Iconada.tv 愛墾 網
Scott Rinckenberger： Umbrellas in Black and White
亦舒：孤傲
鄭京和欲從海費茲學藝，好不容易獲得大師約見，赴約，遲到五分鍾，管家開門時說：“海先生今日不見你。”
第二次，鄭京和早到五分鍾，管家應門，又說：“海先生今天也不見你。”第三次，鄭京和準時到，進入書房，取出小提琴，才彈了三個音符，海費茲說：“你還是學中提琴吧。”
為人孤傲若此。
他不喜歡收徒弟，也同徒兒相處得不好，他的兒子會彈梵啞鈴，但絕非人才。
錄映帶中，看他教學生，只見一臉冰冷的不耐煩，甚至說：“彈成這樣，顧客會不高興。”毫不容情。
有兩種人最難相處，一種是天才，因得天獨厚，得來全不費工夫，統共不原諒他人的遲鈍。
另一種是鴻運當頭者，氣焰淩人，直至他也一頭栽在泥沼裏，才知道民間疾苦。
比起海費茲，艾薩史頓技藝平平，但作風親切，平易近人，表現熱情，也使人尊敬欣賞。
真正的天才冷酷還不打緊，有些人在一個很短的時間內比人略勝半籌，就要把晚娘臉擡出來了。
corps sans organes
戲仿
There was a huge problem. I knew that modern forms were parodic—not only Eco, but the intelligent criticism of Malcolm Bradbury had been pointing that out—parodic, not in a sneering or mocking way, but as "rewriting" or "representing" the past. The structural necessity of my new form was that the poems of my two poets, the most important thing about them in my own view, should be in this no-longer ghostly text. And I am not a poet, and novelists who poems usually come to grief. —— 引自章節：後記一八六八年
And I found I was possessed—it was actually quite frightening—the nineteenth century poems that were not nineteenth-century poems wrote themselves, hardly blotted, fitting into the metaphorical structure of my novel. —— 引自章節：後記一八六八年
I have been Melusina these thirty years. I have so to speak flown about and about the battlements of this stronghold crying on the wind of my need to see and feed and comfort my child, who knew me not.
（摘自从《隱之書》（Possession），作者: [英] A·S·拜雅特；出版社: 南海出版公司；出品方: 新經典文化；譯者: 於冬梅 / 宋瑛堂；出版年: 2008-5）
Aug 23, 2024
corps sans organes
[愛墾研創]電影《沼澤裡的歌聲》（Where the Crawdads Sing）改編自德莉婭·歐文斯（Delia Owens）2018年同名暢銷小說，由奧莉薇亞·紐曼（Olivia Newman）執導，黛西·愛德加-瓊斯（Daisy Edgar-Jones）主演。
故事以1960年代美國南方一處偏僻的沼澤為場景，描述孤兒卡雅（Kya）自幼被家人遺棄，靠著與自然為伍、在潮間帶撿貝販賣謀生的成長歷程；她以觀察動植物、收集標本與寫作逐步成為一位自然學者，同時也因為與兩名男子的情感糾葛，而被捲入一起謀殺案，成為鎮上猜疑與排斥的焦點，法庭戲貫穿全片，交織著回憶與調查，揭示人性、孤獨與自然的救贖與暴力。(Wikipedia)
電影在影像語言與場景重現上投入大量心力：實際在路易斯安那州拍攝，攝影捕捉到沼澤的詩意與野性，製片組面對洪水、鱷魚與蛇等拍攝挑戰，反而為畫面帶來真實感；配樂由作曲家Mychael Danna操刀，泰勒·斯威夫特（Taylor Swift）為片中創作的主題曲《Carolina》也為電影增加話題。(Southern Living)
影評界對此片意見分歧：多數評論肯定黛西·愛德加-瓊斯以寧靜而內斂的表演承載角色情感，但批評者認為電影難以在忠於原著的敘事與影像節奏之間取得平衡，導致整體調性時而抒情、時而說教，未能深入探討小說裡更為複雜的社會與種族議題；在匯總評價上，爛番茄給出約三成好評，Metacritic則呈現「褒貶不一」的中等分數。儘管如此，電影票房表現亮眼，以約兩千四百萬美元成本換來超過一億四千萬美元的全球票房，被視為商業上成功的書籍改編案例。(rottentomatoes.com)
從觀影角度來看，这是一部視覺與情感兼具的中景尺幅作品：若你重視風景式敘事、對自然史與孤獨主題有共鳴，會被卡雅與沼澤之間的關係所打動；若你期待改編能完整呈現小說的深度與社會批判，可能會對電影的簡化與美化感到失望。總體而言，影片在演員、影像與音樂上有可觀的成就，但在角色動機與主題挖掘上留下可討論的空間。(The Guardian)
電影在獎項與大眾反響上也有亮點：泰勒·斯威夫特的〈Carolina〉獲多項提名並拿下MTV電影電視獎，配樂與美術設計亦受肯定；評論界正面聲音像是《Consequence》稱讚其抒情風格與黛西的詮釋，而《衛報》則批評電影過度美化原著、未觸及更深層的社會矛盾，顯示出影迷與評論間的分野。整體來說，此片是典型的「忠實但經過篩選的改編」，既保留了原作的浪漫與謎團，也以電影語言做了商業包裝，成為討論改編策略與敘事選擇的案例之一。(Wikipedia)值得一看
Dec 18
corps sans organes
About the Founder of iconada.tv（爱垦网）
Dr. Tan Beng Huat(陈明发博士)
As 2026 approaches, the non-profit network ICONADA 爱垦网(www.iconada.tv) will mark its 17th anniversary. Dr. Tan, its founder, is widely recognized as a pioneer in research and development of Malaysia’s cultural and creative industries. In addition to ICONADA, he also founded 《叙叙吧Cerita Malaysia》 (www.ceritamalaysia.org), a platform dedicated to documenting, cultivating, and advancing local cultural narratives and creative practices.
Dr. Tan’s professional journey spans more than four and a half decades. In the 1970s, he participated in specialized training programs by national psychological warfare unit （perang saraf）under Malaysia's Prime Minister Department, an experience that contributed to his early understanding of human behavior, communication dynamics, and social influence.
He later emerged as a nationally recognized senior human resources trainer, and became an influential advocate and strategist for youth movements, contributing to leadership development and civic engagement initiatives nationwide.
Following 16 years in human resource development, Dr. Tan transitioned into long-term research, practice, and advocacy within the cultural and creative sectors, a focus that has now extended nearly three decades. Across this period, he has remained committed to voluntary, mission-driven work, emphasizing sustainable impact over formal recognition.
Through extensive practice—and having produced, directed, or supervised an estimated 60,000 to 70,000 original content works—Dr. Tan has developed a substantial body of insights and reflections. These materials are now being systematically curated and released in stages, as a gesture of appreciation to long-standing collaborators and supporters in Malaysia and abroad, and as a contribution to future-oriented discourse on social and economic transformation.
Recognizing that many transformational initiatives exceed the capacity of a single individual or generation, Dr. Tan emphasizes the importance of documentation, knowledge transfer, and institutional memory. His work is intended to serve as a practical reference framework for both urban and rural transformation efforts.
In recent years, Dr. Tan has been actively advancing an innovative “Rural–Industry–Academia” vocational education and collaboration model, aimed at nurturing locally grounded cultural and creative industries. This model seeks to strengthen industry–school partnerships, empower under-resourced rural youth, and translate cultural creativity into sustainable economic and social value.
9 hours ago