2013年5月16日 星期四

【轉載】長4條腿、2個生殖器 寶寶遭遺棄

【世界日報╱北京16日電】
2013.05.16 01:02 pm
 
 
河南鄲城縣日前收治一名棄嬰,他被愛心志願者編號為「4」,大家叫他「4號寶寶」。他長著四條腿,也被稱為四腿寶寶。新京報報導,在河南愛心志願者幫助下,15日凌晨,四腿寶寶被天使媽媽基金接到北京入住八一兒童醫院,將接受分離手術。
據報導,四腿寶寶的肚臍膨出,如一個深色的肉球,長有四條腿和兩個生殖器,其中外面的兩條腿發育比較好。據陪同接送寶寶的天使媽媽基金工作人員表示,四腿寶寶的精神狀態挺好,不哭不鬧,喝奶也不錯。

根據當地派出所出具的相關證明,寶寶在4月25日被遺棄,推測出生日期可能是4月18日,至今尚未滿月。

報導指出,4月26日,有網友在網上發帖稱,在鄲城南豐鎮李三元莊村頭發現被遺棄的四腿寶寶,但是「棄嬰情況不理想,已經被遺棄了一天,天很冷,再過一夜估計就更危險了,希望有關部門出面救救這個可憐的小生命。」

網帖隨即受到關注,在鄲城網友的幫助下,寶寶很快獲得當地民政部門救助,被送到當地縣人民醫院救治。網友信息說,「真以河南人的善心為榮。」

報導指出,天使媽媽基金負責人沈利說,由於當地治療條件受限,一個星期前,有人在微博上向天使媽媽基金求助,在北京的專家做初步判斷後,決定把四腿寶寶接到北京進行分離手術。

5月12日母親節那天,天使媽媽基金工作人員先行出發,和當地民政部門辦理寄養手續。14日凌晨4時,救護車從北京出發,於當天下午5時多抵達鄲城,接上四腿寶寶。1000多公里路程,10多個小時的時間,兩個司機倒班開車,以最快速度於15日凌晨4時許,將四腿寶寶送抵八一兒童醫院。

報導指出,八一兒童醫院兒童外科主任黃柳明表示,「這是一種寄生胎,是雙胞胎在發育過程中分裂不好。」目前還需要進一步檢查四腿寶寶的情況,看肚子裡面的內臟是兩套還是一套。從目前看,手術可以做,至少四條腿裡面需要去掉兩條功能不好的腿,盆骨也可能需要往中間收攏,手術方案需要在檢查後確定。
【2013/05/16 世界日報】@ http://udn.com/


原文:
http://udn.com/NEWS/MAINLAND/MAI2/7901095.shtml

Robot Self-Assembly by Folding: A Printed Inchworm Robot

3d printed robot!!

2013年3月15日 星期五

Galaxy S 4正式發表 著重生活應用、分享





雖然台灣普遍瀰漫數落韓國人的作為,但其實韓國人的表現有目共睹。單單介紹新功能的影片就相當可口,確實令人激賞這個新產品。

2013年3月1日 星期五

設計該是算數,還是數學?


一直以來,吸引我強烈學習的老師,都具備抽象思考的特質。在英國AA的老師Raoul Bunschoten更是如此。這深深地影響我對於設計的態度與方法,對於很多人而言,設計無需觸及太多不相干的事情,作品擺在眼前評論它的美感、使用、製作方式、經濟效益等等實際的設計問題即可。這或許在現實裡的確千真萬確,想得再多也不會有實質反應或回饋,包括金錢挹注與思考交流。但是思考系統的建立對於我而言,更甚於設計實體的論述。因為設計的思考架構是前述設計實質物件的基石,時尚會過,美感會變,設計習慣會調整,面對動態的變遷,處理設計涵構的框架愈小,將愈會是被動地漂流於洪流。借助構思設計方法的理論架構,在流動裡提供一個站立點,試著回應流動的變化,甚至改變流動的方向。

我想牛頓、高斯、愛因斯坦等等諸人應該都具備這些特質。而設計者應該也或多或少在作品的創作裡隱含這些價值才是。
但我知道不是很多人這樣認為的,學術界如此、實業界更是如此。

開學之前,我看了「丈量世界」電影,就電影而言並不是很好看,但體裁是我喜歡的,關於數學家高斯。其中高思少時為了爭取皇家助學金而面見皇家,當場被要求表演算數,即給了一長串數字相加,要求這名被稱為天才的少年能即時算出答案。在眾人期盼的沉默中,高斯回答歷史上有許多優秀的數學家算術是不及格的。戲裡場面的尷尬與戲院觀眾的笑聲,或許也是現實中對於設計定位不同的歧見吧。一個設計該是像算數一般令人讚嘆,還是像改變數學問題的觀念革新,的確令人深思。

