尋回最早最單純的遊學情趣,

“寓教於樂”的個人意義,

就是玩出一片天,

在陌生的城市,

用另一種材料思考,

用好奇,觀察後再現另一層面現實的自我

韻味悠長、情在詞外。

體驗跟著自己一輩子。

(2005年 倫敦設計博物館)


延續閱讀

當品牌變成好故事
內容營銷
微電影研究
說故事的力量
Host Studio's Photos
《說好的俳句》
《卡萊爾的書包》

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Comment by Curation Nation 策展國 on January 19, 2024 at 7:09pm


What is a cultural hub?


A clustering of cultural venues such as museums, galleries and performance spaces with secondary attractions including food and retail.

What is the aim of a cultural hub?

Culture and art centers have several main aims. They aim to promote and preserve cultural heritage, provide high-quality leisure time and create new job opportunities . They also aim to respond to the needs of the community by providing public spaces and informal education facilities . Additionally, culture and art centers aim to provide meaningful experiences for individuals with Alzheimer's, allowing them to express themselves and maintain personal identity . Furthermore, these centers contribute to the development of cities by creating dynamic spaces of cultural exchange, promoting vibrancy and diversity, and attracting consumers and commerce . Finally, the isolation of a science regarding artistic products and experiences helps in evaluating works of art by considering both aesthetic and non-aesthetic factors .

The main aims of culture and art centers are to promote artistic products and experiences and to address difficulties in evaluating works of art.

The main aims of culture and art centers are to provide meaningful experiences for individuals with Alzheimer's and reduce symptoms such as apathy and anxiety.

The main aims of culture and art centers are to promote cultural exchange, improve city vibrancy, and enhance urban development.

The main aims of culture and art centers are to provide community space, informal education facilities, and promote creativity and cultural arts.

The main aims of cultural and art centers include promoting contemporary culture, protecting cultural heritage, and implementing cultural and educational projects in the community.

Related:

德國遊:歴史之旅


吉隆坡景觀·雙子塔城中公園


旅遊·把故事說好的快意

What Is Cultural Hub?

[文化特區專綫]

[沙巴海丝馆]

[《鄉頻道》一帶一路:老地區 新經濟]

[往石头河山里走]

Comment by Curation Nation 策展國 on June 21, 2023 at 12:06am


復辟一個世代的風尚

走到哈德遜河畔,風從樹枝間吹來,我透了口氣,搖搖頭髮(可不是嗎),沿河南下,有一平平小島,其上的自由女神正在接受大修理,明明是不修理不行了,自然界是存在和毀滅的循環,自然界是不事修理的,可不是嗎,這一帶草坡上的樹木蔥蘢得幾乎是森林了,綠影中傳來誦詩的男聲(我差點兒吃了一驚),他全身文藝復興時期的裝束打扮,另一個只穿短褲背心的女人羚羊似的環繞著他連連拍照(啊演員)。

他的髮型,髭式,高頸圍,窄袖,緊身褲,縛帶的長襪子,翻口的船鞋,無不是伊麗薩白朝的個人復辟,我與他相距十步,有四百年時差的飄渺感覺,使我駐足不忍離開,他則旁若無女人地一心朗誦,雙手作出幾許優雅的動作,間歇時,把手指並緊,很明顯地五指並緊,按在胸前,或腿上——這是十五十六世紀上流社會的習慣、風尚,以前我對此細節是忽略掉了(原來手指要並得這樣的緊),從而感慨自己對於以往的時代的情操和習尚是多麽荒疏無知,人類曾經像尊奉王者那樣地敬愛麵包師,而羅馬人之所以自豪,他們只要有演出和麵包。

而法國人之所以比羅馬人更加自豪,他們只要演出不要麵包,而人類全都曾經像嚴謹的演員對待完整的劇場那樣對待生活(世界),田野里有牧歌,宮廷內有商篇體,教堂中有警鳳琴的彌天大樂,市井的陽臺下有懦怯而熱狂的小夜曲,玫瑰花和月光每每代言了許多說不出口的話,海盜的三桅帆壯麗得幾乎使人忘了大禍臨頭,啤酒裝在臃腫的木桶里滾來滾去。

一襲新裝時髦三年有餘,外祖母個個會講迷人的故事,童話是一小半為孩子而寫一大半是為成人而寫,媽媽在燈下縫衣裳,寬了點,長了點(明年後年還好穿),白雪皚皚,聖誕老人從不失約,節日的前七天已經是節日了,然後是黑白灰的寄宿學校,透明的水彩畫,手拉手的圓舞曲,騎術劍術是必修課(第一次吸雪茄時又咳又笑)。

服役的傳令,初試軍裝急於對鏡,遠航歸來,埠頭霎時形成狂歡節,懷表發明之後,正面十二個羅馬字和長短針,打開背殼,一幀美麗的肖像,沉沉的百葉窗(縷射的日光中的小飛塵),拱形柱排列而成的長廊似乎就此通向天國,百合花水晶瓶之一邊是纖纖鯨脂白燭,鯨骨又做成了龐然的裙撐。

音樂會的節目單一張也捨不得丟掉,人人都珍藏著數不清的從來不數的紀念品(日記本可以上鎖的),雕花木器使一個不大的房間擁有終生看不完的渦形曲線,交通煞費周章所以旅行是神聖的,綿綿的信都是上等的散文,火漆封印隨馬車絕塵而去,風磨轉著轉著,羊群低頭嚙草,騎士挺槍而過,盔鎧縫里汗水涔涔如小溪,劍客往往成三,獨行俠又是英雄本色。

