Sunday 26 December 2010

_Reading*

"In/Different Spaces" & "Warped Space"
_Burgin somehow helped me reinforced my previous understanding.
"The most fundamental project of Lefebvre's book is to reject the conception of space as 'a container without content,' an abstract mathematical/geometrical continuum, independent of human subjectivity and agency."
"Representational space is space as appropriated by the imagination; Lefebvre writes that it 'overlays physical space, making symbolic use of its objects' and is predominantly non-verbal in nature."
_I am a bit scared to go further on with theoretical readings at the moment, as I am not sure where it will take me (the scariest is maybe nowhere)...I definitely want my thesis to be a more technical-based one.

Saturday 25 December 2010

* season greeting *

Greeting test from Vivian Cheung on Vimeo.


Merry Christmas & Happy New Year to all my dears out there~
everything *fingers-crossed*

Wednesday 22 December 2010

OMG my christmas present

Hello Vivian Cheung,

sarah breen lovett just added film05 . spaces of the imagination to expanded architecture

expanded architecture is a Group created by sarah breen lovett

Love,
Vimeo

_>u< i know that it might seem nothing (or not a big deal) to others, but i did feel happy when i saw this and it does mean something to me. i'm really glad that someone likes my work (not to mention that it's not yet a perfected version) - being appreciated is a great feeling~ i will keep up the good work~*

Tuesday 21 December 2010

desire or passion?

_I think no one can imagine this book was published in 1985 - its ideas are still so trendy - a really inspiring and interesting book about desire/passion.

"Consuming Passions" by Judith Williamson
[p.11] We are consuming passions all the time - at the shops, at the movies, in the streets, in the classroom: in the old familiar ways that no longer seem passionate because they are the shared paths of our social world, the known shapes of our waking dreams.
[p.91] When I rummage through my wardrobe in the morning I am not merely faced with a choice of what to wear. I am faced with a choice of images: the difference between a smart suit and a pair of overalls, a leather skirt and a cotton dress, is not just one of fabric and style, but one of identity. You know perfectly well that you will be seen differently for the whole day, depending on what you put on; you will appear as a particular kind of woman with one particular identity which excludes others. Often I have wished I could put them all on together, or appear simultaneously in evert possible outfit, just to say, How dare you think any one of these is me. But also, See, I can be all of them. (how true...this just correlates with one of my ideas for my next move.)
[p.172] 'Film Noir' gets its name from a visual style - an abundance of darkness and shadows, sharp contrasts of light and dark, night scenes and murky interiors rather than brightly-lit sets and daylight landscapes. It also serves as a metaphor for aspects of content: a sense of moral uncertainty, difficulty in knowing the 'truth' and in distinguishing between appearance and reality. (for half a second, i want to rename my film05 as 'something'-noir...not only because the style has a bit of 'noir' in it, but also the uncertainty embedded within. however, naming is tricky - i need some guidance.)
[p.205] Personal ownership...property brings with it security and independence. (Margaret Thatcher, election broadcast)
[p.205] In the world of fear, people cling desparately to their own possessions.
[p.206] Home is not property, it is belonging somewhere. Who owns the view from my window? What makes a street more homely than a house, a Council Estate safer than Real Estate, the whole of London more personal than a back garden?
[p.209] The walkman is a vivid symbol of our time. It provides a concrete image of alienation, suggesting an implicit hostility to, and isolation from, the environment in which it is worn. (just like the mobile phones nowadays...)
[p.210] Individualism, Privatization and 'Choice' - The walkman is primarily a way of escaping from a shared experience or environment. It produces a privatized sound, in the public domain; a weapon of the individual against the communal. (i guess this is slightly different from now - we want to privatize still, but we want to share what we privatize.)
[p.210] It attempts to negate chance: you never know what you are going to hear on a bus or in the streets, but the walk-person is buffered against the unexpected - an apparent triumph of individual control over social spontaneity. Of course, what the walk-person controls is very limited.
[p.210] The wearer of a walkman states that they expect to make no input into the social arena, no speech, no reaction, no intervention. Their own body is the extent of their domain. The turning of desire for control inwards towards the body has been a much more general phenomenon of recent years.
[p.210] While everyone listens to whatever they want within their 'private' domestic space, the pecularity of the walkman is that it turns the inside of the head into a mobile home.
[p.211] In all media, the technology of this century has been directed towards a shift, first from the social to the private - from concert to record-player - and then of the private into the social - exemplified by the walkman, which, paradoxically, allows someone to listen to a recording of a public concert, in public, completely privately. (<3)
[p.211] In urban life 'the streets' stand for shared existence, a common understanding, a place that is owned by no-one and used by everyone.
[p.229] The academic idea of 'postmodernism' where, because no meanings are fixed and anything can be used to mean anything else, one can claim as radical almost anything provided it is taken out of its original context.
[p.230] Marx chose to begin his great study of the capitalist system with - the commodity; not because of its economic role alone, but because of what it means.
[p.230] The conscious, chosen meaning in most people's lives comes much more from what they consume than what they produce. (i'm not that sure about this yet.) Clothes, interiors, furniture, records, knick-knacks, all the things that we buy involve decisions and the exercise of our own judgement, choice, 'taste'.
[p.230] Consuming seems to offer a certain scope for creativity, rather like a toy where all the parts are pre-chosen but the combinations are multiple.
[p.230] Consumerism is often represented as a supremely individualistic act - yet it is also very social: shopping is a socially endorsed event, a form of social cement. It makes you feel normal. Most people find it cheers them up - even window shopping. People's wants and needs are translated into the form of consumption.
[p.230] Buying and owning, in our society, offer a sense of control.
[p.232] The TV and video boom shows not only a trend towards the privatization of entertainment but offers the ability to control. In analyzing these products we can understand more about the society which both produces and uses them. What are potentially radical are the needs that underlie their use: needs both sharpened and denied by the economic system that makes them.

