Erenlai - 按標籤顯示項目: video
週二, 27 十二月 2011 16:59

Flowers of Liberty

On October 3rd, 2011, I embarked with dancer Kao Yu-i and musician Yang Zijie on a theatrical tour to Marseille, France. We gave five performances in five different parts of the city. Here is a video excerpt from the fourth performance which took place at the Alcazar library on October 14th:

"Segments from two separate dreams create a beautiful moment shining through lucid shadows
Heading towards an unknown, far away destination, the people gradually disperse
In the dream, everyone has already passed away, gathered in the tranquil darkness;
when an object is stripped to its essence, the only thing we can see out from the darkness, is light
Dead branches protrude awkwardly from the lifeless beaches, yet sprout new roots
I hope you will come and be with me, in the existing and happening present."

(Photo by Yurasleepless)


週一, 21 十一月 2011 16:58

Totems, Canoes and Sisiutl Serpent Spoons

Museum of Anthropology, University of British Columbia, Vancouver

After receiving the lecture at the Department of Anthropology, we were guided through the Museum of Anthropology, founded in 1949, which houses over 38 000 ethnographic objects. Of particular interest to our students is that MOA is a world leader in collecting Aboriginal artefacts and there are approximately 6,000 objects from B.C's First Nations in MOA's collections, from totem poles, to canoes and carved boxes, bowls, and feast dishes. Furthermore the museum has an innovative storing methods and interactive software and hardware allowing one to explore the collections from the touch-screen computer or from the Internet. Visiting the MOA was an excellent opportunity for us to see how they run the museum to inspire curiosity, understanding and respect of other world cultures, while promoting innovation and inclusiveness. With the historical and anthropological background it was also a chance for our troupe to explore and share the similarities and differences between their Indigenous cultures.

For readers in Mainland China:

Filmed by C. Phiv, edited by Nick Coulson, subtitled by Adrienne Chu

"Despite not being huge, the Museum of Anthropology, UBC, made excellent use of space, using a system of wooden drawers, which could pulled out be viewed as flat exhibitions. They also made excellent use of new media, with a network of Macs with touch screen systems and practical, easy to use MOACAT digital library database system. As the ‘technology’ island, does Taiwan not have more potential to progress in this area?"
Yahu Kunaw (Department of Indigenous Languages and Communications, National Dong Hwa University, Atayal Nation)

ubc_museum_inside

Photos: Shuching Hsueh


週二, 16 八月 2011 16:11

Our youngest volunteer

On July 12th, 2011, Joshua Carroll, 12 years old, spent one day at the Taipei Ricci Institute to fulfill part of his community service for his boarding school in Australia. He shares with us his impressions of Taipei and his experience as a young volunteer:


週五, 08 七月 2011 17:07

Ka Dao Yin: The Flowing Improvisation

Pronounced "Ka-Dao-Yin"(卡到音), the group's Chinese name represents the sound characters of "to be caught up in", which indicates that the co-existed danger and unexpected threat-turned-excitement is lurking throughout the whole music making process when it's exclusively improvised. With Shih-Yang Lee on piano, Chih-Po Yang on Sheng, Jun-De Liu on Guzheng, and Klaus Bru on Saxophones, the avant-garde sound experiment is tinged by the delicate charm of oriental ethnic, formulated with the western classical music's deliberation, and geared towards radical jazz-rock like motion, and intentionally, together all these elements are manipulated by these four Cats to urge a fused new style of music derive that is challenging to define.

Lee Shih-Yang - Piano
Klaus Bru - C Melody Saxophone, Soprano Saxophone
Liu Chun-De - Guzheng
Yang Chih-Po - Sheng

Ka Dao Yin's website


Ka Dao Yin participates in the in the 2011 Renlai World Music Compilation, they'll perform in Taipei on July 9th, more info here.

