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Comment by Suyuu on October 28, 2022 at 6:54pm

數字媒體美學的協商

在流媒體提供的新的傳播語境下，電影美學和電視美學以及全新的數字技術美學勢必要進行長期、持續的協商，才能形成一種穩定的流媒體視聽美學。這種未來的新美學被學者 Lev Manovich稱為「後媒介美學」（postmedia aesthetics）。這種美學的誕生意味著，過去那種依照媒介差異而對不同類型藝術進行區分的類型學已失去物質的和經濟的基礎，我們對於電影和電視的討論應當「使用新的概念、隱喻和操作工具」。（常江：流媒體與未來的電影業：美學、產業、文化，2020，當代電影，4-10頁）

Comment by Suyuu on October 18, 2022 at 8:46am

Behind the growth of Malaysia’s digital creative content startups by Stefanie Yeo

Many things come to mind when one thinks about Malaysia. The country is a key producer of rubber and palm oil, an industrial powerhouse, and a popular tourist destination. But it is also the home of a booming digital creative content scene.

In 2020, Malaysia’s gaming market stood at US$786 million, which made it the third largest in Southeast Asia. Its animation industry was valued at over US$1.6 billion in the same year, with exports in the sector standing at over US$285 million, doubling from 2014. Local animation studios also produced more than 65 original pieces of intellectual property, creating nearly US$40.5 million in export value and expanding its presence to more than 120 countries.

The products of Malaysia’s digital creative industry have also received recognition around the world. Programs such as Upin and Ipin, which explores the adventures of two twin brothers, and Mechamato, which revolves around a boy and his robot companion, have reached global audiences. Meanwhile, games like multiplayer arena brawler GigaBash and action-adventure title No Straight Roads have won accolades at international competitions.

In 2020, Malaysia’s gaming market stood at US$786 million, which made it the third largest in Southeast Asia. Its animation industry was valued at over US$1.6 billion in the same year, with exports in the sector standing at over US$285 million, doubling from 2014. Local animation studios also produced more than 65 original pieces of intellectual property, creating nearly US$40.5 million in export value and expanding its presence to more than 120 countries.

The products of Malaysia’s digital creative industry have also received recognition around the world. Programs such as Upin and Ipin, which explores the adventures of two twin brothers, and Mechamato, which revolves around a boy and his robot companion, have reached global audiences. Meanwhile, games like multiplayer arena brawler GigaBash and action-adventure title No Straight Roads have won accolades at international competitions.

First, the digital creative industry has been put forward as a key driver of the post-pandemic economy in Southeast Asia. This is a result of rapid digitalization and a growing generation of millennials and Gen-Z consumers who value experiences and entertainment, alongside an even greater demand for digital content globally.

Second, digital creative content provides a way for many key skills in tech to be utilized.

“Digital content is based on established digital creative skills and tech, such as programming, design, art, and narrative construction,” explains Aziz. “Not only does it help train essential base skills, it also allows room for innovation and creates opportunities to explore use cases for new tech, such as virtual reality, augmented reality, and blockchain.”

Comment by Suyuu on October 18, 2022 at 8:46am

First, the digital creative industry has been put forward as a key driver of the post-pandemic economy in Southeast Asia. This is a result of rapid digitalization and a growing generation of millennials and Gen-Z consumers who value experiences and entertainment, alongside an even greater demand for digital content globally.

Second, digital creative content provides a way for many key skills in tech to be utilized.

“Digital content is based on established digital creative skills and tech, such as programming, design, art, and narrative construction,” explains Aziz. “Not only does it help train essential base skills, it also allows room for innovation and creates opportunities to explore use cases for new tech, such as virtual reality, augmented reality, and blockchain.”

Building up a digital creative economy

Given the potential of the digital creative content industry to drive Malaysia’s digital economy, the nation has rolled out several initiatives to help support its growth.

MDEC is leading the Malaysian government’s efforts through the Digital Content Ecosystem (DICE) policy under the Ministry of Communications and Multimedia, which focuses on attracting investments, building up local talent and companies, and strengthening the ecosystem through government and private sector partnerships.

According to Aziz, MDEC’s support of the government’s DICE policy will take form across four areas, namely business development, creative skills and talent, digitalization, and research and partnerships. These include competitions and business-matching opportunities, as well as access to a number of strategic investments and grants to help fuel the growth of local companies.

One Malaysian startup that has benefited from MDEC’s support is content development firm The R&D Studio.

In 2017, the startup participated in MDEC’s Intellectual Property Creators Challenge (now known as the Digital Content Creators Challenge) and won the competition, receiving a 75,000 ringgit (US$17,800) grant to produce its short film Batik Girl. The movie went on to premiere in 17 countries, receive official selections in 28 international film festivals, and win awards in Chile, Japan, and the US.

