SEO搜尋引擎優化

1.網頁內容出現關鍵字

2.網頁標頭(HEAD)內出現關鍵字:

<title>SEO - 搜尋引擎SEO排名不能說的秘密</title>
<meta name="description" content="SEO">
<meta name="keywords" content="SEO">

關於網頁的description也就是網頁說明，當您打上適當長度的文字的時候，將有可能被Google或Yahoo採用為網站搜尋結果的搜尋文字，因此這幾行字將是吸引網有點閱您的網站的非常重要的廣告文字。


3.網頁的語言宣告:

<meta equiv="Content-Type" content="text/html; charset=big5">

big5表示為繁體中文，gb2312為簡體中文，utf8為萬國語言。這邊又來了一個重點，許多人說認為big5是一種不良的編碼方式，因此在設計網頁的時候喜歡用utf8萬國語言，這是對搜尋引擎SEO極為不利的一種做法，因為萬一搜尋引擎判斷不出你的網頁主要語言是什麼的時候，你就別想在該種語言的搜尋結果內出現了。

4.網頁原始碼的HTML標籤 - 與搜尋引擎SEO具有關聯性：
我們仔細檢視HTML原始碼其中幾個與SEO相關的。

HEADINGS: 這是所謂的標頭，就好像報紙頭版的標題，這裡出現關鍵字絕對與提升你的關鍵字相關度。原理就是通常人們再撰寫文章的時候會以這個段落的主題為標題，因此這個段落的文字自然語該標題呈現相關狀態。
範例：

<h1>SEO</h1>
<h2>SEO</h2>

PARAGRAPH: 這是所謂的段落，段落在原始HTML的設計當中就是用來包括文章段落用的。因此我們在設計網頁的時候要千萬注意別亂用

於沒有語意的地方，有些時候你的網頁原始碼從上面算起好幾千個字元了都還沒出現具有語意的文章，那搜尋引擎又要如何判斷哪些文字具有語意呢，就是靠

。

5.網域名稱Domain Name - 搜尋引擎優化的捷徑:
查詢whois的網址：http://www.register.com/whois.rcmx

6.網頁檔案存放目錄（資料夾）及檔案名稱

7.網站主機的地理位置 - 一個與內容無關卻搜尋引擎排名的重要因素:
在台灣的google搜尋的結果具有以下特性，中文（繁體）的網頁最優先出來，且網站主機放置在台灣的IP者提高了優先度，甚至還有一種選項”台灣的網頁”完全提升了台灣IP的優先性。

8.真實的時光機器 - 搜尋引擎：
網頁的最後修改日期，也有可能成為搜尋引擎排名的關鍵因素之一。

9.網站的PR等級：
所謂網站的等級，一般指的是google的PR值，也就是PageRank，PR值愈高，搜尋引擎排名愈容易名列前茅，只要安裝google免費提供的google toolbar軟體並授權它使用PR值資訊，就可以輕鬆的查詢你拜訪的每一個網站的PR值，就算內容完全相同的兩個網址，擁有不同的PR值，在搜尋結果呈現的時候，高PR值的網站具有優先性。

10.網頁的連入連結（Linking IN）
搜尋引擎會將其他網站連入您網站，視同對您網站的支持。因此，如果有越多網站連結到您的網頁，您的網頁排名就會越高。
當然，也不盡然如此。網站的好壞也是搜尋引擎考量的因素之一。如果您有很多聲名狼籍的網站連入您的網站，您的排名也將大受影響。
您可以與您業務相關的網站交換連結。如果他們的排名較高，那當然沒問題。如果有名聲不佳的網站連結到您的網站，請要求他們移除您網站的連結。
如要找出有哪些網站擁有您網站的連結，可以直接在搜尋引擎上試試。只要在搜尋方塊中輸入 Link:yoursitename 即可。

11.網頁的連出連結（Linking OUT）

12.網頁關鍵字的同義字

13.影像檔案的奧秘:
方法一
圖形檔名的命名: 這個再簡單不過了，一張圖片就叫做　關鍵字.jpg 例如 seo.jpg 大辣辣的放在你網頁上，這個是一定要的。

方法二
HTML標籤的ALT屬性: 這個ALT的意思就是替代文字的意思，他的原始用途是說在那些無法顯示圖片的瀏覽器當中，可以顯示出替代的文字。但後來漸漸被運用到成為圖形檔的說明文字之上。
範例

