Monday, 31 March 2014
Sunday, 30 March 2014
taotie mask
Bronze "Zun" with four rams (sftrajan) Tags: china archaeology bronze beijing muse museo peking zun chineseart ancientart bijng chinesebronzes nationalmuseumofchina ancientchinesebronze lateshangdynasty zhnggugujibwgun chinesischesnationalmuseum
A bronze taotie mask, Early Western Zhou dynasty, 11th-10th ...
www.alaintruong.com - 2000 × 1666 - Search by image
A bronze taotie mask, Early Western Zhou dynasty, 11th-10th century BC
饕餮; pinyin: tāotiè;
Thursday, 27 March 2014
金宇澄，《繁花》
金宇澄，《繁花》
http://book.sohu.com/s2013/jyc/
两个多小时的对话下来，他谈到创作《繁花》的历程、谈到当年下乡东北的种种奇遇、也谈到了对现下文学创作的看法……"我想写小百姓、写一些 有趣、边缘、市民阶层的故事"金宇澄这样定义自己的《繁花》，一个老男人带点懒洋洋的闲看社会百态。约访结束后，他很热情的推荐了附近的一家冷面小饭馆 儿，拿起桌上的圆珠笔，熟门熟路的画一张简易地图："沿着这条路有个天桥，这是陕西路、这是威海路……"人行道、交通灯一应俱全，一如《繁花》那些手绘插 图，地地道道上海味道……
====
在飯局見見世面
http://thehousenews.com/leung_man_tao/%E5%9C%A8%E9%A3%AF%E5%B1%80%E8%A6%8B%E8%A6%8B%E4%B8%96%E9%9D%A2/
http://book.sohu.com/s2013/jyc/
编辑手记
华语文学年度小说家奖的授奖词评价金宇澄的文字：缓慢、谦恭，如同一次漫长的等待…经他的讲述，一衣一饭的琐屑，皆有了情致，市井与俗世的 庸常，亦隐含着意义。约访金宇澄的地点，定在作协楼下的一处小咖啡馆，上海的午后，阳光穿透树叶剖白而下，他穿一件深蓝衬衫从单位楼上下来，见了咖啡馆的 每个工作人员都能打一句招呼。两个多小时的对话下来，他谈到创作《繁花》的历程、谈到当年下乡东北的种种奇遇、也谈到了对现下文学创作的看法……"我想写小百姓、写一些 有趣、边缘、市民阶层的故事"金宇澄这样定义自己的《繁花》，一个老男人带点懒洋洋的闲看社会百态。约访结束后，他很热情的推荐了附近的一家冷面小饭馆 儿，拿起桌上的圆珠笔，熟门熟路的画一张简易地图："沿着这条路有个天桥，这是陕西路、这是威海路……"人行道、交通灯一应俱全，一如《繁花》那些手绘插 图，地地道道上海味道……
搜狐读书：写作纯熟以后，作家很容易进入一个固有的创作模式，《繁花》很有个性，会不会担心以后的作品会陷入这种模式无法突破？
金宇澄：不会，至少暂时不会。不用这种形式我也可以写啊，但我觉得，写作还是需要保持个性，不管是在内容上，还是在人物上。
小说如何，读者会懂。这个时代，是中国历史上最有文化的时代，不像很多人所说是文化沙漠。现在那么多人上大学，那么多人读外语，那么多人接受很好的美术、音乐训练，尤其网络技术发达，内外沟通这么便利，你说哪个时代有？这是我们历朝历代过去从来没有过的好时代。
在这样的时代里产生一些动荡、误解是完全可能的，但是我非常乐观，也可能因为我是射手座（笑），有很多年轻朋友的原因。而且我相信作者和读者间一定能产生一种良性的循环。
小说如何，读者会懂。这个时代，是中国历史上最有文化的时代，不像很多人所说是文化沙漠。现在那么多人上大学，那么多人读外语，那么多人接受很好的美术、音乐训练，尤其网络技术发达，内外沟通这么便利，你说哪个时代有？这是我们历朝历代过去从来没有过的好时代。
在这样的时代里产生一些动荡、误解是完全可能的，但是我非常乐观，也可能因为我是射手座（笑），有很多年轻朋友的原因。而且我相信作者和读者间一定能产生一种良性的循环。
====
在飯局見見世面
http://thehousenews.com/leung_man_tao/%E5%9C%A8%E9%A3%AF%E5%B1%80%E8%A6%8B%E8%A6%8B%E4%B8%96%E9%9D%A2/
Tuesday, 25 March 2014
Kurasawa notes on film
http://flavorwire.com/446671/25-incredible-akira-kurosawa-quotes-about-filmmaking/5/
“Being an artist means not having to avert one’s eyes.”
“I like unformed characters. This may be because, no matter how old I get, I am still unformed myself.”
“The characters in my films try to live honestly and make the most of the lives they’ve been given. I believe you must live honestly and develop your abilities to the full. People who do this are the real heroes.”
“Human beings share the same common problems. A film can only be understood if it depicts these properly.”
“For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
“There is nothing that says more about its creator than the work itself.”
“There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.”
“With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.”
“In order to write scripts, you must first study the great novels and dramas of the world. You must consider why they are great. Where does the emotion come from that you feel as you read them? What degree of passion did the author have to have, what level of meticulousness did he have to command, in order to portray the characters and events as he did? You must read thoroughly, to the point where you can grasp all these things. You must also see the great films. You must read the great screenplays and study the film theories of the great directors. If your goal is to become a film director, you must master screenwriting.”
“I‘ve forgotten who it was that said creation is memory. My own experiences and the various things I have read remain in my memory and become the basis upon which I create something new. I couldn’t do it out of nothing. For this reason, since the time I was a young man I have always kept a notebook handy when I read a book. I write down my reactions and what particularly moves me. I have stacks and stacks of these college notebooks, and when I go off to write a script, these are what I read. Somewhere they always provide me with a point of breakthrough. Even for single lines of dialogue I have taken hints from these notebooks. So what I want to say is, don’t read books while lying down in bed.”
“I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can’t people be happier together?”
“It is the power of memory that gives rise to the power of imagination.”
“Movie directors, or should I say people who create things, are very greedy and they can never be satisfied. That’s why they keep on working. I’ve been able to work for so long because I think, ‘Next time, I’ll make something good.’”
“A truly good movie is enjoyable too. There’s nothing complicated about it.”
