邱树清，字建车，号静好堂主，1950年生于湖南湘潭，中国著名斫琴师。现任中国古代古琴复制与创新研究论坛副主席，湖南湘江南派古琴研究会会长。
邱老师自幼喜爱传统音乐，琴师承岭南琴派，文师承桐城派。善于斫琴，所制“邱氏正和琴”，”邱氏混沌琴“和“静好堂制琴”最为著名，用材考究，坚持手制，音色古朴，弹后余音绕梁。深受广大琴人喜爱，特别赢得香港、台湾、东南亚琴家喜爱和收藏。邱老师低调斫琴三十余年，一向反对高价炒作，用心细选老木，精益求精，低调制琴低调做人。邱老师斫琴只选百年房梁老杉木，制作周期需要至少五年，加上近年来年事已高，故此已是一琴难求。对于不想花高价，但要追求通透音色的琴人来说，“静好堂监制琴”倒是一个非常好的选择。 
自幼喜爱古琴，上世纪九十年代初开始研究古琴制作，并拜梅庵派的古琴家王永昌先生为师，系统学习梅庵琴曲，斫琴亦得其指点。经多年的努力，其斫琴艺术逐渐为琴界肯定。《琴道》一书对“倪琴”曾作专题介绍；人民音乐出版社《中国古琴艺术》一书（第一版）中提到的当代斫琴卓有成就的六人，倪为其一。
上世纪90年代开始制作带有个人风格的古琴，并且根据江南的习琴特点开始定制古琴。2003年初倪诗韵正式成立海门市雷音斫琴坊，走入专业斫琴道路。其作品被全国各地及港台、日本、欧美、新加坡等地琴人收藏。其琴已被一些琴家选为舞台演奏用琴和录制唱片用琴。例如：苏州汪铎先生的古琴著作《丝桐讲习》中的DVD唱片、南京李家安先生的古琴专辑《天籁》。上海音乐学院戴晓莲教授（上海音乐出版社 上海文艺音像出版社）出版发行的《涟漪》古琴专辑所用琴即为倪诗韵2008年用明代杉木斫制的伏羲式古琴作品。 2006年中国乐器协会民族乐器分会授予倪诗韵“古琴制作名师”证书。倪诗韵的古琴被业内称为“倪琴”。“倪琴”线条古朴 、外形秀气。音韵细致，最大特点是倪琴的落指后手感极佳，凭此颇受琴人喜爱。 “倪琴”早期，由于严谨的斫琴态度。做工、用材产量都相当严苛。为求金玉之声。初期倪琴音色略铿锵。造型相对现时作品要更加瘦削。并且琴本身用材当时比较传统，所以琴音偏硬。共鸣需要长时间养出。所以被一直认为是易弹难养。但是养出以后的声音确实古朴动人。2000年以后，开始使用旧房梁等木料。琴声共鸣较之以前好。细微处偏向细软中和，下指细腻。令人称赞。易弹易养，演奏、收藏价值持续攀升，自然价格也开始陆续走高。 任职 中国昆曲古琴研究会理事 中国民族管弦乐学会古琴专业委员会 、中国琴会常务理事 
高级古琴制作师、中国乐器制作协会常务理事 1966年出生于辽宁省凤城市 1990年毕业于沈阳音乐学院乐器工艺系制作专业，曾任北京民族乐器厂技术员 1996年起创办"均天坊古琴工作室"。 现为中国乐器制作协会常务理事，中国古琴协会理事。 王鹏先生先后修复了唐代名琴"九霄环佩";宋代的"龙吟虎啸"，以及赵孟頫和李清照等人用过的百余张历史名琴等百余张历史名琴。王鹏先生制作的古琴还作为中国乐器的经典和国粹，曾在维也纳金色大厅，悉尼歌剧院等世界著名的音乐厅演奏。 奥运会开幕式古琴、历届中央电视台春节联欢晚会、电影《赤壁》及《笑傲江湖》剧组等众多的影视剧组所用的古琴都出自王鹏之手。王鹏多年从事古琴的制作与研发工作，是当代中国最具专业水准的著名斫琴家。
扬州人，现代广陵派琴家。马维衡少学昆曲，1986 年师从广陵派胡兰、胡萌乾学琴，后从事老琴修复工作，后为中国昆曲研究会会员，中国琴会常务理事，扬州龙吟乐器研究所所长。马维衡精于斫琴，1994 年研制了仿古断纹琴。其所斫之琴被称为“马琴”，特点为造型古朴，音色松透圆润。