2013年2月26日 星期二

【另類觀點 Alternative View】給李安的公開信 An open letter to Ang Lee

網路上有許多護神的鄉民或媒體因李安正在奧斯卡的高點,正是台灣之光絢麗時,所以容不下任何有損李安的言論,將這篇文章解讀為樹大招風,無妄之災。平心而論,李安的確並沒有在謝詞中提到這個視覺特效的團隊,也沒有聲援他們早先被硬生生趕下舞台麥克風斷訊的窘境,他們的謝詞時間比李安短很多。這種境遇其實血淋淋的說明視效不被合理重視的現況,被誤解為只是技術人員的偏見。相反的,傳統為導演掌鏡的攝影師已經不再如此對待,已在大眾心理建立藝術的地位。其實視效所做的,也是充滿著技術挑戰,其中牽涉美感、牽涉程式運算,並不亞於其他任何的電影技術人員,也應獲得藝術成就的尊重。

李安要求他們降低預算,其中原委細節,無從評論。李安沒聲援他們,的確使他們傷心,他們感覺到被遺忘,更何況正值他們公司破產之時。不過,我相信李安是無心的,也正如他應該對這個產業非常陌生。打個電話慰問他們,在媒體上釋放一些感謝他們藝術成就的努力,這無疑是為過去誤解冰釋的好機會,也提醒眾人對於辛勤努力工作者尊敬。

都加油~~

Dear Mr. Lee,

When asked about the bankruptcy of Rhythm + Hues, the visual effects house largely responsible for making your film “life of Pi” as incredible as it was, you said:

“I would like it to be cheaper and not a tough business [for VFX vendors]. It’s easy for me to say, but it’s very tough. It’s very hard for them to make money. The research and development is so expensive; that is a big burden for every house. They all have good times and hard times, and in the tough times, some may not [survive].”

I just want to point out that while, yes R&D can be expensive and yes it takes a lot of technology and computing power to create films like yours, it is not computer chips and hard drives that are costing you so very much money.  It is the artists that are helping you create your film.

So when you say  “I would like it to be cheaper,” as an artist I take that personally.   It took hundreds of hours from skilled artists and hard-working coordinators and producers to craft the environments and performances in life of Pi.  Not to mention the engineers that wrote all of that proprietary code and build the R+H pipeline.  That is where your money went.  I’d say, judging from the night you just had, you got one hell of a deal.

Incidentally, those were the same gorgeous sunsets and vistas that your DP Claudio Miranda took credit for without so much as a word of thanks to those artists.  And the same animated performances that helped win you the best director statue.  Nice of you to mentionthe pool crew, but maybe you could have thanked the guys and gals who turned that pool in to an ocean and put a tiger in to that boat?

It was world class work, after all.  And after a fabulously insulting and dismissive introduction from the cast of the avengers, at least two of whom spent fully half of their film as a digitally animated character, R+H won for it’s work on your very fine piece of cinema.  And just as the bankruptcy was about to be acknowledged on a nationally-televised platform, the speech was cut short.  By the Jaws theme.

If this was meant as a joke, we artists are not laughing.

Mr. Lee, I do believe that you are a thoughtful and brilliant man. And a gifted filmmaker.  But I also believe that you and everyone in your tier of our business is fabulously ignorant to the pain and turmoil you are putting artists through.  Our employers scramble to chase illegal film subsidies across the globe at the behest of the film studios.  Those same subsidies raise overhead, distort the market, and cause wage stagnation in what are already trying economic times.  Your VFX are already cheaper than they should be.  It is disheartening to see how blissfully unaware of this fact you truly are.

By all accounts, R+H is a fantastic place to work; a truly great group of people who treat their employees with fairness and respect.  Much like Zoic Studios, the fabulous company that I am proud to work for.  But I am beginning to wonder if these examples of decency will be able to survive in such a hostile environment.  Or if the horror stories of unpaid overtime and illegal employment practices will become the norm, all because you and your fellow filmmakers “would like it to be cheaper.”

I for one won’t stand for it.  Please join me.

