Tuesday, June 11, 2013

editing tips

a boom in science fiction
The birth of the Second Visit is telling of the self-consciousness of a new era.
Cybernetics is never given the mention it deserves.

Popular enthusiasm for these projected futures also speak with a great deal of precision of concurrent anxieties vis-a-vis an intractable past, the specter of which continued to fuel and to delimit imaginations of the future.

a blue print for a progressive future

raises questions as to the relations of human beings to the centrality of the silicon chip

reading “At Middle Age,” a story about a human doctor, alongside “The Curious Case,”


Ding Xueliang, at that time a doctoral student in Sociology at Harvard

disappear without a trace

soar among the clouds

the smell of the alcohol also lingers in his nostrils

The terrified Little Smartie shouts for help, only to find that the fire is soon “extinguished” by his hosts who have simply turned on the lights in the living room –– the fire was just another image on TV, but holographic as opposed to two dimensional.

 blur the boundaries between the space of information and the space of living. 

The surface of a holographic film would no longer present a point-to-point two-dimensional image of an object as with ordinary photograph

the expansion of wireless radio broadcasts


the accessibility of TV sets to ordinary households


reduce the human body into an instrument no different from other digital processing devices

a series of heated discussions began with a volley of severe criticisms 

As with most of her generation, she was indoctrinated with the belief that

it is only a derivative from the pursuit of her own interest. 

In (no the ) June of 1980

in the same guise

has no need for eating and drinking, for resting and consuming, and no parents nor siblings or any social relations to tend to.

her gentle demeanor

What puzzles Professor Shen is the question of how to name and measure the girl’s services, which have brought him so much enjoyment but don’t seem appropriately passed off as low-level manual labor.

Dr. Liang’s “unprofessional” behavior aroused suspicion from his colleague.

To Gu, “modern medical science is the accumulation and gist of western medical knowledge,” which brooks no contradiction
(eg1. They are so entrenched in their positions they brook  no questions, and are immune to new data.
  eg 2. he would not brook  dissent)

diseases that even medical books pronounce incurable

the play makes of the blood transfusion Liang’s all-purpose remedy to his patients in danger

in accounting for the difficulty of developing expert systems, it was often bemoaned that

the issue of whether 

Toffler and Bell are quick to dispense with manual labor as “inferior” forms of labor 

books restricted to limited circles of high Party cadres

philosophical thought     intellectual ferment  (no "s")

disillusionment with


















Wednesday, June 5, 2013

追寻80年代 新京报编

叶永青: (p152)
有一天,周春芽因为要给人画连环画,收集了一堆图片,其中有一张大滴流汗的黑人小孩的照片,罗中立看了非常喜欢,拿着图片跳起来,说要把这张图画出来,《父亲》的出现跟着张图片又莫大的关系。

谷文达:山水画里闯出野马  “改编”汉字,把中国文化符号融进当代艺术,冲击80年代美术界
p127 对我影响最大的倒不是美术家,而是哲学方面。。。。连玻尔的《量子力学》也读过。

罗素、维特根斯坦对我的影响也很重要,他们让我思考语言和世界的关系。。。正好1983年我开始学习篆字,因为篆字我一个都不认识,反倒有一种从意义中解放出来的感。后来我就有意识地创作缺笔、错字、伪字。当时我还觉得“文革”中的大字报书法是最伟大的艺术,因为以前的书法都是文化人一代一代临摹,都是技术性的,都是唐宋元明清,而大字报是工人、农民、学生写的,有很多错别字,可是也有满腔的热情,那是文人没有表现出来的。后来我对创作的过程,也就是行为的意义可是感兴趣,曾经叫6个学生轮番写大大的“静”字,也是受大字报的启发。




1985年 刘树纲的话剧《一个死者对生者的访问》在北京首演,它是“探索剧”艺术的一个里程碑。
1982 许可运用特技制作拍摄的《蜀山奇侠传》引起轰动。

Monday, June 3, 2013

the Oxford Handbook of Sound and Image in Digital Media

Introduction: 
1. Carol Vernallis and Amy Herzog

Cinema in the Realm of the Digital: Foundational Approaches
2. Thomas Elsaesser, “Digital Cinema: Convergence or Contradiction?”
3. Jean-Pierre Geuens, “Angels of Light”
4. William Whittington, “Lost in Sensation—Reevaluating the Role of Cinematic Sound in the Digital Age”