_ultimate (?) reasons behind those social networking actions: we are scared to be forgotten & we want to be known/understood.

Franz Kafka (1883-1924)

"By believing passionately in something that still does not exist, we create it. The nonexistent is whatever we have not sufficiently desired."

Saturday 18 December 2010

. bits & pieces of history _UK edition .

. "The motto ‘Everything for Everybody Everywhere’ (Omnia Omnibus Ubique) and telegraphic address of ‘Everything London’ reflected its ever-widening range of merchandise and services. During this period of retail revolution, Harrods, innovative as ever, introduced Britain’s first ever escalator and pioneered telephone shopping." (History of Harrods)
. Stalls _regularly set up & dismantled -> Shops _permanent with living space above or behind -> Shopping Arcade _covered pedestrian alley -> Shopping Mall _multi-level (Researching the history of shops in the British Isles)
. "Previously, stores were austere places. Shoppers would be escorted in simply to buy. Browsing was forbidden. ... The American entrepreneur stumbled on his concept accidentally on his first visit to London. ... Women, who were only just beginning to enjoy walking alone without gentleman escorts, wanted something more - and Selfridges became the perfect day out." (Selfridges celebrates 100 years of shopping: The first ever mall)
. The Covered Market (market) - 1774; Harding Howell & Co. (1st department store) - 1809; Burlington Arcade (covered shopping arcade) - 1819; Harrods (single shop) - 1849; Liberty (department store) - 1875; Harrods (department store) - 1880; Selfridges (department store) - 1909; Westfield (shopping mall) - 2008
. "Harrods featured one of the world's first escalators in 1898." (History of Harrods department store)
. "Shopping, that had become the fashion among the upper class women in the 18th century, now came into its own. ... Although the Royal Exchange, the first ever British shopping mall, opened already in 1568, the time of the shopping mall, the galleria and then department store was just beginning." (Regency Shopping)
. "In 1786 Sophie von Roche marveled about Oxford Street that 'behind the great glass windows absolutely everything one can think of is neatly, attractively displayed, and in such abundance of choice as almost to make one greedy'. With larger windows interiors also became better lit. No longer must the customer of a fashionable shop take the product offered into the street to view it properly. Window-shopping became the new pastime of both mistress and servant." (Regency Shopping)

_Almost everything happened at Oxford Street, no wonder why from the beginning I like that street the most in London.

. Tron (1982) .

"Dumont: All that is visible must grow beyond itself, and extend into the realm of the invisible."
"Tron: He is creating a junction. Flynn: Elementary Physics - A beam of energy can always be diverted."
"Dr. Walter: Computers and the programs will start thinking and the people will stop."

-end of line.

