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A Messed Up Mind

為了解決Psycho lyrics的問題，作者陳立恩 這樣論述：

A mind full of messed up stuff isn’t as strange as one may think. 本書重組一般人對「精神失常」的概念。 　　◎This isn’t a novel. This is a collection of random stuff. Well, ‘random stuff’? Dive in to find out. 　　獨創「非小說」體裁，翻翻看，真的只有「對話」及「詩篇」！ 　　◎The characters are anonymous, and the narrator is absent. So time to stimula

te your imagination, and enjoy the bizarre ride. 　　沒有人名的對話，刺激讀者的想像，邀您共遊奇異之旅。 　　This is the fourth book by Taiwanese teenage author Andy Chen, and unlike his previous works, there are many changes. 　　This is not a novel. This is a book made out of 26 short stories, with a handful of poems and imagi

nary rap lyrics. The stories are mostly unrelated with each other, and so are the poems and imaginary rap lyrics. 　　The rap lyrics sections in this book exist only in print and never in audio form, so the flows of the lyrics are up to the reader to decide-if readers want to spit the lyrics. 　　Rand

om Disclaimer: The lyrics may contain offensive language and content (though neither frequent nor excessive). So better keep your kid away. If readers want to rap them out loud, don’t spit the lyrics at the wrong occasion. Don’t write any bit of them in the form of graffiti either. In general, don’t

do anything that may cause repercussions, repercussions that has something to do with the lyrics. 　　If anyone gets in trouble because of reading the lyrics out loud at an inappropriate occasion; writing them in graffiti or committing any kind of potentially bad action that’s lyrics-associated, the

author is not responsible. Possible readers, it’s made clear. So be cautious and do not blame the author if anything bad happens. 　　The book is the author’s first adult-oriented work to date, so listen up kids: Hands away from the book. Capiche? 　　The book is mostly inspired by the author’s life

himself and rap songs ranging from the late ‘90’s to the modern ones. Themes in the book include rebellion, suicide, addiction, depression and inequity. 　　Dialogue is a prominent medium of storytelling throughout the book. The narrator, however, is almost entirely absent. Characters’ names are hard

ly shown or revealed. There are several non-human characters. 　　Notice： The book is pretty weird. Here are five examples of the book’s short stories： 　　1. Two polar bears entering a heated argument which soon escalates into a fight and things get worse when a human gets caught in the midst of it. 　

　2. A porn-addicted slob is sleeping calmly, but gets awakened by a ghostly voice. The slob soon finds out that the owner of the voice is-predictably, a ghost. Or is it something more? 　　3. A dumb kid forces his younger brother to snort white powder with him. The younger brother tries to decline, ye

t eventually snorts a lot of white powder. 　　4. Two girls tried to take pictures of themselves with a celebrity, who both the girls are obsessed with. One girl wants a photo of herself with her idol. Turns out, she doesn’t get the photo she wanted, which the other girl laughed at her for. Stuff gets

heated. 　　5. Two friends found out that their house is vandalized by an unsanitary, violent, deranged person. The psycho gets into a vicious fight against the two friends. 　　《A Messed Up Mind》（《混沌》）為陳立恩第四部出版作品。此書與作者前幾部作品風格截然不同。 　　1.為作者第一部短篇故事及詩篇合輯。 　　2.本書篇幅簡短，普遍使用非裔英文方言，給人耳目一新感受，深刻的文字內涵，更值得讀者慢慢咀嚼

。 　　3.本書的短篇故事沒有旁白、人名，只有角色的對話內容。 　　4.二十六篇短篇故事中，少數篇章有情節上的關聯，要找出其中相關性，需要讀者充分思考、發揮觀察力！ 　　5.部分情節生動描述精神病患者病狀，宜滿十五歲以上身心成熟者閱讀。   作者簡介 Andy Chen（陳立恩） 　　Andy Chen（陳立恩）is a seventeen year old senior high school student. He taught himself English generally at a young age and has interest in making works usi

ng the English medium. He has many handwritten, illustrated, amateur, non-published works, mostly wrote around the age of seven to ten. 　　When Andy was twelve, his first novel, Mankind vs Extraterrestrial, was published. This marks his first completion of a published work. Stan Duke and The Doll ar

e the following published works of Andy, both published when he was thirteen. A Messed up Mind (this book you’re reading now) is his fourth published work.   DIALOGUE AYou ain’t really as good as you think, huh?…Look, I’m talkin’ to you. If you’re really as good as you thought, you won’t be doing

this. ‘Chu mean by that? Why I gotta explain this? You’re real sure ‘bout everything you’re doing, don’t act dumb. I ain’t dumb. But I dunno what you’re sayin- Why you always messing ‘round with no purpose and not changing? Why you wastin’ your time ‘round stuff that never ever matters?