Aside from the support available in its home turf, The R&D Studio was also able to take advantage of opportunities that MDEC offers to local animation companies that aim to go abroad and tap into new markets.

Comment by Suyuu on October 18, 2022 at 8:46am

Alongside two other startups Zappy and Durioo, The R&D Studio exhibited at the Malaysia Pavilion during Expo 2020 Dubai, which was held in January this year. Through the event, the firm was able to exhibit Batik Girl to an even broader audience while connecting to potential clients in the Middle East.

Expo 2020 Dubai also opened up opportunities for Zappy and Durioo. Zappy has worked with a local government in the Middle East on an animation project and is in talks with several companies in Dubai. Meanwhile, Durioo has connected with broadcasters in the Middle East and North Africa to bring its Islamic children’s content to wider audiences.

[Having these startups participate] in Expo 2020 Dubai allows us to give them exposure to global markets, as well as bring the brand name of Malaysian digital content space to the wider audience,” says Aziz.

From Malaysia to the world

The CEO is bullish about the future of Malaysia’s digital creative content economy.

“The future looks good, as is evident by the success seen by startups in the space,” shares Aziz. “These startups represent the funnel of new creators entering the space and are the lifeblood of creativity, and earlier studios have paved the way for other entrants to enter the field.”

“The future looks good, as is evident by the success seen by startups in the space,” shares Aziz. “These startups represent the funnel of new creators entering the space and are the lifeblood of creativity, and earlier studios have paved the way for other entrants to enter the field.”

MDEC will continue to fuel the growth of the country’s digital creative industry, both through supporting startups and developing the necessary talent for keeping the sector going.

“These initiatives will help provide a strong foundation for our growing industry and ensure that there isn’t a lack of talent,” Aziz explains. “With steady flow of talent, infrastructure, and consistent government grants and initiatives, the gaming and animation industry will be able to not just profit, but also fuel the growth of Malaysia’s digital economy.”

As Malaysian content continues to cross borders, the CEO is confident that the country’s startups will be able to reach consumers all over the world.

“As the global audience expands their taste for diverse content, Malaysia with its culture-rich and diverse population would be able to deliver content that is different and unique,” he says.

Currency converted from Malaysian ringgit to US dollar: US$1 = 4.23 ringgit.

(26 Apr 2022 https://www.techinasia.com)

Comment by Suyuu on September 12, 2022 at 11:17pm

陳明發〈回應〉

細心的《愛墾網》讀者會發現，我們在臉書有些舊帖子即使發佈了許多年，在留言欄裏還是有新的回應。要特別註明，那是一些有意義關聯的回應，形成一種有效的、可以延續刺激對話的關聯。人的思想于是恢復到流動的、有能力轉向、位移的狀態，讓新創思的生成變得可能，變得可持續。不是那種一發表就準備讓人刪去的東西。文化累積在手機社群媒體年代變得格外艱難。（8.11.2021）

Comment by Suyuu on September 6, 2022 at 4:23pm

Mediated Contents

We can’t live without internet for even a day.

We need internet to check our emails. We do works using the cloud technology, which is enabled by internet.

More often than not, we search for the information/knowledge we need for our works or learning. It may be a piece of writing, some images or audio-visual recordings.

Youtube has become our online classrooms. And, Facebook and/or Plurk our meeting place for exchanging views.

The only trouble we are facing is time; we spend too much   

only possible The internet world is entering a new era. We need to make a decision between confused abundance and meaningful selection. Every time I type the keywords "Malaysian Fashion", what appeared in the first two pages of Google search are mostly those material written by some bloggers, who may be interested in this subject. Of course, as usual, Google will proudly tell you how effective it is; within 0.1 second, it has located more than half a million entries of the things bearing the keywords of "Malaysian fashion". The contents ranging from a retailing shop selling cheap handbags imported from China, to a blogger who has just visited a night market and took a picture of a pair of funny slipper. After a few second, you come to a conclusion, abundance is not something you need, what you do look for are pieces of knowledge that are properly organized and edited. It is less in terms of number of entries but reliable and time saving. This is what www.iconada.tv can do for the fashion community.

Don’t wait for the traditional media people to come to our company to interview us for our story, and end up with only 3 paragraphs of irrelevant points. More often than not, the interviewees are not knowledgeable enough to understand our unique industries, so they can only interpret our story from the point of view they find interesting.

We have responsibilities to tell our own stories, be it products launch, brand proposition, experiential formula or organizational points of view. To avoid being left out in the public attention, we have to present ourselves in conversation that we have a stake in. Web as a mediated content collection and display platform is just the concept we business people looking for. 