Friday 17 December 2010

Post-Crit 05 _Christmas Crit


film05 . spaces of the imagination from Vivian Cheung on Vimeo.

_feedback & self-evaluation:
. started the year with: challenging the preconception (of space)
. what kind of drawing is it? [it will be interesting if it's both perspectival section or sectional perspective...]
. be propositional & spectacle in the next step, more than just reflective
. film01 - a bit cartoony [negative/neutral?]; film05 - more convincing
. film05 mapped out the actual experience of shopping - the spatial experience & relationship suggested
. things are as they are now... [it's not entirely...but i guess i need to have more to exaggerate that a bit.]
. try augmented/virtual dimensions intermingle with real action reality
. there should be more tags!
. we are bombarded by data & information.
. spatial geography = landscape of information + physical built structure
. something seemingly quite everyday - embedded with complex spatial dimension
. my role as an architect
. community . social network . communal experience . media surface . social interaction - my position
. hybridity of space & identity
. NEW space & time continuum [yay! this is what i want...]
. ...where law of physics will not apply - i have my own rules~
. no objective/subjective structure - relativity theory - only stretch, twist, etc. (which is shown in my drawing _for film01) - it's like 2 poles, just connecting each other ignoring space-time, strong attraction that merge together, the connectivity. [i should use this principle of parametric functions/fermentivity to structure the environment...]
. try to control the theory of network
. multiple characters carrying their identity tags themselves [magnify it]
. proliferate spaces
. look back into film04 - different parts of spaces lead into different scenarios with different scales - the HETEROGENEOUS ATTITUDE towards space! [develop more in that sense - transition...]
. be explicit to lead between the spatial regime - part of the intention of it...
. read the 3 films together = a strong vocabulary
. think where i want to take my next film...
. think about CUT.
. with something closer/further (more variation) will inform spatial ideas
. try mixing the line drawing with collage (i'm better at line drawing at the moment) - find the approach to be more spatial describing~
. physically in one space but interact with/in multiple spaces

Sunday 12 December 2010

. concept .

pre-production_conceptual drawing
. shop-window reality .

[idea] The Mind-Absorbing* Shopping Experience
[narrative] The film started when a shopper was attracted by one of the shop-windows and started to engage with it by imagining oneself inside. Whilst one's physical body had to be remained on the street in front of the shop-window, one's mind - in the form of a wind-up toy - was powered to get in. Inside, the shopper engaged with other shoppers and enjoyed the pleasure of shopping in unlimited dimensions. Bombarding with excitement, the shopper got lost in this 'reality'. The end of the film marked that the shopper could only 'end' it when the spring (of the toy) got back to its original position, i.e. losing the power.
[extra: interpretation on 'power' is up to individual]

_the 'production' of space - the space is produced through how people perform in it.

Saturday 11 December 2010

intelligent & sensible

omg...i like Johnny Hardstaff.





_Thanks Nic for suggesting the above ident. It really is a nice piece - good to learn from it.

::sidetrack:: If everyone likes David Lynch, and you aren't particularly fond of his works, is that a problem? Does that mean you are not good enough?

Thursday 9 December 2010

_coloured or not . testing

_Taking the comments from Tuesday's tutorial, I tested out again about the potential of the background. [Originally I just planned to prove that "mono-tone" is better.] Thinking to give "coloured-tone" a last chance, I tried a little bit more this time - by altering the colours along with the timeline; and to my surprise, I like it more. Having colours with the real footage does not only display well "the idea: lost in city of lights [taking lights as desire metaphorically]", but also add a bit of joyfulness to the film [I hope it's a bit fancy with a bit of seriousness]. I guess now my decision is re-made.


Monotone Test from Vivian Cheung on Vimeo.


General Overall Atmospheric Test from Vivian Cheung on Vimeo.

_Apart from testing the colour, the above test also serves as an estimate of the final atmospheric version of my film [of course, with more characters, more footages and more effects]. And, lessons learnt: 1) The speed seems a bit too fast, I shall make some adjustment at the end. 2) It is extremely time-consuming and computer starts to run slow, I'd better find some ways to increase my speed (e.g. in terms of workflow)

Monday 6 December 2010

"Kingdom Come"


_This is an article that is very interesting to read. I picked it because I heard that Ballard's "Kingdom Come" is about shopping centre, I don't think I am interested in whether it is Fascist or not. However, from it, I learnt that Nazism is actually a psychological 'revolution' - and it makes me wonder "are we not still going through that right now somehow?"

