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Comment by Curation Nation 策展國 on January 18, 2024 at 7:26pm

陳明發·四元論遊戲

整理舊年札记，2.4.2023（星期日）清晨大約七時，夢見一個“四元論”紙牌遊戲。

四元：東南西北；喜怒哀樂；酸甜苦辣；一生二，二生三，三生無數；天地人神；上下前後、左右裏外......。

所有文化系統裏的圖象符号，可借歷史典故、寓言傳說、哲學論述......，可為這四個角度的出現而作出詩性的詮釋。（17.1.2024）

延續閱讀：

[意大利都靈聖卡羅廣場 尼采的惊悚]

[遊學·把自我故事說好的快意 01]

[札哈哈蒂：房子能浮起來嗎？08]

[陳明發博士原創 《 陪夢散步 32 》 夢遊戲]

                                                                                                                      (source: Typophoto)

Comment by Curation Nation 策展國 on October 12, 2022 at 11:46am

Malaysia Textile Craft Industry: Innovation Inspired by Bamboo for Batik Block Contemporary Design

Block Batik in batik industry has been practised in Malaysia since 1920s. It also  known as “Batik Cop” or “Batik Terap”. The block for stamping or “Sarang Batik” normally made from steel with variety design on the surface of it. The beauty of the block batik pattern designs depend on the fineness and creativity of the motifs designed that engraved on the surface of the block by the expertise of the engraver. Therefore the objective of the study is to produce new design for block batik used from natural sources which is bamboo as a block to stamp the design for batik. The study emphasized on the uses of bamboo sticks cutted from bamboo tree sections as a block to create new geometric and spontaneous design for block batik design.

Bamboo is one of the tropical resources in Malaysia. The light weight of the bamboo sticks
alternatively can reduce the consequences towards the practitioners rather than using block made
from steel which is more heavy than bamboo. The structure on the bamboo vascular cross
sections scattered around the trunk create circular motif, dots and dotted lines. The uniqueness
of the motif and pattern using bamboo as a block depends on the creativity in manipulating the
structure of the bamboo with stamping techniques and the application of wax and the color
techniques.

A variety of designs such as overall repetition, vertical stripes and horizontal stripes
as well as color overlays and tones highlight the creativity of the batik design. Such designs can
be featured in the market especially for production of handicraft products, interior decoration and
clothing design. Therefore, this study significantly gives an ideas and inspiration for batik
entrepreneurs in producing block batik by using bamboo as new natural based batik design at a
lower-cost. （https://iopscience.iop.org/article/10.1088/1755-1315/549/1/012087）

Comment by Curation Nation 策展國 on October 11, 2022 at 3:10pm

文創企業產品開發

近年來，「文創」是一個非常熱的詞語，越來越多的商業業態與文化創意元素進行跨界混搭。許多人以為文創設計就是將某種帶有文化屬性的圖文附加在現有的產品上，這樣的理解並不是正確的。

故宮文創節氣海報

文創產品是是從文化的不同方面詮釋的一種物化形態，也就是說文化才是文創產品設計的重要元素。設計師利用原生文化的美學特征、人文精神、文化元素，再通過自身對文化的理解和詮釋，將其與產品相結合，最終形成文化創意產品。

因此要想設計出受歡迎和有內涵的文創產品，首先要深入了解對應的文化，最重要則是如何選擇可用的文化元素。蘊涵文化氣息的產品會在無形中提高自身的價值，在同類產品中脫穎而出。 一起來看看別人家有優秀的文創設計產品吧~

01 故宮博物院

說到文創，沒有人會忽略故宮博物館，這座將近百歲的建築在現在依然受到了很大歡迎，文創產品功不可沒。

2014年，故宮微信公眾號發送了一篇叫做《雍正：感覺自己萌萌噠》的推文，從此故宮的文創屬性開始覺醒。隨後，掌握了「流量密碼」的故宮推出了「朕就是這樣漢子」折扇等一系列創意的文創產品。故宮文創多次在朋友圈刷屏，成為網紅中的清流。

2016年推出的紀錄片《我在故宮修文物》獲得豆瓣評分9.4分，在年輕群體中的口碑很好。故宮IP對應的受眾變得年輕化，與之相對應地，文創產品的設計也開始切合年輕人的使用習慣，故宮推出了「國寶色」口紅、每日故宮APP等產品。