“What is Cinema? The answer to this question is no easy matter. Long ago the Japanese novelist Shiga Naoya presented an essay written by his grandchild as one of the most remarkable prose pieces of his time. He had it published in a literary magazine. It was entitled ‘My Dog,’ and ran as follows: ‘My dog resembles a bear; he also resembles a badger; he also resembles a fox. . . .’ It proceeded to enumerate the dog’s special characteristics, comparing each one to yet another animal, developing into a full list of the animal kingdom. However, the essay closed with, ‘But since he’s a dog, he most resembles a dog.’ I remember bursting out laughing when I read this essay, but it makes a serious point. Cinema resembles so many other arts. If cinema has very literary characteristics, it also has theatrical qualities, a philosophical side, attributes of painting and sculpture and musical elements. But cinema is, in the final analysis, cinema.”
“A good structure for a screenplay is that of the symphony, with its three or four movements and differing tempos. Or one can use the Nob play with its three-part structure: jo (introduction), ha (destruction) and kya (haste). If you devote yourself fully to Noh and gain something good from this, it will emerge naturally in your films. The Noh is a truly unique art form that exists nowhere else in the world. I think the Kabuki, which imitates it, is a sterile flower. But in a screenplay, I think the symphonic structure is the easiest for people of today to understand.”
“I began writing scripts with two other people around 1940. Up until then I wrote alone, and found that I had no difficulties. But in writing alone there is a danger that your interpretation of another human being will suffer from one-sidedness. If you write with two other people about that human being, you get at least three different viewpoints on him, and you can discuss the points on which you disagree. Also, the director has a natural tendency to nudge the hero and the plot along into a pattern that is the easiest one for him to direct. By writing with about two other people, you can avoid this danger also.”
“Something that you should take particular notice of is the fact that the best scripts have very few explanatory passages. Adding explanation to the descriptive passages of a screenplay is the most dangerous trap you can fall into. It’s easy to explain the psychological state of a character at a particular moment, but it’s very difficult to describe it through the delicate nuances of action and dialogue. Yet it is not impossible. A great deal about this can be learned from the study of the great plays, and I believe the ‘hard-boiled’ detective novels can also be very instructive.”
“During the shooting of a scene the director’s eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the cameras are rolling, I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn’t right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way. I believe this is what the medieval Noh playwright and theorist Zeami meant by ‘watching with a detached gaze.’”
“I am often accused of being too exacting with sets and properties, of having things made, just for the sake of authenticity, that will never appear on camera. Even if I don’t request this, my crew does it for me anyway. The first Japanese director to demand authentic sets and props was Mizoguchi Kenji, and the sets in his films are truly superb. I learned a great deal about filmmaking from him, and the making of sets is among the most important. The quality of the set influences the quality of the actors’ performances. If the plan of a house and the design of the rooms are done properly, the actors can move about in them naturally. If I have to tell an actor, ‘Don’t think about where this room is in relation to the rest of the house,’ that natural ease cannot be achieved. For this reason, I have the sets made exactly like the real thing. It restricts the shooting, but encourages that feeling of authenticity.”
“When I begin to consider a film project, I always have in mind a number of ideas that feel as if they would be the sort of thing I’d like to film. From among these one will suddenly germinate and begin to sprout; this will be the one I grasp and develop. I have never taken on a project offered to me by a producer or a production company. My films emerge from my own desire to say a particular thing at a particular time. The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.”
“The films an audience really enjoys are the ones that were enjoyable in the making. Yet pleasure in the work can’t be achieved unless you know you have put all of your strength into it and have done your best to make it come alive. A film made in this spirit reveals the hearts of the crew.”
“Japan does not understand very well that one of its proudest cultural achievements is in film.”
“I don’t really like talking about my films. Everything I want to say is in the film itself; for me to say anything more is, as the proverb goes, like ‘drawing legs on a picture of a snake.’ But from time to time an idea I thought I had conveyed in the film does not seem to have been generally understood. On these occasions I do feel an urge to talk about my work. Nevertheless, I try not to. If what I have said in my film is true, someone will understand.”
“I am a maker of films; films are my true medium. I think that to learn what became of me after Rashomon the most reasonable procedure would be to look for me in the characters in the films I made after Rashomon. Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people. They often reveal much about themselves in a very straightforward way. I am certain that I did.”
“Being an artist means not having to avert one’s eyes.”
“I like unformed characters. This may be because, no matter how old I get, I am still unformed myself.”
“The characters in my films try to live honestly and make the most of the lives they’ve been given. I believe you must live honestly and develop your abilities to the full. People who do this are the real heroes.”
“Human beings share the same common problems. A film can only be understood if it depicts these properly.”
“For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
“There is nothing that says more about its creator than the work itself.”
“There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.”
“With a good script a good director can produce a masterpiece; with the same script a mediocre director can make a passable film. But with a bad script even a good director can’t possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. That is what makes a real movie. The script must be something that has the power to do this.”
“In order to write scripts, you must first study the great novels and dramas of the world. You must consider why they are great. Where does the emotion come from that you feel as you read them? What degree of passion did the author have to have, what level of meticulousness did he have to command, in order to portray the characters and events as he did? You must read thoroughly, to the point where you can grasp all these things. You must also see the great films. You must read the great screenplays and study the film theories of the great directors. If your goal is to become a film director, you must master screenwriting.”
“I‘ve forgotten who it was that said creation is memory. My own experiences and the various things I have read remain in my memory and become the basis upon which I create something new. I couldn’t do it out of nothing. For this reason, since the time I was a young man I have always kept a notebook handy when I read a book. I write down my reactions and what particularly moves me. I have stacks and stacks of these college notebooks, and when I go off to write a script, these are what I read. Somewhere they always provide me with a point of breakthrough. Even for single lines of dialogue I have taken hints from these notebooks. So what I want to say is, don’t read books while lying down in bed.”
“I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can’t people be happier together?”
“It is the power of memory that gives rise to the power of imagination.”
“Movie directors, or should I say people who create things, are very greedy and they can never be satisfied. That’s why they keep on working. I’ve been able to work for so long because I think, ‘Next time, I’ll make something good.’”
“A truly good movie is enjoyable too. There’s nothing complicated about it.”
“What is Cinema? The answer to this question is no easy matter. Long ago the Japanese novelist Shiga Naoya presented an essay written by his grandchild as one of the most remarkable prose pieces of his time. He had it published in a literary magazine. It was entitled ‘My Dog,’ and ran as follows: ‘My dog resembles a bear; he also resembles a badger; he also resembles a fox. . . .’ It proceeded to enumerate the dog’s special characteristics, comparing each one to yet another animal, developing into a full list of the animal kingdom. However, the essay closed with, ‘But since he’s a dog, he most resembles a dog.’ I remember bursting out laughing when I read this essay, but it makes a serious point. Cinema resembles so many other arts. If cinema has very literary characteristics, it also has theatrical qualities, a philosophical side, attributes of painting and sculpture and musical elements. But cinema is, in the final analysis, cinema.”