There are many fashion magazines published in Malaysia. Unfortunately, periodicals do not last. You have new printed publications almost every day; you usually don't have the time to go through all the contents. So you keep the things aside and say you will read them one day. But, more often than not, when you think of something you have read somewhere, you always can't locate them. Information is useful when it is timely; you find the things you want at the right time. Electronic publication help overcome that. The mediated contents recommend by www.iconada.tv, I think can also serve as an inspiration for us to trigger our creativity in artistic field and make a note @ this comment box.（Expressed by Moooi in 2012）

Comment by Suyuu on June 19, 2022 at 11:50pm

陳明發《互動式數字叙事》

正當大家關注中國科技既能把人送到外太空，也能把淘寶的貨物網購到家門口，多少人有留意到，在中國2035文化強國方針下，他們的科技早也已經一步步，將上下五千年的中國文史與眼下現況結合進虛擬網絡？

正當我們熱衷於轉發中美之間的政治與商貿競爭誰贏誰敗，是否也留意到中美的頂尖大學在合作給中國歷朝歷代名人整理傳記？而數字工藝能把我們帶到他們面前了解其生平敘事，只是這數字人文趨向的第一步。

這是一項互動式、多媒體內容、跨領域的網絡工程。

在同一個平臺上，不但給各界提供了最大可能的知識含量，還可能做各種的比較演算，例如根據需要自動給你做出圖表、語音、視頻、照片或現況google map等媒體內容，讓人多感官接觸，有個總體的體驗。

這張冰山一角的截圖就顯示了歷朝歷代官員原籍、出身、朝代與專業資格（科舉）、官職等，裏頭的數據隨時可調動組成研究需要的各種比較的格式圖表或其他多媒體內容。

數字叙事（Digital Storytelling）把中華民族的好故事說得更好。

本地單位團體要迎頭趕上，基本功還是先整理好本身基本史料才行，要不連手工劳作做個Power-point都成問題，更說不上AI玩法。

各領域有了這樣的資料庫支援，行行業業的研究人員、開發人員就可省下很多時間做需要真正洞見、智慧的思考。一個社會的文化進展會去到另一個層次。

經典無窮盡；對經典的可能理解更是無窮盡。

來到準6G的虛擬世界，#數字人文/數字記憶 Digital Humanity / Digital Memory成了知識管理Knowledge Management最前沿。有的國家如芬蘭已經在著手這一塊工作；北京、上海等則在他們大都會的層面上從事這工作。若是成功，那會是真正的智慧國家/城市。（見：馮惠玲：數字人文視角下的數字記憶）（12.6.2022）

虛擬現實——陰影之河·無盡的現實

PDF ：毛軍京：特色數字人文研究環境的構建與探索

馮惠玲：數字人文視角下的數字記憶

Ann Righey：當專著不再是媒介：網絡時代的歷史敘事

Comment by Suyuu on June 15, 2022 at 10:23am

知識創造與記憶構建——從當前狀態看，面向人文學術的數字人文項目和面向個體、群體記憶的數字記憶項目在資源呈現方面有多種差異：前者的使命主要是知識組織、發現與創造，後者更突出通過記憶構建喚起情感共鳴或身份認同；前者側重以文本為主的各類資源的數據驅動，後者除利用各類可移動、不可移動資源之外，也吸收調查與創作資源，兼有數據驅動和事實闡釋驅動；前者以遠讀為主要資源分析方法，後者則兼用遠讀和細讀——為追求記憶接近真實，對某些資源的細讀及文化分析必不可少；前者多采用量化研究，借助算法進行文本分析，後者要兼用質性研究，到相關情境中對社會現象進行整體性探究，通過與對象互動來理解和解釋其行為，梳理事實線索；前者追求結論、邏輯嚴密嚴謹，其可視化多為計算結果的映射，後者浸入當下意識和情感，融入意義感，可視化中含有源於歷史、體現當下認知的創作型表達；前者的公眾參與形式多為眾包任務，後者更加重視眾籌資源；前者的成果主要是數據庫和學術結論，主界面注重提供多途徑查詢入口，後者除資源庫、移動端、網站之外，還會有多種表達記憶敘事的數字產品，如動畫、3D建模、互動遊戲、口述、視頻等，主界面注重向用戶提供直觀、便於理解的資源分類體系或專題列表等導覽系統。總之，人類記憶的場景性、情節性、時空性等特質對於數字記憶的敘事性表達需求，使之在呈現界面采用了較多非計算方法，轉而利用多樣的數字方法，以感性和理性的交織，兼及知識(事實)傳播與情感呼喚，形成飽滿的再現力和感染力，這樣一來，便與大多數面向學術的數字人文項目有了不同的形象性格和方法應用。（馮惠玲：數字人文視角下的數字記憶）

