5.06.2010
3.29.2010
you've left me speechless, so speechless...
miss my dad so much, it's so fu*king boring without him...
you've left me speechless, so speechless...
3.24.2010
3.07.2010
2010電影節清單
01. 舞動花都 La Danse : The Paris Opera Ballet
02. 香貝老師 Mademoiselle Chambon
03. SK鋼琴達人 Pianomania
04. 睡衣男異次元空間 Symbol
05. 京都太秦物語 Kyoto Story
02. 香貝老師 Mademoiselle Chambon
03. SK鋼琴達人 Pianomania
04. 睡衣男異次元空間 Symbol
05. 京都太秦物語 Kyoto Story
1.02.2010
3.22.2009
09電影節清單
01. 荒漠裡的人The Desert Within
02. 迷樂英倫Unmade Beds
03. 末代皇帝華倫天奴Valentino, The Last Emperor
04. 生有時死有時All Around Us
05. 無語之冬Echo of Silence
06. 利物浦Liverpool
07. 前衛短片選輯(三):家居風景Avant Garde Programme 3
08. 常盤莊的青春Tokiwa: The Manga Apartment
02. 迷樂英倫Unmade Beds
03. 末代皇帝華倫天奴Valentino, The Last Emperor
04. 生有時死有時All Around Us
05. 無語之冬Echo of Silence
06. 利物浦Liverpool
07. 前衛短片選輯(三):家居風景Avant Garde Programme 3
08. 常盤莊的青春Tokiwa: The Manga Apartment
1.25.2009
1.21.2009
12.31.2008
12.20.2008
Darkness & Lightness
......
MA: Maybe if we talk about what these works are made of -- glass, steel, thin wire cables that are sort of like drawing over or behind the glass. What brought you to those materials?
CW: Contradiction. Materials are like the relationships between people. Sometimes when you see two married people together you say to yourself, "How did they get together?" They seem so completely different. But then you realize there's a friction that makes them work, that keeps that relationship alive; and there's also something that balances their darkness and their light. I feel that way about glass and steel.
MA: Do you see the steel as an armature, or a vehicle that carried light?
CW: I try not to see one material as subservient to the other. In some cases that may be so. Some people when they see my work just see the glass. They just want to see the light, pun intended. The problem is they see light just as lightness, a lightness of feeling. The steel gives weight to the light. I'm more interested in how to get darkness into light than light into darkness. ......
MA - Michael Auping, CW - Christopher Wilmarth
<30 Years Interviews and Outtakes> by Michael Auping P.285
MA: Maybe if we talk about what these works are made of -- glass, steel, thin wire cables that are sort of like drawing over or behind the glass. What brought you to those materials?
CW: Contradiction. Materials are like the relationships between people. Sometimes when you see two married people together you say to yourself, "How did they get together?" They seem so completely different. But then you realize there's a friction that makes them work, that keeps that relationship alive; and there's also something that balances their darkness and their light. I feel that way about glass and steel.
MA: Do you see the steel as an armature, or a vehicle that carried light?
CW: I try not to see one material as subservient to the other. In some cases that may be so. Some people when they see my work just see the glass. They just want to see the light, pun intended. The problem is they see light just as lightness, a lightness of feeling. The steel gives weight to the light. I'm more interested in how to get darkness into light than light into darkness. ......
MA - Michael Auping, CW - Christopher Wilmarth
<30 Years Interviews and Outtakes> by Michael Auping P.285
12.16.2008
12.11.2008
11.23.2008
流中搵堅
相比起以前,現在的教育已經改變了很多,你認為最不同的地方在那裡?
