#內容創作 (Content Creation)
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【數位游牧】的實踐指南與豐厚收入途徑
探索不受地理限制的工作模式【數位游牧】，掌握2025年最熱門的線上賺錢策略，實現工作與旅行的完美平衡。 Continue reading 【數位游牧】的實踐指南與豐厚收入途徑
#VA)#內容創作 (Content Creation)#回收轉賣 (Reselling)#投資 (Investing)#數位游牧者綜合能力雷達分析#準備必要的工具與環境：無礙的線上連結#社群媒體經營 (Social Media Management)#積極尋找遠距工作或自由接案機會：化被動為主動#第二部分：透過網路賺錢的10種實用方法#網路問卷調查 (Online Surveys)#線上教學/顧問 (Online Teaching/Consulting)#聯盟行銷 (Affiliate Marketing)#自由接案者 (Freelancing)#虛擬助理 (Virtual Assistant#財務規劃與儲蓄：為自由生活築基#逐步實踐與持續調整：保持彈性與自律#選擇工作形式與轉型策略：多元選項，靈活選擇#釐清與評估自身技能：找到您的「帶著走的專業」#電子商務 (E-commerce)
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...(*￣０￣)ノ[about me…]
.
Name: Aim＝Zzzzzzzaka
Occupation: life-time artmaker
Content Warning: Bleeding/Blood/Cut and stab wounds
About this account: Tattoos are another colorful attempt of artistic creation for someone have dreaming this about a long time. Laborious, but I enjoy it for now. 🏹
賬號可能存在的內容：
⚠️流血/傷痕/刺青工照/皮膚傷損
⚠️一切基於經驗心有餘而力不足的藝術創作
⚠️念想呈碎片式記錄
2025.03.27
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什麼是內容創作日曆工具？（Content Creation Calendar Tools）
在一個繁忙的數位時代，內容創作如同一場馬拉松賽跑。想像一下，你是一名內容創作者，每天都面對著無盡的靈感與截止日期。在這樣的情況下，如何能有效地規劃和組織你的創意呢？這就是內容創作日曆工具的重要性所在！它不僅幫助你安排發佈時間，更能讓你清晰掌握每個主題、受眾及行銷策略。透過這些工具，你將能夠提升效率，釋放更多創造力，最終贏得觀眾的心！ 文章目錄 什麼是內容創作日曆工具的核心功能與優勢 如何有效利用內容創作日曆提升工作效率 選擇最佳內容創作日曆工具的關鍵考量 成功案例分析：運用內容創作日曆實現行銷目標 常見問答 因此 什麼是內容創作日曆工具的核心功能與優勢 內容創作日曆工具的核心功能主要集中在提升內容規劃與管理的效率。這些工具能夠幫助使用者清晰地安排每一篇文章或社交媒體貼文的發佈時間，確保不會錯過任何重要時刻或節日。此外，它們通常提供可視化界面，使得整個內容計畫一目了然，讓團隊成員之間更…
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很抱歉！我並不經常也不擅長使用湯不熱，所以我的主頁並沒有太多內容。
如果我嚇到了你，我很抱歉，請相信我只是想表達對了不起的創作的喜歡，我真的不是機器人🙏🏻！
I used a translator. I'm not very good at English：
I'm sorry! I don't use Tumblr very often and I'm not very good at it (I'm still learning) , so my homepage doesn't have much content.
If I scared you, I'm sorry, please believe me, I just want to express the love of great creation.