Watch the band perform at the Zhongshan Hall in Taipei (2009)


週三, 01 十二月 2010 00:00

Matteo Ricci, spiritual resources and partnership

At the conference "Dialogue among Civilizations and Global Challenges" held in Shanghai in 2010, friend of eRenlai and former managing director of the IMF, Michel Camdessus, provided the starting point for a discussion on intercultural dialogue,  inspired by Matteo Ricci and Xu Guangqi. He first gave a speech on the secret of Matteo Ricci:


 

Professor Choong Chee Pang from the Oxford Institute for Asian Society and Religion gave a response to Michel's wise words, particularly focusing on the importance of China's cultural and spiritual resources in contrast to the factors economic, political and military might that are usually focused on:


週四, 28 十月 2010 00:00

Family box vs video art: Homesick

Yang Hsin-he was one of the advanced students from the first season Gosh Foundation ‘Fruit Camp’. The three advanced students Family Story vs. Video Art installations, which were displayed in the middle of gallery street, the quintessence of their family story into one box; their huge boxes/makeshift homes to play with life-size toys from their childhood and with their video art works being shown in the middle. They had initially been asked to bring their works to be selected and refined previous, with the most talented young artists receiving one on one instruction from top artist in their chosen field. Yang Hsin-he's instructor for this project was Yao Jui-chung.

I was born in Kaohsiung but now live in Yilan. So far my life has been divided into two parts: I am now in Yilan, but my childhood was spent in Kaohsiung. There were so many things that happened in Yilan that is hard for me to make it clear right now. But I am sorry to say that most of the things I remember in Kaohsiung as a child have already disappeared now. I created this work just to get back to those places that were meaningful for me in my childhood and to visit the lands I was once family with.

Images by Liu Lu-chen


週四, 28 十月 2010 00:00

Family box vs video art: Squash Family

Li Pei-tzu was one of the advanced students from the first season Gosh Foundation ‘Fruit Camp’. The three advanced students Family Story vs. Video Art installations, which were displayed in the middle of gallery street, the quintessence of their family story into one box; their huge boxes/makeshift homes to play with life-size toys from their childhood and with their video art works being shown in the middle. They had initially been asked to bring their works to be selected and refined previous, with the most talented young artists receiving one on one instruction from top artist in their chosen field. Li Pei-tzu's instructor for her 'Family box vs video art project' was Shih Ming-hui.

They call me the shorty, because I am short and fat and with short legs… you must have heard the song about a short guy. Those 'squashes' (a phrase that used in Taiwanese dialect to refer to the short persons) you find in my works are all my family members. Why did I choose squash? Because like squash, I am also fat, short and have short legs. This animation has recorded some of the interesting things that happened to my family. I hope the animation can remind you of all the precious moments, including those funny ones you shared with your family. I don’t want to spoil the fun for you so just watch it yourself. Ha Ha~~


週二, 12 十月 2010 00:00

Simply Filming Yanting

An interview with Taiwanese Director Chu-chung Pan (潘巨忠), co-director of the 2010 documentary "Green's 284 Blue's 278", which was featured in the 2010 Taiwan International Documentary Festival. The film portrays the daily life of an autistic young person, and in this clip the director discusses the difficulties encountered and the rewards of filming this particular subject matter.


週二, 12 十月 2010 00:00

Free Memory!

What is the difference between our memory's reality and the reality recorded in images. How can we transform, release and liberate our memory, allowing us to view the things we remember from a different perspective?