马维衡先生从小习琴，师从广陵派琴家胡兰、胡荫乾先生学习古琴，显示出了极高的天赋。他的演奏追求平和、自由、跌宕、悠远与舒展惬意的情趣，集诸家之所长，并逐渐形成自己的艺术风格与特点，除了在古琴演奏方面的骄人成绩外，在古琴研制上也是成果斐然，其制作的古琴被世人称为“马琴”。 “弹而优则斫” 马先生完美诠释了从一名琴家到斫琴高手的华丽变身。2008年11月，马维衡先生被评为江苏省非物质文化遗产的传承人，这份无上的殊荣也是对马维衡先生多年来对古琴事业作出的杰出贡献的肯定。铮铮弦上音,悠悠古琴曲，马维衡先生就像是池边垂钓的老叟，闲看云卷云舒，花开花落，宠辱不惊，怡然自得，在自己的古琴天地里书写着最瑰丽的篇章。 弹琴的人来制琴，更能达到古琴的最佳音色。2002年被授予“中国制琴名师”称号的扬州人马维衡，最早也是由向广陵派琴人学琴起步的。马维衡斫制的古琴已自成风格，世称“马琴”，被日本、美国、新加坡等国内外诸多琴家收藏弹奏。他制的最好的一张琴，被外国友人以40万元的价格买走。 演艺圈有句流行的话叫“演而优则歌”，这句话用在马维衡身上是最恰当不过的了，他的“弹而优则作”体现了从一个琴人到斫琴高手的完美结合。“十年磨一剑”。在一张张老琴身上，马先生完成了与古人的对话，终于掌握了琴的生命和灵性，并且用事实证明了：“做好琴必须先做好人，弹好琴才能斫好音”。聆听马维衡先生的古琴弹奏，没有拘泥于玩弄技巧，而着重于古琴的内在品质修养，给人以“沉稳儒雅”的感觉。正如古琴家林友仁先生所说：弹琴是一件轻松愉快的事情，不在于你琴艺的高下，而在于你是否抛开“浮躁之气”和一颗“功利心”。 
白宝麟，男，1952年生于陕西西安，中国著名斫琴师。白宝麟师承广陵琴派，西安古琴研究会顾问。毕业于西安交通大学，精于斫琴，枯木龙吟最为著名，亲斫古琴被称为“麟琴”，特点为造型古朴，琴身纤巧修长，音色深沉，余音悠远。
出生于书香世家的白宝麟自幼喜欢传统文化，尤其对古琴艺术无比着迷。20世纪80年代初专注习琴，并研究古代古琴的复制。白宝麟精于斫琴，特别喜欢收集老木料，做枯木龙吟，几年不得好木料，几年就不做枯木龙吟。 白宝麟古琴分为监制琴和麟琴，监制琴重点步骤由白宝麟本人亲斫；麟琴即为白宝麟亲斫，市场上流通数量不多。麟琴造型古朴，琴身纤巧修长，音色清朗深沉，余音悠远绕梁三日而不绝。白宝麟先生制作的古琴，底板都会有他本人亲制的名章。 白宝麟斫琴始终秉承着一个朴素的理念：古琴艺术不能被商业化亵渎。清心寡欲的他总是在斫琴时清除在场的所有人，禁止有人在旁大声喧哗。白宝麟先生坚持用古法制琴，琴胚木材自然风干耗时2年左右，琴胚制成后，生漆擦制，加上干磨，水磨，总计擦磨遍数达到50次左右，生漆部分厚达3.8mm。古琴斫好以后，白宝麟先生严格把关，仔细检查好每一台琴的音色和细节，宁可废掉自己认为不合格的琴，也不愿意让古琴流入市场。“麟琴”也因为白宝麟的执着和认真所产不多，在商业化的今天，几乎是有价无市。 正是源于这份专注深沉的爱，白宝麟才能几十年如一日的沉浸在古琴的世界里，斫出一张张精美的古琴，成为一位优秀的斫琴师。古琴也厚道的回赠他一些常人难得的富足的精神世界。他本人曾受邀参加全国第四次古琴打谱会，并于2000年受邀在西安交通大学开设古琴艺术讲座，场场爆满，座无虚席。 如果你碰到一位走路带琴，高兴时便席地而坐抚琴一曲，飘飘然沉浸在忘我的境界中的人，不用惊讶，他一定是斫琴师白宝麟。 
田步高 男，1943年12月生，江苏扬州人。中共党员，1964年毕业于扬州师范，1985年毕业于于扬州职大中文专业，曾任场州小红花艺术团负责人，扬州市少年宫教务主任，现任扬州民族乐器研制厂厂长。中国音乐家协会、中国民族乐器协会、北京古筝研究会会员、中国乐器协会理事、中国优秀企业家协会会员、扬州老年大学古筝班、成人古筝班指导教师，为弘扬民族音乐艺术，八十年代创办扬州民族乐器研制厂，研制、生产古筝、古琴、琵琶、二胡、场琴等民族乐器，龙凤牌双弧筝、仿唐古琴均通过省级科技鉴定，成为中国名优产品，年产值达300万元，坚持企业为事来服务一手抓产品，一手抓培训，以教促销的办厂方针，在本市举办少儿、成为老干部古筝培训班、少年宫系统和各地中小学 古筝师资 集训班，培训古筝 师资百余人，并亲自有老中青少学员300余人，八八年首创《少儿百筝大齐奏》。1995年应邀在成都、香港举办中国古琴《百琴书画博览展》。并在香港大会堂举办《南弱名家汇香江琴筝演奏会》本人担任古筝节目，琴筝双百活动立足扬州，面向全国，为推动民族音乐普及繁荣文化事业作出了贡献。企业注意科研、不断创新，曾多次被评为先进企业，科技进步先进集体，个人也多次爱表彰。近年来部发表各种论文二十多篇并编印《弘扬与开拓》论文集一册 .