02 西西弗書店

西西弗書店是國內獨立書店中的佼佼者，註重引導讀者進行精品和深度閱讀，這一點從西西弗書店的裝修和文創產品中就可以看出來。書店裝修采用墨綠色的色調，歐式櫥窗和紅黑配色是它的特色，整個書店布局清新雅致，給人一種簡約美，營造出濃厚的閱讀氛圍。

下圖是西西弗書店的會員卡，標誌性的深紅色和手繪、插畫元素相結合，再加上書店主打與「閱讀的力量」，看起來非常有情懷。文創產品的設計和品牌的視覺形象一致，既能體現品牌特色，又能增加美感。


03 大英博物館

大英博物館成立於1753年，館內有800多萬件藏品，是世界上規模最大、最著名的博物館之一。

下圖是大英博物館推出的木乃伊棺槨造型鉛筆盒，設計師在鉛筆盒上繪製了古埃及木乃伊的插畫，消費者打開鉛筆盒時就能感受到歷史的莊嚴感。雖說是棺槨，卻又一點也不陰森，別具風情。

04 企鵝圖書

「三段式書封」是企鵝出版社的經典造型， 2009 年英國皇家郵政局發行的「影響英國的十個經典設計」的郵票中，企鵝「三段式」書封與雙層巴士、MINI 汽車一起成為了代表英倫文化的符號。

因此企鵝圖書在推出文創產品時首先選擇的就是「三段式」設計，下圖是企鵝三段式帆布袋、陶瓷馬克杯等周邊產品。顏色清新明快，樣式俏皮可愛，又不失文學氣息。

依托於文創產品，濃厚的歷史文化不再只是停留在史書、影像中，它們以更貼近日常生活的方式不斷向我們靠近，越來越年輕化、越來越鮮活有力；被賦予了文化價值的產品，其內涵也隨之提高，而不再僅僅停留於產品層面。（原題「文創」概念都被玩壞了，來看看真正的文創產品設計）/https://www.canva.cn）

Comment by Curation Nation 策展國 on November 21, 2021 at 3:13pm

Experience Economy: It's Where Stories Are Born by Bree Baich

Ben Folds has been on my bucket list for a long time. You'd think living in the live music capital of the world I would have had the opportunity to see him at least once. So what would make me fly halfway across the country to catch him at The Moore Theater in Seattle? The experience. 

The experience era is making it easier than ever for brands to find and cultivate stories. It's created an environment where they are able to generate additional content by capitalizing on the stories we tell. My trip to Seattle didn't just create commerce for American Airlines, Starbucks, Uber, The Moore Theater, and of course, Ben Folds, I wrote stories about them. My point is that a desire for an experience led to additional revenue and stories were born out of this experience that expanded reach - like the one picked up by CrowdAlbum.

Comment by Curation Nation 策展國 on November 21, 2021 at 3:13pm

(Con't) The Shift from Service to Experience

I read an article recently on ANA.net that spoke about how "tech-enabled automation is creating a shift in the economy from a focus on service to one on experiences." I couldn't help but think about how this shift is enabling brands to capitalize on the experience-based stories we share on social media in order to create engagement, brand enthusiasts and help tell their bigger story. In turn, experience is quickly becoming the new commerce.

There's a mindset shift taking place that a bucket list should be more than wishful thinking - but rather a way of life - and by default creating consumerism focused on experience instead of product. A great example is the tiny house revolution. People are opting for smaller homes (product) in order to enjoy a larger lifestyle (experience). It's created a niche market for the construction industry and the byproduct is countless stories shared on multiple platforms based on homeowners' experiences. And it's spreading like wildfire.

The construction industry is clearly offering a service/product, but marketing has generated a need - through the use of storylines told on various channels - that are so compelling consumers are seeking out contractors with the ability to help create more of the same.

Stories via blogs: Tiny House Blog is just one of many sources talking about the tiny house lifestyle. The contributors share concepts, how-tos, floor plans and links to houses for sale. They even host a tiny house podcast. It's a great example of a multi-media resource for those interested in learning more about tiny housing. Instagram is another channel they use to share tiny stories through photos. The result? An engaged audience who in turn, share stories with the blog.