“A good structure for a screenplay is that of the symphony, with its three or four movements and differing tempos. Or one can use the Nob play with its three-part structure: jo (introduction), ha (destruction) and kya (haste). If you devote yourself fully to Noh and gain something good from this, it will emerge naturally in your films. The Noh is a truly unique art form that exists nowhere else in the world. I think the Kabuki, which imitates it, is a sterile flower. But in a screenplay, I think the symphonic structure is the easiest for people of today to understand.”
“I began writing scripts with two other people around 1940. Up until then I wrote alone, and found that I had no difficulties. But in writing alone there is a danger that your interpretation of another human being will suffer from one-sidedness. If you write with two other people about that human being, you get at least three different viewpoints on him, and you can discuss the points on which you disagree. Also, the director has a natural tendency to nudge the hero and the plot along into a pattern that is the easiest one for him to direct. By writing with about two other people, you can avoid this danger also.”
“Something that you should take particular notice of is the fact that the best scripts have very few explanatory passages. Adding explanation to the descriptive passages of a screenplay is the most dangerous trap you can fall into. It’s easy to explain the psychological state of a character at a particular moment, but it’s very difficult to describe it through the delicate nuances of action and dialogue. Yet it is not impossible. A great deal about this can be learned from the study of the great plays, and I believe the ‘hard-boiled’ detective novels can also be very instructive.”
“During the shooting of a scene the director’s eye has to catch even the minutest detail. But this does not mean glaring concentratedly at the set. While the cameras are rolling, I rarely look directly at the actors, but focus my gaze somewhere else. By doing this I sense instantly when something isn’t right. Watching something does not mean fixing your gaze on it, but being aware of it in a natural way. I believe this is what the medieval Noh playwright and theorist Zeami meant by ‘watching with a detached gaze.’”
“I am often accused of being too exacting with sets and properties, of having things made, just for the sake of authenticity, that will never appear on camera. Even if I don’t request this, my crew does it for me anyway. The first Japanese director to demand authentic sets and props was Mizoguchi Kenji, and the sets in his films are truly superb. I learned a great deal about filmmaking from him, and the making of sets is among the most important. The quality of the set influences the quality of the actors’ performances. If the plan of a house and the design of the rooms are done properly, the actors can move about in them naturally. If I have to tell an actor, ‘Don’t think about where this room is in relation to the rest of the house,’ that natural ease cannot be achieved. For this reason, I have the sets made exactly like the real thing. It restricts the shooting, but encourages that feeling of authenticity.”
“When I begin to consider a film project, I always have in mind a number of ideas that feel as if they would be the sort of thing I’d like to film. From among these one will suddenly germinate and begin to sprout; this will be the one I grasp and develop. I have never taken on a project offered to me by a producer or a production company. My films emerge from my own desire to say a particular thing at a particular time. The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.”
“The films an audience really enjoys are the ones that were enjoyable in the making. Yet pleasure in the work can’t be achieved unless you know you have put all of your strength into it and have done your best to make it come alive. A film made in this spirit reveals the hearts of the crew.”
“Japan does not understand very well that one of its proudest cultural achievements is in film.”
“I don’t really like talking about my films. Everything I want to say is in the film itself; for me to say anything more is, as the proverb goes, like ‘drawing legs on a picture of a snake.’ But from time to time an idea I thought I had conveyed in the film does not seem to have been generally understood. On these occasions I do feel an urge to talk about my work. Nevertheless, I try not to. If what I have said in my film is true, someone will understand.”
“I am a maker of films; films are my true medium. I think that to learn what became of me after Rashomon the most reasonable procedure would be to look for me in the characters in the films I made after Rashomon. Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people. They often reveal much about themselves in a very straightforward way. I am certain that I did.”
15th China Changchun International Sculpture Symposium, deadline: May 10th, 2014
The 15th China Changchun (Zhong Dong Group)
International Sculpture Symposium
March 17, 2014
Changchun is now inviting sculptors for the 15th China Changchun (Zhong Dong
Group) International Sculpture Symposium.
Host: Changchun Municipal People’s Government, China
Organizer: Changchun Sculpture Planning and Management Office, Changchun
Municipal Foreign Affairs Office, Changchun Planning Bureau, Changchun Zhong
Dong Group
Co-organizer: Changchun Urban Sculpture Institute, The Fine Art College of
Northeast Normal University, Jilin College of the Arts
Time: 40 days from July 22 to September 5, 2014
Place: Changchun, China
Number of participant sculptors: about 40
Theme: Joy·Life·Future
Background: By the year of 2013, Changchun city has successfully held 14 sessions
of international sculpture symposium, which had produced wide influence in the
international sculpture field. This year’s sculpture symposium will be funded by
Changchun Zhong Dong Group. Zhong Dong Group was established in 1984, it has
become a collective corporation engaged in the development and lease of commercial
real estate, pharmaceutical products supply, financial services, and property
management. Its mission is to create a new life style for the public.
Purposes: by organizing such a sculpture symposium, Changchun city hopes
to popularize sculpture art, improve citizen’s culture cultivation, create artistic
atmosphere and further promote local culture prosperity. The sculpture symposium
will definitely become a platform for international exchange on art and culture.
First step: call for submitting sculpture proposals
Submission must include:
1. At least three original proposals, which are requested to reflect the Symposium's
theme “Joy· Life · Future”, bright in color, modern and fashionable in style, novel in
concept, full of vitality, and coordinate with the commercial environment. Decorative,
interesting, interactive and innovative works are appreciated. New materials are
encouraged. The size could fall to the following three scales, 3-3.5m. 1.5-2m, and 0.8-
1.3m. Group sculptures are encouraged.
2. A4 size colored design drafts or photographs of the maquettes of your proposals
in JPEG format (no less than 2M). Please specify the detailed information of the
author and the work in the picture and name the picture as the following format:
Nationality, Name of the Author, Title of the Work, Dimensions, and Material. For
example, “France Auguste Rodin Thinker 145cm X98cm X180cm, Bronze”.
3. Registration form and enclose your passport photo, your recent daily photo and
your resume. Your sculpture portfolio is also appreciated.
4. Deadline for submitting proposals: May 10, 2014. The submitted works
which do not follow the instructions will not enter the second step.
Second step: select and confirm participant sculptors
All the applicant proposals will be carefully reviewed by the Organizing Committee,
extensively evaluated by the public and finally appraised by celebrated masters. If any
sculptor’s proposal gets accepted, he or she will receive an official invitation from
Changchun for creating it on site from early July 22 to September 5, 2014.
The accepted sculptors will be provided with:
1. Round-trip economic flight tickets (only from his or her residence city to
Changchun)
2. An allowance of US $3000, free accommodation in Changchun.
3. General processing tools, sculpture materials
4. Assistant and interpreter
5. Honor diplomas, picture albums and souvenirs.
All the completed sculpture works will be permanently placed in the large commercial
environment of Changchun city. The Organizing Committee reserves the final right to
interpret.