1949年，16岁的田双琨从老家河北深县来到京城，在一家京胡店当学徒，学习制作京胡、二胡和三弦。公私全营以后，他成为北京民族乐器厂的技师，不仅制作胡琴类乐器，还参加了古筝、扬琴、琵琶等乐器的制作。在技术革新中，他凭借自己心灵手巧，设计制作出二十多种制作民族乐器的机器，大大提高了工作效率和标准化程度。
1958年，被厂里派到民族音乐研究所，向著名古琴家管平湖先生学习制作古琴。 管平湖先生的父亲管念慈是清宫如意馆画院院长，精于绘画且擅弹古琴。在故宫长大的管平湖从小就和古琴结下了不解之缘，并到琉璃厂的一元斋学斫古琴，一生心血倾注到了古琴事业。当年，美国旅行者号太空探测器，送入太空的唯一一首中国乐曲，就是管平湖先生弹奏的古琴名曲《流水》。 耳闻目染，田双琨对古琴的兴趣越来越浓。管平湖对他说，做张好古琴需三代人的努力：爷爷选料，儿子做琴，孙子弹琴，可见做琴之不易。为提高他对古琴的鉴赏力，管先生亲自带他去拜访古琴名家夏连居、李伯琴、程午甲。程家有一张唐琴“飞泉”，音质纯正、色泽古朴，是一张不可多见的古琴。管先生以此琴为例，向田双琨讲述唐琴的特点，以及因年代久远琴上产生的大小蛇腹、流水、冰裂等不同断纹的知识和修旧如旧的古琴修理技艺。 管平湖一生只教过田双琨一个人斫古琴。在《中华乐器大全》、《古琴荟珍》、《中国乐器博物馆》等著作中，都记载着管平湖先生与斫琴高徒田双琨对改良古琴、修复古琴、制作古琴的贡献。 田先生的寓所——“虞田琴斋”就在北京一所小巧的宅院里，这里虽是市中心，却远离闹市，隐藏在古老、寻常的胡同深处。如今已年过七旬的他基本上过着深居浅出的隐居生活，但他斫琴的大名却在琴界广为流传。“虞田琴斋”也是田先生待客、抚琴之所，虽不显奢华，却深得古人雅意。壁上除了张挂有字画，更多的是悬挂一排其亲斫的古琴，令人顿觉幽韵横生。说起古琴，老人禁不住谈兴高涨，或介绍古琴知识，或回忆琴坛掌故，或述说生平斫琴经历，眉宇间神采飞扬。 聊起古琴的制作，田先生从柜中取出他制作的一张名叫“唐雷”的琴，他说，古琴的发展变革史上，唐以前虽有古籍可考，但无足够的实物证明。唐朝则不同，现在有盛唐中、晚期制的琴传世，而那正是制琴史上的高峰作品。唐代制琴名家中以西蜀雷氏家族最为有名。所以，田先生把他的得意之作取名为“唐雷”。田先生说，古人认为，一张好琴需有九德，即：良、坚、醇、灵、静、润、准、匀、美。“良”是指面板质地好，宜选顺直没有疤节的杉木或陈年桐木的中段、阳面；“坚”是指琴体坚固，漆胎坚硬耐磨，年久不脱；“醇”是指琴声醇厚，苍劲有力；“灵”是指灵敏度高，力大音强，力小音弱，高音圆润，低音浑厚；“静”是指无燥音无喧闹感；“润”是指余音适度，圆润细腻，有绕梁三日之趣；“准”是指徽位准确，按音与泛音位差小，琴面上、中、下不同位置所发音量均衡；“美”是指造型美观、工艺精细、镌文高雅。具备以上条件的琴弹起来才会得心应手。“九德”对制琴者来说是应遵循的“九要”。但实际上能符合其中的七八条，已经是一把上等的好琴了。 半个世纪以来，田双琨先生已制琴无数，远销海内外，受到许多古琴家和古琴爱好者的喜爱并收藏。他说，只能说有一部分是好琴。好琴犹如亲子一般，它给自己带来不尽的欢欣与安慰。数十年间，田先生还收有二十几名徒弟。而自己四世同堂，孙子辈就有八个，却没有一人学习制琴。他说，技术未必一定要传给家人，而是要传给能胜任的人。现在他的徒弟中有不少是他引为“得意”的，其中有的已在全国高档民族乐器制作大赛中获奖，有的已获国家发明专利。 田先生的恩师管平湖先生已故去多年，“虞田琴斋”至今仍挂着一幅先师抚琴的照片。田双琨还自撰一副对联：名曲流水飞天外，琴圣平湖代代传，以表达自己对恩师的崇敬怀念之情。 |
Tuesday, 30 August 2016
List of Master Guqin Makers
http://tianrensg.weebly.com/master-maker-26027297482151723478