Warmest regards and congratulations,
 Phillip Broste
 Lead Compositor


article source:
http://vfxsoldier.wordpress.com/2013/02/24/an-open-letter-to-ang-lee/

translation:
http://animapp.cloudapp.net/blog/production/compositing-and-effects/905-an-open-letter-to-ang-lee-by-phillip-broste.html



Life of Pi | Visual Effects Making Of from BUF on Vimeo.


'Jaws' Music Cuts Off 'Life Of Pi' Visual Effects Team Oscar Speech (VIDEO) 
http://www.huffingtonpost.com/2013/02/24/jaws-oscars-life-of-pi-_n_2756380.html

Oscars 2013: VFX Artists Blast 'Disgraceful' TV Moments
http://www.hollywoodreporter.com/news/oscars-2013-vfx-artists-blast-424304


【轉貼】How 3D Printing Will Change Our World (Part II)






more info:
http://www.archdaily.com/255156/how-3d-printing-will-change-our-world-part-ii/

2013年2月25日 星期一

李安得獎前的訪談

http://appledaily.com.tw/appledaily/article/entertainment/20130225/34850089/李安自剖19年征戰奧斯卡心路誓言拍國片再奪外語片

今日有設計課,在開車路上得知李安得到導演獎,一路上整個廣播充滿歡樂氣息。還沒聽得獎感言,但早上出門前在水果網站上看到頒獎前夕的訪談報導。其中李安談及他自己是處在主流的氛圍裡,指的是他的路術,包含觀點與手法,說他若是美國人的話,應該無異於其他美國電影人。但他謙稱他是外國人必須在美國市場裡打滾,因而造就他必須關注藝術市場並使他得到特別的關注。從這段話裡,除了他儒家式的誠實與謙卑外,他在專業光譜上的自我認識與見地更加顯現他的視野寬度與人外有人的謙虛。得獎是其次,態度與過程都彰顯李安固然是主流的擁護者,但也值得非主流路術打從心底的尊敬。

more info:



http://www.independent.co.uk/arts-entertainment/films/news/oscars-2013-ang-lees-best-director-acceptance-speech-for-life-of-pi-in-full-8509550.html

2013年1月25日 星期五

discrete forms generated from indiscrete formation process

My first impression of this blended monster-and-human face was from the Ben Van Berkel's book, move. After that, I found that it is a series of artwork from Daniel Lee, born in China but raised in Taiwan, now living in NY, USA. There are many series of works under similar concepts and techniques like "manimals", "origin", "harvest" and "jungle" etc.

I like them very much because they trigger a strange sensation of human itself which is blended with an essential character of wild animals. In addition, I love them partly because they represent an image of my concept of "discrete forms generated from indiscrete formation process".



































Shadow Dialogue_by Kumi Yamashita



Shadow Dialogue_by Kumi Yamashita from SHADOWMESSENGER on Vimeo.

好的藝術品有時候真的極簡單卻又有極大的震撼力~~

2013年1月23日 星期三

【轉貼】ICD/ITKE RESEARCH PAVILION 2012



ICD-ITKE Research Pavilion 2012: Production Start from ICD on Vimeo.



ICD-ITKE Research Pavilion 2012: Dry Run from ICD on Vimeo.


ICD-ITKE Research Pavilion 2012: Prototyping from ICD on Vimeo.

original post:
http://icd.uni-stuttgart.de/?p=8807

ICD/ITKE RESEARCH PAVILION 2012

In November 2012 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed a research pavilion that is entirely robotically fabricated from carbon and glass fibre composites. This interdisciplinary project, conducted by architectural and engineering researchers of both institutes together with students of the faculty and in collaboration with biologists of the University of Tübingen, investigates the possible interrelation between biomimetic design strategies and novel processes of robotic production. The research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.

At the core of the project is the development of an innovative robotic fabrication process within the context of the building industry based on filament winding of carbon and glass fibres and the related computational design tools and simulation methods. A key aspect of the project was to transfer the fibrous morphology of the biological role model to fibre-reinforced composite materials, the anisotropy of which was integrated from the start into the computer-based design and simulation processes, thus leading to new tectonic possibilities in architecture. The integration of the form generation methods, the computational simulations and robotic manufacturing, specifically allowed the development of a high performance structure: the pavilion requires only a shell thickness of four millimetres of composite laminate while spanning eight metres.

