ประภาส ชลศรานนท์ ที่ผมแอบมอง
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จำไม่ได้ว่าผมหยิบหนังสือ "เพลงเขียนคน ดนตรีเขียนโลก" มาจากหิ้งหนังสือของห้องสมุดแห่งไหนในจุฬาฯ แต่จำได้แม่นว่า นี่คือหนังสือเล่มหนึ่งที่เติมสารประกอบสำคัญเข้ามาในสมอง และหล่อหลอมให้เกิดความคิดแบบหนึ่งขึ้นในหัว กระทั่งวันนี้ความคิดนั้นยังคงอวลอยู่ไม่ไปไหน
...Continue ReadingPrapha sachon saranon that I sneak peek at
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I don't remember which library I picked up "music writing" from which library in chula, but I remember this is a book that added an important compound into my brain and forged. One thought in my head until today, that thought is still going anywhere.
The idea that is " many more
Along with the feeling that our little hands can write the world.
I have been listening to "Chaliang" since elementary school. Milk hasn't set (now). I still). I understand. When I was in University, the band disband disband has left just a story on the wood sheet for me. A lot of music never old. Those are written from the end of brother chik's pen - prapha chon Sara non
Reading this book makes you see the idea behind each song, and even more you see the author.
For me, whether brother chik wrote a song, wrote a book or made a movie, all he tried to do is ask people to try to look at the corner with more than just the corner.
See the world and your heart will be expansive.
Many more (many more that we don't know. We see it. Just in case we haven't seen it yet), Hibiscus Tree and blind (blind, but the mind is still bonded beauty), if there are only two of us in this world (time I'm hungry. Two of us will eat sticky rice with chicken noodles. Who to buy), it's up to who (it's up to who sees it, who can hear it, who decides), calm down bro (where are you going to fight with? I don't have time. Search for mind) etc.
Many songs of the lyrics are annoying. Such as when a lot of love songs say, " there are only us in this world brother chik asked me. Who will you want to eat noodles, who do you buy from? During a loud song If you don't love me, tell me. Tell me a word. " brother chik also wrote a song. Calm down. Where are you going? Let's see.
Khun Prapha Somchai cuddle will see the world in the drone corner. It's flying up to see the wide picture and spread out that there may be a corner that we forget to look at. The world could be something else.
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2
"many more" in the meaning of brother chik doesn't eat just one thing. There are hundreds of thousands of possible sources, but it also means looking at everyone. Everything is equally important. Equally beautiful. Not comparing to take it to take the beams, but look beautiful. Of that person then pull out that potential to create value
" Classic, don't insult jazz
Jazz don't watch clan pop
Pop, don't mind the country.
Don't be sulking with doctor lam.
Doctor Lam, don't think more than classic. It's high "
This is a message on the screen in the concert. The song makes me think of what brother chik told me in this book. "people are like fingers. It's not equal but fingers too and have different duties" is a teacher's speech. Teaching kids in the young movie of piak posters.
To this day, the " finger is not equal " has been interpreted and wittalion. But in the meaning that I understand that brother chik wants to press, the " difference " rather than " inequality " is thumb is different from Index Finger and pinky and brother chik says " you could be a pinky finger which is more important than the index finger in some things read and think that our round fingers are valuable in our way.
"Tao" which sees the value of the nature of things like this. Often seen in the work of brother chik.
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3
Mr. Prapha is not a big person. If there are two sides, brother chik will not stand on one side. Maybe because of the eyes that sees the beauty of each thing, each mind and an open view. I don't believe that anyone is all right. Or all wrong. Everything is good or bad.
Most importantly, this kind of thought resilience is believed that the people or the extreme thoughts we see are not eternal, but it can always change. The Extreme can also be adjusted, divided, exchange. New ingredients in themselves.
Once I had an opportunity to sit and talk with brother chik. Then we went to consult about making tv show. Our team is interested in a program that focuses on content. Easy, I want to pass knowledge to the audience. When I tell you the pattern and content to you. Listen to the brother ask, " is knowledge necessary that it must not be fun stop thinking and continue asking " is entertainment necessary to be ridiculous "
Just these two questions expand our view. We can see a new area that there is still space in the middle that combines what we thought were irrelevant. Different Worlds. and if we could, we could, we wouldn't cut off any kind of value.