crystal glass from warring states
http://
I really like the form, somehow its got a perfection in the shape and lines.
The person who made it had something v gentle.
The lower part of the wall is has a very slight curve -
unlike objects in the 90s in the style of "designer" glasses
which is usually v hard edged. (often black and glossy)
It reminds me that this is the kind of things I like. Glowing, opalescent, soft.
Really, I like perfection.
Arts and Crafts perfection.
Well-madeness in things. Amongst other things.
A writer once told me, he makes a small alter at home,
and put things that would remind himself of what his focus was -
it is something to remind himself, a way to not get lost.
This glass has somehow this effect,
it reminds me of a kind of perfection,
glowing type of soft perfection.
That is the qualities in things that I like.
Monday, 29 August 2016
路边野餐（2016）Kaili Blues ***half, dir Bi Gan
https://www.youtube.com/watch?v=kPBqRl9yQfo&sns=fb
His presentation enticed me to see his movie.
His movie is a lot more melancholic than his lovely story telling of the self laced with humor speech. Could have been stand up comic, lot more consistent than the usual standup comic routine. Better, more relevant material.
Good poetic film. I especially like his way of linking the beginning to how he made his movie.
I would think, if we followed his method. Just imagine if you conducted all his moves, but plugging in your own data, what kind of movie would you get?
Are all stories more or less the same structure? There is a limited story structure in the world, and you just plug in variables?
I was with a group of movie making people - most of them studied films.