Dialogue: Screens and Spaces
5. Sean Cubitt, “Large Screens, Third Screens, Virtuality and Innovation”
6. Will Straw, “Public Screens and Urban Life”

Glitches, Noise, and Interruption: Materiality and Digital Media
7. Laura U. Marks, “A Noisy Brush with the Infinite: Noise in Enfolding-Unfolding Aesthetics”
8. Lisa Coulthard, “Dirty Sound: Haptic Noise in New Extremism”
9. Caetlin Benson-Allott, “Going Gaga for Glitch: Digital Failure @nd Feminist Spectacle in Twenty-F1rst Century Music Video”
10. Joanna Demers, “Discursive Accents in Some Recent Digital Media Works”
11. Melissa Ragona, “Doping the Voice”

Uncanny Spaces and Acousmatic Voices
12. Will Cheng, “Monstrous Noise and the Aesthetic Economies of Fear”
13. Amy Herzog, “‘Charm the Air to Give a Sound’: The Uncanny Soundscape of Punchdrunk’s Sleep No More” 
14. George Toles, “A Gash in the Portrait: Martin Arnold’s Deanimated”
15. Warren Buckland, “The Acousmatic Voice and Metaleptic Narration in Inland Empire”

Dialogue: Visualization and Sonification
16. Lev Manovich, “Visualization Methods for Media Studies”
17. Jake Smith, “Explorations in Cultureson”

Virtual Worlds, Paranoid Structures, and States of War
18. Dale Chapman, “Music and the State of Exception in Alfonso Cuarón’s Children of Men”
19. Matthew Sumera, “Understanding the Pleasures of War’s Audiovision”
20. James Buhler and Alex Newton, “Outside the Law of Action: Music and Sound in the Bourne Trilogy” 
21. Eleftheria Thanouli, “Debating the Digital: Film and Reality in Barry Levinson’s Wag the Dog”
22. Theo Cateforis, “Between Artifice and Authenticity: Music and Media in Wag the Dog”

Blockbusters! Franchises, Remakes, and Intertextual Practices 
23. Jessica Aldred, “‘I Am Beowulf! Now, It’s Your Turn’: Playing With (And As) the Digital Convergence Character”
24. Carol Donelan and Rod Rodman, “Lion and Lambs: Industry-Audience Negotiations in the Twilight Saga Franchise”
25. Aylish Wood, “Sonic Times in Watchmen and Inception”
26. Miguel Mera, “Inglo(u)rious Basterdisation? Tarantino and the War Movie Mashup”

Dialogue: De-Coding Source Code
27. Garrett Stewart, “Sound Thinking: Looped Time, Duped Track”
28. Sean Cubitt, “Source Code: Eco-Criticism and Subjectivity”
29. James Buhler, “Notes to Source Code’s Soundtrack”

Rethinking Audiovisual Embodiment
30. Kiri Miller, “Virtual and Visceral Experience in Music-Oriented Videogames” 
31. David McCarthy and María Zuazu, “A Gaga-World Pageant: Channeling Difference and the Performance of Networked Power”
32. Paul Morris and Susanna Paasonen, “Coming to Mind: Pornography and the Mediation of Intensity“

Sounds and Images of the New Digital Documentary 
33. John Belton, “The World in the Palm of Your Hand: Agnes Varda, Trinh T. Minh-ha, and the Digital Documentary”
34. Selmin Kara, “The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries”
35. Jennifer Peterson, “Workers Leaving the Factory: Witnessing Industry in the Digital Age”

Modes of Composition: Digital Convergence and Sound Production
36. Eric Lyon, “The Absent Image in Electronic Music”
37. Jann Pasler, “Hugues Dufourt’s Cinematic Dynamism: Space, Timbre, and Time in L’Afrique d’après Tiepolo”
38. Ron Sadoff, “Scoring for Film and Video Games: Collaborative Practices and Digital Post-Production”
39. Nicola Dibben, “Visualising the App Album with Björk’s Biophilia”

Digital Aesthetics Across Platform and Genre 
40. Carol Vernallis, “Accelerated Aesthetics: a New Lexicon of Time, Space and Rhythm”
41. Jay Beck, “Acoustic Auteurs and Transnational Cinema”
42. Allan Cameron, “Instrumental Visions: Electronica, Music Video, and the Environmental Interface”