《 Luxxury Godbage by JUSTIN IN XX 》
Re-create & Re-use
Brilliant reconstruction of composition of outfits with reused inspiration, except super models , some amateur of catwalk show to attend at his presentation , besides , designer Justin invited his celebrity friends to join to represent his outstanding ideas of deconstruction and reused .
The demonstration for how to execute to produce innovative silhouette of recycle material as fabric , toys , accessories, or something that from rubbish bin .
Appreciate the opportunity of being co-op , surprised at ideas of transitions senses from his wife TUNG to toss out some suggestions of creation. Feeling exciting that I was being part of it ! Thanks for having me 🙏
Designer | Justin Chou
Creative Director | TU NG
Show Director | Bigi Yang
Celebrity models |
#黃子佼 #陳珊妮 #陳孫華 #李佑群 #吳思瑤
Super Models |
#林瞱 Aniki
#施力仁 Liren Shih
#徐尹 Xu Yin
#傅雅凡 Fan _Fu
#周恆齊 Heng Chi Chou
#Zachary Chou
#張瑜琴 Jolie Chang
#賴孟諭 Meng YU Lai
#余星誼 U_Sin Yi
#祈仲麟 Cone
#唐啟縈 Tang Chi Yin
#ChunkleNull @Chunkle Null
#Kimi
#Mel
#小挪 Shao Null
#君君 June June
#阿丁 A Ding
#小凱 Shau Kai
#丹琪 Dan Chi
#Mel
#Chuckle Null
#子洋 Zi Yang
#Bibi
#Picolo
#Sundia
#Ming
#王寬 Wang Kuan
Makeup | Azzuro Kuo
Hair | LO’real professional beauty
Backstage management | Jim 、Rose 、Tan Yu of @CatwalkTaiwan @CatwalkAsia
Special Thanks |
Anchi 、Josephine 、Justin in XX team of design dept & backstage dresser assistants
Photographer |
Vivi Wang _CatwalkTaiwan
Célestin Ma
Some photos from reports of magazine
Thanks all ➡️ who were there being huge support !
Thanks to ➡️
Condenest PR CO
Production & Decoration team of @taipeifashionweek2020
#台北時裝週2021
#taipeifashionweek2021ss
同時也有473部Youtube影片,追蹤數超過23萬的網紅papadesuyo777,也在其Youtube影片中提到,元祖ニュータンタンメンの作り方の動画です チャンネル登録はこちらから https://www.youtube.com/user/papadesuyo777 レシピ:https://cookpad.com/recipe/6955606 ブログ記事:https://ameblo.jp/cooking...
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material composition 在 Bigi Yang楊佩綺 Facebook 的最佳貼文
《 Luxxury Godbage by JUSTIN IN XX 》
Re-create & Re-use
Brilliant reconstruction of composition of outfits with reused inspiration, except super models , some amateur of catwalk show to attend at his presentation , besides , designer Justin invited his celebrity friends to join to represent his outstanding ideas of deconstruction and reused .
The demonstration for how to execute to produce innovative silhouette of recycle material as fabric , toys , accessories, or something that from rubbish bin .
Appreciate the opportunity of being co-op , surprised at ideas of transitions senses from his wife TUNG to toss out some suggestions of creation. Feeling exciting that I was being part of it ! Thanks for having me 🙏
Designer | Justin Chou
Creative Director | TU NG
Show Director | Bigi Yang
Celebrity models |
#黃子佼 #陳珊妮 #陳孫華 #李佑群 #吳思瑤
Super Models |
林瞱 @aniki_dailylives
施力仁 @liren_shih
徐尹 @xu_yin
傅雅凡 @fanfu_
周恆齊 @chou.hengchi
Zachary Chou @zacharyychou
張瑜琴 @jolie__chang
賴孟諭 @meng_yu_lai
余星誼 @u_seng_i
祈仲麟 @conexcone
唐啟縈 @chiying49
Sundia @sundia.xwx
Kimi
Mel
小挪 Shao Null
君君 June June
阿丁 A Ding
小凱 Shau Kai
丹琪 Dan Chi
Mel
Chuckle Null
子洋 Zi Yang
Bibi
Picolo
Ming
王寬 Wang Kuan
Makeup | Azzuro Kuo
Hair | LO’real professional beauty
Backstage management | Jim 、Rose 、Tan Yu of @CatwalkTaiwan @CatwalkAsia
Special Thanks |
Anchi 、Josephine 、Justin in XX team of design dept & backstage dresser assistants
Photographer |
Vivi Wang @vvvvwangvvvv @catwalktaiwan @catwalkasia
Thanks all ➡️ who were there being huge support !