So they wrote up a structure - synopsis of a film - however you ask me to fill in the data, it somehow just wont be the kind of film that I like to make. I cannot write a script following their "story outline" method. But here, I think his method, is interesting its a kind of Open Work.
Is it true?
Must test it to know.
Below is the actual movie, a prize winning film. Golden Horse award. I think. Will update after checking
https://www.youtube.com/watch?v=jasvC7Hxr3k
More info concerning independant film investor, producers, 40mn shot
http://www.zhihu.com/question/34627596
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【一席】毕赣《路边野餐》
Interesting self presentation. Very humorous subtle person.His presentation enticed me to see his movie.
His movie is a lot more melancholic than his lovely story telling of the self laced with humor speech. Could have been stand up comic, lot more consistent than the usual standup comic routine. Better, more relevant material.
Good poetic film. I especially like his way of linking the beginning to how he made his movie.
I would think, if we followed his method. Just imagine if you conducted all his moves, but plugging in your own data, what kind of movie would you get?
Are all stories more or less the same structure? There is a limited story structure in the world, and you just plug in variables?
I was with a group of movie making people - most of them studied films.
So they wrote up a structure - synopsis of a film - however you ask me to fill in the data, it somehow just wont be the kind of film that I like to make. I cannot write a script following their "story outline" method. But here, I think his method, is interesting its a kind of Open Work.
Is it true?
Must test it to know.
Below is the actual movie, a prize winning film. Golden Horse award. I think. Will update after checking
https://www.youtube.com/watch?v=jasvC7Hxr3k
More info concerning independant film investor, producers, 40mn shot
http://www.zhihu.com/question/34627596
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路边野餐（2016）
The story is a bitter sweet film recounting what happened to a man and his love the village stories of various people. We see realistic set ups in the village, lighting soft, and the viewer pieces the stories together themselves. It is not an explicit documentary. But the feeling of the landscape, the way people talk, the setting, its very authentic.
Poetic. In fact, there are free association, stream of consciousness type of metaphor in some of the captions/ subtitles.
Something slow and alive. Soulful.
======================================================================
路边野餐（2016）Kaili Blues ***half, dir Bi Gan
https://www.youtube.com/watch?v=kPBqRl9yQfo&sns=fb
His presentation enticed me to see his movie.
His movie is a lot more melancholic than his lovely story telling of the self laced with humor speech. Could have been stand up comic, lot more consistent than the usual standup comic routine. Better, more relevant material.
Good poetic film. I especially like his way of linking the beginning to how he made his movie.
I would think, if we followed his method. Just imagine if you conducted all his moves, but plugging in your own data, what kind of movie would you get?
Are all stories more or less the same structure? There is a limited story structure in the world, and you just plug in variables?
I was with a group of movie making people - most of them studied films.
So they wrote up a structure - synopsis of a film - however you ask me to fill in the data, it somehow just wont be the kind of film that I like to make. I cannot write a script following their "story outline" method. But here, I think his method, is interesting its a kind of Open Work.
Is it true?
Must test it to know.
Below is the actual movie, a prize winning film. Golden Horse award. I think. Will update after checking
https://www.youtube.com/watch?v=jasvC7Hxr3k
【一席】毕赣《路边野餐》
Interesting self presentation. Very humorous subtle person.His presentation enticed me to see his movie.
His movie is a lot more melancholic than his lovely story telling of the self laced with humor speech. Could have been stand up comic, lot more consistent than the usual standup comic routine. Better, more relevant material.
Good poetic film. I especially like his way of linking the beginning to how he made his movie.
I would think, if we followed his method. Just imagine if you conducted all his moves, but plugging in your own data, what kind of movie would you get?
Are all stories more or less the same structure? There is a limited story structure in the world, and you just plug in variables?
I was with a group of movie making people - most of them studied films.
So they wrote up a structure - synopsis of a film - however you ask me to fill in the data, it somehow just wont be the kind of film that I like to make. I cannot write a script following their "story outline" method. But here, I think his method, is interesting its a kind of Open Work.
Is it true?
Must test it to know.