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4
That's another feature of brother chik that I secretly look at. This guy doesn't teach straight away, doesn't comment, but he likes to ask questions. Let the partner to consider it himself. This technique is used in writing as well.
The question that brother chik throws at can make us think " can it be something else " or " can it really see one way
This kind of conversation is like a kind adult who doesn't block. It doesn't draw the line what it should be. But let us choose by ourselves. This is how to tease you think with the question that khun prapha can use this kind of weapon. Praew praew praw praw praw praw The more and more.
If anyone has worked with brother chik, maybe it feels why I came up with this idea! I'm really good! But in fact, we can think because we are triggered by his brother's questions, but we will feel good because no one has ordered us to do that. We make our own decisions.
So it's not just creative work, but the way of working is also creative.
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5
The Picture of brother chik that I remember when I was looking at the idol in the conference room is a picture of a playful executive like a little boy who had the big one who had the power to make any decision.
I saw his brother spinning pen, drawing a picture, and poke him out while everyone was meeting seriously thinking about it.
Good ideas often come up during our relaxing time -- I've heard many good thinking people say that. Many people say that if we don't lose our children, we will always keep the potential to imagine and creative.
Photo of Mr. Prapha in the conference room for me like a playful kid.
Another picture that I remember is in the conference room and dining table of the group who often meet each other. Brother Chik will tease the scared by putting a glass of water. The Edge of the table. It seems to fall to test if that person can endure enough. That person keeps moving deep. Mr. Prapha will laugh and says, " can't you stand it? Can't you stand this kind of thing
A Writer, a creative thinker that we have been following for a long time. Admired and thought that he would be quiet. But when he met the real one, he became a playful little boy, fast talking, Pear, praw and questioning. A very fun conversation.
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6
If I would write about "the" from the eyes that I would have written many pages of paper because I have been looking at brother chik since the work behind my thoughts to read every interview that I saw until I had a chance to meet on the occasion. I'm always looking at verbs, symptoms and thoughts of brother chik. Teacher's Melody.
Finally, brother chik is not crazy. People may see the work, but they don't have to see his own. We know the song. Scream and laugh with brothers and musicians. We love the program of work. Point or many other creative works caused by this brother's mind, but often we don't even know or don't even think there is him behind it.
This is another thing that brother chik taught me. We can make a change or create something without letting people see us. in some cases, it's more powerful than having better cuddle results.
We have seen Mr. Prapha through some work, but I believe there are many pieces of this sharp and round anchor that we didn't know was his work.
The fit of being seen is something that brother chik manages to learn and nan cuddle baht.
Prapha Chon Saranon is a teacher with many lessons to sneak peek and learn.
Thank you brother chik for being an inspiration, an open thought perspective. He ignites the dream of writing books and giving "many more" tips in my heart since I was in teenagers through your work.
Congratulations to brother chik for the National Artist Award in performing arts as the creator of International Thai entertainment and music event this year.
I really want to tell brother chik that "music writing music"
At least one of me is the productivity from your song.
With love and thanks
Ehhh (round finger)Translated
extreme interview questions 在 宇宙電波 UNIPA Facebook 的最讚貼文
丹麥的 ELOQ 和 Zooey Wonder 黃玠瑋 一樣,在前往 SXSW 的途中發生 ESTA 遭到取消的狀況。(https://goo.gl/6oK6M2)
根據 ELOQ 的描述以及 SXSW 的網站的說明(https://goo.gl/hRMhQ0),適用免簽證國家的藝人是可以在沒有演出酬勞的 showcase 進行演出。不過當 ELOQ 抵達 LA 準備轉機時,卻發生 ESTA 在飛行途中遭到取消的狀況,海關也向他表示前往 SXSW 演出需要辦理工作簽證,比起在台灣就發現 ESTA 被取消的黃玠瑋,飛到美國被搜身檢查的 ELOQ 顯然更倒楣一些。
藝人前往 SXSW 遭到海關刁難已經不是新聞,近年文化部相當積極推選出色的台灣演出團體參與 SXSW 的「台灣之夜」,未來在相關事務安排上,恐怕還是得要更小心一些。
這個月黃玠瑋將帶著全新作品【Wonderland】(實體超美)在北、高兩地舉辦演出,將透過全新的音樂風格,展現繽紛的夢幻世界。
3 月 18 日 - 高雄 LIVE WAREHOUSE
3 月 22 日 - 台北 Legacy 傳 音樂展演空間
售票連結:http://www.zooeywonder.land/zion
#SXSW
** Official "ELOQ NOT GOING TO SXSW" Statement**
Hi !