I'm not a robot🙏🏻
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ENG | 中文 A R T I S Ts x M A K E Rs S U P P O R T 💬⠀⠀⠀⠀⠀⠀ ✨Welcome to another Artists Makers Support! I enjoyed the content of your creations in the past support posts very much!! 🥰Thank you for your participation and showing me SO MANY talented souls! ✨⠀ ⠀ Let's spread some love and support to the creators, makers and artists you admire! ⠀ ⠀ 👏Here's how to attend, comment in this post below : ⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀ ⭐️Short intro of yourself , we'd love to know you and your art!⠀⠀⠀⠀⠀⠀⠀ ⭐️Tag your favorite artist or someone inspirational to you that you think deserves more love ⠀⠀⠀⠀⠀⠀⠀ ⭐️Check out other amazing artists/ makers accounts in the comments, make new friends and support each other! ⠀⠀⠀⠀⠀⠀⠀ ⭐️I’ll pick some of my faves and share them in my story! ⠀⠀⠀⠀⠀⠀⠀ ⭐️Feel free to like & share this post so others can join us! All art is welcome ! ⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ ✨If you like my art and content, I can use some of your follow support as well🙌🏻 Many thanks!⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀ ✨Feel free to browse the link in my bio, maybe you will find the handmade amigurumi to adopt, a crochet pattern that you like and perhaps some free Youtube crochet tutorials to start your crochet amigurumi journey with me!⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀ >>>>Sending BIG virtual hugs , from me to you 🤗🤗🤗⠀ ⠀⠀⠀ 歡迎加入這週的藝術及創作者的追蹤及加油貼文⠀ 不管你創作的是什麼，都歡迎加入哦! ⠀ ⠀ 參加辨法很簡單，在本文下方留言，內容請包括: ⠀ ⠀ ⭐️簡單的自介，讓大家知道認識一下你還有你創作的東西!⠀ ⭐️請標記你認識或欣賞的藝術及創作者，讓大家可以也去看看他們的作品!⠀ ⭐️別忘了看看其他留言者的作品，然後追蹤你喜歡的，給他們一些加油和支持鼓勵!⠀ ⭐️我也會選一些我喜歡的，標記作者後分享到我的IG動態裡宣傳哦!⠀ ⭐️如果你們喜歡這樣的分享，也歡迎轉貼這則貼文讓更多人看到! 謝謝!~⠀ ⠀ 很簡單吧! ⠀ 🙌🏻我相信只要大家願意分享及交流，就可以讓好的作品可以讓更多人看到!!⠀ 現在疫情還在，希望藉由這樣的分享貼文可以多少幫助到更多的藝術及創作者! ⠀ 🙏🏻簡單的按一下追蹤就可以讓那個你追蹤的藝術及創作者感受到支持和感動哦! ⠀ ⠀ ——————————————————————————⠀⠀⠀⠀ ⠀ 🎈🎁#ohanacraft #crochet #amigurumi #yarnpunk #artistalley #smallbusiness #localbusiness #supportlocalartists #artistssupport #artistssupportingartists #supportlocalbusiness #illustrationartist #artstagram #makersgonnamake #instacrochet #enamelpins #instagood #scuplture #hanmade #sewing #needlefelt #knit #polymerclay #illustratie⠀#手作市集 #鉤針娃娃 #アミグルミ #原創 #插畫 #台南人 (at Support the Artists) https://www.instagram.com/p/CB8ow5mHSAx/?igshid=rvtw0icdz19
#ohanacraft#crochet#amigurumi#yarnpunk#artistalley#smallbusiness#localbusiness#supportlocalartists#artistssupport#artistssupportingartists#supportlocalbusiness#illustrationartist#artstagram#makersgonnamake#instacrochet#enamelpins#instagood#scuplture#hanmade#sewing#needlefelt#knit#polymerclay#illustratie#手作市集#鉤針娃娃#アミグルミ#原創#插畫#台南人
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Voices of Photography 攝影之聲 Issue 26 : 末日棲居 Dwelling in the Apocalypse
面對不可預期的來日，我們是否與德國詩人腓特烈．賀德林（Friedrich Hölderlin）曾言的「詩意地棲居」更加疏遠？災害與戰禍、虛假與算計，人類世界無限擴張的野心和欲望未曾降低，人的存在也愈來愈難以賦添詩意。而衝突升高的國際政治情勢，使此刻相隔末日只剩兩分鐘的「末日時鐘」竟回到與1953年冷戰時期的同一等級，成為二戰結束以來與末日距離最近的年代。我們如何可能地棲居——在末日到來的大地？
志賀理江子迷離如夢般的影像書寫，是她在2011年親歷東日本大地震之後對於存在與死亡的感知路徑。在新作《Human Spring》中，志賀試圖打開如今已逐漸被封閉但仍存於人類內在的自然性與身體感，透過繪織意識流般的圖景，呈現著對於人性與生存本身的冥思啟示。林諭志的《Asongcalledformosa》是他在漫長的家園行旅中刻錄的私房曲盤—故鄉與里人、工業區和荒涼的海岸、父親在二戰時遭日本軍徵召至南洋服役的往事記憶⋯⋯，跨越數十年的影像在此首次發表，島嶼的戀曲與哀歌幽幽鳴奏，旅人一路踽踽低吟。1980年代起投入錄像裝置創作的袁廣鳴，作品反映著對於日常生活的不安覺察，自上世紀末的《關於米勒的晚禱》、《離位》到本世紀的《城市失格》、《能量的風景》、《棲居如詩》、《日常演習》等系��作品，發散著前末日感氣息的寓言，這些寓言緩慢漂移在去人化的現代社會空間，直至世界轟然炸裂。
