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詩情海陸. Poetry Feeling In Sea And Land. 2025
由來自美國、法國、義大利、馬來西亞、羅馬尼亞、秘魯等多國詩人和台灣詩人之詩作編成《詩情海陸》詩集。
福爾摩莎詩選·2024淡水：ANTHOLOGY OF FORMOSA POETRY - TAMSUI 2024
2024 年來自美國、義大利、法國、南韓、日本、墨西哥、馬來西亞、厄瓜多的12 位國際詩人和30 位台灣詩人，於9月19日至9月25 日齊聚淡水參加2024 淡水福爾摩莎國際詩歌節詩文交流大會，他們每一位詩人的生命經驗與創作靈魂，在淡水交互激盪，為福爾摩莎國際詩歌節與淡水這座文化城市留下滿滿的記憶和感動。福爾摩莎國際詩歌節在淡水已經連續舉辦九年，2024 年參加詩歌節的國內外詩人朋友一共有42 位，人數達歷年之最，數字會說話，這說明淡水福爾摩莎國際詩歌節主辦團隊用心策劃，一年又一年不斷歷練，累積經驗，逐漸成熟穩健，我們創造了淡水福爾摩莎國際詩歌節的文化價值，受到各界的肯定，所以，2024 淡水福爾摩莎國際詩歌節讓國內外詩人朋友近悅遠來。淡水福爾摩莎國際詩歌節能夠連辦九年不輟，並且讓國內外詩人朋友近悅遠來，主要應歸功於兩位總策劃李魁賢與林盛彬殫精竭慮的投入與帶領，他們真誠無私，以詩會友，以禮待人，自然獲得國內外詩人朋友的信賴和支持。當然，團隊的力量也是淡水福爾摩莎國際詩歌節能夠持續舉辦、穩健成功的重要因素，我們非常感謝世界詩人運動組織(PPdM)、淡江大學、真理大學、忠寮社區發展協會及淡水社區大學等共同主辦單位的團結協力與合作無間。除此之外，我們也必須感謝笠詩社，笠詩社雖未掛名主辦，但實際上，九年來笠詩社的詩人伙伴一直與淡水福爾摩莎國際詩歌節同在，他們的助力價值無法估量！-淡水文化基金會董事長許慧明 Hsu Hui-ming-
The Hesitant Feminist，s Guide to the Future
FOREWORDAt the beginning of 2024, I was invited to contribute to a project focused on women who engage in futures thinking and foresight. As a cornerstone of the project, a seminarwas planned to celebrateInternational Women，s Day. In preparation for the event, a vibrant exchange unfolded in a WhatsApp group. Participants, including myself, posed questions, suggested sessions, and explored shared concerns and interests. The following were some of the questions raised:o Why do so many people, who agree with the principles of feminism, hesitate to identify themselves as feminists?o What does feminism signify in 2024?o How should we define it?o Can individuals of genders other than women be feminists?o Is feminism still relevant, or is it considered pass??o Does the concept of feminism require rebranding?o Should we discuss feminism in the singular or feminismS in the plural?o Are we now closer to achieving the central feminist vision of an equitable future than ever before? Or perhaps as close as we，ve ever been? Or have we moved further apart?o Has this envisioned future already materialized in some places, albeit with uneven distribution?o What would the world look like if all genders have equal say - andwhat implications would this shift have for our cities, economy, polity, diplomacy, environment, technologies, families, bodies, and minds?In preparation for my own session, "Towards Feminist Futures (and Beyond)," I began to answer some of these questions. Granted, I have discussed some of these questions many times before. For example, Karen Hurley, Anne Jenkins, and I co-edited a special issue on "Feminist Futures" in 2008. In the introduction we noted that it had been nearly twenty years since journal Futures published another special issue on "Gender and Change," co-edited by Magda Cordell McHale and Peggy Choong. McHale and Choong summarised the need for the 1989 special issue as follows:As we approach the end of the 20th centu
詩情海陸.Poetry Feeling In Sea And Land. 2024
由南韓、日本、法國、薩爾瓦多、義大利、厄瓜多、墨西哥、馬來西亞的12位國際詩人和30位台灣詩人之詩作編成《詩情海陸》詩集。
歐洲安全暨合作組織與被凍結的衝突
本書以歐洲安全暨合作組織涵蓋區域內，被稱為「被凍結的衝突」的摩爾多瓦涅斯特河區、亞塞拜然境內的納哥羅-卡拉巴赫區，以及喬治亞內部的阿布哈茲與南奧塞提亞為分析對象，探討歐安組織運用爭端解決機制的各項工具，協助處理衝突問題的過程與成效。
福爾摩莎詩選‧2023淡水：Anthology of Formosa Poetry - Tamsui 2023