雲雀叫了一整天,空地上晾著剛洗凈的桌布和褥單,小窗打開又關上又打開,兩拍子的進行曲,銅管樂隊走在大街上,早安,日安,一夜平安,父親對兒子說,“我的朋友,你一定要走,那麽願上帝保佑你”,少女跪下了,“好媽媽,原諒我吧”……對於書、提琴、調色板,與聖龕中的器皿一樣看待,對於鐘聲,能使任何喧嘩息止,鐘聲在風中飛揚,該扣的紐子全扣上,等等我,請等等我,我就來……。

那時,很長很長的年代,政變,戰亂,天災,時疫,不斷發生,謠言,兇殺,監獄,斷頭臺,孤兒院,豺狼成性的流寇,跳蚤似的小偷,騙子巧舌如百靈鳥,放高利貸的都是洞里蛇,惡棍洋洋得意,逆子死不改悔,蕩婦真不少,更多的是密探和叛徒——都有,不像歷史記載的那些些,還要數不勝數。(木心·哥倫比亞的倒影)

Comment by Curation Nation 策展國 on November 6, 2021 at 11:54pm

COVID killed marketing. Long live the experience economy

COVID-19 has all but killed traditional marketing, but the “experience economy” is taking its place to reengineer our relationships with customers and engage more deeply than ever before.

The experience economy is based on a simple principle: Brands should stop marketing at their customers and, instead, engage with them through shared experiences. Although the pandemic has accelerated the experience economy’s adoption, it’s been a long time coming: Seventy-two percent of Millennials prefer spending their money on experiences over material things, according to Eventbrite. We can expect this number to grow larger among Gen Z.

Not long ago, I visited a Belgian gallery and watched a child attempt to swipe a painting like they would a screen. Future generations will be primed for everything to be interactive. Imagine the experience museumgoers would have if—through AR—Vincent van Gogh could leap out of a painting and walk through his process.

I learned how to craft meaningful customer experiences during my 30-year career at Disney. Arguably the greatest lesson about the experience economy comes from Walt Disney himself. When “Fantasia” was released in theaters in 1940, Disney pushed for immersive experiences through “Fantasound” and “Smell-o-Vision.” Theater owners, however, weren’t interested in paying for and installing new technologies to accommodate the enveloping sounds and scents. In response, Disney took his movies where customers could experience the brand in its entirety, and Disneyland launched in 1955.

Sixty-five years after Disneyland opened its doors—and one year after I declared marketing would be dead within a decade—COVID-19 changed everything. For all the heartbreak and loss, it also highlighted what’s truly important.

Think about what we worked so hard to virtually recreate during lockdowns: Family dinners. Concerts. Cooking classes. We didn’t spend our time in isolation dreaming about a trip to the mall. We spent it dreaming about shared experiences.

When I was tasked with driving more traffic to Disneyland Paris for its 25th anniversary, survey data said people come to parks for the rides. But when we sat down with real customers and asked why they visited, we learned that the real reason was to create family memories.

Instead of spending millions on new rides, we ran a simple communications campaign focused on creating memories—one that drove more park traffic than we’d seen in the previous five years. Asking “why?” helped uncover the true experience our customers desired. (to be Con't)

Comment by Curation Nation 策展國 on November 6, 2021 at 11:53pm

As we emerge from the pandemic, the brands best positioned for success will be ready to provide engaging experiences (even remotely) that get at the heart of consumers’ desires.

I recently conducted a training for the Philadelphia Eagles. During our event, I learned that 90% of fans never attend a game in person due to reasons such as cost. I encouraged the group to consider this: “How might we engage the 90% of fans who will never visit our stadium, and what revenue opportunities could that deliver?”

The pandemic has done wonders for hybrid event technology. Just look at the interactive fan displays used by the NBA during its bubble. Or even pre-pandemic, when Manchester United used Google Hangouts to give fans a front-row seat. By asking how they might solve a particular pain point, brands will tap into new experiential ideas that go beyond the typical marketing messages that people are familiar with.


In a post-pandemic world, brands will be immersing customers in experiences—and it will no longer be enough to market at people.

Duncan Wardle, former Head of Innovation & Creativity @ Disney. Founded iD8 & innov8 to help organizations embed a culture of innovation. (11-05-21 https://www.fastcompany.com)

Comment by Curation Nation 策展國 on April 20, 2021 at 7:22pm


雷蒙.格諾《風格練習
 Exercices de style33. 舊體詩 Alexandrins


僕僕斯車追日影,

青年長頸帽冠奇。


不疑旅客摩肩立,


卻道鄰人刻意欺。


鬼哭神號聲有怨,


狼奔鼠竄步無姿。


同窗衣扣黃昏驛,


再歎人情世道離。


https://en.wikipedia.org/wiki/Exercises_in_Style

《風格練習》中文版電子書

Comment by Curation Nation 策展國 on March 3, 2021 at 9:39pm


陳明發《現場寫作》

很多人有時候重看自己臉書上的相簿,甚至不再記得那是什麼地方,發生過什麼事。世界正以各種名稱、面貌與途徑,讓旅遊成為“最能邀約創意的生命大課”。而“現場寫作”最能體現這活在當下的美學。
(2015年4月29日)

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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