Memory is formed by history. The blind spot of memory lies in its ability to remember only that which it wishes to remember. Even so, Edward Said once said: culture is simply memory struggling not to be forgotten. Through these documentaries, which supposedly record reality, are we able to explore and understand the depths of memory, the past that has been blinded so by our prejudice? And are we able to breed understanding and concern in the wider world and to free our memory. Furthermore it is due to the presence of a camera that we bravely decide to talk of our experiences and memories. This is another level of meaning in the theme 'free memory'. Liberating our memory, does not only concern itself with objective history external to ourselves, but is also concerned with thorough retrospection on our own life and memory. Here, festival director Angelika Wang gives her own explanation of Free Memory, the main programs in this year's festival, the state of documentary and gives a few recommendations of films to look out for:

To match the theme of "Free Memory" this festival featured a memory wall - My Photo, Our Wallpaper - where you could choose a picture that meant something to you, then be photographed holding the picture which would eventually stuck on the wall. While Angelika had put up the first photo,  the opening ceremony was concluded as we all watched the proud parents of Angelika put their own picture on the wall, a tribute to the passing of memories through the generations. Perhaps by exploring this festival, you can come closer to understanding the significance and importance of documentary.

 

 

週二, 12 十月 2010 00:00

TIDF 2010

Last month saw the 7th biennial Taiwan International Documentary Festival held in Taichung. eRenlai was omnipresent at the festival; working in collaboration with the festival, providing festival snaps, videos and cutting-edge interviews with the best in the lonely, but precious art of documentary. The festival showed its continued prestige inviting some of the biggest names in the documentary world from North America, Europe and Asia including producers, directors, editors and cameramen whilst not turning its back on Taiwan's own documentary trade with its many workshops, lectures and the Taiwan Award. This focus will take this occasion to look at the power and importance of documentary in the contemporary world of overloaded, abused information and the flux audiovisuel and explore the festival's main theme of 'Free Memory'. This freeing of one's memory was best incorporated in He Si-ying's fantastic bubble head design, yet the festival also included the Memory Wall, a space where the public was invited to bring a picture that meant or signified a lot to them then the proceeding pictures taken, holding their pictures, joined the wall.

tahimik_kidlateRenlai caught up with the festivals special guests including some of the biggest names in documentary, both Taiwanese and foreign. But before any of these we interviewed with the festival director who gave us some background information about the projects and participants. They included the academic and founder of the Swiss Visions du Reel, Jean Perret; emotional and intuitive director amongst the most celebrated in the field of documentary, Heddy Honigmann; Beijing's biggest documentarist/curator since the Great Reform in China, Wu Wenguang who brings with him the documentaries produced for The Village Documentary Project and of course the king of Third World film, the dancing indo-genius Tahimik Kadlit. Furthermore we have podcasts with director of a very different type of holocaust movie, Yael Hersonski, Hong Kong director Yao Ching and Tahimik's son Kidlat.

Yet TIDF is more than just a showcase for international documentaries and a rubber stamp for multi-thousand dollar prizes. It is also a place for young aspiring directors, filmmakers and artists to learn from the experts. As such they incorporated 'family box' installations from talented children which had their origins in Sylvia Chang's GOSH Foundation. The three young winners of the competition from the year before were delighted to have their stunning video art works displayed in the MOFA gallery as well as being showcased on eRenlai. Please sit back and enjoy the works from Liu Min-chieh, Li Pei-tzu and Yang Hsin-he.

Finally, nothing can truly match up to the visual arts experience and equipment at Taichung's NTMOFA, so if you couldn't make it to the festival we bring you a taste of the cinematic experience you missed, whether it be the techplex media art centre, with its experimental screenings or the wondrous outdoor 'starlit screenings'. Indeed, it was on the 22nd October 2010 at 7pm when the helium filled balloons were released flying from the net that was our brain, way into the skies and as such we could begin with the release of these memories from all around the world hundreds of movies beginning with the first film Doc Taichung, a montage of 6 different films, made by six different directors especially for this year's 2010 festival.


To see the award winners please click here

 

 

週一, 04 十月 2010 11:26

Reducing the digital divide in Taipei County

Jason Wang, Chairman of the Research, Development and Evaluation Commission for the Taipei County Government, elaborates on their policy to bridge the digital divide in their area.