Thanks to ➡️
Condenest PR CO
Production & Decoration team of @taipeifashionweek2020
#台北時裝週2021
#taipeifashionweek2021ss
material composition 在 Fan-Chiang Yi 范姜毅 Facebook 的最佳解答
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
material composition 在 papadesuyo777 Youtube 的最佳解答
元祖ニュータンタンメンの作り方の動画です
チャンネル登録はこちらから
https://www.youtube.com/user/papadesuyo777
レシピ:https://cookpad.com/recipe/6955606
ブログ記事:https://ameblo.jp/cooking-s-papa/entry-12699719448.html
0:18 クチナシ水の作り方
0:53 塩ダレの作り方
1:37 麺生地の作り方
2:56 製麺の仕方
5:35 豚鶏ガラスープの取り方
7:55 本調理
10:04 盛り付け
10:15 完成
元祖ニュータンタンメン(1人分)
中華麺:120g
スープ:600㏄
塩だれ:大さじ2+α
にんにく微塵切り:2片分
豚ひき肉:50g
玉子:2個
粗挽き韓国唐辛子:大さじ3(大辛)
粗挽き韓国唐辛子:大さじ2(中辛)
粗挽き韓国唐辛子:大さじ1(普通)
ごま油:少々
塩だれ(150㏄分)
みりん30㏄
酒:45㏄
水:100㏄
塩:30g
昆布:1g
淡口醤油:小さじ2
スープ(4人分)
水:3500㏄
豚背ガラ:500g
鶏ガラ:1羽分
くず野菜:適量
中華麺(4人分)
強力粉:250g
薄力粉:100g
塩/重曹:各4g
クチナシ水:120g
★フォローよろしくお願いします!/Please follow me!
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How to make Ganso New Tantanmen.
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Recipe in Japanese:https://cookpad.com/recipe/6955606
Report in my blog:https://ameblo.jp/cooking-s-papa/entry-12699719448.html
0:18 How to make colored water.
0:53 How to make Shio Dare.
1:37 How to make dough for ramen.
2:56 How to make ramen noodle.
5:35 How to make soup.
7:55 Cooking.
10:04 Dish up.
10:15 Done.
Ganso New Tantanmen(for 1 serving)
120 g ramen noodle
600 ml soup
2 tbsp+α Shio Dare
2 cloves minced garlic
50 g ground pork
2 egg
3 tbsp Korean red pepper flakes(level 4)
2 tbsp Korean red pepper flakes(level 3)
1 tbsp Korean red pepper flakes(level 2)
some sesame oil
Shio Dare(150 ml)
30 ml mirin
45 ml sake
100 ml water
30 g salt
1 g kombu
2 tsp light soy sauce
Soup(for 4 servings)
3500 ml water
500 g pork bone
1 chicken born
some vegetable scraps
Ramen noodle(for 4 servings)
250 g bread flour
100 g cake flour
4 g salt/baking soda
120 ml colored water
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BGM:☆(Star): https://www.youtube.com/watch?v=wVI98i6vigc
http://commons.nicovideo.jp/material/nc151
作曲/演奏(Composition/performance ):igrek-U
http://www.youtube.com/user/igrek2U?feature
material composition 在 papadesuyo777 Youtube 的精選貼文
丸亀製麺の期間限定メニューの『トマたまカレーうどん』の作り方の動画です
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https://www.youtube.com/user/papadesuyo777
レシピ:https://cookpad.com/recipe/6947928
ブログ記事:https://ameblo.jp/cooking-s-papa/entry-12698401795.html
トマたまカレーうどん(1人分)
うどん:1玉
カレーだし:適量
九条ねぎ:適量
カレーうどんつゆ(4人分)
水:800㏄
ほんだし:小さじ2
みりん:大さじ1
白だし:大さじ2
好みのカレールー:100g
生クリーム:大さじ2
胡麻油:大さじ2
にんにく:2片
生姜:1片
カイエンペッパー:小さじ1/2
フレッシュトマト:1/2個
カットトマト:1/2缶
玉子:2個
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How to make Toma Tama Curry Udon.
