關於 smart watch market share ，我們在網路上蒐集到這些相關的討論、資訊與評價

iWEECARE raises $2.4 million in pre A+ Round |

添寶Temp Pal-寶寶的第一支智慧體溫計 the smart thermometer solution to the COVID-19 pandemic, just raised $2.4 million USD in pre A+ funding led by TransLink Capital, alongside strong participation from VCs and corporate firms focused on HealthTech, including Darwin Venture, Verge HealthTech Fund, TSMT, BE Accelerator 比翼加速器, NCTU Angel Club, and Might Electronic 邁特電子.

🔶iWEECARE presents Temp Pal, a smart thermometer to detect the temperature of the individuals and give insights on body function on the application platform connected via bluetooth.

🔶The APP allows users to track their medication usage and temperature changes and thus to manage their health conditions. It also enables users to share their medical records and health data with their healthcare professionals.

🔶iWEECARE obtains CE (EU), TFDA (Taiwan) and Thailand’s Certificates. The IDB’s IisC platform has also helped them to access to the Japanese market. Their solutions will be put in practice in hospitals in Taiwan, Japan, Ireland and Thailand.

👉Watch iWEECARE presents their products now at now (English):
https://www.youtube.com/watch?v=P9V-kRiuupU

👉Read more details about the pre A+ funding details (Mandarin):
https://www.bnext.com.tw/article/59335/iweecare-pre-a-extend

Blog 4

I have a second confession to make. I actually quite admire Taylor Swift. I know, I know. I know she gets a lot of hate, and a lot of people don’t necessarily see her music as “real music”, whatever that means. I know liking her music is sometimes seen as “uncool”- how dare any serious musician say they like her stuff, it’s only for silly teenage girls. But if I’m honest, fewer and fewer people treat the whole Cantopop market as “real music” as well, so perhaps we kinda do share that in common. 🤷🏻‍♀️ So who am I to diss it? I actually really admire her, and definitely count her as one of my previously unspoken inspirations. I do resonate with the way she writes... because it’s kind of the way I write.

I recently watched her NPR Tiny Desk Concert, and if you don’t know about Tiny Desk, perhaps you could check it out and be inspired - it’s a YouTube channel where artists and musicians perform in a tiny cramped space behind a work desk - and it’s brilliant. I love the rawness of it, the realness of it, and the closeness of it. It takes what happens on a big stage into your average office work space. It was a surprise to see Taylor Swift there, because it usually features up-and-coming artists or jazz musicians, performances of which I enjoy thoroughly also. But this was a surprising one, and so I clicked. I admit I even got a tad bit emotional after watching it, not because of anything else but the fact that I can resonated with so so much the stuff she said about songwriting and her creative process, and I enjoyed how she picked the songs and played completely alone, stripped down and raw, in the songs’ demo versions. In between songs, she shared thoughts and her creative process so openly and vulnerably, and how she wrote her songs as self-therapy, usually with just one instrument, in her pajamas, in the middle of the night. In that format, she somehow still managed to find a dominant spot in the mainstream and manufactured pop world - and that was so reassuring for me because that’s how I have written a TON of my songs.

Very, very early on in my career, before R&K, one producer once said to me, “you’re not the best singer, you’re not really a great guitar player, piano you’re a little better but still not that great... but with everything put together, mayyyybe you would be able to become a little bit of something.”

And for me, to see someone like Taylor Swift do so well in this world, someone who doesn’t belt like Beyoncé, doesn’t shred on the guitar like John Mayer, doesn’t play keys like Alicia Keys, doesn’t riff like Ariana Grande... for someone like Taylor Swift to be the mega success that she is... is undeniably impressive, and downright inspiring to me. She doesn’t use fancy techy gear, she doesn’t use fancy chords, she doesn’t do fancy grooves or sing fancy riffs. She just writes songs like she writes her diary - but she’s also smart and catchy and commercial about it. She is an amazing storyteller of her own life, and without necessarily being the best at singing or any instrument, she was the best at telling her unique stories. With everything put together, and a strong belief in herself - she has used this creativity of hers to garner millions and millions of fans all around the world.

Sometimes, the mastery of a craft looks different for different people. Sometimes it’s not about technical perfection. Sometimes, those who are imperfect, broken, hurt, but headstrong, open, authentic, courageous, and unapologetic are more interesting. It’s like found their own way to harness their scars or life experiences, and turn them into doors leading to their eventual evolution through creativity. They tell stories instead of showing off. It’s reassuring and also comforting that this still sells, with this much competition in the market, and resonates with me so much.