我認為這涉及兩個問題:第一,現在教育制度的崩壞,其權威性薄弱了很多,已經不能再壟斷知識的生產;第二,我想是互聯網帶來的改變,抑或生活的界線越來越模糊,這些質變令教育很多時發生在課室之外了。今時今日你還緊守「STUDENTS」的崗位的話,你就好「賴嘢」,因為你會發覺課室好「流」、老師好「流」,之後你就會停步;如果是「LEARNER」就不同了,因為你會有觸覺嗅出哪裡有「堅嘢」,你會「鬧流」,同時會「搵堅」,再勁一點的會懂得「流中搵堅」。這是個LEARNERS COMMUNITY的年代,STUDENTS是一個很SOCIALLY DEFINE(社會定義)的ROLE(角色身份),與人生階段、空間位置有很大關係;而LEARNERS是SELF-DEFINE的ROLE,你話係就可以了。
你對現在的學生有什麼印象?
這個很難去形容,不能夠簡單地用「堅」定「流」去描述,因為「堅」的時候很SUBTLE,「流」的時候很開揚,很容易有錯覺--要說他們「流」的話實在有太多證據了,不過,最慘有時「堅」的地方在於他們鐘意見到你低估他們,鐘意你當我「流」,然後嘲笑你當我「流」。所以好難去為這一代去下判斷,而且「一代人」這種分法越來越無效,因為現在的「一代人」之中已經有很大的殊異性,同一代人相差可以很大、很複雜,所以越來越難用年齡去分。
以前的年輕人好像比較容易上位,你覺得是上一代很犀利,還是這一代太差,還是根本是機會問題而已?
關於這問題我有兩個睇法,第一個是樂觀的,我覺得他們可能根本志不在上位,他們想好「勁」,但又不想孭一個責任重的POST,而且他們覺得工作崗位上的「勁」,只是其中的一種「勁」而已,他們對於「勁」的膜拜和上一代的差不多,但對追求「勁」的實踐標準有點不同,是現在年青人的某一個特質。另一方面當然和社會有關,現在要做成一件事都難好多,我常說現在能夠一手一腳完成一件事已經越來越不容易,做每一件事每一個步驟都有人插手,那件跟本不似是你的PROJECT,這感覺很難建立OWNERSHIP以及工作上的COMMITMENT,工作上除了見一個乖及其執行能力之外,沒法見到一個人的個性及想像力。......
摘自《與邵家臻對話》--- MILK Magazine vol.382
我認為這涉及兩個問題:第一,現在教育制度的崩壞,其權威性薄弱了很多,已經不能再壟斷知識的生產;第二,我想是互聯網帶來的改變,抑或生活的界線越來越模糊,這些質變令教育很多時發生在課室之外了。今時今日你還緊守「STUDENTS」的崗位的話,你就好「賴嘢」,因為你會發覺課室好「流」、老師好「流」,之後你就會停步;如果是「LEARNER」就不同了,因為你會有觸覺嗅出哪裡有「堅嘢」,你會「鬧流」,同時會「搵堅」,再勁一點的會懂得「流中搵堅」。這是個LEARNERS COMMUNITY的年代,STUDENTS是一個很SOCIALLY DEFINE(社會定義)的ROLE(角色身份),與人生階段、空間位置有很大關係;而LEARNERS是SELF-DEFINE的ROLE,你話係就可以了。
你對現在的學生有什麼印象?
這個很難去形容,不能夠簡單地用「堅」定「流」去描述,因為「堅」的時候很SUBTLE,「流」的時候很開揚,很容易有錯覺--要說他們「流」的話實在有太多證據了,不過,最慘有時「堅」的地方在於他們鐘意見到你低估他們,鐘意你當我「流」,然後嘲笑你當我「流」。所以好難去為這一代去下判斷,而且「一代人」這種分法越來越無效,因為現在的「一代人」之中已經有很大的殊異性,同一代人相差可以很大、很複雜,所以越來越難用年齡去分。
以前的年輕人好像比較容易上位,你覺得是上一代很犀利,還是這一代太差,還是根本是機會問題而已?