在本期中，謝佩君深度描寫美國藝術家克利斯迪安．馬克雷（Christian Marclay）與亞瑟．賈法（Arthur Jafa）各自運用現成影像蒙太奇的創作，傳遞著影像生產中戰爭、暴力的末世預警，這兩件於今年威尼斯雙年展中受到矚目的錄像作品，同時反映著本屆「願你生活在有趣的時代」這個對現今世界充滿各種不確定性的喻義主題。陳儒修則從影史開展的歷史性一幕—「火車進站」—指出電影發展的開端與災難的關聯、災難電影與現實經驗的糾葛，以及電影本身所造成的歷史性災難。
日本在今年告別「平成」年代並開啟「令和」年號，對日本的政治與文化進入新的階段有著重要的象徵意義，張世倫從昭和天皇裕仁於1946年發表的「人間宣言」開始，針對天皇形象在戰後的轉變與影像包裝歷程，進行了細緻地視覺解析，檢視天皇制度綿延而生的歷史記憶與文化政治。「攝影書製作現場」單元則近訪日本藝術書籍出版社赤赤舍創辦人姬野希美，記錄了外界少見的編印工作實況。
今年三月起，《攝影之聲》與空總台灣當代文化實驗場合作舉辦了一系列由藝術家和影像研究者帶領的「歷史後像：攝影史敘事工作坊」，嘗試推進攝影史的當代意義與創造性思索。本期我們特別摘錄其中由高重黎主持的「影像機器工作坊」談話，在這份講稿中，他以視覺原理出發，揭示藝術與文學創作如何回應攝影與視覺，並創造出強調手眼協作感知的「觸／視頭部造相術」，為思考攝影／視覺史帶來新的啟發。關於工作坊系列的更多內容，我們將在後續製作的專題中呈現。同時，我們近期也將舉辦攝影史論壇與相關活動，等待你一起來參與。
購書 Order
In the face of unpredictable days ahead, have we drifted even further away from the “poetic dwelling” the German poet Friedrich Hölderlin so poignantly described? Disasters and wars, lies and scheming - the ambitions and desires that plague the human world never cease to expand, making it harder to imbue the presence of humans with a sense of poetry. As the threat of conflict in global politics rises to its highest level since the Cold War in 1953, where the “doomsday clock” stays at two minutes to midnight, we are closer than ever to the end since World War II. How do we possibly survive on this land as the apocalypse closes in?
Shiga Lieko’s dream-like imagery creations reflect her perception of life and death after living through the Great East Japan Earthquake in 2011. In her latest work, Human Spring, Shiga attempts to recover the sense of nature and self that lies within all humans but has since been forgotten and buried. She does so through the use of imagery that flows like a stream of consciousness, presenting a picture of meditation on human nature and survival itself. Lin Yu-Chih’s Asongcalledformosa is a private songbook he created on a long travel home, filled with songs like that of his hometown and its people, the industrial area and the desolate coast, and memories of his father being recruited by the Japanese army to serve in Southeast Asia. These images taken over the course of decades are published for the first time, singing the love and sorrowful songs of this island that the traveler hums along to as he set out on his journey. Yuan Goang-Ming has been working with video installation since the 1980s, and his work illustrates a sense of uneasiness towards daily life. From About Millet’s The Angelus and Out of Position created at the end of last century, to more recent works such as City Disqualified, Landscape of Energy, Dwelling and Everyday Maneuver, a sense of our past and last days permeates his creations, the message of which is drifting afloat in the modern social space that has been dehumanized, until the world can finally take no more.
In this issue, Hsieh Pei-Chun describes in great detail American artists Christian Marclay and Arthur Jafa’s works that consist of found footage, and are warning of war and violence. Their works received much attention in this year’s edition of the Venice Biennale as they reflected the metaphorical theme of the Biennale that hints at uncertainties in today’s world, “May You Live in Interesting Times”. On the other hand, Chen Ru-Shou draws a connection between movies and disasters, the entanglement of disaster films and real-life experience and finally the disasters brought about by filmmaking itself.
