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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


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

【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.

2012年12月30日 星期日

【轉載】Ebert's Top Movies of 2012

又到了年終,回顧這一年,迎向另一個新年。
有努力,有蹉跎,有悲傷也有美麗。

明年是個關鍵,這個案子是個關鍵,大三是個關鍵,三十歲是個關鍵
blablabla.....
往往當我們專注在某些事情上時,那個當下的某件事就是個關鍵
聽台上的講題喋喋不休,當關鍵時刻因時因地不斷轉換主角時,
所有的人事物不就都成了關鍵腳色了嗎??

聽台上的話語不停地論述某個至為關鍵的神聖性時
腦中真的只剩下一片空白
因為都是關鍵,所以景色是水平的、團簇的、交纏的,
是全部一體的。

這樣的反應倒還透露一點人生的真實性
每件事都是一個脈絡的一部分
每做一件事其實都是進入一個更大的脈絡
每一個動作都喚醒之後的後續動作
每一個動作都有關鍵的意涵
次數多了或許無感
但卻真實的預示了後果

很冷酷的結局
但也很正面而公平的人生

最後
年終的省思以ebert的2012十大佳片為結束
還有blog比facebook少點喧鬧,
其實也蠻好的

http://blogs.suntimes.com/ebert/2012/12/eberts_top_movies_of_2012.html

2012年7月22日 星期日

3. SALVATION





3. SALVATION
The 1976 movie “taxi driver” talks about a mentally unstable Vietnam War veteran working as a nighttime taxi driver who tries to murder the politician due to his disappointment and anger about the society but ends up with saving a teenage prostitute in the end. Life is suffering because we cannot always get what we want. Life is cruel because still we keep chasing what doesn’t belong to us. Then getting angry, or making terrible mistakes. But it does not have to end up like this. Handle the unsatisfied anger, the energy of desire and channel it to somewhere needed of your help.

3. 救贖
1976年電影「計程車司機」(馬丁史柯西斯執導,勞勃狄尼洛主演,不確定台譯電影名稱)講述一位心理狀態不穩的越戰老兵以開晚間計程車維生,由於對社會的失望與憤怒,試圖謀殺一位政治人物,但最後以拯救了一位雛妓結尾。生命是痛苦的,因為我們總無法得到我們想要的。生命是殘酷的,因為我們依舊持續追逐不屬於我們的東西。接著我們憤怒,犯下可怕的錯誤。但它不一定要以此做終。處理未被滿足的憤怒,亦即慾望的能量,導引到某個或許需要你援助的角落。



http://www.imdb.com/title/tt0075314/

2. EVERY CITY IS THE GOTHAM CITY





2. EVERY CITY IS THE GOTHAM CITY
We all live in a sick society and are all connected. Killing is just a symptom of our serious illness and there are many other homogeneous disorders embedded in our lives on various layers. Directly or indirectly we create the killer’s stage and he echoed back his murder to the public. The police brings the murderer into justice is merely a cut-out of the whole thing. In the movie, there is a line like “everyone could be batman…”signifying that it’s everyone’s responsibility in Gotham and they all can be “the batman” serving their duties. Expanding the idea, every city is another Gotham for its own corrupted soul. Gotham is the reflection of our own environment.

2. 每一座都市都是高譚市
我們都居住在一個病態的社會並連結一起。殺人只是我們病入膏肓疾病的表徵,其他還有更多同源異種的失序埋藏在我們生命不同的層級裡。直接地或間接地我們創造了殺人者的舞台,而他以殺人回應給大家。警方將殺人犯繩之以法僅僅只是整件事的一小塊切割。電影中,有句台詞說著「每人皆是蝙蝠俠…」象徵高譚市裡每人的責任,每人都可以是蝙蝠俠執行他們的勤務。擴大其意,每座城市墮落的靈魂都是另一座高譚市,高譚市是我們生活環境的鏡射。

batman 3 "Dark Knight Rises" IMAX







從沒在電影首日就去觀賞,也沒看過IMAX,今天「蝙蝠俠 黑暗騎士」先破兩個先例!進入IMAX戲院被較一般戲院的陡直短淺斜率所困惑,「這樣不會太近能看嗎?」心裡嘀咕著。觀賞後所有疑惑解除,斜率大是讓觀者如同坐此山觀彼山般,尺度放大的影像的確震撼,尤其觀賞那高譚市空景之姿,確實感受自己的渺小。這是驚奇一。驚奇二是即便網路上好評不斷,前二集也被稱為最成功的蝙蝠俠系列,不過年代久遠我並未放在心上,觀賞完我不得不說把一部漫畫英雄片轉化成一部劇情片,導演真的揉合了許多電影樣式,不急不徐地把既定該走的流程安置好,其實沒太多時間把想當然爾的俗套檢視它的鋪陳。主角人物一系列裡都設有主題,讓劇情更有層次。只能說打破藩籬,銜接新的形態都是原型,那怕是一部必定是商業片的架構,除了娛樂外還多了些悸動。最後,安海瑟威很美! 電影好看!