Contacts:
Miss Aimee: cccsculpture@163.com
Tel & Fax: +86-431-85649312 Mobile: +86-13943054070
Websites: http://www.jlzhongdong.com/ www.ccsculpture.org, http://
en.changchun.gov.cn/
The Organizing Committee
The 15th China Changchun (Zhong Dong Group) International Sculpture Symposium
Attachment：1. The Registration Form
2. The Effect Picture of the Shopping Mall
International Sculpture Symposium
March 17, 2014
Changchun is now inviting sculptors for the 15th China Changchun (Zhong Dong
Group) International Sculpture Symposium.
Host: Changchun Municipal People’s Government, China
Organizer: Changchun Sculpture Planning and Management Office, Changchun
Municipal Foreign Affairs Office, Changchun Planning Bureau, Changchun Zhong
Dong Group
Co-organizer: Changchun Urban Sculpture Institute, The Fine Art College of
Northeast Normal University, Jilin College of the Arts
Time: 40 days from July 22 to September 5, 2014
Place: Changchun, China
Number of participant sculptors: about 40
Theme: Joy·Life·Future
Background: By the year of 2013, Changchun city has successfully held 14 sessions
of international sculpture symposium, which had produced wide influence in the
international sculpture field. This year’s sculpture symposium will be funded by
Changchun Zhong Dong Group. Zhong Dong Group was established in 1984, it has
become a collective corporation engaged in the development and lease of commercial
real estate, pharmaceutical products supply, financial services, and property
management. Its mission is to create a new life style for the public.
Purposes: by organizing such a sculpture symposium, Changchun city hopes
to popularize sculpture art, improve citizen’s culture cultivation, create artistic
atmosphere and further promote local culture prosperity. The sculpture symposium
will definitely become a platform for international exchange on art and culture.
First step: call for submitting sculpture proposals
Submission must include:
1. At least three original proposals, which are requested to reflect the Symposium's
theme “Joy· Life · Future”, bright in color, modern and fashionable in style, novel in
concept, full of vitality, and coordinate with the commercial environment. Decorative,
interesting, interactive and innovative works are appreciated. New materials are
encouraged. The size could fall to the following three scales, 3-3.5m. 1.5-2m, and 0.8-
1.3m. Group sculptures are encouraged.
2. A4 size colored design drafts or photographs of the maquettes of your proposals
in JPEG format (no less than 2M). Please specify the detailed information of the
author and the work in the picture and name the picture as the following format:
Nationality, Name of the Author, Title of the Work, Dimensions, and Material. For
example, “France Auguste Rodin Thinker 145cm X98cm X180cm, Bronze”.
3. Registration form and enclose your passport photo, your recent daily photo and
your resume. Your sculpture portfolio is also appreciated.
4. Deadline for submitting proposals: May 10, 2014. The submitted works
which do not follow the instructions will not enter the second step.
Second step: select and confirm participant sculptors
All the applicant proposals will be carefully reviewed by the Organizing Committee,
extensively evaluated by the public and finally appraised by celebrated masters. If any
sculptor’s proposal gets accepted, he or she will receive an official invitation from
Changchun for creating it on site from early July 22 to September 5, 2014.
The accepted sculptors will be provided with:
1. Round-trip economic flight tickets (only from his or her residence city to
Changchun)
2. An allowance of US $3000, free accommodation in Changchun.
3. General processing tools, sculpture materials
4. Assistant and interpreter
5. Honor diplomas, picture albums and souvenirs.
All the completed sculpture works will be permanently placed in the large commercial
environment of Changchun city. The Organizing Committee reserves the final right to
interpret.
Contacts:
Miss Aimee: cccsculpture@163.com
Tel & Fax: +86-431-85649312 Mobile: +86-13943054070
Websites: http://www.jlzhongdong.com/ www.ccsculpture.org, http://
en.changchun.gov.cn/
The Organizing Committee
The 15th China Changchun (Zhong Dong Group) International Sculpture Symposium
Attachment：1. The Registration Form
2. The Effect Picture of the Shopping Mall
Tuesday, 18 March 2014
Biloxi Blues ***half, The Horse Whisperer, August Osage County, Parkland, A Touch of Evil
Biloxi Blues ***half
Wonderful movie. I watched it because of Christopher Walkens - but turns out that this movie is very much an intellectual's film. The sharp minded Epstein is especially powerful. How we should reason and how to be a responsible human being. What it means to be an observer and what it means to be a participating individual.
I had watched 4 more films on the plane, but this one makes the most impression on me.
The other 4 are:
The Horse Whisperer *** ... w Robert Redford
August Osage County *** ... w Meryl Streep
Parkland *** --- on Kennedy's Assaination
A touch of Evil *** ... Orson Welles
Wonderful movie. I watched it because of Christopher Walkens - but turns out that this movie is very much an intellectual's film. The sharp minded Epstein is especially powerful. How we should reason and how to be a responsible human being. What it means to be an observer and what it means to be a participating individual.
I had watched 4 more films on the plane, but this one makes the most impression on me.
The other 4 are:
The Horse Whisperer *** ... w Robert Redford
August Osage County *** ... w Meryl Streep
Parkland *** --- on Kennedy's Assaination
A touch of Evil *** ... Orson Welles
Sunday, 16 March 2014
Poverty cannot be grasped from a fleeting visit
http://www.theguardian.com/commentisfree/2014/mar/15/famous-rich-hungry-poverty-rachel-johnson
Poverty cannot be grasped from a fleeting visit
The BBC programme Famous, Rich and Hungry was like watching wealthy celebrities take a safari into other people's misfortune
'Shocked': Rachel Johnson in Famous, Rich and Hungry. Photograph: BBC/Sport Relief
Last week, the BBC showed Famous, Rich and Hungry,
a two-part Sport Relief documentary, sending celebrities to live with
people who usually had only a few pounds to feed their families. Made by
the company that produced Benefits Street, journalist Rachel Johnson (Boris's sister), Theo Paphitis (Dragon's Den), Made in Chelsea's
Jamie Laing, and actress Cheryl Fergison went to live with poor people.
Then they went home to feel relieved that they weren't poor. Meanwhile,
the poor people remained poor, just a little more televised. Watching
it, I thought: who's going to explain to those who make and appear in
these "skint-exploitation" programmes that, for some people, poverty is a life sentence, not a mini-break.