So as some might know, im unfortunately not going to Austin, TX for SXSW.
This is because i got denied entry while transferring in LAX, Los Angeles.
A lot of you has asked me about the details of the issue so i thought i would bring you all a little official statement on what happened! :)
I was scheduled to go to SXSW to partake in their songwriting camp, SXSW Songs, participate as a speaker and also play two showcases! I took my travels from Denmark with all the right papers and my ESTA in check (Which i got informed by SXSW was a eligible visa to travel on for showcase purposes)
Then when i landed in LAX i got informed that my ESTA had been revoked mid-flight and i got sent in for an interview by the border cops.
Here he stripped me of all my belongings, even my laces and my earring, and asked me a bunch of questions about my stay and who i was and my intentions. He ended it all with saying that i was going to be denied entry today and that on any further similar trips, i would need a Performance Visa, NOT an ESTA.
Apparently, and unfortunately this border official did not know about SXSW and their unique rules about promo showcases, which can be performed on an ESTA.
What then happened was i got informed my next flight would leave in 23 hours and i had to stay in their detention until then. I was allowed a phonecall to the danish consulate, but i didn't know what to tell them since i guessed that this stuff was just pretty final and i just had to accept it and wait out the hours. So i quickly texted my girlfriend and my mgmt about the situation and gave them my phone, which they also held along all my stuff.
Then began the wait, with 5 hours in their airport detention room, which had pretty cool and comfy chairs and a TV that played Friends non-stop. Not the worst place to spend my time i thought. But then i had to be transferred to the place i had to stay overnight.
In order to be transferred here i had to have my hands and legs cuffed, which i found actually pretty fun since i NEVER would have dreamed i would be shackled by american cops!
Also i would like to add here that all the cops and immigration officers treated me very nice. I think they quickly understood that i had no intention to do anything unlawful, so we actually got to laugh a bit about this whole maximum security type of thing that the procedure apparently needs. Then i was transferred in a real homeland security prisoner van through the airstrip and over to their Immigrations center in LA. Also a pretty cool thing to tell my future children about. I told the officers i felt like a movie villain!
This cell though was very uncomfortable. Everything was made of steel, it was cold and the bright lights were on at ALL times, so sleeping was nearly impossible. I got a brown bag with some fruit, a sandwich and some juice. And there was a TV that played Meet The Fockers 3 times in a row i think. Everything timewise here was quite a blur, mostly because of total boredom and trying to get some sleep, but also because there were no clocks present anywhere..
Then they came and picked me up at a 6 in the morning, to transfer me back to the airport detention room for the last 12 hours. I thought to myself what a bliss it would be to come back to those big comfy chairs and watch tv.. Because anything would be better than that steel cell!
But unfortunately no, they didn't have enough staff to keep that room open so i had to be put in a tiny tiny room with three army beds, some chairs, and again EXTREMELY bright lights..! And here began the longest 12 hours of my life.. With absolutely nothing to do other than stare at a wall and trying to sleep, time went on slower than i've ever imagined it could.. ! I saw other people coming in and out of this room as well, probably with similar but most likely with worse convictions than mine, since they looked very sad! :((
I got to work out a bit here, which i found extremely cool and very movie like, and also they let me order food from 7/11 as long as i could pay for it. Which was really nice, i got a whole pepperoni pizza, which i enjoyed while thinking i at least got some american food on this trip.
And then the hours just passed on slowly until i finally got picked up to pack my things and leave for the gate, alongside two officers! They also let me buy some ice coffee in the terminal, and they gave me back my phone. Even though they said i couldn't use it they let me check my texts as long as I didn't call anyone, i also got to send some responses to all my worried folks back home who hadn’t heard a single peep since they got my first text about me being sent back 23 hours ago!
