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Comment by Suyuu on November 26, 2022 at 1:20am

陳明發·微博文化現象
在張惠妹《我最親愛的》歌聲中，我蓋上李開復的新書《140字的驚人力量》（臺北天下文化，2011年3月）最後一面。

張惠妹唱道：「很想知道你的近況，我聽別人說， 還不如聽你對我講。」

在全民傳播的年頭，大家在幹什麽、想什麽，都公告天下；可是，人與人之間的交流與理解，加深了麼？在公共場合，我看過許多的男男女女，面對面喝茶，卻各自忙著按自己的 IPhone, Ipad 或手電，和全天下「聊」、「互通信息」， 好像沒看見跟前那有溫度的人。

140個字，真如李開復所說的「能改變世界」，大家恐怕都不需要深度的思考、分析與互動了。吹擂微博力量者，包括如李開復先生，最喜歡用的一臺詞就是：「它將改變人們的生活」。

就像美國或一部分套美國標簽的「大師」、「導師」那樣，每開個研討會、培訓班，都說是「它將改變你的命運」。你要相信他們，首先改變的，是這些「大師」本身的收入。科技公司想推什麽新產品，那個產品馬上就能「改變人們的生活」；大家沒想到，首先改變的，是自己的錢包變得更瘦薄了。

看看這些年，手機的功能、型號每年在更新；跟著手機公司「改變」口號共舞的人們，自己的生活實質又改變了多少？不跟市場團團轉，馬上改變的，是這些科技公司；他們很可能不久就要倒閉；要不，是CEO本身很快就改變，從董事部、投資者面前蒸發。

對許多人來說，微博不過就是太太姑娘們在理髮院、SPA打發時間時，不經意交換些雜碎的家常信息那樣的事。或科技新貴在銀行家俱樂部的雞尾酒會上，拿著一杯似乎永遠都喝不完的飲料，故作浪漫與瀟灑狀，講兩句冷笑話，逗捧酒女郎一笑解悶。別人往往沒笑，自己倒先誇張的聳動雙肩笑個不停，末了為自己的幽默感吃掉酒杯裏的紅櫻桃。

這樣的事，怎麽就「改變」了世界？說三幾句俏皮話就能面對世界的巨變，這個世界未免太好對付了。

要是這樣的話，魯迅先生筆下的阿Q，早就完成了中國的革命與開放；中國早就實現了超英趕美的千秋大業。

當然，微博上不缺乏達人名師出來指點眾生，分享他們的看家本領、蓋世絕技。可是許多人談到本身的「成功秘訣」時，就像李開復寫微博那樣，1、2、3 .....地在開藥單，好像背熟了這些」法則「，成功自然來；比廟裏的法師開的符咒還有效。

其實，成功人士一、二、三句話，後面有許多實際狀況的體驗脈絡。變成說明會投影片上的筆記重點，在微博上讀來，真是知其然不知其所以然。少了領悟的貼心質感。但是，媒體最喜歡這些口號式的東西。

就像某某高材生中狀元了，記者問他有何「秘訣」；第二天報上的標題是這麽寫的：「努力自然能出頭」。微博上，何嘗不是充滿類似的泛泛之談嗎？畢竟，我們是喊慣口號的民族。在政治動員的年頭，或全民皆商的「新時期」，都是同一個民族；分別是寫布條，或按IPAD、IPHONE；幹校出身，或美國博士、科技新貴。

在微博出現以前已有一些工藝，例如互聯網、手機短訊、電話專線、主題電視臺、廣播電臺的扣應節目，或更早的錄像帶、錄音帶等等。誰要是想繼續學 習、終身學習，已經很足夠了。

這問題，在已故管理學大師逝世前的一部巨著「下一個社會」有提到。微博，是這些知識載體的一個延伸而已，善加利用，有它的價值。說它能改變世界，就等于說偏重小食，可以忘了正餐；好像看投影片，忘了演講、書籍本身。

寫微博寫得像發手機短訊的結果，是人們在網上寫得很多，上載的圖象也很多；有素質的視頻內容卻是很少很少的，或言，「智慧含量」很低。要把微博變成一種有影響力的媒體，它在滿足一般民眾、團體對系統學習的需要方面，還有很大的改進空間。

要不，那種「動員式」的微博作用，例如西方某些人利用微博，廣招群眾在某時某候出現在何處，同時間做一個短暫但足以引起電視臺關注的舉動，好像說擠爆某某商場，這是沒多大意義的。這和有些地方為了「吸引眼球」， 而弄些傷風敗俗的街頭表演沒兩樣。

百字散文、格言體散文，極短篇或微型小說，西方甚至有50字 小說，如有名的一句話小說：「第二天，太陽從西方升起。」 其實都是早已有之的「微博」，不過，那是需要用心耕耘的文體。對那些早在1970、1980年代便喜歡上短文體的朋友，碰上今天的微博現象，應該好像看見故友終於出頭的感覺。

