文化有根 創意是伴 Bridging Creativity
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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Albums: 旅遊·把故事說好的快意
Location: 倫敦設計博物館 London Design Museum
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(續上)半個世紀之後,當代的電子樂將瓦雷茲的預言變為現實。噪音作曲的音樂形式——比如,Merzbow 的作品——幾乎都熱衷於大量的冰河或熔岩流,他們碰撞,交織,互相滲透,產生一個佈滿高峰、山谷、裂縫、和平原的平面。以律動為主的電子樂同樣是由這樣的「強度域」所標識。極簡科技電子音樂和微觀浩室樂曲如波浪般起伏,在流動的同時追隨強度的不同界域和等級(註70)。
電子音樂由以不同速度和不同振幅的循環(波浪)構成,創造由強烈合流的結點標識的干擾模型。Carsten Nicolai (又名 noto 和 alva Noto)的作品就是很好的例子。他的樂曲運用各種不同厚度、深度和速度的循環,創造出對應他大多視覺藝術作品中液態的漣漪和圖案的聲音作品(註71)。
電子樂曲是個別性和強度的分布體,其中,注入欲望的方式與搖滾、經典爵士或者古典音樂都不相同。電子樂中無數的「高原」取代了搖滾樂和流行樂中的張弛,以及古典音樂裡的沖突和和解:「由強烈的連續域構成,因此使得它們無法被任何外在的重點中斷,同樣,它們也不容許自身趨向於一個最高點」(註72)(千高原,姜219)。在一個平面上的流體,波浪或者循環的合流不是韻文或合唱,而是強度的臨界點和連續體,而這個平面自身也是一個高原,一個不確定的延展的強度連續體。
4. 一個身體或集合體的構建和制圖法[Construction and Cartography of a body or assemblage]。一個音軌代表著聲音門(sonic phylum)裡特別的一片、一塊,或一個高原。它是一個容貫平面或作曲,選擇,表達,分配,組合一組音調、音色和旋律。這樣,一個音軌形成一個身體,而不是一個有機體:一個無器官的身體。它展現了最小限度的作曲或為了賦予一個身體個體性的一致性,而又不會使它硬化成一個有機體(註73)。
德勒茲告訴我們,一個身體不是由形式,功能,或者物質等定義的。它的定義呈現出一幅地圖[藍圖plan]的形式,根據經度和緯度繪出一片疆界(註74)。「經線」的意思,德勒茲解釋為構成一個身體(自身常是一個多樣體)的粒子彼此之間的關係。斯賓諾莎[Spinoza]曾提出身體不是通過物質的理由推理(reason)來區分於彼此的,而是僅僅通過他們組成部分所獲取的運動和停息,速度和慢度的關係的推理。依據斯賓諾莎的定義,德勒茲將身體部分之間的「經度」關係形容為「粒子之間運動與停息,速度與慢度的關係」(註75)。「緯度」的意思,德勒茲解釋為一個身體在與其它的身體的關係中影響與被影響。以及集中力量,和區別力量的能力。
「速度和強度的地圖」(注76)。這種德勒茲式(同時瓦雷茲式)的描述方法十分適合對電子樂的分析。它們並不立即適合用於對形式和發展的描述;但是它們卻能極好地用經度和緯度等語言來描述「聲音粒子或分子之間的各種速度」、「自由浮動的情調」,和這些粒子以及它們之間的連接產生的強度。(注77)它們也讓自己適於幾何的、地質的、地理的描繪:航線、臨界點、梯度、頂峰、山谷、平原等描述性詞匯。
抽象的、分子的、機器的、去主體的電子樂音軌僅僅是選擇聲音粒子,並將這些聲音粒子置於一種和彼此以及和其它音軌的關係中。在經度上,一個音軌是一個身體、機器、或集合體、一組佔據同樣地域的聲音粒子,它們的移動速度是與其它粒子相比衡量而來的。它們與其它粒子形成暫時的聯合(循環、厚塊[slabs]、個別體等),並與之一起移動。在緯度上,一個音軌由它的強度定義,它對力的累積和它們作用在我們身上的質量效果。經度和緯度,速度和密度同樣也衡量一支樂曲與其它樂曲的關係。因為一個音軌自身僅僅是一個更大機器裡的一個元素,這個更大的機器,混合體,自身又是一種宏觀的音軌。一個音軌的速度和強度,會決定它能夠與另外哪些音軌連接,以及它能與這些音軌形成什麼樣的關係(流動、斷裂、情調調節 [affective modulation]等)。「混合體[mix]」這個詞在這裡,是有特殊意義的,它突出了一個事實,從微觀層次到宏觀層次——從一個音軌部分的個體性到作為整體的混合體——電子樂不是封閉的「作曲」或者「歌曲」,而是結尾開放的、臨時的集合體,在任何一個層次上,都可以連接或者插入其他集合體。