During the programme, Johnson said how shocked she was to see that UK poverty was so bad. It wasn't Johnson's fault she hadn't realised about poverty before – it must be really difficult to find out about this stuff if you're only a well-connected newspaper journalist, who has a London mayor for one brother and a government policy adviser for another. Johnson wrote a piece afterwards explaining that she hadn't meant to be offensive by referring to her "poverty safari", and that people she knew envied her experience. You know, hunkering down with the impoverished, begging for pennies in the street to make them nourishing stew, asking what their fags cost, pondering their unfortunate life choices and, of course, mentioning their TVs. (A certain breed of well-off types are obsessed with poor people having televisions – as if they should huddle around a candle at night singing hymns.)
On the whole, the celebrities were well-meaning and I may not even be being entirely fair to Johnson, who finally seemed to realise that the fat people she'd seen cluttering up the UK, making it look untidy, hadn't been splurging in Wagamama, but, rather, had cheap, horrible, unhealthy diets to go with their cheap, horrible, unhealthy existences. What I object to is this idea that the truth of everyday poverty, the pernicious, relentless nastiness and tedium of it, could ever be done adequate justice with a flippant in-and-out project such as this.
Benefits Street was criticised for being poverty porn, but at least the people who featured in it lived there all the time. What is the point of a documentary where well-off famous people show up, look alarmed at being fed spaghetti hoops and then waltz off again?
It says something very disturbing that it could even be considered an interesting "safari"-type experience, to beg for pennies to make stew. Would Johnson wish to beg for every meal she eats? Of course not. Would she or the other celebrities be taken aback if someone who stayed with them for a few days spoke to a camera saying they had full understanding of the intricacies of their lives and problems? You bet.
Was it all worth it to publicise UK poverty? I'd have found a documentary on a food bank much more interesting, without famous people intermittently wailing: "Oh dear they're poor, have you noticed?"
Ultimately, this favoured idea of parachuting the famous in (and swiftly out again) is not only patronising and intrusive, it's also pointless. It sidesteps one of the core issues of poverty, which is it that it is the mother of all long-term commitments – relentless, never-ending and difficult to extricate yourself from. Pure socioeconomic quicksand. Even if you manage to get one limb out of the pit, something else (debt, benefit cuts, ill health, bad luck, homelessness) will suck you back in, until finally you're too exhausted to keep struggling any more.
This is not the kind of situation it's possible to visit briefly, it requires commitment. From now on, maybe people agreeing to do these programmes should sign up for at least six months. Better still, forget it altogether.
Here is a textbook case of "Hello double standards, nice to see you again!" It's also about the perceived difference in acceptable male and female "numbers". A man who'd had liaisons with dozens of the world's most desirable women would doubtless be classed as a formidable stud and lothario. By contrast, Lohan seems to be inspiring a peculiar but telling mixture of censure, pity and contempt.
It's hardly classy for anyone to "dish" on people they've slept with, but that's beside the point. There still seems to be a lingering attitude that, while men have sex, women have sex done to them, and that while men take lovers, women are taken. There's also the mindset that a woman must keep down her "numbers" or risk being denounced as "loose", driven from her home by a pitchfork-carrying mob and burnt on a pyre on the village green. Sorry, I just flashed back a few centuries there – that's if some people ever left.
There still seems to be the pervading view that a varied sex life with multiple partners is simultaneously a male privilege and a female disgrace. Scrape away the veneer of modernity, equality and progress, and Lohan's list reveals that prejudice endures.
During the programme, Johnson said how shocked she was to see that UK poverty was so bad. It wasn't Johnson's fault she hadn't realised about poverty before – it must be really difficult to find out about this stuff if you're only a well-connected newspaper journalist, who has a London mayor for one brother and a government policy adviser for another. Johnson wrote a piece afterwards explaining that she hadn't meant to be offensive by referring to her "poverty safari", and that people she knew envied her experience. You know, hunkering down with the impoverished, begging for pennies in the street to make them nourishing stew, asking what their fags cost, pondering their unfortunate life choices and, of course, mentioning their TVs. (A certain breed of well-off types are obsessed with poor people having televisions – as if they should huddle around a candle at night singing hymns.)
On the whole, the celebrities were well-meaning and I may not even be being entirely fair to Johnson, who finally seemed to realise that the fat people she'd seen cluttering up the UK, making it look untidy, hadn't been splurging in Wagamama, but, rather, had cheap, horrible, unhealthy diets to go with their cheap, horrible, unhealthy existences. What I object to is this idea that the truth of everyday poverty, the pernicious, relentless nastiness and tedium of it, could ever be done adequate justice with a flippant in-and-out project such as this.
Benefits Street was criticised for being poverty porn, but at least the people who featured in it lived there all the time. What is the point of a documentary where well-off famous people show up, look alarmed at being fed spaghetti hoops and then waltz off again?
It says something very disturbing that it could even be considered an interesting "safari"-type experience, to beg for pennies to make stew. Would Johnson wish to beg for every meal she eats? Of course not. Would she or the other celebrities be taken aback if someone who stayed with them for a few days spoke to a camera saying they had full understanding of the intricacies of their lives and problems? You bet.
Was it all worth it to publicise UK poverty? I'd have found a documentary on a food bank much more interesting, without famous people intermittently wailing: "Oh dear they're poor, have you noticed?"
Ultimately, this favoured idea of parachuting the famous in (and swiftly out again) is not only patronising and intrusive, it's also pointless. It sidesteps one of the core issues of poverty, which is it that it is the mother of all long-term commitments – relentless, never-ending and difficult to extricate yourself from. Pure socioeconomic quicksand. Even if you manage to get one limb out of the pit, something else (debt, benefit cuts, ill health, bad luck, homelessness) will suck you back in, until finally you're too exhausted to keep struggling any more.
This is not the kind of situation it's possible to visit briefly, it requires commitment. From now on, maybe people agreeing to do these programmes should sign up for at least six months. Better still, forget it altogether.
Hey guys, leave Lindsay a-Lohan
Interesting to see the reaction to actress Lindsay Lohan's alleged sex list – she is thought to have sat giggling with friends, writing down 36 of the famous men she's slept with. There's supposed to be a photograph of the list, with married stars' names coyly scribbled out. However, it isn't the famous men getting all the heat for sleeping with Lohan. This is about Lohan, and the fact that she slept with all those men, which makes her a giant whore. Except that it doesn't.Here is a textbook case of "Hello double standards, nice to see you again!" It's also about the perceived difference in acceptable male and female "numbers". A man who'd had liaisons with dozens of the world's most desirable women would doubtless be classed as a formidable stud and lothario. By contrast, Lohan seems to be inspiring a peculiar but telling mixture of censure, pity and contempt.
It's hardly classy for anyone to "dish" on people they've slept with, but that's beside the point. There still seems to be a lingering attitude that, while men have sex, women have sex done to them, and that while men take lovers, women are taken. There's also the mindset that a woman must keep down her "numbers" or risk being denounced as "loose", driven from her home by a pitchfork-carrying mob and burnt on a pyre on the village green. Sorry, I just flashed back a few centuries there – that's if some people ever left.