有人說，微博會「改變世界「，但這可是文化人所要的世界？不少人充分利用微博輕松的方式，參與有意義的討論。不過，若從整體現象來綜合研究，可以注意到許多人都是在談些瑣雜的事。當然，人人有說話的權利；對他們本身而言，所說的東西可能也很有意思。另一方面，因為只看到科技普及、大家都說話，卻不關注所談之事是否有一定的凝聚點、方向感，高度與深度，恐怕會對社會整體發展失去焦點。

微博確實是一種文化現象；大家忙著寫微博，鏈接其他人的精彩內容，而忘記了自己生產有分量的東西，這當兒應該也有人把微博當著重要的文化議題來討論。（May 26, 2011 愛墾網）

Comment by Suyuu on November 7, 2022 at 10:10pm

陳明發·人有權利說話，我沒義務被誤導

“找到了嗎？”

近日朋友見面，開口不是“最近怎麼樣？”而是“找到了嗎？”

大家也很有默契，暫時都是那句“還沒有！”

不用開場白、暖身操破冰，大家都明白彼此說的是：馬航MH370班機在飛行中迷離失踪，機上239人至今生死不明的謎團。

大家都關切啊，萬分關切。

本來就熱血的馬來西亞人，激情這回更沸騰；看媒體上的若干評論人，正義感、慷慨激昂指數又飆新高。

作者血壓高，無膽湊熱鬧；只有在社群媒體上分享網友創作的歌曲，默默給MH370乘客和機組人員祈福。

可是，當“機師是某政黨黨員”、“機師是某領導親戚”的新聞報導一出街，我在一些面子書社團所分享的祈福歌曲，居然被人標籤為“不良內容”，連我發其他無關MH370的貼文資格也禁止了。

禁就禁吧，我去咖啡店喝杯咖啡烏好了。反正祈福是個人心頭事，哪兒不能燃燭？

咖啡店一坐才發現，熱血的馬來西亞人還博聞多才呢，前面後面左邊右邊忽地冒出許多飛機專家、航行專家、軍事專家、雷達專家、衛星專家、反恐專家、國安專家、國際關係專家、列強博弈專家……………

不過，聽下去，他們言之鑿鑿、信心滿滿的談話有個共同點: 這個你也不懂嗎，你沒上那什麼網嗎？你沒看那什麼什麼電視欄目嗎？你沒讀那什麼什麼什麼人的分析嗎？…………

難怪，有些頭頭連地方垃圾、非法燒芭等問題都摸不著頭尾，也好意思評議、嘲諷二十幾個國家參與的大海撈針式尋索行動。

連平時標榜自己火眼金睛、明辨真偽的律師議員，也有膽量拿著偽照片當鐵證在網上推得特別起勁。

做生意的朋友遇上這等事，總是百般圓融來一句：“這是民主國家，大家有說話的權利。”

大家當然有說話的權利；但是我們可沒有義務照單全收、被誤導。

大家還記得這個故事吧，夫妻騎驢？

兩公婆趕路，牽著一頭驢。路人見之大笑：蠢公婆啊蠢公婆，有驢不會騎，走路累不累？

兩公婆於是騎上了驢子，路人這下不笑了，開始罵人：殘忍啊你們殘忍，你們有人性沒有，兩人騎一驢，不是虐待動物是什麼？

老公聞聲，趕快下來，讓老婆騎在驢子上，自己拉繩子。

有的路人開始批評做老婆的：你這女人真不要的；人家的老婆都疼老公，你卻貪自己舒服，讓老公走路？妳怎麼那麼不懂道德倫理？

做老婆的趕緊下來讓老公騎驢子，自己拉繩子。

又有些人馬上盯上做老公的：你這還算男人嗎？人家的老公都疼老婆，你卻貪自己舒服，讓老婆走路？你信不信女權分子揍你？

老公也只好下來，兩人牽著驢子走，路人又大笑：蠢公婆啊蠢公婆，有驢不會騎，走路累不累？

兩公婆最後怎麼了？說故事的人沒交代，我想很可能是發瘋了。

這世界上不管發生任何事，每個人總有想法、看法；而行動網際網路更方便大家以最快的速度、最廣的幅度，將個人的想法、看法傳播開去。常常，加了醬油添了醋、變了味道換了形又傳回來。

MH370在飛行中迷離失去踪影，這等怪事史無前例。正當有關各方都在努力，連無關各方如宗教團體等都出來協助輔導搭客家屬，大家已經飽受各種身心煎熬。

在這樣不尋常的時刻，各路傳言氾濫網路可想而知；把網路傳言當著新聞搬上電視，並繪聲繪影、表情兒戲做渲染，卻耐人尋味。

傳言真假，我們無法一一去對證；公器是否私用？我們也無法掌握其動機；但有一點是我們可以做到的，就是刪掉、不傳播任何不必要甚至不負責任的猜測，以免加重人心的壓力。

這不是偉大的事，但至少不會發瘋。（15 March 2014 [馬航370神秘失踪悲劇發生于8.3.2014]）

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）

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