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週二, 29 六月 2010 20:54

Josh Homme and the rise of manufactured mystique

I have watched two seemingly distinct phenomenon over the last 15 years with considerable interest: the growth of the internet from a niche tool of academics and geeks to a brobdignagian digital life form; and Josh Homme’s transition from cult desert guitarist to supergroup-worthy rock god.  As people around the world now begin to ponder the long-term influence of the internet on society, I believe that analysis of Josh Homme’s career and can help shed some light on this evolution, in particular with regard to the mystique of artists.

Fifteen years ago, I was a curious high school student, who, among other teenage pursuits, was discovering the world of rock and roll.  Having dipped my toes into grunge, g-funk and somewhat mystifyingly, grindcore, I was trying to find my way in the mid-90s alternative music market.  In 1995 I bought a heavy metal compilation that featured One Inch Man[i] by Kyuss, a short-lived rock band from Palm Springs California featuring the then 22 year-old Josh Homme on guitar.  I was instantly transfixed.  This bass heavy track rode a groove that got my head bobbing while at the same had heavy enough riffs to make me feel tough.  Vicarious toughness through music was important to me at that age.  As my funds permitted, I bought all four Kyuss albums and listened to them endlessly.  In fact, 15 years later I still listen to Kyuss quite frequently.  They were that good.

In an odd turn events, only one week after discovering Kyuss, I read in Hot Metal magazine that they had just recently broken up.  At this stage I was still about 18 months away from using the internet.  Information on Kyuss was almost non-existent.  I found a band profile in a second hand copy of Hot Metal from a few years prior but other than that, nothing.  Apart from albums in record stores, an underground band that died in 1995 had little chance of maintaining any sort of profile.  With that being the case, to me Kyuss was nothing more than a well-orchestrated collection of highly listenable sounds.

 

In late 1996 I graduated from high school, eager to enjoy a summer of parties and cricket.  As events transpired, the only guy I knew who had internet access was having a party and I was invited. Sambucca and Southern Comfort were drunk up on the roof, girls were kissed and garden furniture was broken. I even have hazy memories of watching the clip for Wannabe by the Spice Girls. Wiiiild times, let me tell you my friend.  Early in the night I managed to get in a session on the internet – something to me that up until that stage was nothing more than a nebulous idea that media pundits liked to talk about – either as some whiz-bang medium of the future or as a dangerous forum for disseminating The Terrorist Handbook.  None of these options took my fancy.  For me, the internet was there to find out about Kyuss.

I discovered a website lovingly put together by a Kyuss devotee and printed off some fan-made guitar tablature.  At this party I also saw Kyuss film clips for the first time.  The band was a strange looking bunch, swaggering around the California desert belting out psychedelic metal riffs.  In the Green Machine filmclip, Josh Homme cut a very unfashionable figure – shorts and boots worn together have never been very rock and roll[ii].

Three months later I was enrolled at university and the internet was suddenly at my finger tips.  None of my lecturers had worked out how to use the internet as an educational tool and most of the content on it was made by amateurs.  In spite of this, the internet was a revelation to me (like it is to most) and I spent many an hour using Hotbot to scour the neighbourhoods of Geocities, as one did on the Information Superhighway in 1997.

Over the next two years I eagerly checked Kyuss fan sites, hoping for news on upcoming projects.  Occasionally there was a tidbit – Homme and his mates were jamming in the desert, the singer had a new band, the bass player had opened a pet store in Palm Springs, the old drummer was playing with Fu Manchu and so on.  But these stories were rare, and there appeared to be no system for digitally disseminating them.  It was more or less gossip or info culled from Californian street press and then uploaded on to fan sites.  And there were only a handful of these sites on the whole World Wide Web where I needed to look to find out anything, most of which were not much more than digital versions of zines.

