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When Thoughts and Prayers Aren’’t Enough: A Shooting Survivor’’s Journey Into the Realities of Gun Violence

為了解決Vision Ears的問題，作者Schumann, Taylor S. 這樣論述：

Foreword INDIES Book of the Year Award FinalistTaylor Schumann never thought she’d be a victim of gun violence. But one spring day a man with a shotgun walked into her workplace and opened fire on her. While she survived, she was left with permanent wounds, both visible and invisible.In When Thou

ghts and Prayers Aren’t Enough, Taylor invites us to see what it means to be a survivor after the news vehicles drive away and the media moves on. Healing is slow and complicated. As she suffered through surgeries, grueling rehabilitation, and counseling to repair the physical injuries and emotional

trauma, she came face to face with the deep and lasting impact of gun violence. As she began grappling with the realities, Taylor experienced another painful truth: Christians have largely been absent from this issue. Gun violence undercuts God’s vision of abundant life and community--and the silen

ce of the church rings loudly in the ears of survivors and families of victims.Taylor weaves her own incredible story of survival and recovery into a larger conversation about gun violence in our country. With compassion and honesty, she encourages readers to reconsider their own engagement with the

issue and to join her in envisioning a more hopeful, safer future for our nation. Move beyond thoughts and prayers and enter into grace-filled dialogue and action.

Vision Ears進入發燒排行的影片

移動型機器人之自動語音控制

為了解決Vision Ears的問題，作者劉玉瑩 這樣論述：

本論文提出一個語音模型控制移動型機器人的方法。此語音模型經由深度神經網路訓練後，可將特定說話者之語音進行命令辨識後，再將命令傳給機器人執行命令。此語音模型主要包含兩個部分：(1)說話者分離(speaker separation)、(2)自動語音識別(ASR)。在說話者分離上，本論文使用VoiceFilter網路模型來分離說話者語音。VoiceFilter網路模型可分為三部分；(1)說話者聲紋特徵提取、(2)頻譜掩蔽(spectrogram masking)以及(3)損失函數(Loss function)，該模型可通過設置特定說話者之參考音訊，在嘈雜之輸入音訊下專門分離、保留特定說話者之聲紋，

其餘人之聲紋皆會將其過濾；自動語音辨識上，本論文使用Conformer語音模型進行語音轉文字之任務。最後經由實驗來實現機器人確實可以經由語音進行動作控制，驗證所提的方法確實有效。

Dinosaurs: The Grand Tour; Everything Worth Knowing About Dinosaurs from Aardonyx to Zuniceratops

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為了解決Vision Ears的問題，作者Pim, Keiron/ Horner, Jack (CON) 這樣論述：

Bigger and Better, Updated and Expanded We live in a golden age of paleontological discovery--on average, we find one new dinosaur species per week. The most fascinating among them take their place in this updated edition of Dinosaurs--The Grand Tour; from Aardonyx, a lumbering beast that formed a l

ink between two- and four-legged dinosaurs, to Zuniceratops, who boasted a deadly pair of horns. Here, you'll find everything worth knowing about every dinosaur worth knowing--more than 300 in all, including: Amphibious Halszkaraptor looks like no other dinosaur we've found--with a head and body the

size of a duck's, sharp claws . . . and a swanlike neck.Longer than a blue whale and three times taller than a giraffe, Patagotitan is a newly discovered contender for "biggest dinosaur ever."The speedy little feathered predator Stenonychosaurus was an anatomical marvel, with retractable claws, asy

mmetrical ears for advanced hearing, incredible night vision, and a huge brain.Oviraptor--whose name means "egg thief "--doesn't deserve its bad rap. This specimen from 1923 is now proven to have been sitting by its own eggs--not stealing another's.Sinornithosaurus prove that dinosaurs shed their sk

in the same way that humans do, rather than sloughing it off all at once like a snake. At-a-glance sidebars put each dinosaur's diet, size, and location at your fingertips. Stories of harrowing expeditions conjure the thrills of history's most famous dinosaur hunters. Highlights from recent research

reveal what's new in paleontology today, including scientists' evolving idea of what dinosaurs actually looked like. (Hint: They were more colorful--and feathery --than we ever thought before.) And illustrations on virtually every page bring these prehistoric creatures to life in all their glory.