BIOLOGICAL MODEL

Following a “bottom-up” approach, a wide range of different subtypes of invertebrates were initially investigated in regards to the material anisotropy and functional morphology of arthropods. The observed biological principles were analysed and abstracted in order to be subsequently transferred into viable design principles for architectural applications. The exoskeleton of the lobster (Homarus americanus) was analysed in greater detail for its local material differentiation, which finally served as the biological role model of the project.
 The lobster’s exoskeleton (the cuticle) consists of a soft part, the endocuticle, and a relatively hard layer, the exocuticle. The cuticle is a secretion product in which chitin fibrils are embedded in a protein matrix. The specific differentiation of the position and orientation of the fibres and related material properties respond to specific local requirements. The chitin fibres are incorporated in the matrix by forming individual unidirectional layers. In the areas where a non-directional load transfer is required, such individual layers are laminated together in a spiral (helicoidal) arrangement. The resulting isotropic fibre structure allows a uniform load distribution in every direction. On the other hand, areas which are subject to directional stress distributions exhibit a unidirectional layer structure, displaying an anisotropic fibre assembly which is optimized for a directed load transfer. Due to this local material differentiation, the shell creates a highly adapted and efficient structure. The abstracted morphological principles of locally adapted fibre orientation constitute the basis for the computational form generation, material design and manufacturing process of the pavilion.

TRANSFER OF BIOMIMETIC DESIGN PRINCIPLES

In collaboration with the biologists, the fibre orientation, fibre arrangement and associated layer thickness and stiffness gradients in the exoskeleton of the lobster were carefully investigated. The high efficiency and functional variation of the cuticle is due to a specific combination of exoskeletal form, fibre orientation and matrix. These principles were applied to the design of a robotically fabricated shell structure based on a fibre composite system in which the resin-saturated glass and carbon fibres were continuously laid by a robot, resulting in a compounded structure with custom fibre orientation.

In existing fibre placement techniques, e.g. in the aero-space industry or advanced sail production, the fibres are typically laid on a separately manufactured positive mold. Since the construction of a complete positive formwork is fairly unsuitable for the building industry, the project aimed to reduce the positive form to a minimum. As a consequence, the fibres were laid on a temporary lightweight, linear steel frame with defined anchor points between which the fibres were tensioned. From the straight segments of the prestressed fibres, surfaces emerge that result in the characteristic double curved shape of the pavilion. In this way the hyperbolic paraboloid surfaces resulting from the first sequence of glass fibre winding serve as an integral mould for the subsequent carbon and glass fibre layers with their specific structural purposes and load bearing properties. In other words, the pavilion itself establishes the positive formwork as part of the robotic fabrication sequence. Moreover, during the fabrication process it was possible to place the fibres so that their orientation is optimally aligned with the force flow in the skin of the pavilion. Fibre optic sensors, which continuously monitor the stress and strain variations, were also integrated in the structure. The project’s concurrent consideration of shell geometry, fibre arrangement and fabrication process leads to a novel synthesis of form, material, structure and performance.

Through this high level of integration the fundamental properties of biological structures were transferred:
 •Heterogeneity: six different filament winding sequences control the variation of the fibre layering and the fibre orientation of the individual layers at each point of the shell. They are designed to minimize material consumption whilst maximizing the stiffness of the structure resulting in significant material efficiency and a very lightweight structure.
 •Hierarchy: the glass fibres are mainly used as a spatial partitioning element and serve as the formwork for the following layers, whilst the stiffer carbon fibres contribute primarily to the load transfer and the global stiffness of the system.
 •Function integration: in addition to the structural carbon fibres for the load transfer and the glass fibres for the spatial articulation, functional fibres for illumination and structural monitoring can be integrated in the system.

COMPUTATIONAL DESIGN AND ROBOTIC PRODUCTION

A prerequisite for the design, development and realization of the project was a closed, digital information chain linking the project’s model, finite element simulations, material testing and robot control. Form finding, material and structural design were directly integrated in the design process, whereby the complex interaction of form, material, structure and fabrication technology could be used as an integral aspect of the biomimetic design methodology. The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous variations. In parallel, the mechanical properties of the fibre composites determined by material testing were included in the process of form generation and material optimization. The optimization of the fibre and layer arrangement through a gradient-based method, allowed the development of a highly efficient structure with minimal use of material.
 The robotic fabrication of the research pavilion was performed on-site in a purpose-built, weatherproof manufacturing environment by a 6-axis robot coupled with an external seventh axis. Placed on a 2m high pedestal and reaching an overall working span and height of 4m, the robot placed the fibres on the temporary steel frame, which was actuated in a circular movement by the robotically controlled turntable. As part of the fabrication process the fibres were saturated with resin while running through a resin bath directly prior to the robotic placement. This specific setup made it possible to achieve a structure of approximately 8.0m in diameter and 3.5m height by continuously winding more than 30 kilometres of fibre rovings. The parametric definition of the winding motion paths in relation to the digital geometry model, the robotic motion planning including mathematical coupling with the external axis, as well as the generation of robot control code itself could be implemented in a custom-developed design and manufacturing integrated environment. After completion of the robotic filament winding process and the subsequent tempering of the fibre-resin composite, the temporary steel frame could be disassembled and removed. The remaining, extremely thin shell of just 4mm thickness constitutes an automatically fabricated, but locally differentiated structure.