I then watched the TED talk by Elizabeth Gilbert, author of Eat Pray Love after the tiny desk because Taylor said she watched it with tears when inspiration didn’t come. And I just teared myself also. Touched tears. Tears of inspiration. Tears of joy in finding people that seem to think like me, who share the weight of my worries, but are successful and made an impact in the world. I found myself nodding viciously in agreement idiotically in my own living room, when they share the anxieties, insecurities and fears that typically consume the mind of creatives. I am definitely an overthinker so I’m a victim of all that was mentioned. Ok, you’ll have to watch it to understand. But it felt like I was meant to listen to this. It’s based on the daunting feeling of failure when inspiration doesn’t come, or feeling like your best work is “untoppable” and therefore your best days are behind you. But inspiration isn’t from within you. Inspiration is this mysterious force in the universe, and you just have to catch it when it comes, and even when it doesn’t, just keep showing up for your part of the job anyway until it does. And when time comes, let inspiration, this outer force in the universe take over. You don’t have to be sad for writing a bad song, or too proud for writing a good one. Don’t beat yourself up, and just keep doing what you do. Leave that fear behind you. Absolutely life changing.

And with this, I’m gonna go turn on my water tap of inspiration and try to work on some songwriting now. Thanks for checking in 🙂

Till next time.
Choose love, and bring light.

xRobynn

#robynnblogs
Do share what you think on what my next confession should be. 🙂

Experts are made, not born!
They don’t come from no where.
精英是被训练出来的，他们不会凭空而生。

以下是朋友在日本观赏一个很烂的乐队后，问日本朋友说，“他们那么烂，为什那么多人来看他们？”。日本人的回答，值得我们好好省思。
From the Japanese, “if we don’t support them (a local Japanese band) when they are lousy, how they can get better?”......

This gave me a new paradigm of thoughts! Let’s reflect!

What Pete Teo said in his latest article: In Search of A Bigger Canvas, with his permission, I decided to translate it. Hope you Enjoy it.
一位令人敬仰的艺人Pete Teo 写了一篇文字，我觉得颇有共鸣，是以尝试翻译之。这是我的尝试：

寻找大一点的画布

我是从来没有跟任何公司签过约的。我的演艺生涯基本就是独立艺人的身份行走。那并不容易，不过我觉得我算做得不错了。如果你有兴趣的话：这是我走过的路，你看看吧。
首先你需要了解的是：你可以走的路是被你所在的市场的大小所主宰，这个要素比你是否有才华更重要。在马来西亚这个小市场，你是逆流而上的。小的市场意味着你缺少机会。
缺少机会你就成长得很慢。作品的数量对艺术家来说很重要。如果你三年只能拍出一部电影，而你的中国同行一年可以拍一部，五年后你还是一个新人，而他或她已经是一个老手了。
唯一可以改变这个事实的，就是进入大的市场。你可以移居过去，或者在马来西亚做你的作品然后输出去。如果国语不是你作品的媒介语，输出外国更是明显的事实。不过呢，不管怎么做都是难啊。

基于个人的理由，我选择留在马来西亚。所以我尽力的将我的作品推出海外。我演艺生涯的前十年我都是在日本和韩国巡演。可以这样做，你特别需要运气。
不过呢，你越努力的做，你会越幸运。很多人认为才华是艺人的一切。其实，才华虽然重要不过却不足以让你成功。努力是很关键的呢。记得，你的同行们也是很有才华的哩。所以，努力是成败的关键。
既然出口我们的艺人是那么的重要，我不明白为什么我们的政府机构如此的漠视我们土生土长的才华。比如，FINAS并没有致力向海外推荐我们的艺人。希盟政府对这件事也没有任何远见和展望。

恰恰相反，所有的噪音都集中在拨款和施舍。当然资助年轻刚起步的电影人是很重要的，我却不同意官方拨款给已经成名了的电影人。我觉得不如将这些款项导入到税收优惠政策或者建立起出口管道。

当然可以取得资助是很好，不过你得接受的一个事实就是：作为艺术家你得为自己负责任。如果你尽在那里呻吟，你除了得到一个坏名声之外，什么也得不到。倒不如行动起来，因为空口不做什么都是假的。
这任务很困难，不过大家一起做就可能比较容易了。所以，请跟你的同行们互通信息互享资源，大家携手合作。相信我，一个人打拼你可能事倍功半；可是当大家一起来做你们的机会会翻倍。这不是在玩零和游戏。