Japan’s era name change from Heisei to Reiwa this year is symbolically significant both for her politics as well as her culture which have also entered a new era. Chang Shih-Lun takes a look at the post-war transformation in the external images of Emperor Hirohito since his “Declaration of Humanity” in 1946, analyzing in detail the memories of history and cultural politics that followed Japan’s imperial system. Furthermore, the Photobook Making Case Study segment features a rare behind-the-scenes look at printing work with Himeno Kimi, founder of AKAAKA, a Japanese art book publisher.
Since March this year, we have been co-organizing with C-LAB the Afterimage of History: Photography History Narrative Workshops, a series of workshops led by artists and imagery researchers, promoting the critical thinking of contemporary meaning and creativity in the history of photography. In this issue, we are featuring an excerpt from artist Kao Chung-Li’s lecture in his Imagery Machine workshop, in which he spoke about the principles of visual imagery, and revealed the ways art and literary creations responded to photography and visual perception. (Kao also created a concept called “chù/shìh tóu bù jhào siàng shù” (tangibility of touch/sight head phase-image making method), a method to illustrate the perception of touch and sight in image creation, inspiring new ways to approach photography and visual history.) We will be featuring more content from the workshops in future issues. At the same time, we will also be organizing a forum on photography history, and we look forward to your participation.
購書 Order
#Voices of Photography#攝影之聲#志賀理江子#Shiga Lieko#林諭志#Lin Yu-Chih#袁廣鳴#Yuan Goang-Ming#高重黎#Kao Chung-Li#AKAAKA#赤赤舍#姬野希美#Himeno Kimi#攝影#photography#VOP#Arthur Jafa#Christian Marclay
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2020年1月6日
【新入荷・新本】
『Voices of Photography 攝影之聲 Issue 26: 末日棲居 DWELLING IN THE APOCALYPSE』（影言社、2019年）
価格：2,273円（＋税）
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台湾の写真雑誌「Voices of Photography 攝影之聲」最新号は、ヘルダーリン＝ハイデッガー「詩人のように人間は住まう」を糸口として、志賀理江子「ヒューマン・スプリング」展を大々的に特集。
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面對不可預期的來日，我們是否與德國詩人腓特烈．賀德林（Friedrich Hölderlin）曾言的「詩意地棲居」更加疏遠？災害與戰禍、虛假與算計，人類世界無限擴張的野心和欲望未曾降低，人的存在也愈來愈難以賦添詩意。而衝突升高的國際政治情勢，使此刻相隔末日只剩兩分鐘的「末日時鐘」竟回到與1953年冷戰時期的同一等級，成為二戰結束以來與末日距離最近的年代。我們如何可能地棲居——在末日到來的大地？
志賀理江子迷離如夢般的影像書寫，是她在2011年親歷東日本大地震之後對於存在與死亡的感知路徑。在新作《Human Spring》中，志賀試圖打開如今已逐漸被封閉但仍存於人類內在的自然性與身體感，透過繪織意識流般的圖景，呈現著對於人性與生存本身的冥思啟示。林諭志的《Asongcalledformosa》是他在漫長的家園行旅中刻錄的私房曲盤—故鄉與里人、工業區和荒涼的海岸、父親在二戰時遭日本軍徵召至南洋服役的往事記憶⋯⋯，跨越數十年的影像在此首次發表，島嶼的戀曲與哀歌幽幽鳴奏，旅人一路踽踽低吟。1980年代起投入錄像裝置創作的袁廣鳴，作品反映著對於日常生活的不安覺察，自上世紀末的《關於米勒的晚禱》、《離位》到本世紀的《城市失格》、《能量的風景》、《棲居如詩》、《日常演習》等系列作品，發散著前末日感氣息的寓言，這些寓言緩慢漂移在去人化的現代社會空間，直至世界轟然炸裂。
在本期中，謝佩君深度描寫美國藝術家克利斯迪安．馬克雷（Christian Marclay）與亞瑟．賈法（Arthur Jafa）各自運用現成影像蒙太奇的創作，傳遞著影像生產中戰爭、暴力的末世預警，這兩件於今年威尼斯雙年展中受到矚目的錄像作品，同時反映著本屆「願你生活在有趣的時代」這個對現今世界充滿各種不確定性的喻義主題。陳儒修則從影史開展的歷史性一幕—「火車進站」—指出電影發展的開端與災難的關聯、災難電影與現實經驗的糾葛，以及電影本身所造成的歷史性災難。
日本在今年告別「平成」年代並開啟「令和」年號，對日本的政治與文化進入新的階段有著重要的象徵意義，張世倫從昭和天皇裕仁於1946年發表的「人間宣言」開始，針對天皇形象在戰後的轉變與影像包裝歷程，進行了細緻地視覺解析，檢視天皇制度綿延而生的歷史記憶與文化政治。「攝影書製作現場」單元則近訪日本藝術書籍出版社赤赤舍創辦人姬野希美，記錄了外界少見的編印工作實況。
今年三月起，《攝影之聲》與空總台灣當代文化實驗場合作舉辦了一系列由藝術家和影像研究者帶領的「歷史後像：攝影史敘事工作坊」，嘗試推進攝影史的當代意義與創造性思索。本期我們特別摘錄其中由高重黎主持的「影像機器工作坊」談話，在這份講稿中，他以視覺原理出發，揭示藝術與文學創作如何回應攝影與視覺，並創造出強調手眼協作感知的「觸／視頭部造相術」，為思考攝影／視覺史帶來新的啟發。關於工作坊系列的更多內容，我們將在後續製作的專題中呈現。同時，我們近期也將舉辦攝影史論壇與相關活動，等待你一起來參與。
