The Real Story【S3EP89】
年夜飯來點異國風!越南媳婦的魚露家鄉味、泰國媽媽的台式菜頭湯,台灣家庭裡的跨文化饗宴
twreporter.org/a/podcast-2024-

The Real Story【S3EP89】
年夜飯來點異國風!越南媳婦的魚露家鄉味、泰國媽媽的台式菜頭湯,台灣家庭裡的跨文化饗宴
twreporter.org/a/podcast-2024-

知乎提问:
如何正确批驳社会达尔文主义?

噼哩 的回答:
2023-08-05 zhihu.com/question/554226666/a

社达提出来这么久了都不是主流,按照社达的理论社达应该自己退出。

知乎提问:
如何正确批驳社会达尔文主义?

噼哩 的回答:
2023-08-05 zhihu.com/question/554226666/a

社达提出来这么久了都不是主流,按照社达的理论社达应该自己退出。

Enid要喂猫
2023-12-25 weibo.com/6481367723/NyKfNqVZ7

据警方介绍,钱某的主要盈利来自网上购买者和快递公司之间的邮费差价,以及介绍印刷生意给上海某印刷厂的提成。她把大部分销售利润分摊给作者、网店员工和印刷厂

2023最感人故事出现了。 ​​​

Enid要喂猫
2023-12-25 weibo.com/6481367723/NyKfNqVZ7

据警方介绍,钱某的主要盈利来自网上购买者和快递公司之间的邮费差价,以及介绍印刷生意给上海某印刷厂的提成。她把大部分销售利润分摊给作者、网店员工和印刷厂

2023最感人故事出现了。 ​​​

2023: The Year in Pictures
A Weary World

By Marc Lacey
nytimes.com/interactive/2023/w

This past year saw plenty of suffering before the morning of Oct. 7.

The war in Ukraine continued to rage. A wildfire tore through a historic town in Hawaii, and the earth shook violently in Turkey. Mass shootings took life after life.

Then, on Oct. 7, Hamas gunmen stormed across the border of Gaza into Israel. And Israel struck back with force across Gaza. The suffering across the world seemed as if it would never end.

Every year, our photo editors try to capture the best photojournalism in one intense presentation. The Year in Pictures is a way to commemorate the big news events from January to December: the ones that traumatized us — and there are many of those — mixed in with some moments of bliss.

In that bliss category, take one young girl’s 13th birthday celebration, which featured a squealing, rapturous night of music and dance with Taylor Swift. An image of the girl, Gabbi Jones, decked out as a Swiftie before a big show in Southern California, shows her beaming behind braces, as though all is well in the world.

We, of course, know otherwise. Another young Swiftie was photographed as she sang and danced — while alone at the grave of one of the friends she lost last year in a mass shooting at her elementary school in Uvalde, Texas.

Years are like that: Awfulness can be jumbled together with ecstasy in impossible-to-reconcile ways. So you’ll find images here — collected by two photo editors, Jeffrey Henson Scales and Tanner Curtis — of war and fashion. A devastating wildfire and a day spent playing in the surf. A plume of smoke from a train accident and an ultrafancy debutante ball. Military standoffs and the tennis champion Coco Gauff, lying on the court after winning the U.S. Open.

So many children, sadly, will not see 2024, never mind the concert of their dreams. Their lives ended when their homes and classrooms turned into battlefields or disaster zones.

There’s a haunting image from Gaza, taken by Samar Abu Elouf, that shows the corpse of a Palestinian baby named Misk wrapped in white cloth outside a morgue. She lies alongside relatives who were killed in an Israeli strike on Gaza. The girl’s bloodied face is visible. Her surviving brother is beside himself, as despondent as a grief-stricken woman in another photograph by Ms. Abu Elouf: That woman is pictured mourning over a relative in a body bag.

The images gathered here, a tribute to the brave photographers who scrambled into harm’s way to capture them, remind us that there were so many tears in 2023.

There’s an unforgettable image of a boy with his tiny hands over his eyes in the basement of his home in Kyiv, Ukraine, where he and his mother sought shelter after an air raid alarm sounded.

Another small hand is pressed up to a window of a school bus in Nashville as a distraught child departs the Covenant School, where a gunman had just mowed down three of her classmates.

Some of what counts for joy this year is rooted in darkness.

There’s a powerful photograph by Tamir Kalifa of an Israeli family clustered together in anguish while awaiting word on the fate of two siblings taken hostage by Hamas on that day in October. The expressions are soul-stirring.

And then there’s a follow-up image toward the end of this package, taken after a brief cease-fire took hold in the region: the young hostages, freed from captivity and on their way home, their lives still ahead of them.

2023: The Year in Pictures
A Weary World

By Marc Lacey
nytimes.com/interactive/2023/w

This past year saw plenty of suffering before the morning of Oct. 7.

The war in Ukraine continued to rage. A wildfire tore through a historic town in Hawaii, and the earth shook violently in Turkey. Mass shootings took life after life.

Then, on Oct. 7, Hamas gunmen stormed across the border of Gaza into Israel. And Israel struck back with force across Gaza. The suffering across the world seemed as if it would never end.