詩歌，將大家的心連在一起 ——2023淡水福爾摩莎國際詩歌節動人心弦 許慧明 HSU Hui-ming 「2023淡水福爾摩莎國際詩歌節 」結束已三個月，但是，又似乎還未結束，我的腦海中不時掠過詩歌節一幕又一幕動人的情景。 COVID-19疫情封鎖世界三年，浩劫餘生，疫後故人來，我一直記得老朋友相見的那一刻，薩爾瓦多詩人 Oscar、義大利詩人 Angelo、摩洛哥詩人 Dalila 他們都把喜悅寫在臉上，大家平安！而最讓我動容的是，當詩人到忠寮，正忙得團團轉的老理事長李鎮榮見到 Dalila，兩人幾乎是跳躍式的擁抱！那動作像在傳達他們的心聲：「歡迎回家！」「回家真好！」 淡水是詩美之鄉，淡水人用最真誠的心歡迎來自薩爾瓦多、義大利、摩洛哥、美國、祕魯、墨西哥、日本、肯亞的11位國際詩人和24位台灣詩人到淡水來參加「2023淡水福爾摩莎國際詩歌節 」。感謝總策劃林盛彬老師的精心擘劃和邀請，將大家的心連在一起。「2023淡水福爾摩莎國際詩歌節 」是台灣的詩歌節，也是世界的詩歌節。 我永遠難以忘懷在淡江大學文錙音樂廳的開幕音樂會，杜守正老師先邀請李魁賢老師上台吟誦他的詩作＜茨後一欉茄苳＞，然後杜老師彈起吉他，他和水源的孩子為大家正式演唱他為李老師＜茨後一欉茄苳＞所譜的歌曲。李老師的＜茨後一欉茄苳＞原本就富深意，杜老師將詩譜寫成歌，和水源的孩子一起演唱出來更是韻味無窮。杜老師在詩歌節閉幕晚宴上，再一次上台演唱＜茨後一欉茄苳 ＞，台下的詩人夥伴跟著旋律扮演烏鴉大聲唱出一段又一段的「 嘎嘎叫！」「 嘎嘎叫！」「 嘎嘎叫！」那一刻，我相信老茄苳已活在大家心肝內，成為永遠的老茄苳。 詩歌在我心中迴盪，詩歌在淡水城市縈繞。於是，當你每天進出淡水捷運站，你會遇見詩，在中庭，在穿堂，在牆柱上向你招手。詩人帶來他們的詩作，由盛彬老師編成《 詩情海陸 》詩集，相互交流；詩也登上大學殿堂，淡江大學圖書館特闢專區舉辦詩作展和詩會；詩也走入社區營造，忠寮詩路吸引國際詩人的目光和參與；詩和畫可以對話，淡水文化園區 - 殼牌倉庫的詩畫聯展，策展人特別邀請詩人為畫家的畫作寫詩；詩和歌更可以融合，將捷金鬱金香酒店的夕照望高樓音樂會，杜老師的吉他竟可以和肯亞音樂家 Ombiro 的非洲鼓和聲合奏，更不用說是義大利 Angelo 為大家帶來最高潮的安可曲＜台灣 台灣＞，讓全場歡聲雷動。 「2023淡水福爾摩莎國際詩歌節 」似乎已經結束，但國內外詩人聯袂前往淡水國小、鄧公國小、水源國小、忠山國小、淡江中學，和各校師生進行詩文教育與交流，她的後續影響，才正要開始。
淡江會計60周年紀念專刊
雖然在時間流轉下，我們每人終將離去。但希望藉此專刊，為淡江會計留下永恆的紀錄，也喚起您我曾經在淡江揮灑的青春點滴。
淡江建築55th畢業成果作品集Tamkang University Dept. of Architecture thesis design.2023
[ Five out of five ] 系主任 游瑛樟 這個主題所代表的意義，如同策展宣言所說的，不僅在象徵建築系五年學生生涯的每個階段，同時也隱含了意義上的滿分。這個主題不僅和這群建築系 55屆學生的學習歷程密切相關，更代表了他們對於自己未來的期望和追求。他們從大一開始走上學習建築的路途，從最初的 1/5 開始，接下來經歷了大二的困難 2/5、大三的成長 3/5，以及年復一年的鍛煉與磨練。當他們邁入第五年，完成了五分之五，就如同完成了最後一塊拼圖。這五年的學習歷程，他們每個階段的分子都被精煉、融合成養分，為畢業後開啟的新起點打下了堅實的基礎，並在轉眼間，盛大的在花博公園舉行了畢業展與畢業典禮，並用這本作品集留下壯麗的痕跡。 這本作品集集合了無以數計建築設計能量的總和，總共集結了 59 位同學， 24 位老師，評圖場上超過 40 位校外評圖老師的心血結晶；藉由設計總召鄭晃二老師的觀察，將同學們的專業觀分成了五個系統：厚理系、觀關系、地貌系、建造系、與動務系。借 5/5 的宣言，這不只是五個年級的成長，也是同學們透過橫跨五個領域的作品，去展現出我們這個系憑藉著對於建築學的多元想像與觀點，向這個快速變遷的世界進行一場回應與吶喊。Mark Wigley 說過 "Architecture never derived its force from stability of culture, but rather from the expression of those moments when that sense of stability slipped."，這句話的意思是，建築之所以強大，並不是來自於文化的穩定，而是來自於那些穩定感消失的時刻所帶來的表現。換句話說，建築能夠展現出真正的力量，是因為它可以反映出社會和文化變遷所帶來的衝擊和挑戰。在這個充滿人際疏離、人工智慧橫行、病毒肆虐、戰火連天的人間試煉下，同學們提出了 60 個發自內心的觀點，並將帶著各自的關照，勇敢地離開這個孕育場走進世界，去尋找屬於自己的答案。 雖然文字寫在付梓之時，但是大家拿到這本作品集，應該已經離開這個令人焚膏繼晷的系館，並各奔前程，希望透過這本記錄，你們可以回想起在工作室裡，大家為了各自的奇思妙想，又哭又笑的歲月與回憶。
詩情海陸.Poetry Feeling In Sea And Land.2023
12位外國詩人與25位本國詩人在詩美之鄉-淡水相 會，大家真心對待，吟詠詩情海陸，國內外詩人帶來參加詩歌節的詩作編成《詩情海陸》詩集。
福爾摩莎詩選.2022淡水
2022淡水福爾摩莎國際詩歌節國內外詩人詩選集，包括來自14個國家的15位外國詩人和21位國內詩人。
CLA 3.0-THIRTY YEARS OF TRANSFORMATIVE RESEARCH
In 1992, while presenting at the World Futures Studies Federation course on International Development, I shifted my lecture from the typical rehearsed presentation on factors explaining maldevelopment to a real time unpacking/deconstruction of transportation futures. As I, we, worked through the analysis, alternatives organically emerged. The four levels were: first, the problem or the litany – congestion and pollution. Second the causes: too many cars and desire for more cars, rising incomes, traditional infrastructure that was not car flow friendly, among other factors. Third, the Big City outlook, westernization, and the "Los Angelization" of the planet. And