Then i was off to Gatwick, and at last to Copenhagen! :D
Now that its all over, I really only think of it as a crazy experience! My folks back home was worried i had been treated badly and that i would suffer from the experience. But actually apart from the EXTREME boredom of having nothing to do, not knowing the time, and not sleeping well, it was all in all just a cool story to tell now! Of course im really bummed I didn't get to go to SXSW and do all the cool stuff I was going to do there, but hey shit happens and i was unlucky that i got screened by an officer who didnt know i actually was eligible to go to SXSW. I know SXSW officials and lawyers tried to work my case for me, as well as the foreign ministry, ULTRA Records and loads of other people. So i would like to add that I wont put my blame anywhere but on an unfortunate unlucky incident.
Now that I'm back in Denmark, im gonna work my hardest to quickly get my work permit so that I without a hassle can come to the US and perform for the people there that wants to see me play!
So hopefully, see you anytime soon in the future USA, and to everyone else from outside the US trying to play SXSW, better get that performance visa in check just to be sure ;)
LOVE <3 <3 <3
- ELOQ
extreme interview questions 在 聶永真 Aaron Nieh Facebook 的精選貼文
must have.
ϟϟ 新刊發行 !! NEW RELEASE ϟϟ
▒ Voices of Photography 攝影之聲 ▒
Issue 15 : 影像的左邊
The Left Side of Images
攝影,做為一種運動方法,本期我們關注一個批判視野——左翼——在影像上的實踐與歷史意義。
影像有「左」、「右」之分嗎?這是我們提出的第一個問題。當資本主義襲捲全球,成為人們意識形態與生存依附的重心,攝影如何左翼?如果攝影有「左」、「右」之分,那麼,影像的左邊會是什麼呢?左翼的影像又如何成立?我們思索這個命題,提出許多問號。在世界向右傾斜之際,我們質問攝影的反叛能量和政治實踐,試圖透過本期專題摸索、探訪。也許在暗箱某處,依然有一個遊蕩的幽靈,一絲理想主義星火,以及一段歷史洗印的痕跡。
在這期的《攝影之聲》中,何經泰的《白色檔案》召喚台灣五○年代白色恐怖時期幽禁的紅色青春,逆溯一段晦暗的台灣歷史;林深靖回首台灣左翼崎嶇的路徑興衰,以及國際左翼的當前發展;張世倫透過八○年代《人間》雜誌帶動的現實主義攝影風潮,論析左翼理念的人道關懷對台灣紀實攝影的影響與「後人間」時代的攝影變貌;關曉榮從自身攝影工作實踐出發,探索影像的「左」、「右」語彙;郭力昕梳理台灣紀錄片的左翼課題,並同時訪談北京電影學院教授張獻民,側寫當代「左翼紀錄片」的中國語境;顧錚深掘中國「文革」時期左派影像的產製與意識形態塑型,對這場極左運動的視覺政治提出深入的批判分析;李威儀尋究1967年香港「六七暴動」期間左翼陣營出版的多本攝影畫刊,一探這起香港史上最大規模左翼鬥爭風暴中的影像史觀;金子隆一以六○年代世界反叛浪潮下的日本「新左翼」反體制運動,思索日本攝影的抵抗理路。而本期夾帶的《SHOUT》,則重現1930年代初由「台灣赤色救援會」編寫並遭日本殖民政府查禁的無產階級宣傳小冊——《三字集》,重讀台共黨人留下的歷史詩篇。
此外,五月我們也在東京策劃了一次難得的對談,邀請到在1968年間、記錄日本最具代表性的重要學生運動——日大及東大「全共鬥」——的資深攝影家北井一夫和渡辺眸,回顧他們親歷見證的一段過激革命年代。這也是屬於當時極少數得以進入學生組織內部拍攝的兩人,在近半個世紀後,首度對於日本這場歷史性的學潮鬥爭展開的影像對話。
在Artist's Showcase單元,我們則特別專訪中國攝影家徐勇,刊載了他近期發表的最新作品——《底片》。1989年,徐勇在北京天安門廣場拍下了中國最為浩大的民主運動後,終於在今年將這些影像以負片形式集結顯影。即使26年過去,「六四」至今依舊是中國當局的禁忌話題。廣場上的靈魂仍在怒吼,而我們將試著在一幀幀的負像畫面裡,尋找歷史的正像與攝影的含意。
謝謝正在閱讀的你又與我們一起迎接新的一期,這些日子以來我們透過這本雜誌聚在一起,探求攝影的本質、歷史與文化關係,成為影像思考裡的一道新的力量。這條獨立出版的路雖仍然走得艱辛,但希望我們能走得悠長。在這裡也再次誠摯地向支持著這份刊物前行的所有讀者伙伴們致意。
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In this issue of VOP, we explore the idea of photography as a channel of movement, focusing on the critical analysis of a particular point-of-view — the left wing — and its actualization and importance in the history of images.