There still seems to be the pervading view that a varied sex life with multiple partners is simultaneously a male privilege and a female disgrace. Scrape away the veneer of modernity, equality and progress, and Lohan's list reveals that prejudice endures.
Friday, 14 March 2014
Amber Hollibaugh : Feminism 70- to now
Amber Hollibaugh
The symposium "Acting Across Borders: Celebrating the Meredith Tax Papers" was held April 13-14, 2012, by the Sallie Bingham Center for Women's History and Culture.
http://library.duke.edu/rubenstein/bi...
This video is from Plenary 2: Intersections of Class, Race, and Gender from the 70s to the Present. Speakers include: Amber Hollibaugh, Interim Director, Queers for Economic Justice; Mia Herndon, Executive Director, Third Wave Foundation, and Victoria Hesford, Moderator, Assistant Professor, Women's Studies, Stony Brook University, and Postdoctoral Associate, Women's Studies, Duke University. The segment begins with a sing-along of "I Know a Young Woman Who Swallowed a Lie" written and performed by Meredith Tax.
http://library.duke.edu/rubenstein/bi...
This video is from Plenary 2: Intersections of Class, Race, and Gender from the 70s to the Present. Speakers include: Amber Hollibaugh, Interim Director, Queers for Economic Justice; Mia Herndon, Executive Director, Third Wave Foundation, and Victoria Hesford, Moderator, Assistant Professor, Women's Studies, Stony Brook University, and Postdoctoral Associate, Women's Studies, Duke University. The segment begins with a sing-along of "I Know a Young Woman Who Swallowed a Lie" written and performed by Meredith Tax.
Thursday, 13 March 2014
American Hustle ***half
American Hustle ***half
I wanted to watch and rewatch the details of this film. It is pure entertainment. Jennifer Lawrence and Amy Adams are so good. Christian Bale's character is astonishing, what make up can do for an actor. Reminds me to not get fat, you look old and sloppy immediately.
The music, the plot everything fits well together.
For Lawrence, she is so young, but v convincing. Wonder how people grow up? How could you pack so much experiences into an acting gig? Very impressive. Amy Adams character has depth and very touching. Very beautiful layering of authenticity of a person.
Is this a super great movie? Yes, will it be a super classic to be rewatched over and over again. No. The story, the plot, the content is not that type of movie, its entertainment. And what super entertainment!
I wanted to watch and rewatch the details of this film. It is pure entertainment. Jennifer Lawrence and Amy Adams are so good. Christian Bale's character is astonishing, what make up can do for an actor. Reminds me to not get fat, you look old and sloppy immediately.
The music, the plot everything fits well together.
For Lawrence, she is so young, but v convincing. Wonder how people grow up? How could you pack so much experiences into an acting gig? Very impressive. Amy Adams character has depth and very touching. Very beautiful layering of authenticity of a person.
Is this a super great movie? Yes, will it be a super classic to be rewatched over and over again. No. The story, the plot, the content is not that type of movie, its entertainment. And what super entertainment!
Wednesday, 5 March 2014
104, Paris Tadashi Kawamata
Tadashi Kawamata, exposition : Exchange library (2009)
from Saturday 16 May 2009 to Sunday 17 August 2014
Tadashi Kawamata, exposition : Exchange library (2009)
from Saturday 16 May 2009 to Sunday 17 August 2014
Livres à emporter !L’œuvre de l’artiste japonais Tadashi
Kawamata fonctionne comme une bibliothèque mobile sociale et
participative sur un système d’échange ou de troc.Le public est invité,
d’une part, à consulter sur place les ouvrages présents ; et d’autre
part à échanger des ouvrages qu’il aurait amenés contre d’autres
présents dans la bibliothèque mobile.
104 / Centquatre 104 rue d’Aubervilliers - 5 rue Curial , 75019 Paris The CENTQUATRE is a new Paris city council artistic establishment and a unique place devoted to production and innovation. Located in the 19th arrondissement on the site of the former Municipal Funeral Services, this 39,000 m² space is an ensemble of unique architecture and a place where art meets the general public. Directed by José manuel Gonçalves since December 2010, this establishment gives the public a new perception of the arts of today. The CENTQUATRE is versatile, responsive, vibrant, open to all and a venue for talks, meetings and discoveries. It combines monumental architecture with modern interior spaces and offers an innovative cultural adventure. All types of art are present through resident artists and festivals. The CENTQUATRE also houses businesses, a cafe, a restaurant and nearby public facilities for amateur artists and children to practice their skills. Artists regularly hold meetings with the public. These are a great occasion to get an inside view of an artist’s work through talks, presentations of works, readings, public rehearsals, etc. These meetings require an admission fee. The CENTQUATRE also organizes sports activities and dance classes (some of these are free of charge). One Saturday each month, the Centquatre transforms itself to present the Bal Pop’ or Bal populaire, a dance which is open to the public. Lanterns, garlands, refreshments and a great atmosphere are all on the programme!
Tuesday, 4 March 2014
Tiny House + Micro Architecture
http://relaxshacks.blogspot.fr/2014/02/deek-david-stiles-and-joe-everson-team.html
Deek, David Stiles, and Joe Everson team up on a
"Transforming A-Frame Cabin"
Monday, 3 March 2014
Abramovic: Performance art, the Abramovic Method
http://www.huffingtonpost.com/2012/03/21/marina-abramovic-presents_n_1363670.html
Abramovic is creating an institute to explain and expand her model of performance art along with help from architect Rem Koolhaas. She explained her mission in creating the school to HuffPost: "The first thing is to teach the public how to see performance art, to teach the public, what you can see and how you can behave in your own self. Where is your breathing, what is your feeling of presence or absence in your mind, and to really learn the basics of performance language."
Abramovic is creating an institute to explain and expand her model of performance art along with help from architect Rem Koolhaas. She explained her mission in creating the school to HuffPost: "The first thing is to teach the public how to see performance art, to teach the public, what you can see and how you can behave in your own self. Where is your breathing, what is your feeling of presence or absence in your mind, and to really learn the basics of performance language."
Stelarc : Out of your skin, Installation : Jo Ellsmere in SL
Stelarc : Out of your skin
Installation : Jo Ellsmere
video clip: visit by Swannjie
https://vimeo.com/88056307
sl Stelarc exhibition : Out of your skin w white bckgrd. from swannjie on Vimeo.
