Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

启明来大湾区创业了，在这高楼林立的繁华都市，他们终于也有了一席之地，只不过是在一栋偏僻老旧的写字楼里，“启明工作室”的初创者启明、泽轩和温心正在忙碌着。 启明发现“炬火”品牌新推出新产品的思路和启明团队递交过去竞标的方案几乎是一样，他们被品牌方剽窃了。于是便去找对方对峙，由于对方态度强硬启明团队没有成功，但是对方提出如果帮他们完成盆罗村项目推进，事情就还有转机。

启明来大湾区创业了，在这高楼林立的繁华都市，他们终于也有了一席之地，只不过是在一栋偏僻老旧的写字楼里，“启明工作室”的初创者启明、泽轩和温心正在忙碌着。 启明发现“炬火”品牌新推出新产品的思路和启明团队递交过去竞标的方案几乎是一样，他们被品牌方剽窃了。于是便去找对方对峙，由于对方态度强硬启明团队没有成功，但是对方提出如果帮他们完成盆罗村项目推进，事情就还有转机。

玛丽娜（Marina）是一名优等生，她的父亲是一名职业杀手，母亲患有残疾。因为她的父亲在一次任务中丧生，玛丽娜的生活很快陷入混乱，需要她接管家族生意，成为母亲唯一的照顾者。

In colonial Brazil, boy is sent to live with some parents in a sugarcane plantation, after losing his mother. His adaptation will be difficult and painful. A young boy goes to live with his grandfather on a Brazilian plantation after his mother dies. Haunted by the memories of her violent death, the boy slowly adapts to his new surroundings until death, marriage, and the passage of time breaks up the family. Only when the boy is old enough to experience his first love does he leave to attend a city school.

[ワンセグ2] 2010年6月7日(月)～6月11日(金) ひる12時55分～13時00分 全5回 　　『ワンセグ世代に捧ぐ ☆ it’s a ゴージャスなミニドラマ』 　　漫画家志望の草食男子・信之介（窪田正孝）が、資産家の自由気ままなお嬢様・みずほ（杏）に出会い、彼女に翻弄されながらも日本男子の気骨を武器に、彼女に見初められるまでを描くラブコメ＆サクセスストーリーをワンセグ独自放送でお届けします。 　　脚本はコメディードラマの名手・尾崎将也さん（「結婚できない男」「まっすぐな男」他）のオリジナル作品です。 　　ほんの５分のミニドラマながら、３０分ドラマの要素を“ギュッ！”と詰め込みます。背景なし（ブルーバック）で出演者の演技を全て撮影。オリジナルイラストの背景画を合成、随所にマンガやアニメーションを挟み込む新手法で映像を作ります。アラサー世代の女性にお楽しみいだけるようファッションにもこります。

专注于拆解和演示钓鱼核心技巧——拉饵。我们将从基础讲起，讲解拉饵的开制方法、状态调整、上饵手法以及针对不同鱼情的应用。旨在帮助新手快速入门，并助力有一定经验的钓友精进技术，掌握这一提升中鱼率的关键要点。

《沟通技巧 天才CP谈情说案版》是《我有特殊沟通技巧》VIP剧粉独享的CP单线剧情内容，360度全方位揭秘天才CP的甜蜜日常。