The first question we raised is: are there “Leftist” and “Rightist” images? How can Leftist images be amongst the waves of global capitalism, which people center their opinions and survival on? If there are “Leftist” and “Rightist” images, what are Leftist images then? How are Leftist images established? As we examine this issue, many questions remain to be answered. As the world tilts to the Right, we question photography’s ability to revolt and its political impact. Through our articles in this issue, we seek for that elusive spirit that might still reside in some long forgotten corner, and uncover some traces left behind in our history that might give us a hint of the answers to our questions.
In this issue, Ho Ching-Tai’s White Terror Files calls out to the souls locked up during the period of martial law (also known as the White Terror period) and traces back to a time of darkness in the history of Taiwan; Lin Shen-Chin looks back on the ups and downs of the Left Wing movement in Taiwan, and the current developments of the Left Wing movement on the international stage; Chang Shih-Lun examines the realist photography movement in the 1980s, brought about by the Ren Jian magazine, and how the humanist compassion of the Left influenced Taiwanese documentary photography, and changes to the photography landscape in the post-Ren Jian era; Guan Xiao-Rong takes a look at what Left and Right mean in the context of photography, based on his own experiences in the photography field; Kuo Li-Hsin explores the Left Wing issues in Taiwan documentaries, and interviews Beijing Photography Institute’s Professor Zhang Xian-Min, examining modern Leftist documentaries in China’s context. Gu Zheng uncovers the production and ideology behind the Leftist images in China’s Cultural Revolution era, and gives an in-depth critique and analysis of the extreme Leftist visual propaganda during that period of time. Lee Wei-I seeks out a series of illustrated propaganda books published by the Left during the Hong Kong 1967 Leftist Riots and gives us a glimpse into one of the most turbulent periods of time in Hong Kong’s Leftist history. Kaneko Ryuichi offers some insights on Japan’s photographic resistance through a closer look at the new Leftist “Anti-Establishment” Movement of the 1960s. In this issue’s SHOUT, we recreate a proletariat propaganda publication Three Word Book by the Taiwan MOPR that was banned by the Japanese colonial government. A look at the mark left behind by the the Taiwan Communists.
In addition, we were very fortunate to have the rare opportunity to speak with the photographers of the 1968 Tokyo University Zenkyoto Protests, Kitai Kazuo and Watanabe Hitomi, who documented one of the most iconic student protests in Japan. We talked to them about their experiences and accounts of that turbulent era 50 years ago. This interview marked the first time that the two of them have shared their experiences as there were very few photographers who were allowed into the student body to document the movement.
This issue of Artist’s Showcase features a special interview with Chinese photographer Xu Yong, along with selections from his recently published works Negatives. After shooting the biggest democratic movement in the history of contemporary China, Beijing’s 1989 Tiananmen Square protests, Xu Yong has finally published these images this year in the form of negatives, where the passion on the Square is frozen in time. Even after 26 years, “June 4th“ is still a taboo in China. In this series of negatives, we search frame by frame for the positive images and the meaning of photography.
Thank you once again for being with us this issue, as you have in our past issues. We hope you will continue to join us as we journey on to ponder photography’s essence, and its historical and cultural relationship and impact. This is a new train of thought in photography literature. Although independent publishing is a difficult path, we hope that, with your support, we will be able to continue this for a long time. From the bottom of our hearts, thank you for supporting this magazine.
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Voices of Photography 攝影之聲
Issue 15 : 影像的左邊
The Left Side of Images
www.vopmagazine.com