In the face of unpredictable days ahead, have we drifted even further away from the “poetic dwelling” the German poet Friedrich Hölderlin so poignantly described? Disasters and wars, lies and scheming - the ambitions and desires that plague the human world never cease to expand, making it harder to imbue the presence of humans with a sense of poetry. As the threat of conflict in global politics rises to its highest level since the Cold War in 1953, where the “doomsday clock” stays at two minutes to midnight, we are closer than ever to the end since World War II. How do we possibly survive on this land as the apocalypse closes in?
Shiga Lieko’s dream-like imagery creations reflect her perception of life and death after living through the Great East Japan Earthquake in 2011. In her latest work, Human Spring, Shiga attempts to recover the sense of nature and self that lies within all humans but has since been forgotten and buried. She does so through the use of imagery that flows like a stream of consciousness, presenting a picture of meditation on human nature and survival itself. Lin Yu-Chih’s Asongcalledformosa is a private songbook he created on a long travel home, filled with songs like that of his hometown and its people, the industrial area and the desolate coast, and memories of his father being recruited by the Japanese army to serve in Southeast Asia. These images taken over the course of decades are published for the first time, singing the love and sorrowful songs of this island that the traveler hums along to as he set out on his journey. Yuan Goang-Ming has been working with video installation since the 1980s, and his work illustrates a sense of uneasiness towards daily life. From About Millet’s The Angelus and Out of Position created at the end of last century, to more recent works such as City Disqualified, Landscape of Energy, Dwelling and Everyday Maneuver, a sense of our past and last days permeates his creations, the message of which is drifting afloat in the modern social space that has been dehumanized, until the world can finally take no more.
In this issue, Hsieh Pei-Chun describes in great detail American artists Christian Marclay and Arthur Jafa’s works that consist of found footage, and are warning of war and violence. Their works received much attention in this year’s edition of the Venice Biennale as they reflected the metaphorical theme of the Biennale that hints at uncertainties in today’s world, “May You Live in Interesting Times”. On the other hand, Chen Ru-Shou draws a connection between movies and disasters, the entanglement of disaster films and real-life experience and finally the disasters brought about by filmmaking itself.
Japan’s era name change from Heisei to Reiwa this year is symbolically significant both for her politics as well as her culture which have also entered a new era. Chang Shih-Lun takes a look at the post-war transformation in the external images of Emperor Hirohito since his “Declaration of Humanity” in 1946, analyzing in detail the memories of history and cultural politics that followed Japan’s imperial system. Furthermore, the Photobook Making Case Study segment features a rare behind-the-scenes look at printing work with Himeno Kimi, founder of AKAAKA, a Japanese art book publisher.