Following Kyuss riding off into the sun, Josh Homme re-emerged in 1997 with Queens of the Stoneage, dropping the first track on the silly genre-naming compilation Burn One Up: Music for Stoners.  For those in Australia and without the internet, this event would likely have largely gone unnoticed.  When their debut album appeared a year later the only clue that Queens and Kyuss had some sort of connection was the sticker on the CD case – “Featuring ex-members of Kyuss”.  At this stage there was very little promotional material about Homme’s new band, who were dragging themselves around Europe playing small clubs and festival side stages.

Queens of the Stoneage toiled in the musical underground over the next 5 years.  Another album, R[iii], was released in 2000 and despite getting some play on alternative radio stations in Australia, it seemed that most of the band’s followers were all Kyuss fans first, Queens fans second.  Queens were still yet to cross over into the mainstream.  This changed in 2002 when ex-Nirvana drummer Dave Grohl and ex-Screaming Trees vocalist Mark Lanegan came on board. Queens released Songs for the Deaf[iv] and then became alterna-rock royalty.  For the rest of the decade the band chugged along, releasing albums, enduring personnel problems, all the while maintaining a solid fan base through regular tours and a generally positive critical response.  This success made Homme a bonafide star and brought public attention to his previously underground side projects, such as the Desert Sessions and the Eagles of Death Metal.  While it would appear in the eyes of most critics and many casual listeners that Queens will never top Songs for the Deaf, the band has still managed to somehow straddle the line between commercial acclaim and critical success, all the while producing a distinctive sound.

Of course, over the duration of the 2000s, the internet swelled with more and more folks getting online.  As magazines and newspapers shifted their content into digital format and tried to work out how to keep making a buck, music blogs grew to become the arbiters of trends and memes.  And then there was the explosion in social media (mySpace, facebook, youtube, twitter et al) that, theoretically at least, allowed people across the world to access media with ease that most of them couldn’t conceive of 15 years earlier.  I certainly couldn’t have predicted this digital landscape when I first heard One Inch Man and wondered who Kyuss were and how they could make such transcendent music.

Now I can log onto youtube and watch Kyuss performing live in the Californian desert at one of their legendary ‘generator parties’[v].  Once upon a time I knew that these videos existed but not being familiar with the obscure world of tape trading (what tapes did I have to trade?) these gigs stayed a mystery to me.  As did the performance at the Bizarre Festival in 1995[vi] or the Italian TV gig from around the same time[vii].  For my friends and I, the unattainability of these shows created an aura of mystery.  We certainly weren’t at the shows and had no chance of watching them.  This let our imaginations run wild.  We already had the soundtrack – then we just had to dream of the desert, the drama and the drugs.

Now I can watch all these videos from the comfort of my sofa.  Beyond the initial investment of a laptop, modem and internet access, the world of Kyuss is at my fingertips.  My Taipei apartment couldn’t be further from the shifting sands of California’s Sky Valley but the internet has knocked down that time/space barrier.  That Kyuss’ history has been uploaded is fantastic and in some ways I wish it had happened 15 years ago when my curiosity was at its peak.  But then my appreciation of the band might not have become what it did.  My imagination had to fill in the gaps.

From the few interviews that I was able to read back in the day, I built up an image of Josh Homme.  He came across as chill, and didn’t seem to have the agro that is part and parcel of the metal world.  Then when Queens first started getting press, he claimed to want to create music that makes girls dance, a noble desire in the sweaty dude-filled moshpit that is the world of rock.

Now I can find out almost anything I want about the man.  From Homme’s collection of weird guitars[viii] to the somewhat infamous footage of him loosing his cool at a concert in 2008[ix].  Everything is there, pixellated and ready to download.  Fortunately Homme has maintained his sharp sense of humour and while he has developed something of a rock star attitude, he generally comes across as a likeable guy, someone you could sink a beer or two with.