Stories via Facebook: While scrolling through my Facebook feed, I was presented with an ad for Reclaimed Space in Austin, Texas. Based on intel, Facebook knew I'd be the perfect candidate for this brand. I'm in the midst of house hunting, I love upcycled items and I've done my share of research on custom builds made from reusable items like storage containers. So it wasn't a stretch to share this brand's story with me in hopes that we'd connect. Reclaimed Space's page is filled with images and stories of projects that make an "upcycler" (Is that a word?) giddy with desire. And it's turned me into a brand enthusiast willing to share their story with anyone looking to build a custom, upcycled tiny home in the Austin area.

Stories via Television: Navigate to HGTV and you'll find four shows dedicated to tiny houses: Tiny House Builders, Tiny House Hunters, Tiny Luxury and Tiny House, Big Living. Each show focuses on a different aspect of the tiny industry and subsequent experience(s). HGTV's stories continue on all of the major social media channels with ample opportunities for their audience to engage and share their own tiny stories. And they do, thus creating a larger story for HGTV.

All of these channels speak to a product (a tiny house), but it's the experience and the stories we share around these experiences that holds the real power. Now that I've checked Ben off the bucket list, I think it's time for me to put more of that list into action - next up, John Hiatt. After all, it's becoming an experience economy and out of that, a story is born. (Experience Economy: It's Where Stories Are Born by Bree Baich, Published Sept. 29, 2015,  www.socialmediatoday.com, Author Bree Baich, Transmedia Mastermind "The Storyteller")

Comment by Curation Nation 策展國 on July 26, 2021 at 5:10pm

站起來，我們來做個遊戲

1970年代未來學/趨勢學名著《第三次浪潮》作者阿爾文·托夫勒（Alvin Toffler，1928年10月8日－2016年6月27日），本來對戲劇並無特別興趣。可是，在談體驗業時，提到了謝克納那時候還剛剛開始的環境戲劇實驗，並將之作為體驗業的一種象征。他很欣賞一位劇評家所做的比較：

當《69年的狄奧尼索斯》（Dionysus in 69，下圖）在紐約演出的時候，一位評論家用這樣的話，總結了該劇的編導理查·謝克納（Richard Schechner）的理論：

“傳統的戲劇總是這樣對觀眾說：‘坐下，我來給你講個故事。’可不可以同時還這樣說：‘站起來，我們來做個遊戲。’”

謝克納的戲正是這樣做的。在這個從歐里匹得斯那兒得到靈感的戲里，觀眾真的被邀請參加舞蹈，一起來慶祝酒神狄奧尼索斯的儀式。


這樣的對比也許會使人覺得，在傳統的戲劇中觀眾就是被動的接受者，事實並非如此。譬如當年的《白毛女》完全是用傳統形式演的，並沒有任何觀眾參與的特別設計，那些看完之後立刻報名參軍的青年農民看戲時肯定非常衝動，然而還是坐在那兒看完了至少大半場戲。

布萊希特和迪倫馬特的戲劇也讓人安靜地坐在那里看故事，但卻用奇特的故事逼著他們動腦筋想問題。和傳統的看戲方式相比，迪斯尼式的遊樂讓人在身體上活動起來，腦子卻大大“減負”了；而參與式的環境戲劇，則叫人在身體和頭腦兩個方面都充分第挖掘潛能。（孫惠柱：看戲、遊樂與托夫勒的“體驗業” 2008-05-29 《爱思想平台》）


體驗設計·延續閱讀 》

旅遊·把故事說好的快意

玩得哥和妹

文化旅遊

DESIGN-DRIVEN 設計力創新

福建惠安美女文創

Comment by Curation Nation 策展國 on May 31, 2021 at 10:50am

陳明發筆記《羅蒂：詩性哲學的合法基礎》

延續德里達（亦譯德希達）“擺脫前人僵死的語匯進行差異思考和再描述”的精神，可對照辛波絲佳接受諾貝爾獎演講詞的“我不知道”；赫塔·米勒“對句子的恐懼”；海德格爾的存在物-此在-存在；福柯的自身修煉；曼德爾施塔姆的“詞的命名”；布魯納的“有效的驚奇”；散文詩的“驚悚”等要素；以及柏格森和德勒茲的“綿延”底氣。