"Why do I dislike the Bentall Centre so much? Because it’s so… cretinous. [The consumers] seem to be moving though a kind of commercial dream space and vague signals float through their brains." [‘JG Ballard: The Comforts of Madness’, interview in The Independent, 15 September 2006.]
"If there is no principle restricting who can consume what, there is also no principled constraint on what can be consumed: all social relations, activities and objects can in principle be exchanged as commodities. This is one of the most profound secularizations enacted by the modern world … [and] places the intimate world of the everyday into the impersonal world of the market and its values. Moreover, while consumer culture appears universal because it is depicted as a land of freedom in which everyone can be a consumer, it is also felt to be universal because everyone must be a consumer: this particular freedom is compulsory." [Don Slater, Consumer Culture & Modernity, Polity Press (Cambridge), 1997, p 27.]
"Consumerism rules, but people are bored. They’re out on the edge, waiting for something big and strange to come along. … They want to be frightened. They want to know fear. And maybe they want to go a little mad." [JG Ballard, Kingdom Come, op cit, p 101.]
"Therefore the conventional ways in which we viewed the world, which had been buttressed by traditional social structures and conforming behaviours, have weakened their hold over us. The external environment has become fictionalized, and ‘reality’ – that which is of most significance in our lives – has retreated inside our minds, to be represented by our hopes, desires and obsessions." [Some of Ballard’s clearest comments on the fictionalization of the external world and the interiorization of reality as a consequence of increased prosperity are to be found in an unpublished interview with the Canadian Broadcasting Corporation, c1974, available at http://www.jgballard.ca/interviews/jgb_cbc_ideas_interview.html, accessed 6 May 2010.]
"Nowadays, an understanding of events and objects cannot simply be read off from the external world, nor can we link them in a straightforward temporal manner."
"In the 1960s and 1970s, Ballard chose to emphasize the use of our imaginative powers as a way of providing us with different perspectives and of transcending our conventional outlook on the world." !!! <3
"Using the imagination and following one’s obsessions may, perhaps, be rewarding, but it certainly doesn’t sound easy psychologically, more like hard work."
"The reasons for concern are clear: if we do not use our imaginations and obsessions, we are at risk of being governed by forces outside ourselves which still operate, such as capitalism or purposeless social conformity. Ballard has drawn attention to the way in which moral structures and decision-making powers have been externalized out into the environment by technology – from traffic lights to CCTV cameras – providing us with a safe passage through our lives, [‘Interview by Graeme Revell’, Re/Search 8/9: J. G. Ballard, Re/Search Publishing (San Francisco), 1984, p. 46.] and in like manner we may find it psychologically easier to decline the freedom to utilize the imagination that comes with a safe and prosperous, but individualistic, society. People might instead be content to be governed by forces of social conformity, and to let themselves be directed by their emotions – which Ballard thinks of as tending to reinforce existing social conventions and as restricting, rather than expanding, the possibilities for action." (This is what I tried to say in my earlier post as well...)
"Peter Stearns points out that the growth of consumer behaviour was closely connected with the decline of long-established social structures under the pressures of industrialization and urbanization. In earlier times, social hierarchies were much more rigidly observed, and any crossing of social boundaries or individualistic behaviour tended to be viewed negatively, especially by the upper-classes. The latter had luxury, i.e. their wealth was displayed, rather than consumed, and in standard formats with an absence of individuality or any concern about fashion. [Peter N Stearns, Consumerism in World History: The Global Transformation of Desire (2nd edition), op cit, pp 1-14.] However, once this social edifice began to lose its grip, consumer behaviour helped people cope with the resulting uncertainty and insecurity about social status, and with the disruption to established patterns of behaviour, by providing alternative ways of fulfillment and by enabling an individual to demonstrate personal achievement, no matter how limited." (worth thinking about - it might be somehow true...)
"I buy things in order to try and reassert my identity, but as the marketplace grows I am offered an increasing variety of goods and services, and associated ways of living, from which to choose. Now my identity is even more in question, because it is something that I myself have to select and realize. The impact is heightened as the material prosperity of society increases – even something as basic as food becomes no longer a matter of survival and physical well-being, but a decision about life-style." [Anthony Giddens, Beyond Left and Right: The Future of Radical Politics, Polity Press (Cambridge), 1994, p 224.]