Psycho lyrics進入發燒排行的影片

創傷述說之隱現：電腦化字詞分析性創傷經驗之心理意義

為了解決Psycho lyrics的問題，作者黃苑捷 這樣論述：

性暴力為近年來高度關注的議題，暴力侵犯將導致受害者在生理、心理、性功能、生殖功能與其他生理問題，成為發展創傷後壓力症候群的高風險族群。目前於性暴力的研究多著重於創傷後的負向結果，而如何因應、經歷創傷歷程並發展出正向結果也很值得進一步探索。以Tedeschi與Calhoun（1995）定義之創傷後成長的概念測量，其平均盛行率介於30%至70%之間（Linley & Joseph, 2004）。本研究嘗試透過電腦化文字分析（LIWC）之研究法，藉以了解PTSD與PTG兩者展現在具有心理意義之字詞變項上的關聯差異，並進一步迴歸分析探討有關PTSD與PTG的語文指標。本研究分為兩部分，研究一比較網路

公開之性創傷、分手經歷，以及一般性主題述說的文本，透過組間差異比較探索性創傷文本之語文特色，藉以推論可能的內在心理歷程。研究二從網路上招募有性創傷經歷的參與者，藉由成長主題的書寫與自陳式問卷的相關分析，深入探索從創傷到創傷後成長不同階段的語言風格。研究結果顯示，網路性創傷文本所展現之語言風格與過往研究有類似的發現，亦即具有較多的第一人稱單數代名詞、明顯的情感歷程聚焦、認知複雜度顯著下降，以及對生理歷程的關注。研究二從有性創傷經歷者的書寫文本中，發現其語言風格之第二人稱單數代名詞、情感歷程詞，以及認知複雜度相關詞彙使用與芻思和創傷後成長表現有顯著關聯。因此，若能掌握性暴力受創者之語言風格，將對受

創者之創傷後壓力反應與創傷後成長樣態的評估工作有所幫助。

Hitchcock and the Censors

為了解決Psycho lyrics的問題，作者Billheimer, John 這樣論述：

Throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. From 1934 to 1968, the Motion Picture Production Code Office co

ntrolled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed "excessively lustful" kissing from th

e screen and ensured that no criminal went unpunished.During their review of Hitchcock's films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca (1940), absolved Cary Grant of

guilt in Suspicion (1941), edited Cole Porter's lyrics in Stage Fright (1950), decided which shades should be drawn in Rear Window (1954), and shortened the shower scene in Psycho (1960).In Hitchcock and the Censors, author John Billheimer traces the forces that led to the Production Code and descr

ibes Hitchcock's interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to pu

sh the boundaries of sex and violence permitted in films by charming -- and occasionally tricking -- the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examinin

g Hitchcock's priorities in dealing with the censors, this work highlights the director's theories of suspense as well as his magician-like touch when negotiating with code officials. John Billheimer is the author of two mystery series; one with West Virginia failure analyst Owen Allison, and the

other featuring Ohio sportswriter Lloyd Keaton. He has taught courses in film noir, hard-boiled fiction on film, and the modern mystery in film and print at Stanford and Santa Clara Universities.

基於多標籤深度學習之有效音樂情緒辨識方法

為了解決Psycho lyrics的問題，作者謝曜鴻 這樣論述：

音樂是以聲音來表達情緒的方式，人們在不同心境下會對不同情緒的音樂有所共鳴，因此情緒在音樂聆聽的選擇上可視為一項重要指標。近年來，在音樂信息領域中，如何找出歌曲所表達的情緒是一個熱門的議題，此外，一首歌曲可能表達多種情緒。因此本論文主要的目的就是要解決此類具有多標籤情緒的問題。於是，我們提出一種基於卷積神經網絡 (Convolutional Neural Network, CNN) 的辨識方法，來達成情緒辨識的目的。在本方法中，首先將每首歌曲切分為多個音樂片段，其中每個音樂片段時長皆為 10 秒鐘，然後再將所有音樂片段轉換成梅爾-頻譜圖(Mel-Spectrogram)。接著，透過對卷積神

經網絡（CNN）進行訓練，再使用於對音樂片段中含有時間和頻率訊息的梅爾-頻譜圖進行分類，以識別音樂片段中的情緒，最後整合片段的識別結果決定該音樂應標註的類別。實驗結果顯示我們提出的基於音樂片段的情緒識別方法優於目前其他方法。