Crazy Reading Day

請大家俾d反應

fran — Fri, 20 Oct 2006 17:48:56 +0000

crd依個新地頭都開左一段日子，見大家又唔post野上黎，十問十唔應咁，一直都得我一個post野，所以想大家俾個反應，睇下大家係咪比較鍾意用番xanga。

如果一個星期內無人應，咁就即係大家都可能因為唔方便，無黎依度睇野，咁我就唔再post野上黎。

Volver (Re-try)

fran — Wed, 18 Oct 2006 14:33:28 +0000

gonna give it another attempt, this time we MUST see it! We are gonna buy the tix in advance!

Date and Time: 20 Oct. 2006 (Sat) Night

Venue: Cinematheque (Most Probably!)

may interested parties drop down sign their names here before Fri so that exact number of tickets can be prepared.

Synopsis:Three generations of women survive the east wind, fire, insanity, superstition and even death by means of goodness, lies and boundless vitality.

They are Raimunda (Pénelope Cruz), who is married to an unemployed labourer and has a teenage daughter (Yohana Cobo); Sole (Lola Dueñas), her sister, who makes a living as a hairdresser; and the mother of both (Carmen Maura), who died in a fire along with her husband. This character appears first to her sister (Chus Lampreave) and then to Sole, although the people with whom she has some unresolved matters are Raimunda and her neighbour in the village, Agustina (Blanca Portillo).

Volver is not a surrealistic comedy although it may seem so at times. The living and the dead coexist without any discord, causing situations that are either hilarious or filled with a deep, genuine emotion. It’s a film about the culture of death in my native La Mancha. The people there practice it with an admirable naturalness. The way in which the dead continue to be present in their lives, the richness and humanity of their rites mean that the dead never die.

Volver destroys all the clichés about “black” Spain and offers a Spain that is as real as it is the opposite. A Spain that is white, spontaneous, funny, intrepid, supportive and fair.

(freely adopted from volverfilm.com)

HK mag. rating: 4 out of 5 stars

好野大家賞，溫情送遠洋

fran — Sun, 15 Oct 2006 17:29:39 +0000

一篇好野from speechlessness.com

去完日本，唔好擺款

crdpedia — Fri, 13 Oct 2006 17:48:08 +0000

CRD祝會員布大郎日本之旅，浸個風旅。

音樂正sites齊齊睇，譜出妙韻填音軌

fran — Thu, 12 Oct 2006 14:52:51 +0000

1. music theory for songwriters

2. songwriting basics

一個音階七粒音，

個個都係貝多芬。

Laszlo Moholy-Nagy’s Telephone Pictures (1922)

fran — Wed, 11 Oct 2006 10:05:47 +0000

Work description from Laszlo Moholy-Nagy himself:

“In 1922, I ordered by telephone from a sign factory five paintings in porcelain enamel. I had the factory;s color chart before me and I sketched my paintings on graph paper. At the other end of the telephone the factory supervisor had the same kind of paper, divided into squares. He took down the dictated shapes in the correct position. (It was like phayin chess by correspondence.) One of the pictures was delivered in three different sizes, so that I could study the subtle differences in the color relations caused by the enlargement and reduction.”

Critics from Aspects of the Aesthetics of Telecommunications by Eduardo Kac:
” With the three telephone pictures described above, the artist was taking his constructivist ideas several steps futher. First he had to determine precisely the position of forms in the picture plane with the minute squares in the graph paper as the grid through which the pictorial elements structured themselves. This process of pixellation in a sense anticipated the methods of computer art. In order to explain the composition over the phone, Moholy had to convert the art work from a physical entity to a description of the object, establishing a relationship of semiotic equivalence. This procedure antedates concerns set forth by conceptual art in the 1950’s. Next Moholy transmitted the pictorial data making the process of transmission a significant part of the overall experience. The transimission dramatized the idea that the modern artist can be subjectively distant, he or she can be personally removed from the work. It expanded the notion that the art object doesn’t have to be the direct result of the hand or the craft of the artist.

Moholy’s decision to call a sign factory, capable of providing industrial finishing and scientific precision, instead of, say, an amateur painter, attests to his motifs. Furthermore, the multiplication of the final object in three variations destroyed the notion of the “original” work, pointing towards the new artforms that emerge in the age of mechanical reproduction. Unlinke Monet’s sequential paintings, the three similar telephone pictures are not a series. They are copies without an original. Another interesting aspect of the work is that scale, a fundamental aspect of any art piece, becomes relative and secondary. The work becomes volatized, being able to be embodied in different sizes, Needless to say, relative scale is a characteristic of computer art, where the work exists in the virtual space of the screen and can be embodied in a small print and in a mural of gigantic proportions.”

For the whole article by Eduardo Kac go to here.

Creative Commons Thinking

fran — Wed, 11 Oct 2006 07:51:22 +0000

adopted from CIL Bulletin

British Council’s think tank Counterpoint has commissioned Rosemary Bechler, a contributing editor at openDemocracy, to publish a book on Creative Commons thinking. The book Unbounded Freedom – A guide to Creative Commons thinking for cultural organisations is published under a Creative Commons license and can be downloaded here.

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