關於這問題我有兩個睇法,第一個是樂觀的,我覺得他們可能根本志不在上位,他們想好「勁」,但又不想孭一個責任重的POST,而且他們覺得工作崗位上的「勁」,只是其中的一種「勁」而已,他們對於「勁」的膜拜和上一代的差不多,但對追求「勁」的實踐標準有點不同,是現在年青人的某一個特質。另一方面當然和社會有關,現在要做成一件事都難好多,我常說現在能夠一手一腳完成一件事已經越來越不容易,做每一件事每一個步驟都有人插手,那件跟本不似是你的PROJECT,這感覺很難建立OWNERSHIP以及工作上的COMMITMENT,工作上除了見一個乖及其執行能力之外,沒法見到一個人的個性及想像力。......
摘自《與邵家臻對話》--- MILK Magazine vol.382
11.02.2008
10.31.2008
每月好東西 (9~10/08)
蟹粉小龍包 / 讚崎烏冬/ Bansky-The Village Pet Store and Charcoal Grill / Studio with a view - http://stephanielevy.blogspot.com / 學畫記-鄧偉 / Art Now 2 / 織冷衫 / 和諧號火車 /
10.13.2008
Nothing's gonna change my world
Across the Universe
Words are flowing out like endless rain into a paper cup,
They slither while they pass they slip away across the universe
Pools of sorrow, waves of joy are drifting through my opened mind,
Possessing and caressing me
Jai guru de va om
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
Images of broken light which dance before me like a million eyes,
They call me on and on across the universe,
Thoughts meander like a restless wind inside a letter box they
Tumble blindly as they make their way
Across the universe
Jai guru deva om
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
Sounds of laughter, shades of earth are ringing
Through my open ears inciting and inviting me
Limitless undying love which shines around me like a
Million suns and calls me on and on
Across the universe
Jai guru deva om
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
Nothing's gonna change my world
i love this version which performed by Fiona Apple
9.17.2008
So I take pleasure in the details
"There's no point to any of this. It's all just a... a random lottery of meaningless tragedy and a series of near escapes. So I take pleasure in the details. You know... a quarter-pounder with cheese, those are good, the sky about ten minutes before it starts to rain, the moment where your laughter become a cackle... and I, I sit back and I smoke my Camel Straights and I ride my own melt."
Troy Dyer
from movie "Reality Bites"
Troy Dyer
from movie "Reality Bites"
9.16.2008
Quote
"Ordinary people let an experience go by. They wouldn't make a work to capture a feeling.
Artists convert what they have in their minds into objects."
Kacey Wong
MUSE Magazine P.20 (Building dreams: A look at Kacey Wong's delicate works)
Artists convert what they have in their minds into objects."
Kacey Wong
MUSE Magazine P.20 (Building dreams: A look at Kacey Wong's delicate works)
質地
“我不見得喜愛腐屍,但腐屍有一種令人難以置信的質地。你見過腐爛的小動物嗎?我最愛看這些東西,就像我喜歡欣賞樹皮、小蟲、一杯咖啡、或是一塊派的特寫一樣。你靠得很近,那質地美極了。”
大衛.林區談創意 (Catching the Big Fish: Meditation, Consciousness and Creativity --
David Lynch) P.137
大衛.林區談創意 (Catching the Big Fish: Meditation, Consciousness and Creativity --
David Lynch) P.137
每月好東西 (08/08)
www.designboom.com/weblog/index.php/Catching the Big Fish - David Lynch/hulahoop gallery/Code Blue/Ally McBeal Season4/Shake'em Buns/麵豉蘿蔔蓉煮靖魚/地門紙盒裝原粒粟米
8.31.2008
8.27.2008
8.24.2008
I love IKEA
最近買了一套兩盞的企身燈,才$159.9!
很喜歡大的那一盞,刻意有一條空隙,光線能從該處流出。
小的那個能任意調較角度。
大眾化價錢能買下好設計,真好!