Every year, our photo editors try to capture the best photojournalism in one intense presentation. The Year in Pictures is a way to commemorate the big news events from January to December: the ones that traumatized us — and there are many of those — mixed in with some moments of bliss.

In that bliss category, take one young girl’s 13th birthday celebration, which featured a squealing, rapturous night of music and dance with Taylor Swift. An image of the girl, Gabbi Jones, decked out as a Swiftie before a big show in Southern California, shows her beaming behind braces, as though all is well in the world.

We, of course, know otherwise. Another young Swiftie was photographed as she sang and danced — while alone at the grave of one of the friends she lost last year in a mass shooting at her elementary school in Uvalde, Texas.

Years are like that: Awfulness can be jumbled together with ecstasy in impossible-to-reconcile ways. So you’ll find images here — collected by two photo editors, Jeffrey Henson Scales and Tanner Curtis — of war and fashion. A devastating wildfire and a day spent playing in the surf. A plume of smoke from a train accident and an ultrafancy debutante ball. Military standoffs and the tennis champion Coco Gauff, lying on the court after winning the U.S. Open.

So many children, sadly, will not see 2024, never mind the concert of their dreams. Their lives ended when their homes and classrooms turned into battlefields or disaster zones.

There’s a haunting image from Gaza, taken by Samar Abu Elouf, that shows the corpse of a Palestinian baby named Misk wrapped in white cloth outside a morgue. She lies alongside relatives who were killed in an Israeli strike on Gaza. The girl’s bloodied face is visible. Her surviving brother is beside himself, as despondent as a grief-stricken woman in another photograph by Ms. Abu Elouf: That woman is pictured mourning over a relative in a body bag.

The images gathered here, a tribute to the brave photographers who scrambled into harm’s way to capture them, remind us that there were so many tears in 2023.

There’s an unforgettable image of a boy with his tiny hands over his eyes in the basement of his home in Kyiv, Ukraine, where he and his mother sought shelter after an air raid alarm sounded.

Another small hand is pressed up to a window of a school bus in Nashville as a distraught child departs the Covenant School, where a gunman had just mowed down three of her classmates.

Some of what counts for joy this year is rooted in darkness.

There’s a powerful photograph by Tamir Kalifa of an Israeli family clustered together in anguish while awaiting word on the fate of two siblings taken hostage by Hamas on that day in October. The expressions are soul-stirring.

And then there’s a follow-up image toward the end of this package, taken after a brief cease-fire took hold in the region: the young hostages, freed from captivity and on their way home, their lives still ahead of them.

Nick(@nickhsu)
2023-12-26 nitter.net/nickhsu/status/1739

看到這微博上的評論只能嘆口氣,這節目已經都三個月了,還在討論啊?而且討論社交平台對人的影響都已經多少年了,還在講啊?

我其實很不喜歡這一篇評論,因為他只截取容易引起爭論的片段,而忽略了這些話的語境。如果想了解上下文的話建議直接去看訪談的影片。

我一直都認為平台本質是一個人性的放大器。

例如把善放大,有不少準備高考的學生在平台上找到也在準備高考的人、互相鼓勵。但另一方面也很容易引起焦慮,人們看到比自己富有或是美麗的人會嫉妒、攀比、焦慮。

這些好與不好都是人類社會中已經存在已久,信息焦慮也不是一兩年的事情,而算法只是學習每個人群的偏好,放大這個現象。

人類的行為創造了模型、再用模型困住自己。

而平台就只是個工具,怎麼使用平台、怎樣去面對這些信息就看每個人的心態了。

另外我也理解這個創作者為什麼會用比較容易吸引眼球的方式寫這篇文章。

畢竟在社交平台上,需要吸引人眼球、需要有爭議才容易會有流量,微博更是如此。

這不就是一種創作者被流量馴化的結果嗎?

Nick(@nickhsu)
2023-12-26 nitter.net/nickhsu/status/1739

看到這微博上的評論只能嘆口氣,這節目已經都三個月了,還在討論啊?而且討論社交平台對人的影響都已經多少年了,還在講啊?

我其實很不喜歡這一篇評論,因為他只截取容易引起爭論的片段,而忽略了這些話的語境。如果想了解上下文的話建議直接去看訪談的影片。

我一直都認為平台本質是一個人性的放大器。

例如把善放大,有不少準備高考的學生在平台上找到也在準備高考的人、互相鼓勵。但另一方面也很容易引起焦慮,人們看到比自己富有或是美麗的人會嫉妒、攀比、焦慮。

這些好與不好都是人類社會中已經存在已久,信息焦慮也不是一兩年的事情,而算法只是學習每個人群的偏好,放大這個現象。

人類的行為創造了模型、再用模型困住自己。

而平台就只是個工具,怎麼使用平台、怎樣去面對這些信息就看每個人的心態了。

另外我也理解這個創作者為什麼會用比較容易吸引眼球的方式寫這篇文章。

畢竟在社交平台上,需要吸引人眼球、需要有爭議才容易會有流量,微博更是如此。

這不就是一種創作者被流量馴化的結果嗎?

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