<img src="http://www.blogger.com/seo.jpg" alt="SEO" />

---------------------------------------------------------------------------------------
Yahoo關鍵字篩選工具：http://tw.emarketing.yahoo.com/ysm/guide/index101.html
Google(暱稱gugo)關鍵字篩選工具：https://adwords.google.com/select/KeywordToolExternal

[MAC]MAMP架站懶人包輕鬆架設Apache|MySQL|PHP

http://www.minwt.com/?p=2830
via 梅問題教學網

Piano Stairs

Larry Lessig on laws that choke creativity

Good Copy Bad Copy

Documentary film (Denmark, 2007)

Lawrence Lessig - Remix

♪ Otamatone ♪

Designing with Psychology in Mind

Designing with Psychology in Mind

View more documents from Joshua Porter.

AS3: ConvolutionFilter

Convolution Filter 矩陣盤繞濾鏡

[ConvolutionFilter 用途]

簡單來說：將每個像素，以他周邊的其他像素加進來一起運算，算出最後的像素值。

詳細來說：要使用該像素周邊的哪些像素值，是以一陣列來決定，陣列中心點為自己，如：

[0, 0, 0,
0, 1, 0,
0, 0, 0]

表示中心像素(也就是該像素自己啦)的加權為 1，周邊為 0。若：

[0, 1, 0,
1, 1, 1,
0, 1, 0]

表示，運算過程除了要使用自己的像素之外，還要使用上(x, y-1)、下(x, y+1)、左(x-1, y)、右(x+1, y) 四個像素來一起運算，這五個像素的加權都為 1(都只乘上1次的使用次數)。

算出來的值，可以給予一個除數 divisor 來避免像素值太超過，譬如上述的

[0, 1, 0,
1, 1, 1,
0, 1, 0]

若是給予的除數是 5 的話，意義上來說就等於是將這個位置的像素值與上下左右的像素值加總平均。

算出來的值，還可以再給予一個偏移量 bias，直接對像素做加減。


Original image


A sharpening effect


A blurring effect



from:邦邦的部落格
Using Matrices for Transformations, Color Adjustments, and Convolution Effects in Flash
http://docs.gimp.org/en/plug-in-convmatrix.html

AS3: ColorMatrixFilter

Matrix矩陣

[a, b, c, d, e, f, g, h, i]

通常以下列形式表現
[ a, b, c,
d, e, f,
g, h, i ]

four good reasons to use the transformation matrix:

• Skewing is not available in ActionScript outside of the transformation matrix
• BitmapData requires a transformation matrix to transform drawn bitmaps
• You can use a transformation matrix to encapsulate information about how to transform a MovieClip/BitmapData instance and then use it over and over again
• You can concatenate matrices to combine their geometric effects

There are four basic ways to transform a MovieClip/BitmapData instance:

• Translation: The values "tx" and "ty" in Figure 3 represent the x and y translation values, respectively, in pixels.
• Scale: The values "a" and "d" represent the x and y scale values, respectively. A value of 1 indicates 100% of scale.
• Skew: The values "b" and "c" represent the y and x skew values, respectively. A value of 0 indicates no skew, while a value of 1 indicates a skew value equal to the width or height of the object at a scale of 1.

• Rotation: The values "a", "b", "c", and "d" can be used in combination to affect the rotation of an object. For an angle "q", rotation is achieved in the matrix by using the following values:

  a = cos(q)
  b = sin(q)
  c = –sin(q)
  d = cos(q)

e.g.

import flash.geom.Matrix;
// Scale to 200% and move to _x = 100 and _y = 50:
var m:Matrix = new Matrix( 2,0,0,2,100,50 );
clip.transform.matrix = m;

-----------------
Matrix.concat 方法
可将某个矩阵与当前矩阵连接，从而将这两个矩阵的几何效果有效地结合在一起

Additionally, the Matrix class implements methods that make it easy to apply transformation changes to the matrix. These include the following:

• Matrix.translate(tx:Number, ty:Number)
• Matrix.scale(sx:Number, sy:Number)
• Matrix.rotate(angle:Number)
• Matrix.createBox(scaleX:Number, scaleY:Number, rotation:Number, tx:Number, ty:Number)

颜色矩阵（ColorMatrixFilter）

ColorMatrixFilter accepts a 4 x 5 matrix (20-element array).