2012年2月14日 星期二

女性的堅毅



昨天從網路新聞中得知鳳飛飛辭世,而且早在一月三日就因肺腺癌往生。
有驚嚇,有不捨,也讓我記起我的母親。

小時候記得母親很喜歡聽鳳飛飛的歌曲,雖然她幾乎不太常唱歌,除了在朝山團的車廂內唱頌佛教歌曲。母親的一生很樸實,沒有沾染一絲一毫榮華富貴的氣息,為了家庭付出所有她的努力。她總是待人和善,溫和有禮,與她接觸過的人從待人接物上沒挑剔出她有甚麼缺點。其實她比這些所謂的禮俗還要教我敬佩與懷念,因為在她的日常生活的點滴裡,更是一個無私充滿愛的人。我所遇到的困境與闖下的麻煩,她總沒有一句憤怒指責與埋怨,總是輕聲細語的勸戒與教導,最嚴厲的處罰大概就是靜默以對。

母親的一生不能說是一帆風順,幼年時她的父親就被白色恐怖抓走,莫名的被抓走關在綠島,不知幾年後捎來一個信息領屍。我不曾聽聞過母親描述過她的父親,可能那時她年紀也還小很陌生吧。她的成長家庭就在我外婆支撐下拉拔五個小孩長大,應該是很辛苦的一段路吧。母親的善解人意與報喜不報憂是她另一個特質,她對我的愛永遠是如海浪般拍打岸邊般,持續溫柔地輕撫我年少輕狂的稜角。太多太多年紀輕不成熟的傻事都有勞她包容與引導我,遇到問題的態度總是不急不徐地找尋解決方法。記得我在哥大念研究所時,因為語言與教學方向不能盡如人意,無法施展與學習到令人滿意的程度,興起了休學的打算。那可是一個大決定,常春藤的學費昂貴與虛榮心作祟下,一般家長應該是不會答應這種遊戲玩笑式的態度。那時的我確實心灰意冷,想施展抱負與自我期望過高,壓力下的我非常沮喪。母親得知之後,並沒有太多反應與即時給意見,只是好好鼓勵我,但她知道我出國留學前,是在猶豫選擇哥大或AA,沒多久後在一次國際電話裡,她說她明後年退休後會有一筆退休金可以支持我轉換到AA去。像這樣都是為我著想放下她自己的故事實在太多太多了。而一年後,我也確實轉換到AA找到令我折服的老師,開啟我全新的建築視野,埋下我個人的建築想法的種子。但是在我念AA一年之後,母親癌末病倒,我AA還沒畢業母親就離開我了,那年我29歲。我30歲從AA畢業時,我感覺到我學到一些很有價值的觀念,值得稱許「三十而立」的當時,我很感謝我的母親,很懷念她。

時隔十二年,一樣在歲末年初時,鳳飛飛傳來病逝的消息,她體貼過年期間大家的喜氣,特別吩咐等到過完元宵再公開訊息,生病期間的隱忍與體貼愛護她的朋友,我雖不認識她,但我很強烈的輾轉透過她的特質,想念到我的母親,一種女性揉合溫柔與堅毅的特質。自此之後我很少有機會再次近距離見識到這樣聖潔的光輝。我追悼鳳飛飛,但更深地懷念我的母親。我希望我的女兒也能感受到我曾感受的溫暖。

2012年2月3日 星期五

do it for you (die for u)






這幾天出現了兩則不幸的消息,一則成大大肆學生登山失足墜落山谷而亡,一則任職有線電視公司23歲青年網咖打線上遊戲暴斃。當新聞消息出現時,我並非同時看到但卻將兩則聯想在一起。我不認識任何一位,完全不知道他們的生活背景,不敢高談闊論妄下定語。不過對我而言比較可以確定的是不管網咖或登山,都是他們生命的一種出口,一種依賴,一個在絕大包裹住生命束縛的一扇窗。

對於大肆生而言,再三個月就是人生另一個旅程的開始,對於網咖少年而言,下班後繼續拖著疲憊身體來到網咖線上遊戲戰鬥,似乎都在似有似無的綑綁下,找一種希望或寄託。儘管我個人是不喜歡網咖的氛圍,也不是僵化的認為登山比較健康,但我很不捨單純尋求生命出口的兩位,不小心走了。