The concurrent integration of the biomimetic principles of the lobster’s cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding within the computational design process, enable a high level of structural performance and novel tectonic opportunities for architecture. Despite its considerable size and span, the semi-transparent skin of the pavilion weighs less than 320kg and reveals the system’s structural logic through the spatial arrangement of the carbon and glass fibres. The synthesis of novel modes of computational and material design, digital simulation and robotic fabrication allows both the exploration of a new repertoire of architectural possibilities and the development of extremely lightweight and materially efficient structures.

related info:

2013年1月22日 星期二

IAAC Students testimonials

More about students of Advanced Architecture of Catalonia :




FabClay from Sasha Jokic



FabClay from Sasha Jokic on Vimeo.

FabClay is project done by Sasha Jokic (Serbia), Starsk Lara (Colombia) and Nasim Fashami (Iran) ,based on the idea of robotic additive manufacturing fabrication, innovative materials and computational tools. The research is being conducted at the Institute for Advanced Architecture of Catalonia (IAAC) in Barcelona at Digital Tectonics course lead by Marta Male Alemany with assistance of Jordi Portell and Miquel Lloveras.

2013年1月21日 星期一

一代宗師 觀影隨筆






不知道是習慣了還是偏見地袒護的作用下,我看王家衛的電影始終都能很順暢地隨著其漫遊。

在觀影之前,於FB上就有些許留言說劇情鬆散畫面唯美。
看完之後,的確說的並沒有特別離譜。

但王導的敘事手法似乎都是如此。他特別強調這次是用編年體的方式,交代這些細節。我觀影中有留意到的地方,唯一時空特別不一樣之處是宮二小姐問葉先生知道十年前的除夕他在那兒(1950)先演,其後才交代宮二當年的情景(1940),其他就大致是順著年代走,交代時代變遷下的武林變化。這是個敘事大架構。

有了架構之後,血肉精髓以宮二的經歷主導故事性,對於自己、天地與蒼生,從桀傲不遜帶點刁蠻的小姐,到為了一意孤行復仇所做的犧牲與付出代價的束縛,終至生命意志的潰散。其中的對話都符合王家衛的角色特質。很酷、很壓抑、很真誠、很偏執、很炫麗。

喜不喜歡這部電影? 若你問我,我會說還是中意!! 很享受其中情緒的起伏。
滿不滿意這部電影? 若你問我,我會說少少無中意!!
我覺得雖然畫面優美,但功夫的拍攝手法似乎跳脫不了革新後的招式,從十年前的臥虎藏龍到爾後的matrix,似乎沒有創造新的里程碑,有點失落,畢竟功夫場面真的很多。

最後,聽說王導有意把刪減很多的影片收錄到DVD裡,有四個多小時的終極版本。張震、宋慧喬應該會復活一些吧,梁朝偉也該多點靈魂吧!

這讓我想再去找終極版的東邪西毒看看!!


more info:

http://udn.com/NEWS/ENTERTAINMENT/ENT3/7649999.shtml
http://udn.com/NEWS/ENTERTAINMENT/ENT3/7650011.shtml

2013年1月16日 星期三

【轉貼】郭泓志:跌倒都會學到教訓,只要懂得爬起來就好

擁有速球和左投的雙重優勢,郭泓志被國內棒球界譽為「神的左手」,但神也開了大玩笑,讓他手臂不斷受傷,至今進行過5次手術,即便一再歷經受傷、手術、復原、復出,他仍繼續追逐在大聯盟上場投球的夢想。


我個性不服輸。如果有人告訴我「你這個做不到」,那我會不服氣,所以我就做好自己,做給你看。不管花多少時間,就是要拚給你看,讓我對自己也能夠交代。 ──郭泓志




從小我就很好動,念忠義國小時,比較皮。爸媽看這樣不行,剛好有鄰居在打棒球,他們就問我:「要不要轉去公園國小,那裡有棒球校隊,也可以跟鄰居一起練球?」他們的想法很簡單,就是希望我能夠在學校把精力發洩完,回到家父母管教起來比較不會那麼累。於是我的棒球生涯就從這裡開始,其實那時候也沒什麼太多想法,就是愛玩而已。