Note that the source and result values for each channel range between 0 and 255.

To change the brightness of an image, you need to change the value of each color channel by an equal amount. The simplest way to do this is to offset the source value in each channel.


Increasing the brightness


To apply matrices in Flash:(doubles the amount of green)

import flash.filters.ColorMatrixFilter;  var mat:Array = [ 1,0,0,0,0,     0,2,0,0,0,     0,0,1,0,0,     0,0,0,1,0 ]; var colorMat:ColorMatrixFilter = new ColorMatrixFilter(mat); clip.filters = [colorMat]; 

Color Matrix Demo

椎名林檎 - 都合のいい身体

String

String = Char16[] String是一組有序的Char16字元的集合。
索引如同陣列一樣，都是從0開始。並且是有length屬性的
Char16是指處於｛'<>'...'<>'｝之間的65536個Unicode字元

AS3中針對字元的操作:

• charAt() - 存取目標位置的字元

• charCodeAt() - 得到目標位置的Unicode字元的整數字元程式碼

sample:
var ddd:String = "Action";
for (var i:int = 0; ilength; i++){
trace (ddd.charAt(i) + "Unicode字元整型值為:" + ddd.charCodeAt(i) + "\t十六進位數為:" + ddd.charCodeAt(i).toString(16));
}

//注:.toString(16)意思是將數值轉換成十六進位數來表示
/*輸出:
A Unicode字元整型值為: 65 十六進位數為:41
c Unicode字元整型值為:99 十六進位數為:63
t Unicode字元整型值為:116 十六進位數為:74
i Unicode字元整型值為:105 十六進位數為:69
o Unicode字元整型值為:111 十六進位數為:6f
n Unicode字元整型值為:110 十六進位數為:6e
*/

• fromCharCode()

sample:
ddd = String.fromCharCode(0x41, 0x53, 0x33);
trace(ddd);
//輸出:AS3

• match() / replace() / toLowerCase() / to UpperCase()

• search() / indexOf()

search()的參數必須是正則運算式，而indexOf()的參數只是普通字串
很多時候用indexOf()不是真的為了知道子字串的位置，而是想知道長字串有沒有包含這個子字串
如果返回-1就是沒有

• substring() / slice() - 根據起始和終了位置來提取一個子字串

• substr() - 根據起始位元值和長度來提取

• split() - 根據特定的識別字將字串分隔成子字串

• 一次輸入多行文字

使用XML和CDATA來配合
如果輸出的字串首尾有空白，可以使用mx.utils.stringUtil方法去掉
import mx.utils.stringUtil;
myString = StringUtil.trim(myString);

fl.display.Sprite

A Sprite object is similar to a movie clip, but does not have a timeline.
Sprite 可以理解为没有时间轴的 MovieClip 。
AS3的類如果想使用 MovieClip 的事件或方法必须让它继承(extends) MovieClip 或者 Sprite 。

AS3: Getter and Setter

setter和getter的妙用
A、setter或者getter一个不是普通的成员变量，假定某类中有一个sprite，我们总是要在类内部获取该sprite的高、宽，每次都***.width, ***.height岂不是很累，我们可以

private function get XXX():Number{return ***.width};

以后直接XXX即可，代码看起来也要舒服很多。

B、setter不一定要和某成员变量联系起来，譬如

public function set data(...)...