除了音乐人的身份之外，我也属于那一代被称为马来西亚新浪潮导演的其中一员。有那么几年，我们在国际电影节上面辛苦的暂露头角。不过到了最后我们还是败下来了。原因虽然很复杂，简单来说可以归咎于我们的离散。我们得从中学习。

这个世代在国外寻找机会的艺人当中，数Bront Palarae 特别特出。他勇敢的在亚洲各个城市耕耘，他努力，有智慧，有行动。还有其他像他这样在行动耕耘的马来西亚艺术家，他们给了我们希望。

请谨记，马来西亚有很多的人才。有很多复杂的原因导致这些人才无法闪耀，不过更关键的是，他们没有信心和曝光的机会。在严厉竞争的世界里，你得有自信。

不管你是一个艺术家，还是对艺术有兴趣的人。你得了解，人们的认可培养信心。来自本土的认可可以筑起艺术家的自信，可是最快批评任何本土艺术家的人们就是我们自己人，而且往往是同行们。

我不是说不容许有善意及正面的批评，我们当然应该严谨的评论，这有别于不经大脑的恶意批评。这里的分别就是“意图”。让我告诉你一个故事：

有一次我受到我一位日本乐迷的邀请去看他镇上的一个乐队。这个乐队惨不忍听。我忍不住问这家伙为什么他会支持这么烂的乐队，他的回答令我反省。如果他们烂的时候没有人支持，那他们怎样变好？

你看，这就是我们和日本的差别。我们时常踩我们的艺术家来自我感觉良好。日本人也会批评自己的艺术家可是他们却带着正面的意图。这就是虽然日本的草根艺术圈子也像我们一样那么参差不齐，他们却有着国际水平的艺术圈而我们没有。
我有一次在东京和Tun Mahathir 讨论过这个问题，他当然是哈日的，不过我不觉得他了解国际水准的人才是需要本土的栽培的。或许他尝试过，然后灰心了。不管如何，我们还是得加油。
我说了这么多，主要还是：小市场当然有很多阻碍，不过才华和努力同样重要。智慧很重要不过你也得靠运气。同样关键的是，栽培艺术家需要整个社群的力量。

我们缺乏的就是这最后的关键。到处可见的是：我们因为觉得不重要，所以没有公共政策来培育年轻的艺术家。我们也不了解孕育世界级的艺术家需要的种种，我们以为世界级的艺术家是凭空诞生的。

最后，什么样的人民就有什么样的政府，同样的，什么样的人民就有什么样的艺术圈。就像任何的群体，它源自个体。所以，简而言之，你必备才华，努力，运气，是的，你也需要培育的。

祝你好运。

This is the Original:

IN SEARCH OF A BIGGER CANVAS

I have spent almost the entirety of my career as an unsigned indie artist. It hasn’t been a walk in the park but I guess I’ve done pretty good. This was what my road looked like and, if you are interested, how you might traverse it...

The first thing to understand is that you path is almost entirely determined by the size of your market, even more than how good you are. In a small market like Malaysia. you fight uphill all the time. Small market means lack of opportunity.

Crucially, lack of opportunity also means you grow slower. Velocity of output is vital to any artist. If you made 1 film every 3 years compared to a peer in China who makes 1 film per year, you’d still be a newbie after 5 years while s/he’d already be a veteran.

The only way to overcome this is to tap into bigger markets. You can do this by moving to work in a bigger market, or stay in Malaysia and export to foreign markets. This is especially so if you don’t primarily work in BM, the biggest sub-market in Msia. Either way, it is hard.

Due to personal circumstances, I chose to remain in Malaysia. This means maximising every opportunity to play / exhibit my work offshore. As a result, the first decade of my career were largely spent on the road in Japan and Korea. You need to be kinda lucky to accomplish this.

Yet, the harder you work, the luckier you get. Most people think talent in an artist is everything. It isn’t. Truth is, talent is necessary but insufficient for success. Hard work is crucial. Remember, most of your peers are talented too. Thus hard work is the difference maker.

Given the importance of export markets to our artists, I’ve been baffled by the lack of support from our public institutions. FINAS, for instance, has done little to facilitate exports in the past. The PH govt is likewise showing no vision or leadership in this matter.

Rather, all the chatter has so far been about grants and handouts. While important to help young filmmakers get started, I see little need to fund established filmmakers through grants. Much better to divert funds to tax incentives and the setting up of export channels.