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Recipe in Japanese:https://cookpad.com/recipe/6947928
Report in my blog:https://ameblo.jp/cooking-s-papa/entry-12698401795.html
Toma Tama Curry Udon(for 1 serving)
1 portion udon noodle
some curry soup
some Kujo Negi
Curry udon soup(for 4 serivings)
800 ml water
2 tsp Hondashi(bonito soup stock)
1 tbsp mirin
2 tbsp Shirodashi
100 g curry roux
2 tbsp fresh cream
2 tbsp sesame oil
2 cloves garlic
small piece ginger
1/2 tsp cayenne pepper
1/2 fresh tomato
1/2 can chopped tomato
2 eggs
★Please follow me!
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BGM:☆(Star): https://www.youtube.com/watch?v=wVI98i6vigc
http://commons.nicovideo.jp/material/nc151
作曲/演奏(Composition/performance ):igrek-U
http://www.youtube.com/user/igrek2U?feature
material composition 在 papadesuyo777 Youtube 的最佳解答
納豆ミートスパゲティの作り方の動画です
チャンネル登録はこちらから
https://www.youtube.com/user/papadesuyo777
レシピ:https://cookpad.com/recipe/6937897
ブログ記事:https://ameblo.jp/cooking-s-papa/entry-12697184338.html
0:18 野菜の下ごしらえ
1:14 ミートソースの作り方
4:07 本調理
4:31 クリーミー納豆ソースの作り方
6:02 完成
納豆ミートスパゲティ(for 1 serving)
スパゲティ:100g
バター:5g
ミートソース:適量
クリーミー納豆ソース:適量
生クリーム:適量
ミートソース(4人分)
ひき肉:400g
塩:小さじ1
胡椒、ナツメグ:少々
赤ワイン:150㏄
玉ねぎ:1個
にんにく:3片
ピュアオリーブオイル:50㏄
ホールトマト:1缶(400g)
デミグラスソース:1缶(290g)
水:400㏄
塩:小さじ1
胡椒:少々
クリーミー納豆ソース(2人分)
納豆:1パック(30g)
玉子:1個
生クリーム:大さじ1
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How to make Natto Meat Spaghetti.
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Recipe in Japanese:https://cookpad.com/recipe/6937897
Report in my blog:https://ameblo.jp/cooking-s-papa/entry-12697184338.html
Natto Meat Spaghetti(for 1 serving)
100 g spaghetti
5 g butter
some meat sauce
some creamy Natto sauce
some fresh cream
Meat sauce(for 4 servings)
400 g ground meat
1 tsp salt
some pepper, nut meg
150 ml red wine
1 onion
3 cloves garlic
50 ml pure olive oil
a can whole tomato(400g)
a can demiglace(290g)
400 ml water
1 tsp salt
some pepper
Creamy Natto sauce(for 2 servings)
a package Natto(30g)
1 egg
1 tbsp fresh cream
★Please follow me!
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BGM:☆(Star): https://www.youtube.com/watch?v=wVI98i6vigc
http://commons.nicovideo.jp/material/nc151
作曲/演奏(Composition/performance ):igrek-U
http://www.youtube.com/user/igrek2U?feature
material composition 在 Materials And Their Properties - YouTube 的推薦與評價
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