老來戒之在鬥，最悲哀的是與自己過意不去，把自己當成了實現自己其實不甚了了的某種理念的工具。無奈這理念顯得沒有氣息的模糊、長期只在表皮微顫的粘滯、偶爾反射一點光線。究其因，因爲過度自我迷信而深受外來眼光干擾與影響。為了與這些干擾與影響建立“同心共體”的“不孤寂感”，反而忘記了個體實現與完成才是真正“敞開”的途徑。走不出這道秘徑，任何自我舔傷的自詡名詞，還有為圍堵想象中的外來冷落的無謂形容詞，只能是殘夜的一聲病吟。

不曾進入新理念，單靠在墙外的幾張自拍照，幾聲自以為是而又因爲心虚而提高聲調的口號，何来透悟？

石黑一雄短篇小說《大提琴》中那位熟女摧毁一位有才華又有夢想的年青人的“暴力”，值得深思。


附：羅蒂·詩性哲學的凌晨

羅蒂之所以將海德格爾、福柯一類哲學家的意義劃歸為“個人完美”，

邏輯前提之一，是羅蒂認為他們的理論，要麼無關於社會進步、要麼有反社會傾向，其實是低估了他們著作的意義，羅蒂後期訪談中有所更正，承認他們的思想可以間接地作用於公共領域。

邏輯前提之二，是“生命的偶然”觀，認為個體生命的意義在於獨特性，不能成為他人的復製品，所以要進行存在主義式的自我實現。

邏輯前提之三，是語言學轉向的理論背景，個體的“自我創造”體現為新語匯的創造，以擺脫前人僵死的語匯進行差異思考和再描述，在此意義上羅蒂將德里達稱為“最有想象力的人”。（李曉林《論理查德·羅蒂“想象力”概念》，2018，文藝理論研究2018 年第5 期）

Comment by Curation Nation 策展國 on March 8, 2021 at 10:31pm

陳明發遊走札记《邀約》

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。奈何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。(2015年4月29日)

         （2005年 泰國世界文化遺產阿瑜陀耶古城（通稱：大城 Historic City of Ayutthaya））

Comment by Curation Nation 策展國 on March 7, 2021 at 3:54pm

陳明發遊走札记《慶幸》

慶幸在手機還不能上網、拍照的年代，背包包在歐洲生活過兩回。最樂的事，是“現場寫作”；和你新交的人人事事物物面對面的真誠對待。

除了一本陽春萬分的《孤獨星球》（Lonely Planet）背包客指南，還有之前讀書、上網留下的零星相關知識外，再也沒有其他的拉雜事、拉雜物來分心、插嘴。

所以整個身心靈都安置於歷史的、故事的、文物的、古蹟的、傳說的... ... ....現場理解與感受。然後，再從背包掏出筆和手記來慢慢的寫。

那之前在做關於”組織創造力“的博士研究。接觸過Mihaly Csikszentmihalyi的Flow（心流）系列研究報告，很能體會那種沉浸、忘我、不知老之將至的奧妙。

我還是相信手工作業的紙本寫作，在手記上塗塗改改了，最後再到電腦定稿。

現有部分文友提倡手機寫作，抱歉的說，我沒讀到幾篇印象深刻的作品。我猜測，可能是因為偶有點想法，隨手按按成句成行，沒有琢磨、醞釀（更談不上經營）就發到社交媒體“分享”，給我“自動寫作”的感覺。

用手機、平板或電腦創作中文詩歌或散文，因為用的是拼音，鍵盤上按一些英文字母，它就會冒現很多的字詞要你選擇。你按1、2、3或7.........出現的是不同的字詞組合。

我覺得那情況，就像我在寫東西，有個人在旁邊插嘴，建議這個建議那個，是一種無形的干擾。紙筆創作不一樣，字詞都是直接出自本身的腦子、心頭不受旁邊外來的雜音左右或扯開。

科技很方便，到了一個程度卻會干擾我們天生的感官；最可怕的是我們不知不覺把創作的部分權力交了出去。後現代主義對知識的權力議題很敏感，包括感性的分配、字詞的政治。想親近後現代主義，不可不察。

畢竟，任何的創作都是自身生命姿態的敞開。

（9.11.2015 讀詩札記）

同時發佈于：FOR YOUR EYES ONLY 1.2 珍

Comment by 馬來西亞微電影實驗室 Micro Movie Lab on January 4, 2021 at 10:08pm

愛懇社团

馬來西亞微博

玩玩創意節

媒體與藝頻道 MEDIA § ART

ENGLISH EDITION

華商：百年蛻轉 HYR

                                                               （Source： https://avax.news/touching/Jumpology.html）

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