What does this mean?  Without his ever-growing web presence I think it would be harder for Homme to maintain his career. The music audience has come to expect a steady stream of interviews, live footage and miscellanea to sustain interest in an artist.  Fan-made clips and shaky camera phone recordings augment the glut of professional digital media available, padding out an already large cyber presence.  But by no means has Homme saturated the market.  In the current climate of Lady Gaga, Justin Beiber and their ilk he still remains on the fringe, even with Them Crooked Vultures, his latest project where he has reunited with Dave Grohl and rounded out the band with John Paul Jones of Led Zeppelin.

TCV hit the ground the running and over a period of months went from nothing more than an intriguing concept flagged on a blog post to headlining venues and festivals around the globe.  Tantalising fans with a well-conceived drip feed of studio footage and live clips, TCV (and their management) cleverly used modern communication channels to drum up interest prior to their album’s release.  In a world where illegal downloads threaten the livelihoods of all those involved with recorded music such an approach is now necessary.

This manufactured mystique captured the public’s attention but ultimately left me feeling a bit hollow.  Yes, I watched a bunch of youtube clips and got the gist of what was going on.  But of all Homme’s many projects over the last 15 years (he is a truly prolific collaborator) this one left me the least intrigued.  The whole gestation of TCV had been manipulated to the extent that when the band finally entered my world, I didn’t really care.  There was no magic.  Despite the behind the scenes spontaneity that Homme, Jones and Grohl undoubtedly experienced, I felt like the whole product was being force fed to me.  Not that TCV is a bad band – their tunes seem to be more or less worthy given the group’s much heralded genetics – it’s just that they somehow seem to lack that magic that Homme’s earlier recordings have.

As it becomes easier to build up an extensive archive of an artist, where every recording and performance can be downloaded, where every interview and blog post can be scrutinized, artists have become more accessible than ever before.  Fans have almost instant access to the minutiae of their idols.  It is easier for established artists to step away from this trend.  Their fanbase is already established.  But struggling artists seeking to make a name for themselves need to harness the digital media machine to get their ‘product’ out there.  To do this and somehow maintain an aura of mystery seems to me to be a challenge.  With over-exposure it is easy to tire of an artist and move on to the next emerging sound, of which there will be always be a dozen emerging micro-genres to pick and choose from.

Who knows, Homme is an artist who fortunately shows no sign of burning out after two decades of recording.  There will no doubt be much more to come from him.  And sure enough, I’ll be at my keyboard, waiting for news of the next project he has up his sleeve.  I just hope that it blows in like a cloud of sand from the desert rather than appear on my twitter feed as a micro-managed meme.

(Photo by Craig Carper, source: http://www.flickr.com/photos/giarc80/3976623459/)


[i] http://www.youtube.com/watch?v=CAXGu81Rk1g - ‘One Inch Man’ from And the Circus Leave Town (Kyuss, 1995)

[ii] http://www.youtube.com/watch?v=Fc-7FXzbeA0 - ‘Green Machine’ from Blues for the Red Sun (Kyuss, 1992)

[iii] http://www.youtube.com/watch?v=bAXPUN2z2CE - ‘Feelgood Hit of the Summer’ from R (Queens of the Stoneage, 2000)

[iv] http://www.youtube.com/watch?v=s88r_q7oufE - ‘No One Knows’ from Songs for the Deaf (Queens of the Stoneage, 2002)

[v] http://www.youtube.com/watch?v=HPFhyd3fabs - generator party in the Californian desert (Kyuss, c.1993)

[vi] http://www.youtube.com/watch?v=2pMfqZGg-FA ‘Gardenia’ from Welcome to Sky Valley, live in 1995 (Kyuss, 1994)

[vii] http://www.youtube.com/watch?v=-j4A2iGgQQk ‘Asteroid’ from Welcome to Sky Valley, live on Videomusic (Kyuss, 1994)

[viii] http://www.youtube.com/watch?v=vY_O3eo1m1Q ‘Josh Homme’s cathedral pipe guitar’

[ix] http://www.youtube.com/watch?v=IfZm32tpWY8 - ‘Josh Homme (QOTSA) pissed off @ Norwegian Wood’


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