模式）為一系統性的教學架構，強調透過學習責任的漸次遞轉，協助學生具備能力以承擔完全的學習責任，正可為此一困境提供解方。本研究聚焦於探究傳遞移轉學習責任的歷程，透過參與觀察、訪談與文件分析等方式，先分析個案班級將GRR模式融入國語文領域教學的歷程脈絡，再整合既有的理論架構，繪製出能適應台灣課堂文化之在地化GRR模式運作架構，以提供未來實務教學與學術研究所用

。本研究之結論可歸納為：一、在GRR模式的融合規劃方面：從整合中著手，從主題中規劃。二、在傳遞學習責任的建置系統方面：在變化中推進，在系統中傳遞。三、在順暢模式運作的教學策略方面：在有效中運作，在順暢中遞轉 。四、在發展責任的教學啟示方面：在過渡中推進，在行為中加強。五、在運作架構的繪製發展方面：在進程中演變，在整合中運轉。

Music Scenes and Migrations: Space and Transnationalism in Brazil, Portugal and the Atlantic

為了解決official music video的問題，作者 這樣論述：

'Music Scenes and Migrations' brings together new work from Brazilian and European scholars around the themes of musical place and transnationalism across the Atlantic triangle connecting Brazil, Africa and Europe. Moving beyond now-contested models for conceptualizing international musical relation

s and hierarchies of powers and influence, such as global/local or centre/periphery, the volume draws attention instead to the role of the city, in particular, in producing, signifying and mediating music-making in the colonial and post-colonial Portuguese-speaking world. In considering the roles pl

ayed by cities as hubs of cultural intersection, socialization, exchange and transformation; as sites of political intervention and contestation; and as homes to large concentrations of consumers, technologies and media, Rio de Janeiro necessarily figures prominently, given its historical importance

as an international port at the centre of the Lusophone Atlantic world. The volume also gives attention to other urban centres, within Brazil and abroad, towards which musicians and musical traditions have migrated and converged - such as S o Paulo, Lisbon and Madrid - where they have reinvented th

emselves; where notions of Brazilian and Lusophone identity have been reconfigured; and where independent, peripheral and underground scenes have contested the hegemony of the musical 'mainstream'. The contributions to the volume are grouped according to three key thematic areas. 'Colonial and Post-

Colonial Transnationalisms, Migrations and Diasporas' focuses on the musical movements and fluxes that have traversed the Atlantic world since the colonial period, including the diasporic extensions of African music-making; the role of early forms of mechanical music-recording in mediating between P

ortuguese and Brazilian popular songs in nineteenth-century Rio de Janeiro; the story of m sica caipira in articulating the 'rooting' and 'uprooting' migratory experience of the S o Paulo peasantry in the twentieth century; and the contemporary phenomenon of Brazilian musicians living in the cities

of Lisbon and Madrid, where they negotiate the needs and expectations of their expatriate communities, tourists and local audiences. 'Relocating Rio de Janeiro' considers how, in its identification with key musical traditions such as samba, pagode and choro, the city has been a contested space - geo

graphically, symbolically and politically - whether in the memories and mythologies of key neighbourhoods and locations of music-making as expressed in the musical discourses themselves, through music's involvement in the material forms of community life and popular culture, including religion, carn

ival and other festivals, or through the competing claims of official state institutions and policies, the recording industry and grassroots communitarian initiatives. The essays in 'Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies' explore how contemporary developments i

n the independent, underground and peripheral music scenes in Brazil and Portugal have challenged traditional narratives and hierarchies that dichotomized the field in terms of national tradition v. internationalism, mainstream v. margins, pop v. popular. Genres such as sertaneja universit ria, funk

, heavy metal, Brazilian jazz and instrumental music, post-Vanguarda Paulista MPB and rap are considered in the light of profound shifts in the economy and technology of the music industry, including fluctuations in the recording sector, the internationalization of audiences, and the rise of YouTube

, among other video-based digital platforms, as a predominant medium for the consumption of music. David Treece, author and educator, is Camoens Professor of Portuguese at King’s College London, where he has taught and researched on Brazilian culture since 1987.

聊天機器人與擴增實境回饋鷹架對大專院校學生科學學習自我效能、學習投入、注意力、認知負荷與學習成效之影響： 以科學模擬探究實驗為例

為了解決official music video的問題，作者劉懿文 這樣論述：

本研究的目的是探討大專院校學生運用科學模擬軟體進行科學探究實驗的歷程中，提供不同的回饋鷹架形式（無回饋鷹架、聊天機器人回饋鷹架、擴增實境回饋鷹架、聊天機器人結合擴增實境回饋鷹架），對學習者科學學習自我效能、學習投入、學習注意力、認知負荷與學習成效之影響。本研究採用準實驗研究法之二因子實驗設計，以118名20至35歲之大專院校學生為研究對象，隨機分為無回饋鷹架組（28人）、聊天機器人回饋鷹架組（30人）、擴增實境回饋鷹架組（30人）、聊天機器人結合擴增實境回饋鷹架組（30人），排除答錯防呆題、反向題與未完整填寫開放式問卷之無效問卷後，有效樣本共98人。各組人數依序為23、24、24、27。在科

學模擬探究實驗歷程中，無回饋鷹架組，提供紙本實驗說明書；聊天機器人回饋鷹架組，提供聊天機器人教材；擴增實境回饋鷹架組，提供擴增實境教材；聊天機器人結合擴增實境回饋鷹架組提供聊天機器人與擴增實境教材，其中教材皆包含完成探究實驗所需的科學概念性知識與科學探究程序性知識。同時四組學習者在整個實驗過程中均全程配戴腦波儀。研究工具包含科學學習自我效能量表、學習投入量表、集中注意力量表、腦波持續注意力量測、認知負荷量表、先備知識測驗與學習成效測驗、開放式問卷。研究結果顯示，對於科學學習自我效能之子構面概念理解前測得分偏低者，提供聊天機器人回饋鷹架於科學模擬探究實驗歷程較適合；在學習投入方面，提拱擴增實境回

饋鷹架顯著高於沒有提供擴增實境回饋鷹架；在持續注意力方面，分別提供擴增實境回饋鷹架與聊天機器人回饋鷹架，較能提升學習者的持續注意力；在內在認知負荷方面，提供聊天機器人回饋鷹架顯著高於沒有提供聊天機器人回饋鷹架；在外在認知負荷方面，聊天機器人結合擴增實境回饋鷹架組顯著高於擴增實境回饋鷹架組；而對於先備知識測驗得分偏低者，提供紙本實驗說明書作為回饋鷹架較適合。然而，提供不同回饋鷹架輔助學習，對於學習者的行為投入、情緒投入、認知投入、集中注意力、增生認知負荷並無顯著差異。整體而言，本研究建議，運用聊天機器人與擴增實境建置電腦化回饋鷹架於科學模擬探究實驗歷程時，使用單一電腦化回饋鷹架，較能維持學習者的

持續注意力與學習投入，且需考量回饋鷹架的數目與回饋鷹架的設計，以降低學習者的內外在認知負荷。