當年紀增長,經歷現實的許多荒謬,常常需要以更成熟的智慧,更自然的方式接受這個世界,更積極迎向未來,這當中生命出口就很適時的幫助我們前進,我無意判斷甚麼是對或錯的窗口。人生是苦的,好好苦中作樂創造生命價值,似乎是無可迴避的課題。

霎那間,我想起大學時的一部羅賓漢電影,主題曲當然是有關男女非你不嫁不娶要死要活的字語。很肉麻沒錯,但是對於生命中你願意致死不渝的某種信念而言,這首歌好像很弔詭的還OK。
如果有一天,我女兒大了在生命中遇到了挫折很受打擊時,我希望有一種聲音能鼓勵她,有一扇窗能開給她,讓她堅強,也獻給所有繼續在生命裡奮鬥的人,加油!

那就來聽這首巴辣歌吧!

2011年11月23日 星期三

fution evolution


在生物學裡有一種叫「融合演化」,我們身體裡的粒線體或植物裡的葉綠素,其實擁有與我們截然不同相異甚遠的DNA,這是在遠古時期微生物間,不同生物體共生後合併一起演化,非獨立生物借基因突變慢慢演化的過程,很奇特是吧!?
這期間看到新聞若干,在在顯示生物數十億的演化的確能應用端視我們當下的生活。


華廈中庭9座墳 住戶尊重「先來的」

【聯合報╱記者鄭惠仁/台南報導】 2011.11.22 02:16 am
台南市東區曼哈頓住宅大樓庭院內有九座墳墓,十二年來兩百多戶人家見怪不怪,住戶裡有醫師、律師、教授,小孩子拿博士、考上第一志願的人不少,住戶笑說「福地福人居」,與墓地同處,風水很不錯,住得很平安。 曼哈頓大樓附近早期有許多墳墓,廿多前都市計畫變更為住宅區,但墳墓遷移出現糾紛,有十一座墳墓未遷,形成大樓圍著墳墓興建情形。 大樓剛蓋好時,許多住戶希望墳墓趕快遷移,但一拖十多年,大家發現住得很平安,對庭院的墳墓已見怪不怪。 住戶竺之威住在一樓,從臥室窗戶看出去有兩座墳墓,「他們先來,我們後到,應該尊重先到的。」竺之威說,有座墳墓是清朝時期,應該有二、三百年,這幾年沒看到有後代來掃墓。 墳墓散在庭院內,起先沒有美化及掩飾,後來建設公司做庭園造景,將部分墳墓藏在假山中,另有墳墓被樹木遮住,走進庭園,若不仔細看,不容易發現有墳墓。 「很有趣吧!」住戶陳俊堯表示,這景象應是世界奇觀,大樓裡的住戶許多是白領階級,大家都住得很快樂也很安心。每座墳墓都整理得很乾淨,若死者地下有知,也應會高興,每年中元節管理委員會舉辦法會,「子孫那捨得遷移?」 竺之威說,有來買房子的人對大樓庭院裡有墳墓很忌諱,下了訂金,發現有墳墓,取消合約不買了;也有人利用「墳墓」殺價,希望房價降低些。 最有趣的是清明節,竺之威說,大樓住戶都出門掃墓,卻有外地人到大樓內掃墓,住在大樓裡就可看到掃墓畫面。 住戶們說,這麼多年大家都習慣了,已經沒有人提遷墓的事,因為大家都住得很平安,子女考上第一志願、明星高中的人多,風水很不錯!


陸婦腹部腫瘤 竟是44年前孿生兄弟

2011-11-23 新聞速報 【中廣新聞/中廣新聞】
住在大陸張家界市的一名今年四十四歲的婦女,因腹部不適就醫檢查,結果發現是一個5.3公斤的畸胎瘤,而這個畸胎並不是當事人本身所懷胎體,而是她在母親懷胎時孿生兄弟的胎體進入她的腹腔所致。 這名婦女原本診察是一個腫瘤,在進行剖腹手術時,醫護人員在切開腫瘤壁囊之後,裏面的情況使現場的所有醫務人員都嚇呆了。因為看到的是一個發育基本成型的死胎,這個死胎除了腦袋沒有發育之外,手、腳、身體軀幹、甚至是生殖器都發育成型了。從生殖器可辨別出死胎是一名男性。 醫生解釋說,這個病叫做「寄生胎畸胎瘤」,腫瘤的形成是患者和她的兄弟在母體內胎兒發育的過程中,另一胚胎也就是患者兄弟的胚胎進入患者腹腔所致。換句話說,患者腹腔內的死胎是她雙胞胎兄弟的胎體。