Either way, good though it would be to get help from public policy - it is important to accept that you are fundamentally on your own. If all you do is sit and moan, then you ain’t gonna accomplish much other than a reputation for moaning. It is better to act. Talk is cheap.

The task is difficult, but it is easier if you hunt as a group. So remember to share resources and contacts. Help each other. Trust me, work alone and you will likely not get out at all. Hunt as a group and your chances multiply by many fold. This is not a zero sum game.

Other than being a musician, I also belong to a generation of filmmakers known as “Malaysian New Wave”. For a few years, we beat the odds in the international film festival circuit. Yet In the end we failed. The reason is complex but came down to our failure to continue to hunt as a group. We must learn from this.

Of the current generation of artists working to establish offshore opportunities, Bront Palarae stands out. He ploughs the field all over Asia and shows no fear. He works hard, act smart and walks the talk. There are others like him. They are the hope.

Please remember that, despite everything, Malaysia is a talented land. The reason most of our talents have often been wasted is complex - but it is underlined often by a lack of confidence and exposure. You need self-belief to be out there where competition is fierce.

Whether you are an artist, or just an interested layman, you need to understand that confidence comes from validation. And the most basic source of arts validation comes from local support. Yet the quickest to damn Malaysian artists are Malaysians themselves, often fellow artists.

I am not saying there is no room for objective critique - of course we must be critical - but there is a difference between thoughtless bitchiness and critique - and the difference is: intention. Let me tell you a true story to illustrate my point...

I was once invited by a Japanese fan to watch his neighbourhood band. The band sucked to high heavens. But when asked why he supported a band that he knew to be terrible, his reply was revealing:

“If we don’t support them when they are shit, how can they get good?”

See, his reply is the difference between Japan and Malaysia. We thrash our own often for selfish validation. They criticise their own too but with positive intention. That’s why, despite having grassroot scenes as uneven as ours, they have a world class arts scene and we don’t.

I once discussed this with Tun Mahathir in Tokyo. He is of course a big admirer of Japan. But I am not sure he understood the importance of local support in nurturing world class artists. Perhaps he tried but was disappointed. Either way we must try harder at it.

I have taken long to get here, but my point is: there are many elements required to overcome the handicap of small markets. Talent is important but so is hard work. Smartness is important but so is luck. Equally crucial is ability to nurture artists as a community...

It is this last element that we are most missing. The evidence is everywhere. From lack of public policies that nurture young artists (as if they are unimportant), to lack of understanding of how world class artists are formed (as though they exist in a vacuum).

Ultimately, much as we deserve the government we have, we also deserve the arts we have. And as with everything that involves the collective, it really begins with the individual. So, in a nutshell, you must be talented, hardworking, lucky, and yes - nurturing too.

Good luck.

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https://youtu.be/2CaIdD3zTjI
https://youtu.be/2CaIdD3zTjI

#北海道札幌 #札幌中央場外市場 #海鮮食堂北のグルメ亭 #2020情人節 #北海道自由行 #札幌二條市場 #北海道観光

http://yt1.piee.pw/NPGC3

如果北海道二條市場是札幌廚房 If Hokkaido Nijo Market is Sapporo Kitchen

那麼札幌的中央場外市場就是札幌的美食天堂 Then the central wholesale seafood market of Sapporo is the food paradise of Sapporo

好食不用說，物超所值先才是這個地方的賣點 Needless to say, high CP value is the selling point of this place

之前我說的二條市場是狸小路鬧市旁邊 The Nijo Market I said before is next to Tanukikoji downtown

完全是因為它的地點超級方便, 好多人去北海道都未必逗留好長時間在札幌 It's all because its location is so convenient that many people may not stay in Hokkaido for a long time in Sapporo

好多人去到札幌機場, 就直接自駕遊或者喺札幌機場直接搭巴士火車去其他地方 Many people go to Sapporo Airport, take a self-driving tour or take a bus or train directly from Sapporo Airport to other places

所以我一定要首先推介交通超級便利的二條市場 So I must first introduce the Nijo market with super convenient transportation.

但是如果講到識食, 一定要推介這個札幌中央場外市場 But when it comes to eating, be sure to recommend this Sapporo Central Wholesale market

無論乾貨、食肆，都是超級北海道旅遊首選 Regardless of dry goods and restaurants, it is the first choice for super Hokkaido tourism

價錢還要比二條市場更加平、更新鮮好味、貨品更多選擇 The price is even cheaper, fresher and more delicious than Nijo market, and there is more choice of goods

你看養殖海產的水非常清澈, 比起二條市場更加乾淨衛生 You see, the water for farming seafood is very clear, and it ’s cleaner than Nijo Market.