正式到了棒球隊,有一天,看到學長神氣的出國比賽,我才開始覺得棒球好玩起來。從那時候開始,棒球才變成是我的興趣。當時球隊拿到全國軟式棒球冠軍,還在日本打到世界冠軍。小學開始打棒球,我慢慢培養出興趣,然後到了建興國中,就變成理所當然的要繼續打下去。

國中開始叛逆期,好像有一、兩年,我變得比較不想打棒球,比較想打籃球。爸爸就告訴我:「如果你不想打球,那就好好念書;如果真的要打球,那就好好練習、好好打。」教練也來跟爸爸聊,反正我功課也不算很好,所以後來還是好好打球。是爸爸的堅持把我拉回棒球隊。

高中畢業進大聯盟:

沒有榮耀與風光,只有責難

一九九八年,我代表台灣去打亞洲青棒賽;之後,就跟洛杉磯道奇隊簽約,在一九九九年赴美打球,那段時間受到很多批評和責難。因為在當時,台灣沒有人高中一畢業就立刻去美國打球,不像現在,如果有球員要去美國大聯盟打球是榮耀,大家會很開心送你出國。在那個年代,你選擇這樣做,好像是你背叛國家一樣。

那時候的確因此引起不少的紛爭,爸媽很關心我,儘量不讓我知道外界發生什麼事情。我人已經去美國了,感受不到,反而父母承受的壓力比較大。

現在回想起來,我不會覺得那個決定是對還是不對,如果再選擇一次,我也不知道會怎麼做。但其實就是照自己的方式去走,不要太在乎別人說什麼。那也只是一段經歷,所有事情一定都有第一次,就算我去當第一個,那也好。

剛去美國的時候,覺得很好玩,就好像出國去玩一樣。但經過兩、三個星期之後,才知道因為兵役等問題,暫時不能回台灣。我只能在那邊自己找事情做,想辦法融入美國。我常去看電影、去中國或台灣餐廳、去租台灣錄影帶或港劇,想家的時候,就儘量讓自己的生活跟在台灣一樣。

第一次受傷:

原來,我把它想得太簡單

二○○○年四月十日,我第一次在小聯盟登板投球,左手肘手韌帶斷裂。我那時候比較天真,不知道小聯盟和大聯盟的差別,甚至不知道小聯盟還有分1A、2A、3A等幾個等級。當時沒想那麼多,所以第一次受傷的時候,也沒有特別覺得不開心,因為醫生說只要休息一年,回來就是會好。

現在回想起來,那個時候自己是想得太輕鬆了,因為你不知道,在這中間,要做多少的復健。復健真的滿累的,而且可能回來之後,手臂也沒辦法像之前一樣。那段時間我就儘量讓自己融入那個社會,也常打電話回家,跟家裡的人聊聊天。剛開完刀時,我媽和姊姊到美國去看我,在那兩、三個星期的時間,她們也給我加油打氣,希望我好好做復健,認真的復原。

我很早就去美國,幾乎都是一個人,所以比較獨立。因此,在美國的時候,我比較會主動去跟大家聊天。像有些美國記者,覺得你不懂英文,又是亞洲人,因此都會儘量不去打擾;如果你主動踏出第一步,去跟他們聊聊天,他們也就會很輕鬆的跟你聊起來。

二○○二年我回台灣打亞運,也上場投球,但還是以三:四輸給了日本。賽後,球迷和媒體對我有一些責難,其實那時候我滿傷心的。當時外界有一些期待,覺得我回來打中華隊就一定要怎樣。但我覺得,不管什麼人回來,代表國家去參加比賽,只要把自己最好的那一面表現出來,大家就應該給他鼓勵;而不是叫某個人回來,就是一定要拿金牌。畢竟棒球是一個團體的活動,需要大家彼此合作,才能贏球。

對我而言,棒球有輸有贏,最重要的是,不管你做什麼事情,就是盡力就好。

不論先發或救援:

站上球場,就認真看待自己

過去打球時,我的得失心比較重:今天我投球,進球場我就是要贏,一定要表現得很好。但在經歷這麼多次的受傷之後,我體會到,打球真的是開心最重要。不管丟幾局、失幾分,其實還能夠站在投手板上投球,我就很開心了。