Sunday, 2 March 2014
High speed trains, and train travel experience. Experiential design
厦门到深圳全程一等座票价190元左右，二等座票价155元左右(以最终公布的票价为准)。按此推算，杭州至深圳的动车二等座票价约为440元
http://book.huochepiao.com/
http://www.travelchinaguide.com/china-trains/high-speed/
xiamen to shenzhen high spd train
1. Fast: The present speed is higher than 200km/h, lessening the journey duration. For example, from Beijing to Shanghai, a distance of over 1,200 km (about 746 mi), it takes around 15 hours by normal trains, but the bullet trains just need 5 hours.
2. Punctual: Less influence by weather, they usually arrive at their destinations on time. By contrast, a bus may be delayed because of traffic jams or bad road conditions. Flights may be cancelled because for the bad weather.
3. Comfortable and Convenient: Seating is very comfortable, and the facilities can better meet passengers’ demands. Bullet trains are scheduled more frequently for many journeys so that passengers don’t need to wait too long.
High-speed trains also overcome the disadvantages of buses which face severe safety problems especially for those overnight ones. On the other hand, considering the airports which are usually located far from the city center and the long procedure for taking a flight, travel by the bullet train can be more time-saving and convenient, especially for a journey within 5 hours.
Seats on High-Speed Trains
Seats are divided into second-class, first-class, business-class, super-class, and sightseeing seats.
Facilities
Facilities on these highballs bring much convenience for passengers. It is possible for passengers to use power points and Wi-Fi (Wireless Fidelity). In addition, dining, left-luggage and toilets will never be problems.
Development and Current Railway NetworkSince the earliest high-speed rail line - Qinhuangdao-Shenyang Passenger Transport Special Line was constructed in 1999, China has developed a widely-used railway network. By the end of 2011, the railway network with the speed of higher than 200km/h covered 10,000 km (about 6,214 mi). By the end of 2012, China had achieved the “Four North-South and Four East-West Network”. At the same time, the intercity high-speed railways also provide much convenience. The total length of such railway is expected to reach around 13,000 km (about 8,078 mi). According to the long-term extension plan, China will own 50,000 km (about 31,068 mi) high-speed railway by 2020.
Four North-South & Four East-West Network
Intercity High-Speed Trains
http://book.huochepiao.com/
http://www.travelchinaguide.com/china-trains/high-speed/
xiamen to shenzhen high spd train
Follow us on: 
China High-Speed Train (Bullet Train)
China High-Speed Train (Bullet Train)
 |
High-speed
trains (G, D, C trains in China) run much faster than the normal ones.
As well as traveling at speeds of upto 400km/h, the bullet trains are
operated by advanced technological communication systems.
China is a vast country, covering almost 10 million square km (about 3.9 million square mi), with the distance of 5,500 km (about 3,417 mi) in north-south direction and 5,200 km (about 3,231 mi) in east-west direction. On the standard rail network, it can take a long time to reach your destination. For instance from Beijing to Guangzhou, a distance of over 2,000 km (about 1,243 mi), it takes nearly 24 hours, however, the journey time is cut to just 8 hours by bullet train. China has so many worthy destinations, many of which are far apart from one to another, and in most cases, tourists have no choice but to take an airplane. So to solve the problem, China has developed the high-speed rail network to cover more of the country, making long-distance trips more convenient, time-saving and feasible.
Now people generally prefer to travel by high-speed trains, which should be attributed to its advantages:
China is a vast country, covering almost 10 million square km (about 3.9 million square mi), with the distance of 5,500 km (about 3,417 mi) in north-south direction and 5,200 km (about 3,231 mi) in east-west direction. On the standard rail network, it can take a long time to reach your destination. For instance from Beijing to Guangzhou, a distance of over 2,000 km (about 1,243 mi), it takes nearly 24 hours, however, the journey time is cut to just 8 hours by bullet train. China has so many worthy destinations, many of which are far apart from one to another, and in most cases, tourists have no choice but to take an airplane. So to solve the problem, China has developed the high-speed rail network to cover more of the country, making long-distance trips more convenient, time-saving and feasible.
Now people generally prefer to travel by high-speed trains, which should be attributed to its advantages:
1. Fast: The present speed is higher than 200km/h, lessening the journey duration. For example, from Beijing to Shanghai, a distance of over 1,200 km (about 746 mi), it takes around 15 hours by normal trains, but the bullet trains just need 5 hours.
2. Punctual: Less influence by weather, they usually arrive at their destinations on time. By contrast, a bus may be delayed because of traffic jams or bad road conditions. Flights may be cancelled because for the bad weather.
3. Comfortable and Convenient: Seating is very comfortable, and the facilities can better meet passengers’ demands. Bullet trains are scheduled more frequently for many journeys so that passengers don’t need to wait too long.
High-speed trains also overcome the disadvantages of buses which face severe safety problems especially for those overnight ones. On the other hand, considering the airports which are usually located far from the city center and the long procedure for taking a flight, travel by the bullet train can be more time-saving and convenient, especially for a journey within 5 hours.
 |
Seats on High-Speed TrainsSeats are divided into second-class, first-class, business-class, super-class, and sightseeing seats.
FacilitiesFacilities on these highballs bring much convenience for passengers. It is possible for passengers to use power points and Wi-Fi (Wireless Fidelity). In addition, dining, left-luggage and toilets will never be problems.
Development and Current Railway NetworkSince the earliest high-speed rail line - Qinhuangdao-Shenyang Passenger Transport Special Line was constructed in 1999, China has developed a widely-used railway network. By the end of 2011, the railway network with the speed of higher than 200km/h covered 10,000 km (about 6,214 mi). By the end of 2012, China had achieved the “Four North-South and Four East-West Network”. At the same time, the intercity high-speed railways also provide much convenience. The total length of such railway is expected to reach around 13,000 km (about 8,078 mi). According to the long-term extension plan, China will own 50,000 km (about 31,068 mi) high-speed railway by 2020.