fourth, West is best with cars as freedom, as individuality. We understood that the government would take a technical approach of creating flyovers and not the deeper required to rethink centre-periphery relations – to decentralize - to reimagine Bangkok as a walkable and green city. This led to a discussion on not just infrastructure redesign but stories around rural areas and the symbol of the car as a symbol of Western power. CLA shifted the discussion from conventional strategies on transport toward alternative futures of mobility, identity, and sustainability. After a few more attempts at presenting on communication, on disability, on ways knowing the method was born. Theoretically, of course, I was standing on the works of the greats: P.R. Sarkar, Johan Galtung, William Irwin Thompson, Joseph Campbell and from insights from professors and colleagues such as James Dator, Michael Shapiro, and Richard Slaughter. In the CLA Reader published in 2004, we compiled articles on the method to gain academic respectability. Doctoral students would email me and say, they wanted to write their thesis on CLA but their professors were suspicious. By 2015, when CLA 2.0 was released, we had documented hundreds of additional case studies. Professor were no longer suspicious, indeed, many enthusiastic. The method by that time had been used by thirty plus national governments, dozens of international organizations, hundreds of businesses and community organizations, and thousands of individuals. With CLA 3.0, we have moved from planting seeds about a new method, to nurturing young trees, to watching a true forest of transformative and critical futures research. The forest true to the iceberg image that has been linked to CLA is not just on land but in the ocean as well. My own work in the area has somewhat changed. Along with projects using CLA on the external world, for example, in the past few months, with FAO, Australia Prudential Residential Authority, Mitsubishi Motors, WHO, the Pacific Community, the Razak School of Government, LEGO, UNESCAP, more and more I insist that participants in workshops also focus on the CLA of the self. This has become especially important with the rise in anxiety from COVID and the invasion of Ukraine. The inner work leads not only to the reflective practitioner but ensures epistemological mindfulness. We enter the room aware that we are part of the problem or solution, that our stories can help or hurt. CLA of the self, for me, is a way to help others find ways out of current predicaments. For example, just recently with colleagues in Shanghai stuck from the long lockdown, we worked together to shift the core metaphor from "the prison" to "painting the prison" and from a "lone firefly to a ray of light" connecting with other rays. An educational leader working with the disadvantaged used CLA recently to develop the new story he wished to tell his community of students, teachers, and parents. While he understood the reality of admiring the problem, after the CLA workshop, he changed his focus from the victim to the champion. (節錄)