這就是無器官的音樂身體的解剖圖。我們同時也追溯了它的譜系圖。它由分佈於其上的可感知的個體性和強度標識,同時也被一系列跨越20世紀音樂的歷史特異體標識,並為其提供遺傳代碼,以及它的可能性的超驗或虛擬條件。在德勒茲聆聽1970年代後期的經典極簡音樂的同時,他開始聽見音樂變成無器官身體的可能性。隨著實驗電子音樂的到來——承蒙 Sub Rosa 的 Guy-Marc Hinant 和 Mille Plateaux 的 Achim Szepanski,德勒茲僅僅在他病重的最後兩年才聽到那些電子樂(註78)——音樂解域的所有力量才全部體現出來,音樂也真正變成了一個無器官的身體。沒有主體、形式、主題、敘事;只有流動、切割、集合、力量、強度、和個體性,展現於由律動和長音構成的平滑表面之上。
原題:如何把音樂變成無器官的身體? 吉爾• 德勒茲和實驗電子音樂 [How Do You Make Music a Body without Organs? Gilles Deleuze and Experimental Electronica];作者:Christoph Cox;譯者: 王婧;原見:sub jam blog 撒把芥末博客 [測試中];中譯版版權由撒把芥末和《生產》叢刊保留;註釋請閱讀原文)
【多樣性】
音樂幫助我自我反省,從中發掘新的東西:那就是我在生活中、旅行中枉然尋找的多樣性,而讓它那陽光照耀的波浪逐漸在我身邊減弱的音響之波濤則勾起了我對這種多樣性的憧憬。雙重的多樣性。正如光譜向我們顯示了光的組合,瓦格納的和弦、埃爾斯蒂爾的色彩使我們認識另一個人的感覺中質的要素,而對另一個人的愛卻無法使我們深入這種要素。還有作品本身內在的多樣性,通過真正成為多樣性的唯一方法:集中多種個性。當一個平庸的音樂家聲稱自己在刻畫一個騎士侍從,一個騎士時,他其實在讓他們唱同樣的樂曲,相反,瓦格納卻在每個名稱底下放進了一種不同的現實,每當他的騎士侍從出現時,那是一個獨特的、既複雜又簡單的形象,這個形象帶著喜悅和封建的兩種線條的相互衝突,記載在廣闊的音響之中。因而由許多音樂充實而成的那種音樂是豐滿的,其中的每一種音樂都是一個生命。一個生命,或者說是大自然的一種瞬間景觀給人的印象。即便是大自然中那些與大自然給我們的感觸最不相關的事物,也保持了其外部的,完全確定的現實;一隻小鳥的啼唱,一個獵人的號角聲,一個牧人用蘆管吹出的曲調都在天邊勾勒出自己的音響形象。
(摘自:《追憶似水年華》[法語:À la recherche du temps perdu,英语:In Search of Lost Time: The Prisoner and the Fugitive],[法国]馬塞爾·普魯斯特 [Marcel Proust ,1871年—1922年] 的作品,出版時間:1913–1927,共7卷)
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]
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)
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)
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)
雷蒙.格諾《風格練習 Exercices de style》33. 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。
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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