還有很想買下這隻音樂鴨仔~~
7.27.2008
捲土重來--每月好東西 (07/08)
http://www.williamhundley.com/<偽科學鑑證3之心上人>小克/God made dirt, and dirt don't hurt -- David Choong Lee/little-doodles.blogspot.com/麻布茶房:燒蕃薯霜淇淋--宇治金時/黑糖蕃薯條/J-Drama--西瓜/四海一家:餃子+壽飽/
7.18.2008
5.23.2008
4.27.2008
彈琴
4.08.2008
YOU, THE LIVING
Lynch
4.05.2008
Top10 List (03/2008)
電影節 / 深水埗 / ReForm@Fringe Club / IKEA GRAVLAXSAS Mustard Sauce / 山水豆腐花 / IL Padrino / 夢想加州 / Dulux Pentalite Emulsion No.90YY 61_504 / Masion Martin Margiela / 報春梅
3.25.2008
香港的Mood
3.23.2008
日光‧小島‧眼鏡女
看似什麼也沒有,其實是最完備
得著:
﹣旅館門牌細小得無法留意,老闆卻說這個剛剛好,因不想客人太多。
﹣簡便之靠感覺地圖:感覺到迷失的時候,再行八分鐘便到。
﹣編織的時候,不只是編織著冷線,同時編織著空氣。
﹣不迷失的來到這裡是一種天賦的才能,老闆說。
﹣一杯紅豆刨冰的價值。
﹣Sakula san雙手叉著腰靜靜地、慢慢地、全神貫注地煮著紅豆。
﹣放下行李,重拾自己
外國有公路電影,其實日本也有一種電影形式,
我稱它為"小島電影",
每年電影節都會刻意找一套這類的電影來看,清洗一下。
相信只有日本人才能夠拍出這種電影,
那種節奏、那種顔色、那種內容、那種領悟,是一種與生俱來的能力。
羨慕也羨慕不來。
めがね ﹣http://www.megane-movie.com/
得著:
﹣旅館門牌細小得無法留意,老闆卻說這個剛剛好,因不想客人太多。
﹣簡便之靠感覺地圖:感覺到迷失的時候,再行八分鐘便到。
﹣編織的時候,不只是編織著冷線,同時編織著空氣。
﹣不迷失的來到這裡是一種天賦的才能,老闆說。
﹣一杯紅豆刨冰的價值。
﹣Sakula san雙手叉著腰靜靜地、慢慢地、全神貫注地煮著紅豆。
﹣放下行李,重拾自己
外國有公路電影,其實日本也有一種電影形式,
我稱它為"小島電影",
每年電影節都會刻意找一套這類的電影來看,清洗一下。
相信只有日本人才能夠拍出這種電影,
那種節奏、那種顔色、那種內容、那種領悟,是一種與生俱來的能力。
羨慕也羨慕不來。
めがね ﹣http://www.megane-movie.com/
08電影節清單
01 日光‧小島‧眼鏡女 Megane (Glasses)
02 翠絲的碎片人生 The Tracey Fragments
03 人啊,你為甚麼 You, the Living
04 詩無邪愛有罪 Hafez
05 悲傷假期 Sad Vacation
06 浪蕩天涯 Into the Wild
07 一奏傾情 Once
08 賊兄弟連環劫 Before the Devil Knows You're Dead
09 林布蘭的夜巡 Nightwatching
10 七個角色尋找卜戴倫 I'm Not There
11 大衛連治 Lynch
02 翠絲的碎片人生 The Tracey Fragments
03 人啊,你為甚麼 You, the Living
04 詩無邪愛有罪 Hafez
05 悲傷假期 Sad Vacation
06 浪蕩天涯 Into the Wild
07 一奏傾情 Once
08 賊兄弟連環劫 Before the Devil Knows You're Dead
09 林布蘭的夜巡 Nightwatching
10 七個角色尋找卜戴倫 I'm Not There
11 大衛連治 Lynch
3.22.2008
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