Comment by Suyuu on June 13, 2022 at 11:20pm

愛墾評：數字記憶為文創議題提供基本建設
數字記憶大多以記憶主體為核心，圍繞個體或社會群體，涉及大量與人文學術及社會文化現象相關的議題，這就使得二者在所涉範疇上有了重合基礎。例如，在全球頗有影響的“威尼斯時光機”項目，旨在利用千年歷史檔案呈現自公元900年至2000年城市建築與文化的宏大發展史，“這些龐大的歷史資料可能涵蓋了100億個事件”“詳細記錄了歷史上威尼斯城市生活的所有細節”，包括政治、經濟、金融、貿易、醫療、稅務、地理、建築、航海、市民居住網絡與生活等。項目主持人弗雷德里克·卡普蘭(Frederic Kaplan)形象地稱“威尼斯時光機”將打造一個“中世紀威尼斯Facebook”和“歷史倒帶紐”。顯然，這個典型的數字人文項目大大超出了人文學科範疇，立足“人文”的寬厚之意，同時帶有顯著的記憶建構性質。與此同時，不少以記憶命名的項目直觸人文學科內容，包括地理區劃、歷史人物、歷史事件、歷史場景等相關典籍資料的匯聚和分析，如“中國記憶”“佛羅里達記憶”“北京城門”“孔廟”“燕南園”“老舍”等。而每一個記憶項目都飽含人文意象，因為記憶主體都是個體或群體的人，記憶內容都是以人為中心和原點的多方面知識。

無論是數字人文還是數字記憶項目，基礎都是資源的數字化匯聚，大多數成果形式為一個庫。數字人文項目比較多地圍繞主題內容、資源類型展開，比如“中國歷代人物傳記資料庫”主要收集中國歷史人物的傳記資料，“中國歷史地理信息系統”旨在匯總地點和行政區劃的空間數據，“民國時期期刊全文數據庫”“中國歷代墓誌數據庫”“中國家譜數據庫”“中國地方歷史文獻數據庫”“中國數字方誌庫”等都有特定的學術內容和資源種類。根據項目性質的不同，有些數字人文項目的資源比較廣泛，仍以“威尼斯時光機”為例，其資源來自威尼斯檔案館所藏豐富的檔案，包括手稿、專著、畫作、信函、文件、海量地圖等，內容涉及出生和死亡記錄、醫療記錄、納稅記錄、公正記錄、專利登記簿、地圖、建築設計圖、城市規劃方案、旅遊導覽圖及和平條約等。不少數字人文學者認為，從人文計算到數字人文，“進化”的誘因和特征之一就是超越文本的單一性，接受包括網頁、影像在內的多種媒介資源的並存與互補。事實上，隨著數字環境的復雜化、數字技術和數字信息生產能力的提升，數字人文項目的資源不斷趨向多樣化和復合化。而數字記憶項目歷來需要以來源廣泛、媒介多樣的資源作為記憶的基礎素材和支撐，如“中國記憶”“新加坡記憶”“北京記憶”“記憶四川”等，均為圖文聲像並用，形式繁多。其中“中國記憶”項目實驗網站使用和存儲了來自文獻機構、民間、現場采集和專題制作的圖書、檔案、地圖、照片、口述、音頻、視頻等多種記憶資源，這種資源特點恰巧應和了數字人文資源的多元變化趨勢。（馮惠玲：數字人文視角下的數字記憶）

Comment by Suyuu on May 27, 2022 at 9:40am

最激烈的理想主義者反倒很容易轉變為徹底的虛無主義者，为什麽?

美國喜劇演員，社會批評家George Carlin說過，“每個犬儒主義者的內心都有一個失望了的理想主義者。”( Inside every cynical person, there is a disappointed idealist." 希望越理想化，就越是容易失望和幻滅，從幻滅過渡到放棄所有的希望，這是很自然的轉變。因此，犬儒主義的對面不是理想主義，而是現實主義。美國著名記者Sydney J. Harris說過一句話很有道理的話：“理想主義者認為，眼前發生的事情是不重要的。犬儒主義者認為，長期以後發生的事情是不重要的。現實主義者認為，眼前做什麽或不做什麽決定著長期以後會發生什麽。”(An idealist believes the short run doesn't count. A cynic believes the long run doesn't matter. A realist believes that what is done or left undone in the short run determines the long run.)拒絕犬儒主義不等於回到天真的理想主義(所謂的“青春無悔”)，而是要從失敗的浪漫理想主義汲取教訓，以務實的態度來對待未來的希望，既不放棄希望，也不盲目樂觀。（徐賁：當今中國犬儒社會文化的困境與出路[4]）

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