不管做什麼事情,跌倒都會學到教訓,你只要懂得爬起來就好。人生有目標很重要,不管你有怎樣的目標,都要想辦法去達成。當然周遭人的鼓勵,也是很重要的;不管是家人或朋友,鼓勵永遠比自責好很多。目標達成之後,再找下一個目標;人生有很多不一樣的目標,你只要有目標,就會努力去達成。

原文

2013年1月13日 星期日

地鐵震動 恐損科隆大教堂


【中央社╱柏林特稿】
2013.01.13 12:40 pm

德國著名的景點地標科隆教堂最近不時會震動,因為科隆市新啟用的地下鐵路經過附近。聯合國教育、科學、文化組織(UNESCO)表示,將會了解名列世界遺產的教堂建築是否受損。

科隆教堂(Koelner Dom)是歐洲最具代表性的哥特式建築之一。高聳入雲的鐘樓、尖形拱門和肋狀拱頂,還有以宗教故事為主題的嵌花玻璃窗,吸引來自全球的觀光客。

UNESCO在1996年將科隆教堂列入世界遺產。因為鄰近地區的1項摩天大樓興建計畫可能損害到教堂建築,UNESCO在2004年將它列入「陷入險境的世界遺產」(World Heritage in Danger)名單。兩年後,摩天大樓興建計畫取消,科隆教堂才從名單除名。

去年12月啟用的南北向地下鐵,工程期間就事故不斷。幾年前挖掘地下隧道時就造成科隆市古蹟的嚴重損毀,除了2004年在科隆市南邊的1所老教堂塔尖傾斜,2009年3月當地的檔案文件中心建築崩塌,造成兩人死亡及無數珍貴歷史文件的損壞。

地鐵才剛啟用,科隆教堂就受到影響。教堂網站公布地下鐵造成震動的問題,並且表示已經與市政府和都會交通主管單位討論教堂建築的安全風險。科隆教堂是德國最著名景點地標之一,因此市政府也會重視相關問題。

這座從13世紀中葉開始興建,到了1880年才完工的教堂,在第二次世界大戰後期也遭到戰火的摧殘。戰後進行修復工程,教堂關閉多年,直到1956年才開放。由於戰火和現代都會的空氣汙染對建築物造成的損害嚴重,教堂終年都在進行修復工程。

157.3公尺高的科隆教堂是世界上第三高的教堂,大約相當於現代建築45層樓高。科隆觀光旅遊機構指出,教堂是萊因河地區最吸睛的景點,平均每天到此參觀和拍照留念的觀光客多達兩萬人。自認腳力不錯的遊客可以走上509級石階到鐘樓頂眺望,流經科隆的萊因河及週邊景觀可一覽無遺。

related info:

http://www.koelner-dom.de/
http://en.wikipedia.org/wiki/Cologne_Cathedral


BIG WINS THE COMPETITION TO DESIGN A MAJOR ISLAMIC CULTURAL CENTER IN ALBANIA



related info:

economist

inhabitat
architizer
architecture lab

2013年1月12日 星期六

technique, imagination and marketing


food from Emanuel Strixner on Vimeo.



Just now I saw a stop motion shared by Karl Chu which is about a ball of dough taken out of fridge that tells a story by transforming itself into many species. For me, it is full of imagination based on abstract experiences from life and leads to a new fantastic vision of the unknown. This suddenly reminds me a very popular stop motion animation several years ago about the pressure of deadline by using note sticker. It is truly a very entertaining and welcome animation that attracts millions of eyes on youtube. But for me, though the idea is charming, the work itself is less related to imagination. It has a sense of humor towards a familiar world and nothing beyond. Both these two stop motion animations are successful and lovely but out of very different creation minds.

In the end of the sticker animation, there is a link to episode II. I think it upgrades to another level which is about marketing. The sticker is transformed into a human shaped character to tell stories. It takes advantages of the success of sticker animation and makes ready to be a commercial product. This is indeed the way the world we are living behaves. Either u like it or not!!

2013年1月10日 星期四

Windswept by Charles Sowers


Windswept by Charles Sowers from Dezeen on Vimeo.

Kinetic Art / Interactive Art

吉米哥捎來的藝術訊息,一座隨風旋轉活動的紋理藝術。
藝術家:

http://charlessowers.com/

http://tinkering.exploratorium.edu/charles-sowers/

Magnetic Labyrinth from Charles Sowers


Magnetic Labyrinth from Charles Sowers on Vimeo.

marvelous setting for choreographing dynamic patterns!!

HygroScope


HygroScope - Centre Pompidou Paris from ICD on Vimeo.