我们可以在set中做很多工作，譬如把data转换为我们需要的数据，根据数据刷新显示等等，不一定是要有一个data属性与之相对应！

其实用private+ getter setter是为了增强封装性!
你想,如果把变量暴露给外部使用,假如后期,需求
上要对这个变量先进行些处理,那你就得改N个你
调用它的地方,而如果是用了getter和setter,那你
只要改这两个方法就可以 ...

from: 学AS3的那些破事


example:

package
{
 import flash.display.Sprite;
 import flash.text.TextField;
 
 public class Starter_13 extends Sprite
 {
        private var tsecField:TextField;
        private var tField:TextField;
        public function Starter_13 ()
        {
                myTest();
        }
        private function myTest():void
        {
                var a:Testvar = new Testvar();
       
                tField = new TextField();
                tField.autoSize = "left";
                tField.background = true;
                tField.border = true;
                a.mynewVar = "This is the new var.";
                tField.text = "Test is: "+a.myVar;
                addChild(tField);
        }
 }
}
import flash.display.Sprite;
import flash.text.TextField;
class Testvar extends Sprite
{
 public var test:String;
 public function Testvar()
 {
 }
 public function set mynewVar(newTest:String):void
 {
        test = newTest;
 }
 public function get myVar():String
 {
        return test;
 }
}

from: flashscript.biz

User-Generated Content 用戶原創內容

User generated content has also been characterized as 'Conversational Media', as opposed to the 'Packaged Goods Media' of the past century. The former is a two-way process in contrast to the one-way distribution of the latter. Conversational or two-way media is a key characteristic of so-called Web 2.0 which encourages the publishing of one's own content and commenting on other people's.

Grassroots experimentation then generated an innovation in sounds, artists, techniques and associations with audiences which then are being used in mainstream media.

UGC often also has a collaborative element to it, as is the case with websites which users can edit collaboratively. For example, merely copying a portion of a television show and posting it to an online video website (an activity frequently seen on the UGC sites) would not be considered UGC. If a user uploads his/her photographs, however, expresses his/her thoughts in a blog, or creates a new music video, this could be considered UGC.

Motivating factors include: connecting with peers, achieving a certain level of fame, notoriety, or prestige, and the desire to express oneself.

Mere copy & paste or a link could also be seen as user generated self-expression. The action of linking to a work or copying a work could in itself motivate the creator, express the taste of the person linking or copying. Digg.com, Stumbleupon.com, leaptag.com is a good example where such linkage to work happens. The culmination of such linkages could very well identify the tastes of a person in the community and make that person unique through.

Adoption and recognition by mass media: Scoopflash

from: Wikipedia

Entrepreneurial Generated Content provides a less diminishing and much more meaningful and positive expression for what has generally been called User Generated Content, Web 2.0, Consumer Generated Media (CGM) or User created Content (UCC).

Web 2.0 --> UGC + SNS

UGC就是User Generated Content，這是大家都知道的Web 2.0基本元素，但也是常被濫用的一個字。UGC有一個蠻嚴格的定義，譬如讀了新聞評選這篇新聞好不好看，不算是UGC；看到好棒的文章馬上收錄到del.icio.us，也不算UGC。嚴格的框限UGC定義是為了表示UGC的真正美好處，它不只是「平民發聲」，不只是「全民評分」，它最美之處是在「平民內容」，這才是重點。因此所謂真正的UGC不見得是原創，但絕對要是分享一個本身蘊含故事的內容，譬如，一篇自己身邊的新聞、一段自己小狗的影片，一小則自己引吭高歌的錄音podcast、一段自己摸索出來的使用說明、一支自己寫的Flash遊戲、一張自己拍的美麗山景照，不必搞得太專業也可以放到CNN I-Report、YouTube、Photobucket、OhMyNews、eHow，全球一起分享。在「內容是王」的情況下，這個網站真的有原創物在裡面。這是真正提供一些值得大眾閱讀、欣賞素材的內容網站。

至於「SNS」，Social Network Services，社群服務、社會化服務皆有人譯。社群網站始於六度分隔理論的交友服務，字義愈來愈廣，到了今年它變成一個蠻空靈的字，儘管最近人氣很旺的Twitter、MyBloglog、Meebo等都號稱自己也有某些SNS功能，但它們的成功各自有自己的造詣，並不是源自於真正的SNS公式，對這個字義嚴格一點，也是想強調SNS的厲害，從目前真正成功的幾個兩年內爆紅、超過1000萬名會員的「社群網站」如Myspace、Bebo、Facebook來看，真正厲害的SNS有幾個關鍵元素，最重要的，是讓個人有個公開的首頁，在這首頁之上，交朋友、設立群組、放東西，然後再針對它們留言討論，所謂SNS公式是Web 2.0網站最近才摸索出來的，到目前為止依然是人氣的保證；添加這些SNS元素，能讓網站的黏性大增。