Below is the actual movie, a prize winning film. Golden Horse award. I think. Will update after checking
https://www.youtube.com/watch?v=jasvC7Hxr3k
路边野餐（2016）
The story is a bitter sweet film recounting what happened to a man and his love the village stories of various people. We see realistic set ups in the village, lighting soft, and the viewer pieces the stories together themselves. It is not an explicit documentary. But the feeling of the landscape, the way poeple talk, the setting, its very authentic.
Poetic. In fact, there are free association, stream of consciousness type of metaphor in some of the captions/ subtitles.
Something slow and alive. Soulful.
Shanghai Belleville 2015, dir Show Chun Lee ***half
"Shanghai Belleville", ***half //Director: Show Chun Lee 2015
"Shanghai
Belleville", ***half
Very interesting film, solid story, interesting contemporary beat - with some punky alternative marginal comic book characters, very smartly packaged into a realistic enough outline.
The opera singing mom, sewing factory, room of the prostitutes, marriage w old men - not an especially nasty old man, but we see what limitations the super momma Anna also has to face. Anna, is a pretty enough woman. Very nicely believable. She was well cast, doesnt have the harsh face of someone who has no dreams. We see her deal with negotiation of price of a pass through a glass telephone booth while talking to her son long distance in China on the pay phone - being soft mamma and doing business at the same time; being human with fellow people in distress and need; being genteel and self help by getting online for marriage dating using a dictionary to get all the words down all by herself- self help; negotiation with a man who hold the financial source (but she could also go out if he refused... all made-up too, suggested if you dont give me the money, I go out myself and get it); this is what is in Chinese - living ordinary life from day to day - the new husband is a v gd actor. He shows just the right amount of human doubt and kindness. He celebrates Christmas with her, like a family. Anna is being treated right. Finally later, he asked when is her son coming? He accepts her, with her son. Its family. Though she replied, no need. China is more energetic than France. Her reason to be in France is economic, and now the situation has changed. Also amusing she checks his id card to make sure she didnt make a mistake – its a marriage for practical reasons, and then also some love. Gentle companionship, love.
The young croate boy with super kungfu moves and croatie rap song bringing into the story a dimension of a larger than France/Belleville angle it spks of a generation of new Chinese immigrants - finally goes to Shanghai by self induced expulsion - the beautiful colorful place, where noodle makers smiles even if their job are sweaty - the new China speaks of a dream coming true. That opportunities are ripe, better days are here.
In parallel, we see the Anna character from sidewalk prostitute to marriage with an older gentleman to staying in France to become the partner of a future import export business with her son being the other partner in China.
The young girl with her puppy love over, marries a local small sewing business boss and we could see her becoming the boss herself. She married into a family of kindness with immigrant experience.
The movie has enough color, story and reality to make it much more than a "discover the dirt" type of stereotypical story of recent immigrants. The director Show is an anthropologist and maybe because of this, the story has much deeper threads and understanding than your usual exotic-immigrant-hardship-stereotype in 13th arrondissement Chinese in France movie.
I slightly compared it to the movie by Zhia ZhangKe - movie set in Venise of another immigrant running a cafe. The Belleville movie is very colorful with much research - the other the Venise one is also sober w a profound poetic feeling. Also comes to mind the movie Gomorroh - that scene of factory workers, eating and drinking w plastic cups; how the factory workers treat the teacher. These are all realistic each with its own stylistic invention and mood.
I would say, Bravo! To director Show Chun Lee. Some parts could be played up a bit more, why does the seamstress seem so in love w the Croate boy? Its a way out of the sewing sweat shop? As a character she is rather stoic and kind of silent without revealing her inner person. She could have been played up just a little bit more to show her feelings, whether its simple, or more complex. What attracts her to the "thuggish" non-Chinese spking boy? There is something to be developed here. After all she has a more than passing role in the film. Could reveal a little bit more about the girl if possible (here I think, you have a chance to get a youthful sexy cute girl, eye candy, puppy love humour, sexy opportunities – wasted wasted. To give an example, we see Zhou Xun in all these urban lost youth movies, why Zhou Xun? Because she is cute and gd looking and great actress! No opportunities wasted! ), then we see in interaction, is the Croate boy really a thug? Could he have been non-thug, what options are open to him in his situation? The rap is fun, and smartly tells the Croate boy story.
Now, what does this movie bring us to?