As a small boy, nothing excited Keiron Pim more than a visit to London’s renowned Natural History Museum, where he would gaze up at the Diplodocus skeleton and later depart clutching some little memento: an eraser shaped like Stegosaurus, a lurid poster of a Jurassic scene, or a book crammed with

dino-facts. It would have blown his mind to know that he’d one day write a book on dinosaurs. Keiron, married with three daughters, is an award-winning nonfiction author, editor, and writing tutor based in Norfolk, England. See more at keironpim.co.uk.Fabio Pastori first learned the power of visual

art in advertising, crafting memorable and persuasive ad campaigns no matter the slogan. In the 1980s, he adapted the hallmarks of his style--dynamic perspectives, extreme three-dimensionality, and vivid colors--to create an entirely new way to represent dinosaurs. His work would prove to be ahead o

f its time; in light of the latest science, researchers are now confirming the validity of Fabio’s early drawings. He remains a highly regarded paleoartist today, known for his sharp eye in depicting cutting-edge discoveries.John ＂Jack＂ Horner is one of the world’s foremost paleontologists, credited

with finding the first dinosaur eggs in the Western Hemisphere, the first evidence of dinosaur colonial nesting, the first evidence of parental care among dinosaurs, and the first dinosaur embryos. He served as the inspiration for paleontologist Dr. Alan Grant in Michael Crichton’s Jurassic Park, a

nd as the technical adviser on all of the Jurassic Park films. Horner is Regents Professor of Paleontology, Emeritus, at Montana State University.

水景繪畫的美學心靈-林芳蘭創作論述

為了解決Vision Ears的問題，作者林芳蘭 這樣論述：

現代人工作忙碌，生活壓力鉅大。雖然物質取得容易與資訊傳播快速而使人生活變得方便，卻也使人每天忙忙碌碌而忽略了滿足精神世界及傾聽內心真正的聲音。筆者原本從事外界社會所認定的好工作，卻每天身心疲憊且焦慮煩躁，直到學畫之後，漸漸懂得靜下心來聆聽自己內心的聲音，思考生命的意義。也在為了躲避都市水泥叢林的壓力而接觸大自然、接觸河流與大海之後，深刻體會到大自然所帶給筆者的神奇撫慰與安定力量。尤其是當身體接觸到沁涼的河水與海浪、耳朵聽著潺潺流水聲與一波一波的浪潮聲，看著清澈柔美的河水與寬廣無邊的大海，水景所帶給筆者身心靈的療癒力量更是遠遠大於大自然的其它部分。因為受到水景的療癒，也因此讓筆者有了研究與創作

水景療癒繪畫的想法。在本論文第一章中，筆者基於自身學習藝術創作的經驗，來分享繪畫創作帶給筆者的影響、轉變與成長。在大自然的懷抱裡，筆者得到以描繪水景為主要創作對象的想法，並在實際創作後得到壓力的釋放與心靈的安定。藉由繪畫，筆者獲得了心靈的療癒，因此決定深入研究療癒以及水對人類的意義，並且探討和療癒及水相關的藝術繪畫創作，並進而創作完成一系列作品，期待觀賞筆者作品的人也能從中得到療癒與慰藉。在第二章文獻探討部分，筆者首先探討文學與哲學層面水的象徵意義，也同時研究了水景錄像。然後研究分析水景及療癒繪畫藝術家的作品特色，並進一步探究色彩與藝術家心境及風格的關聯。第三章是針對筆者的繪畫創作來進行觀點分

析、創作歷程與創作形式分析、以及創作媒材與技法的分析。第四章則是對於筆者的三個系列創作進行介紹與解析。這整個過程讓筆者了解「自己的心」是最重要的。唯有跟隨自己內心的聲音做事，人才不會覺得容易疲累。也唯有畫出象徵自己內心感受的色彩，才能真正表達藝術家的情感。唯有創作出「像自己的畫」這樣的創作，才能真正表達藝術家的心靈，而將藝術家內在的能量釋放出來，進而療癒藝術家與療癒觀賞者，達到藝術的最高境界。