from:Mr.6 ＂Web 2.0退場後，「UGC + SNS」火熱依舊＂

VJ Software Interface Research

vidvox


virtualdj


Resolume_3


Onyx-VJ


motion_dive_tokyo


modul8


ArKaos GrandVJ

Privacy and Street Photography

Documentary photography is a way to record what is happening in the moments at present for future reference. However, documentary photography has always had the inseparable connection with portrait with its reflections on people in daily life. The series of images below aim to reflect the moments of people’s imagery status in the public from photographing. In this set of images, I try to explore and present people’s personal life in the public in terms of imagery status by taking photographs from absent-minded people. These images revealed the disconnection from their spiritual status to the world. Even existing in the surrounding of crowds and noises, the isolation of their spiritual status remains at those particular moments.

On the other hand, Street Photography is extremely easy disputed by law, such as how and where you take or use the photograph. Especially in the situation of violate Portrait from the citizen. In theory, it is against the law of the Portrait when someone takes those personal photographs for business purposes without the represents’ permissions. However, to remain people’s reflections of the moments in documentary photography has to photograph them immediately at the time when things happen in order to record the facts. Nevertheless, most of time people don’t realize they have been photographed while it’s happening, therefore, photographers can capture the actual image they wanted from the person at that special moment. However, in this case, there seems to be a contradiction between the right of expression oneself and the power of the law in one’s portrait. At the result, Street Photography has been retrained a great quantity of ideas expressing from the right of Portrait.


Inspiration:

The spirit of Street Photography - Bruce Gilden


Bruce Gilden, born in Brooklyn, is known as the "archetypal street photographer" and is famous for his unique attitude towards photographing, which shows a strong spiritual force in his photographic works. He brings the philosophy of the survival on the street into art. For Gilden, the images of all objects and people are his inviolable private properties; he must be cruel to "capture" them even with the risks of any conflictions. My favourite image of his works is a photography called “Two Members of the Yakuza Asakusa”. The characters have drawn the distinctive personalities and dramatic tensions into his photographic. However, his approach of shooting was full of controversy. Bruce Gilden once claimed, "I'm known for taking pictures very close, and the older I get, the closer I get."



Privacy Policy - Cases Study

“Heads ＃13” by Philip-Lorca diCorcia


In 2006, Ermo Nussenzweig accused photographer Philip-Lorca diCorcia of violating his privacy and Jewish Orthodox faith, by displaying, publishing and selling his portraits without his consent. However, based on his portraits has been taken in public places, and was recognized as works of art, the court ruled Ermo Nussenzweig lost in the end. New York court ruled that the works of art, which were for sale in a limited numbers, were still under its artistic; it is not equivalent to profit-seeking behaviour. Even so this work was sold 10 copies on the sale price of 30,000 U.S. dollars.


Cardiff at Night (2008) by Maciej Dakowicz



Like Bruce Gilden, Maciej Dakowicz used the "violent" approach, toughly and quickly took pictures of the targets. His latest works “Cardiff at Night” aroused the widespread discussion. He spent four years in the regional capital of Wales Cardiff shooting a series of photographs of people’s nightlife, represented the scene of night of the Cardiff Street.

However, the most interesting part for me is the deputing of the right of portrait in his photographs. In his works, most of the people have been taken photographs while they were in their drunken states, such as vomiting on the side of litter, or passing out in the middle of the road. These kinds of images might even have affects on the personal image and life. It would have a lot of attentions for the right of portrait and the follow-up impacts of it are worth to investigate.

In my opinions, the timing is the most difficult thing of street photography. Neither for the legal or moral considerations, it is impossible for me to take picture without concerns of these kinds of issues in the course of shooting like Bruce Gilden does. I only manage to wait for the best moments and take some snap shoots. In addition, compared to some other countries, the privacy policy is much more concerned in the United Kingdom, which also encountered some difficulties in the process.

I explore this project by using black and white images to create the dramatic tension and intend to congeal the moments. Compose the image based on colour levels of monochrome in black, grey, and white to inspire the appreciator with its power of simplicity.