At a deeper level, this is what life is.
Each person comes into a situation, and catch
as catch can, make something or nothing of it, and there is a time limit, the
show will be over.
Like the human trafficking boss and his mother - there was no wife in the film - the mom sings SuSan Qi Jie. A very famous piece of Beijing Opera, its fast symbol flashing old culture china, pop culture and high culture at the same time. The story of SuSan Qi Jie is about wrong doing - SuSan is on the way to prison due to some wrong doing of bad guys. Here the man is looking for his wife, wrongly pushed to death in some intrique - and the mom talks about being no-spking evil, no-seeing evil, no-hearing evil. Good good. Efficient.
The man is sitting drinking tea with his Croate friend, his eyes shifted left, right, left, right... danger coming. (I find his eye shifting too much.) Hes the right physique for the role and is believable to be sentimental.
In all this, why is it a good movie? I like it, though I had worried that it would turn out to be another exotic cheap talk about Chineseness - immigrants and all/any related thing from China.
I found this nice mix of current urban/comic culture and reality is quite successful. Its got flesh, blood and much real data behind.
We are happiest when we could live in a society and do things properly in a group - whether you are noodle maker, sand shifter - you are in your own rightful place. As immigrant, there is always the push of the exterior person coming in trying to merge. How could they know that they are doing well, or the-right-thing? By what ropes do they go? If the outsider did not bother to merge, then the outsider is probably an invader. Like the stronger types who descend on the locals and do not bother to even learn the local language, that is also a finger wagging no no.
Secondly, in life, this "joining", "merging" phase happens at all levels, at a job, at home in your village, growing up. In the end, when the road is smooth, each person finds their way.
The movie is positive, everybody has a brighter future and calmer settled life ahead in spite of the hardship of the beginning.
Showing so much at so many levels. Acting, smoothness of story line all these other things are overpowered by the real research where the story is grounded. Amateur acting, too quick romance telling, not enough details in certain parts... all this is just that.
Isnt this already a beautiful work?
Thursday, 25 August 2016
Cutting of a pine tree - experimental garden #2
http://www.bonsaiempire.com/basics/cultivation/from-cuttings
Cutting of a pine tree - experimental garden #2
Day 1: I followed instructions on this web page
Taking a branch from my pine tree - not too large and planted it following the earth layering etc
It will take 15 yrs for it to grow into any tree - for now, a bonsai tree is gd, easier to control water, heat etc.
Now, can we put a pine tree indoor or it should stay outdoor?
More research.
Cutting of a pine tree - experimental garden #2
Day 1: I followed instructions on this web page
Taking a branch from my pine tree - not too large and planted it following the earth layering etc
It will take 15 yrs for it to grow into any tree - for now, a bonsai tree is gd, easier to control water, heat etc.
Now, can we put a pine tree indoor or it should stay outdoor?
More research.
Tuesday, 23 August 2016
Anti-slip guqin pegs data - ongoing update
22Aug2016:: data from around the world, diff climate, diff temp, diff humidity all mixed
Test: Is "slipping" a common problem? and if using old pegs, how much slipping happens in a 2 to 3 hrs or more period?
What might be the condition that makes "slipping" happen?
I noticed under very hot stage lights, the silk strings are often affected by the heat, and i see master players adjust their strings every now and then before playing a piece.
If under normal conditions, there is no slipping, but under performance conditions, due to heat from the lights, this happens, would "anti-slip" pegs be of great help?
Here, under high heat, the strings themselves stretches more, so, the problem of slipping notes is not in the pegs but more in the adjustment of strings
Therefore, the anti slip pegs are useful for ... regular conditions. Its always helpful to have a locking device to minimise slipping of tuning. Always gd to have more control.
===
More discoveries thanks to input of all feedbacks
Conclusion 24aug2016:
I have thought about this question for the last few days. In fact, the traditional pegs work fine.
Its just that to fine tune, if you use a screw mechanism its v smooth turning.
And thats about it. Still smooth turning is better than non-smooth turning.
All pegs should be anti-slip either by friction or by mechanical device (screw).
Thanks for your feedback.