Four North-South & Four East-West Network
Line
|
Open Date
|
Length (km)
|
Speed (km/h)
| |
Four North-South High-speed Rail Lines
| ||||
 Beijing-Shanghai (Jinghu) Passenger Transport Special Line |
--
|
1318
|
--
| |
Beijing-Shanghai High-Speed Railway (Jinghu Line)
|
2011/06/30
|
1318
|
300
| |
Hefei-Bengbu (Hebeng) Line
|
2012/10/16
|
131
|
350
| |
| Beijing-Hong Kong (Jinggang) Passenger Transport Special Line (Beijing-Guangzhou High-Speed Railway in operation since 2012) |
--
|
2360
|
--
| |
Beijing-Shijiazhuang (Jingshi) Line
|
2012/12/26
|
281
|
350
| |
Shijiazhuang-Wuhan (Shiwu) Line
|
2012/12/26
|
841
|
350
| |
Wuhan-Guangzhou (Wuguang) Line
|
2009/12/26
|
1069
|
300
| |
Guangzhou-Shenzhen-Hong Kong Railway
(Guangshengang Line) |
Guangzhou – Shenzhen: 2011/12/26;
Shenzhen – Kowloon: 2015 |
142
|
350;
Shenzhen – Kowloon: 200 | |
| Beijing-Harbin (Jingha) Passenger Transport Special Line |
--
|
1700
|
--
| |
Beijing-Shenyang (Jingshen) Line
|
2014
|
709
|
350
| |
Harbin-Dalian (Hada) Line
|
2012/12/01
|
921
|
300
| |
Panjin-Yingkou (Panying) Line
|
2013/09/12
|
89
|
350
| |
| Hangzhou-Fuzhou-Shenzhen (Hangfushen) Passenger Transport Special Line |
--
|
1450
|
--
| |
Hangzhou-Ningbo (Hangyong) Line
|
2013/07/01
|
150
|
350
| |
Ningbo-Taizhou-Wenzhou (Yongtaiwen) Line
|
2009/09/28
|
268
|
200
| |
Wenzhou-Fuzhou (Wenfu) Line
|
2009/06/30
|
298
|
200
| |
Fuzhou-Xiamen (Fuxia) Line
|
2010/04/26
|
273
|
250
| |
Xiamen-Shenzhen (Xiashen) Line
|
2013/12/28
|
502
|
200
| |
Four East-West High-speed Rail Lines
| ||||
| Xuzhou-Lanzhou (Xulan) Passenger Transport Special Line |
--
|
1400
|
--
| |
Zhengzhou-Xuzhou (Zhengxu) Line
|
2016
|
361
|
350
| |
Zhengzhou-Xian (Zhengxi) Line
|
2010/02/06
|
505
|
300
| |
Xian-Baoji (Xibao) Line
|
2013/12/28
|
138
|
250
| |
Baoji-Lanzhou (Baolan) Line
|
2017
|
403
|
250
| |
| Shanghai-Kunming (Hukun) Passenger Transport Special Line |
--
|
2264
|
--
| |
Shanghai-Hangzhou (Huhang) Intercity Line
|
2010/10/26
|
159
|
300
| |
Hangzhou-Changsha (Hangchang) Line
|
2014
|
927
|
350
| |
Changsha-Kunming (Changkun) Line
|
2016
|
1175
|
350
| |
| Qingdao-Taiyuan (Qingtai) Passenger Transport Special Line |
--
|
770
|
--
| |
Qingdao-Jinan (Jiaoji) Line
|
2008/12/20
|
362
|
250
| |
Shijiazhuang-Taiyuan (Shitai) Line
|
2009/04/01
|
225
|
250
| |
Shijiazhuang-Jinan (Shiji) Line
|
2015/12
|
319
|
250
| |
| Shanghai-Wuhan-Chengdu (Huhanrong) Passenger Transport Special Line |
--
|
2078
|
--
| |
Shanghai-Nanjing (Huning) Line
|
2010/07/01
|
301
|
300
| |
Hefei-Nanjing (Hening) Line
|
2008/04/18
|
166
|
250
| |
Hefei-Wuhan (Hewu) Line
|
2009/04/01
|
359
|
250
| |
Wuhan-Yichang (Hanyi) Line
|
2012/07/01
|
291
|
200
| |
Yichang-Wanzhou (Yiwan) Line
|
2010/12/22
|
377
|
160
| |
Chongqing-Lichuan (Yuli) Line
|
2013/12/28
|
264
|
200
| |
Suining-Chongqing (Suiyu) Line
|
2012
|
131
|
200
| |
Dazhou-Chengdu (Dacheng) Line
|
2009/07/07
|
374
|
160
| |
Intercity High-Speed Trains
Line
|
Open Date
|
Length (km)
|
Designed Speed (km/h)
|
Qinhuangdao-Shenyang (Qinshen)
|
2003/10/12
|
404
|
200
|
Beijing-Tianjin (Jingjin)
|
2008/08/01
|
119
|
350
|
Chengdu-Dujiangyan (Chengguan)
|
2010/05/10
|
68
|
200
|
Nanchang-Jiujiang (Changjiu)
|
2010/09/20
|
135
|
250
|
Changchun-Jilin (Changji)
|
2011/01/11
|
108
|
250
|
Hainan Eastern Ring Railway
|
2010/12/30
|
308
|
250
|
Guangzhou-Zhuhai (Guangzhu)
|
2012/12/31
|
117
|
200
|
Guangzhou-Shenzhen (Guangshen)
|
2011/12/26
|
116
|
350
|
Shanghai-Nanjing (Huning)
|
2010/07/01
|
301
|
350
|
Nanjing-Hangzhou (Ninghang)
|
2013/07/01
|
249
|
350
|
Tianjin-Qinhuangdao (Jinqin)
|
2013/12/01
|
261
|
300
|
Garbage enzyme cleaner
Living art of the everyday, how to save the world through small everyday habits:
Make your own garbage enzyme cleaner!
Receipe
10part water
1part brown sugar
3parts peels (fruits etc)
shake shake shake
open the lid everyday, to release gas
let sit for 3 months then
use.
Make your own garbage enzyme cleaner!
Receipe
10part water
1part brown sugar
3parts peels (fruits etc)
shake shake shake
open the lid everyday, to release gas
let sit for 3 months then
use.
sl revisited: Pixels, Jo Ellesmere, Pye, Stelarc
Visited Secondlife today, after a long time, almost all my friends are no longer in it!
Shopping mall, clothing shops, everything! Land are empty, looks deserted. Sad.
===
Pixels
Here is LEA sim, with events. http://seraphimsl.com/
===
Jo Ellsmeres, Pye, Stelarc installation at Coppelia
"Outside Your Skin"
Virtual Stelarc Initiative, Coppelia (54, 28, 625) -
http://www.youtube.com/watch?v=2LUlGVkwyz0
Shopping mall, clothing shops, everything! Land are empty, looks deserted. Sad.
===
Pixels
Here is LEA sim, with events. http://seraphimsl.com/
===
Jo Ellsmeres, Pye, Stelarc installation at Coppelia
"Outside Your Skin"
Virtual Stelarc Initiative, Coppelia (54, 28, 625) -
http://www.youtube.com/watch?v=2LUlGVkwyz0
Saturday, 1 March 2014
The Grand Budapest Hotel (2014) ***half
The Grand Budapest Hotel (2014) ***half
Very beautiful colors, fast moving pace, grand scenarios - details v well chosen, editing a bit speedy because i like to see images slower, so i could visit all the details carefully. Shouldn't a well planned tableau be enjoyed? I didnt recognise some of the actors - they are all big name actors playing small roles sometimes, but all great acting.
Fun, somewhat like a nostalgic comic book in live action.
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