Peyton Chiang 04/06/2009

The Fine Art of Digital Imaging

It's been over 150 years since the beginning of photography, and there’s always been a fine line between photography and painting. The aim of this series of photography is going to investigate the relationships between painting and photography in this digital era and the authenticity of digital images.
These five images are finalized by postproduction. They are the results of combinations of several realistic photographs, for example, the boy who dresses up as a vampire under London Bridge, the scenery of River Thames and the people walk in central London. However, after decomposing and recomposing the elements from each photographs for these reproduced images, they become the hyper-real and aerial photography.

Pictorialism and Photorealism

In the era of invention of photography, many painters were photographers at the same time. As the result, a large number of photographs showed the similarities in not only the compositions but also the lightings of paintings back in the early days. Therefore, photography was also described as ‘The painting of light’.

The English photographer Peter Henry Emerson claimed in 1886, photography was a pictorial art, ‘superior to etching, woodcutting [and] charcoal drawing’ (Emerson, 1886, p. 139) in the article of ”Photo: A Pictorial Art”. Besides, he declared that there should not be any boundaries either in between art and science, nor in painting and photography, which contributed to the Pitorioalism. Pictorialism emphasized on the pictorial elements such as, hues, lines, and balances of the images and discarded the realistic facts, which were valued in the documentary photography.

Painting has always had a significant influence on photography. Even nowadays we can still repeatedly recall shadows of traditional paintings from photographs. For instance, Gregory Crewdson’s technique is very different from Henry Cartier Bresson’s “The Decisive Moment”. First, the compositions of his photograph were intentionally planned ahead like the rough pencil sketches of a painting. Besides, the process of capturing the moment or visually speaking as an image was progressed as if making the movies. They are a series of reproductive clips rather than one single irreplaceable shoot. Moreover, the colours were even retouched by computerizing afterwards. Undoubtedly, all of these techniques are entirely against the realistic characteristic of photography.


Untitled (2003) by Gregory Crewdson

However, photography on the other hand, has also played an important role in paintings since its origin. Photorealism paintings in the 60s had a magical way of keeping the realistic characteristic of photography. For instance, Richard Estes’s paintings represented the surreal beyond the reality by using the amazing realist painting skill.


Untitle (1972) by Richard Estes

Benjamin believes that the invention of photography absolutely has the significant impact on modern art: the reproduction of photographic destroys the “aura” of original art works. Nevertheless, Photorealism using photography as a creative source, they dissipate the replication of the images with their superb skills. When the unity of creation is from the mechanical reproduction of images, the questions such as “what is aura?” and “where is aura? cannot be explored anymore.

Reality and fabrication has become extremely difficult to identify their differences since the occurrence of digital photography. Lev Manovich discussed this subject further in ‘The Paradoxes of Digital Photography’. He suggested that, “Computer images are not inferior to the visual realism of traditional photography. They are perfectly real -- all too real.“

Nevertheless, the difference between traditional and digital photography is that the former believes in fabricating the image with objectivity and the intension of photography while the latter stands for opening its fictitious process. Nowadays we live in a society of artificiality, therefore, the virtual image has become rather indispensable in our lives. The comparison between image and reality is no longer as important as it used to be, which allows the world lies somewhere in between dreams and realities.

Digital photography allows the infinite freedom in imagination. Through working on collage pieces, I try to deconstruct the realities in photography by intentionally place conflicting elements into one image to create the narrative imagery. For instance, River Thames becomes a green field where lie two face-to-face camels and a man on the cell phone in the desert. However, only by adjusting colours and hues would make the elements seem exist in the same time and space. In my opinion, contraction is the most important feature in digital photography.


Reference:

Untitled (2003) by Gregory Crewdson from Luhring Augustine
http://www.luhringaugustine.com/index.php?mode=artists&object_id=66#

No title (1972) by Richard Estes from Collection of the National Gallery of Australia
http://nga.gov.au/PrintedLight/details/40365.cfm

Benjamin, W. (1936) The work of art in the age of mechanical reproduction.
In: Liz W. The Photography Reader. Routledge. P.42-52

Lev M (1995) The Paradoxes of Digital Photography. In: Liz W. The Photography Reader. Routledge. P.240-249

Peyton Chiang 04/06/2009

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