「這項活動最令我印象深刻的，是參與者的多元與包容。車友年齡從 20 多歲到 80 多歲不等，更有一位年僅 12 歲、名叫 Melody 的小女孩，這已是她第四次參加環台。車輛類型也相當多樣，包括電動自行車、城市車與公路車。

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地區單車隊於 2025 年 11 月完成「Tour de Taiwan 環台之旅」"></div><div class="captionTheme__wrapper"><p class="captionTheme__paragraph">3520 地區單車隊於 2025 年 11 月完成「Tour de Taiwan 環台之旅」</p></div></div><div class="graf--img center"><div class="lexical__imageWrapper"><img src="https://images.vocus.cc/2a4d8fcb-5b2e-4cb8-bb23-85e7f330fd06.jpg" data-src="https://img.vocus.cc/tlfZ1mcxtET8Wn5eUC6FHyjQ64GztR6qRi1DVi8QXiM/w:740/f:webp/plain/https://images.vocus.cc/2a4d8fcb-5b2e-4cb8-bb23-85e7f330fd06.jpg" class="lazy" data-loaded="false" data-original-src="https://images.vocus.cc/2a4d8fcb-5b2e-4cb8-bb23-85e7f330fd06.jpg" data-fallback-src="https://resize-image.vocus.cc/resize?norotation=true&quality=80&url=https%3A%2F%2Fimages.vocus.cc%2F2a4d8fcb-5b2e-4cb8-bb23-85e7f330fd06.jpg&width=740&sign=cMSw-CAoJuMvCymhOxxTPBMfv1rdx2zLoS7r7UJdaF4" data-lowquality="false" data-width="1536" data-height="1024" data-retry="0" onerror="var p=this.parentNode;if(p&&p.tagName==='PICTURE'){var ss=p.querySelectorAll('source');for(var 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以行動支持創作者！付費即可解鎖

贊助珍奶

運動

不是風景區的海岸，才是真實的海洋

長期以來，西方美學以《維特魯威人》式的幾何比例定義「完美身體」，這種視覺標準無形中成為殖民擴張與種族分類的暴力工具。本文透過分析奈及利亞編舞家庫德斯．奧尼奎庫的舞作《轉轉生》，探討當代非洲舞蹈如何跳脫「標本式」的文化觀看。

趙鐸的沙龍

《轉轉生 Re:INCARNATION》：釋放差異的身體裂縫

全新版本的《三便士歌劇》如何不落入「復刻經典」的巢臼，反而利用華麗的秀場視覺，引導觀眾在晚期資本主義的消費愉悅之中，而能驚覺「批判」本身亦可能被收編——而當絞繩升起，這場關於如何生存的黑色遊戲，又將帶領新時代的我們走向何種後現代的自我解構？


釀電影，啜一口電影的美好。

吃完飯後再談道德，除魅之後再復魅：巴里．柯斯基與柏林劇團的《三便士歌劇》

本文深度解析賽勒布倫尼科夫的舞臺作品《傳奇：帕拉贊諾夫的十段殘篇》，如何以十段殘篇，結合帕拉贊諾夫的電影美學、象徵意象與當代政治流亡抗爭，探討藝術在儀式消失的現代社會如何承接意義，並展現不羈的自由靈魂。

《傳奇：帕拉贊諾夫的十段殘篇》：一場跨越時空的藝術對話，在舞臺上重現自由靈魂

若說易卜生的《玩偶之家》為 19 世紀的女性，開啟了一扇離家的窄門，那麼《海妲．蓋柏樂》展現的便是門後的窒息世界。本篇文章由劇場演員 Amily 執筆，同為熟稔文本的演員，亦是深刻體察制度縫隙的當代女性，此文所看見的不僅僅是崩壞前夕的最後發聲，更是女人被迫置於冷酷的制度之下，步步陷入無以言說的困境。

Amily的沙龍

在理解與拒絕之間：從多重身分觀看《海妲．蓋柏樂》

郭錦駩的沙龍

3520車隊蛇年環島登上RI Fellowship Cycling to Serve頭條。Melody小女孩也沾光

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