隨著濕度變化而改變型態的裝置。

【轉貼】「爸,對不起,我是AV女優」




這新聞發人深省。

1. AV女優也可以是勵志故事~~
2. 感謝家人始終給予人生選擇的自由
3. 對於女兒,除了自由與關懷之外,希望彼此交流人生的智慧。
4. 謝謝AV女優長期的陪伴,辛苦了!!


2013-01-10 中國時報 黃菁菁/東京九日電

 日本AV女優山川青空七日在自己的部落格中,以「爸爸,對不起,我是AV女優」的標題,向父親告白自己選擇的行業,引起廣大的回響,不少同業以經驗談相挺,有網友勸她早日金盆洗手,別再傷父親的心。

 山川瞞著家人從事AV的工作,去年十二月剛出道的她寫著:「對不起我隱瞞了,對不起我說謊了,請原諒我無法親口說明。當爸爸驚訝地打電話問我『有和妳一模一樣的女孩登在雜誌封面,不是妳吧?還有二本,妳沒做寫真女郎吧?』我被此突發的事嚇到無法答話,只說『我再打給你』就掛了電話。」

 山川曾遭受霸凌,一度宅在家裡足不出戶,但仍進了有名的大學,為了當老師而在打工,她寫著:「對爸爸而言,一定覺得那樣的努力都變得沒任何價值了」,「對不起,真的對不起,我走上AV女優這條路。」「要逃是很簡單的,現在也可以放棄,但若現在放棄了,更會成為想抹去的過去。」「請相信我所相信的路,今後仍將努力走AV女優這條路。」

 同是AV女優的小倉奈奈留言:「看了讓我落淚」。森下奈緒則說:「我被父母發現時也很悽慘,但時間可以解決一切,慢慢來吧。」

 飯島愛、及川奈央等不少AV女優從小電影轉型拍電視劇、電影,或參加綜藝節目,因此不少年輕女孩視這行為進軍演藝圈的跳板。當紅AV女優組成的歌唱團體「惠比壽麝香葡萄」也漸受矚目,還到台灣開演唱會,蒼井空更在中國成了名人。

 日媒指出,雖說AV女優這行已不如過去那樣讓人側目,但因堅持走這條路而與家人反目的也不在少數。

地瓜飯 rice with yam


My father told me that he hates eating yam cos he ate a lot due to lack of rice during the WW II. Quite the opposite, My mother used to love yam as snacks. As for myself, I don't have any special taste to like or dislike it. Most of the time, I have them as snacks or with porridge as most Taiwanese does.

Recently, when cooking the rice, I put some yam inside inside the pot together. Surprisingly its taste is so lovely that keeps me doing this. I can taste the carbohydrate of the rice clearly by chewing it with a longer time. Usually the rice loses its flavor when it comes with other dishes, especially with the strong-tasted food. Besides, the yam provides an interesting sense of chewing which multiples the layers of softness and stickiness other than the rice.

It is a life style which is deeply rooted in the orientation wisdom. The more yam rice I cook and eat in the process of appreciation towards the life, the more philosophical seed is incubated in my mind. Simple is great, not as a taste but a real life practicing.

2013年1月4日 星期五

Ernst Haeckel - 3000 Radiolarian Species




This morning while i was still in bed, my iphone just got a FB message notice from London. I opened the notice and saw something extremely stunning and immediately woke me up completely!! It is a vedio clip sent from my ex-student Pai, a clip about 3000 radiolarian species. Wow!! What can i say? extremely mavelous!! The forms are delicate, sophisticated out of natural revolution and could be perfect models to study form making for design. It is a very inspiring clip for imagine shapes and the links to the unfolding secrets.

Thanks for the sharing and it is truly a BIG GIFT for the new year.

2013年1月1日 星期二

packed pavilion



nice work from ETH!!

movie: 건축학개론 (introduction to architecture)

Spending a leisure time during the new year's holiday seeing the korean movie "introduction to architecture", it brought me lots of memories in college. As an architecture student in school, it is true that girls like boys with artistic spirits, especially in those pure ideal dreams. However, more or less in reality, the more artistic a man keeps since the wild young age, the less smooth for him to fit into the money system. But the movie is easy and lovely for the old days and the new ones not yet coming.










插曲:youtube上有偶像團體super junior圭賢演唱該曲的影片,聽完後我只能說「Wow!」,韓國的偶像團體真不是蓋的,還蠻會唱的~~,聲音很真誠ㄟ,打破偶像無才的偏見。