這裏還有二條市場沒有的東西, 就是乾淨衛生的試食 Here are 1 other thing that the market does not have, which are food tasting

試食完才買, 中伏的機會就會大大減低 Buy after you try, the chances of disappointment will be greatly reduced

我會在這條影片推介必吃餐廳、乾貨手信 I will recommend must-eat restaurants and dry goods in this video

參加阿Tsar旅遊團,是費用全免, 只懇求你們看完影片留個表情符號以示支持 Participation in the Tsar tour is FOC. I only urge you to leave an emoji after watching the video to show support

這裏不單止是遊客區, 重點是當地人、餐廳都會在這裏入貨 This is not just a tourist area, but the focus is on locals and restaurants

識食識享受，價錢平，當然是這裏札幌二十四軒站中央魚市場啦, are you ready? Smart travel of course, here is the Central Fish Market at Sapporo Nijuyonken Station, are you ready?

響頭炮一定要介紹這裏的海鮮食堂, 就是連古天樂、姜濤、任達華都會在這裹開餐打卡的 Must go restaurant is this celebrities loves one restaurant here

「海鮮食堂北のグルメ亭」已經有70年歷史, 外頭看起來不似一間餐廳， This restaurant has a history of 70 years.

因為擺了好多海產貝類乾貨食品， Because there are a lot of dry seafood products outside

舖頭入面才是別有洞天, 找到這間餐廳。 Finally found this restaurant

大家可以試食完先決定買不買 Everyone can food tasting before decide whether to buy it or not

店舖裏面的海鮮，其實是可以即叫即煮的 The seafood in the shop can actually be Cooked to order

明碼實價, 每公斤的食物是1000 yen烹煮費 Clearly priced that 1000 yen per kg of food

我上一條片講過, 北海道的三大名蟹, 要食肉質結實彈牙,又夠大啖大啖的帝王蟹 As I mentioned in the previous video, the 3 famous crabs in Hokkaido. king crabs for meaty

幾個朋友可以share就最適合了; 如果要食鮮甜蟹味就要試松葉蟹 Best suit for few friends to share. Fresh sweet crab flavor, try Matsuba crab

鍾意食蟹膏的朋友, 就建議點毛蟹 For those who like crab roe, they recommend hair crabs

我自己一個人就吃得到一隻蟹啦, I can't eat a crab by myself,

當日早上十點幾, 所以不算好多人 Not many people at that morning

如果你中午來的話, 一定會排長龍 U will be in a long queue if u come at noon time

這裏另外有間餐廳叫做菊水，都係好抵食好值得推薦㗎 There is another restaurant which is good for food and worth recommending.

如果你們來海鮮食堂, 太多人排隊, 你可以有菊水另一個選擇啦 If you come to this restaurant, too many people line up, you can have another option

我知道男觀眾比較喜歡看我講餐廳食肆的推介 I know that male audiences prefer to watch my video for restaurant recommendations

因為如果一對couple去旅行, 多數都係男嘅畀錢呀 Because if a couple is traveling, most of the time are men paying

而且男人出主意去那一間餐廳會比較man啲 And it ’s more manly for a man to recommend for a restaurant.

而我的頻道女觀眾, 就喜歡看我買東西多些, 我不會偏心的 And my female audiences like to watch me shopping. I will not be biased

講完這間餐廳有幾抵食, 之後我就會講shopping吧 I will talk about shopping after that after this restaurant

這條街總共有15間餐廳、60間店舖, 看完我的推介可以節省好多時間 There are a total of 15 restaurants and 60 shops in this street.U can save a lot of time after watching my referrals.

這裏一個套餐2720yen(193HKD)有海膽鮭魚卵飯加了一碗麵豉湯 Here is a set of 2720yen (193HKD) with sea urchin salmon roe rice and a miso soup

成碗飯的海膽和鮭魚卵, 食物非常有光澤, 顯出它的新鮮度非常之高 Sea urchin and salmon roes are very shiny, showing that its freshness

食海膽最重要是海水味，海膽的體積大小、顏色深淺與品種有關， The most important thing to eat sea urchin is the taste of sea water. The size and color of sea urchin are not related to the freshness but species

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