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1 CE(uk)/ 22aug2016
old traditional qin pegs, str#1, no change after 2.75hr //
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2 JYST (Canada)/ 22aug 2016
old system once tuned, stays at least one wk no need to retune. //
maybe due to qin and not only the pegs
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3 YH (NY) /22aug2016 Adjustment every day. Dryness due to heating in winter also affects.
Only very occasionally, I don't need any adjustment.
It's because of silk strings and not because of pegs, I suppose.
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4 JB (Portland) / 23aug2016
I always adjust the tuning before I play anything in a session and will check it into a session after a bit.
If the weather is not stable strings may stretch or tighten. I'm not sure what anti-slip means.
anti-slip technology so called means the peg pool is sanded roughly and should not be smooth.
The top of the pegs are concave (this is traditional and is mentioned in the yuguzhai).
one can always roughly sand the top of the peg as well.
Simpler first things to try are to apply something abrasive to the peg pool like chalk dust or the like.
Or candle wax if the peg is too tight.
New strings always stretch and it isn't unusual to have to put silk strings on/off in toto 3 times if they are new.
n-m don't usually need a restringing but they still stretch when new.
Sometimes slippage may be due to the rongkou themselves and the usual fault is that the last twist
over the top either wasn't done or needs to be done one more time.
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5 HY (hk) / 22aug2016
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6 SD (nyc) 26aug2016
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Test: Is "slipping" a common problem? and if using old pegs, how much slipping happens in a 2 to 3 hrs or more period?
What might be the condition that makes "slipping" happen?
I noticed under very hot stage lights, the silk strings are often affected by the heat, and i see master players adjust their strings every now and then before playing a piece.
If under normal conditions, there is no slipping, but under performance conditions, due to heat from the lights, this happens, would "anti-slip" pegs be of great help?
Here, under high heat, the strings themselves stretches more, so, the problem of slipping notes is not in the pegs but more in the adjustment of strings
Therefore, the anti slip pegs are useful for ... regular conditions. Its always helpful to have a locking device to minimise slipping of tuning. Always gd to have more control.
===
More discoveries thanks to input of all feedbacks
Conclusion 24aug2016:
I have thought about this question for the last few days. In fact, the traditional pegs work fine.
Its just that to fine tune, if you use a screw mechanism its v smooth turning.
And thats about it. Still smooth turning is better than non-smooth turning.
All pegs should be anti-slip either by friction or by mechanical device (screw).
Thanks for your feedback.
------------------------------------------------------------------------------------------------------
1 CE(uk)/ 22aug2016
old traditional qin pegs, str#1, no change after 2.75hr //
2 JYST (Canada)/ 22aug 2016
old system once tuned, stays at least one wk no need to retune. //
maybe due to qin and not only the pegs
3 YH (NY) /22aug2016 Adjustment every day. Dryness due to heating in winter also affects.
Only very occasionally, I don't need any adjustment.
It's because of silk strings and not because of pegs, I suppose.
------------------------------------------------------------------------------------------------------
4 JB (Portland) / 23aug2016
I always adjust the tuning before I play anything in a session and will check it into a session after a bit.
If the weather is not stable strings may stretch or tighten. I'm not sure what anti-slip means.
anti-slip technology so called means the peg pool is sanded roughly and should not be smooth.
The top of the pegs are concave (this is traditional and is mentioned in the yuguzhai).
one can always roughly sand the top of the peg as well.
Simpler first things to try are to apply something abrasive to the peg pool like chalk dust or the like.
Or candle wax if the peg is too tight.
New strings always stretch and it isn't unusual to have to put silk strings on/off in toto 3 times if they are new.
n-m don't usually need a restringing but they still stretch when new.
Sometimes slippage may be due to the rongkou themselves and the usual fault is that the last twist
over the top either wasn't done or needs to be done one more time.
5 HY (hk) / 22aug2016
6 SD (nyc) 26aug2016
- or less non-slip anyway, then, the change of pitch is due to the string change.
- Even though I have made some anti-slip pegs - the old system works just as well too.
- Thanks for your feedback!
- In performance situations did it change?
- But even with silk strings several years old,
- sometimes a string will go flat after an aggressive bit of playing,
- and i often have to tune during performance. Not noticeable to the audience, I hope!
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