Since March this year, we have been co-organizing with C-LAB the Afterimage of History: Photography History Narrative Workshops, a series of workshops led by artists and imagery researchers, promoting the critical thinking of contemporary meaning and creativity in the history of photography. In this issue, we are featuring an excerpt from artist Kao Chung-Li’s lecture in his Imagery Machine workshop, in which he spoke about the principles of visual imagery, and revealed the ways art and literary creations responded to photography and visual perception. (Kao also created a concept called “chù/shìh tóu bù jhào siàng shù” (tangibility of touch/sight head phase-image making method), a method to illustrate the perception of touch and sight in image creation, inspiring new ways to approach photography and visual history.) We will be featuring more content from the workshops in future issues. At the same time, we will also be organizing a forum on photography history, and we look forward to your participation.
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時尚列車
Oil painting
180x100cm,78x100cm
2016
這件為三連作作品，首次嘗試在風格中融入Ghislain Magritte、Edward Hopper、Gerhard Richter、Alberto Giacometti及常玉等國內外藝術家表現手法。主要想說明在當代藝術中，藝術思想即已為創作主軸內容，表現手法已無像現代藝術，追求藝術風格化的必要性。因此當代藝術應無固定形式，就像綜合格鬥(Mixed Martial Arts)MMA一樣，可以自由融合歷代藝術家的風格為風格!
This is a three-in-one work. It is the first attempt to incorporate the expression techniques of domestic and foreign artists such as Ghislain Magritte, Edward Hopper, Gerhard Richter, Alberto Giacometti and Sanyu into the style. I mainly want to explain that in contemporary art, artistic thought has become the main content of creation, and the expression method is no longer like modern art, and it is necessary to pursue artistic stylization. Therefore, contemporary art should have no fixed form, just like MMA (Mixed Martial Arts), it can freely integrate the styles of previous generations of artists into style!
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這是神木的重新帳戶，不是因為沒有核心會員創立的帳戶，這是練習畫畫技巧的帳戶 This is a re-account of Shenmu, not because there is no account created by a core member. This is an account for practicing drawing skills 內容：樹創文化不只是數位出版，它具有多功能，也是餐廳，快來一個數位出版餐廳 content:The tree culture is not just digital publishing, it is multi-functional, it is also a restaurant, come to a digital publishing restaurant 故事內容：有一些人合夥開了樹創文化，本來是數位設計出版社，設計電子書和數位設計，可是他們的專長不一樣，後來他們決定也賣食物，最後樹創文化是一家數位出版餐廳 story content:Some people have partnered to create a culture of creation. Originally, they were digital design publishers, designing e-books and digital designs, but their expertise was different. Later they decided to sell food. Finally, Shuchuang Culture was a digital publishing restaurant. 作品內容：偏向模仿，有食物、桌面、筆刷、人物、服裝、小說��電子書......等等 Content of the work:Migraine, food, desktop, brushes, characters, costumes, novels, e-books, etc 我受過很多教訓，我無論畫多麼美麗的作品，很少人觀看，所以我不會花很多時間畫畫，神木的部分還在更新，只是畫一棵樹 I have learned a lot. No matter how beautiful I paint, few people watch it, so I don't spend a lot of time painting. The part of Shenmu is still updated, just draw a tree. 我老早就知道樹創文化是沒人氣的東西，人物不只有二個，我以後慢慢更 I have long known that the tree culture is an uninhibited thing. There are only two characters. I will update it later.
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什麼是內容生成工具？（Content Creation Tools）
在一個繁忙的數位時代，內容是吸引目光的關鍵。想像一下，一位創作者面對空白螢幕，靈感似乎遙不可及。然而，只需輕點幾下，他便能運用內容生成工具，瞬間獲得無數創意與素材。這些工具不僅節省時間，更提升了創作效率，使每一篇文章、每一幅圖像都充滿活力與深度。透過智能算法和豐富資源，它們讓我們從繁瑣中解放出來，專注於真正重要的——傳達價值與故事。因此，了解並善用內容生成工具，是現代創作者必備的技能！ 文章目錄 什麼是內容生成工具的定義與重要性 內容生成工具的類型及其功能分析 如何選擇適合您的內容生成工具 提升創作效率的最佳實踐與推薦工具 常見問答 重點精華 什麼是內容生成工具的定義與重要性 內容生成工具是指一系列幫助創作者、企業和行銷專業人士快速產出高品質內容的軟體或平台。這些工具不僅能夠提高工作效率，還能確保所產出的內容具備吸引力和價值。隨著數位化時代的來臨，資訊量激增，使得優質內容成為品牌成功…
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