"Yet the evidence is that people with a rich variety of social connections are less likely to suffer depression and anxiety than those without. [Michael Marmot, Status Syndrome: How Your Social Standing Directly Affects Your Health, Bloomsbury (London), Chapter 6; Robert H Frank, Luxury Fever: Money and Happiness in an Era of Excess, Princeton University Press, 1999, pp 86-88.] As well as support that I might obtain directly from others, I am better able to cope if I am ‘not just the local lawyer, but also the coach of the cricket team, the friendly neighbour, and the person who always sings at the christmas party’, as a setback in one role is of less significance to my sense of identity and self-esteem. [Daniel Nettle, Happiness: The Science Behind Your Smile, Oxford University Press, 2005, p 180.]
"The more we are allowed to be the masters of our fates, the more we expect ourselves to be. We should be able to find education that is stimulating and useful, work that is exciting, socially valuable, and remunerative, spouses who are sexually, emotionally, and intellectually stimulating and also loyal and comforting. Our children are supposed to be beautiful, smart, affectionate, obedient, and independent. And everything we buy is supposed to be the best of its kind. … [Hence,] almost every experience people have nowadays will be perceived as a disappointment, and thus regarded as a failure – a failure that could have been prevented with the right choice. [Barry Schwartz, The Paradox of Choice: Why More is Less, Harper Perennial (New York), 2004, pp 210-211.] In such circumstances, the temptation is to seek comfort and easy pleasures. But experimental psychology suggests that the systems of the brain which control desire are not the same as the systems that control pleasure. [For example, when rats have their brains stimulated to eat food, they don’t show the typical ‘liking behavior’ that normally accompanies pleasurable activities – indeed, if anything, they show ‘disliking behavior’. Conversely, the rats can be drugged so that they have no desire to eat, but show liking behavior when a sweet solution is put onto their tongue. See also Daniel Nettle, Happiness: The Science Behind Your Smile, op cit, Chapter 5.] Hence, some things – sex, good food – will both activate desire and bring pleasure, but others – such as a bigger, higher-definition TV – may provoke desire but not add much to our happiness. Biologically speaking, happiness is a spur to action, not some end-state that we are programmed to seek out, and this is reflected in the wealth of data indicating a lack of correlation between absolute levels of income and happiness (other than at extremely low levels of income), whether it be between different societies, different individuals in the same society, or individuals over time. [Daniel Nettle, Happiness: The Science Behind Your Smile, op cit, pp 48-52, 70-75; Robert H Frank, Luxury Fever: Money and Happiness in an Era of Excess, op cit, pp 71-74.]"
"...in a world that no longer makes sense, emotions appear a surer guide than reason."
"‘What’s the point of privacy if it’s just a personalized prison? Consumerism is a collective enterprise. People here want to share and celebrate, they want to come together. When we go shopping we take part in a collective ritual of affirmation. … Shared dreams and values, shared hopes and pleasures’, claims Sangster in Kingdom Come." [JG Ballard, Kingdom Come, op cit, p 85. It is interesting to note that Fromm uses the term ‘automaton conformity’ to describe the form that the attempt to escape from freedom takes in modern democracies (as opposed to fascist dictatorships); see Erich Fromm, The Fear of Freedom, op cit, pp 159-178.]
"The fictionalization of the external world means that Ballard’s ‘exit door’ through the use of our imaginative faculties is gradually closing, as these powers of the imagination become colonized by the fantasies around us and by our own emotions. This enables consumerism to satisfy our needs, not directly via the goods and services that we purchase, but indirectly by meeting our psychological requirements through our involvement in the activities of consumer society – shopping, media, leisure. The disassociation between our desires and pleasures – which might be seen as threatening the consumerist system once we discover that satisfying our desires is unfulfilling – can now be bridged: we desire the goods and buy them, but our rewards come from elsewhere, from our very participation in the system itself … from our attendance at Ballard’s Metro-Centre."
"The ambiguity of Ballard’s narrative is in keeping with the self-reflexive nature of the society that he is describing, where the transgressive gesture rapidly becomes another media item that can be purchased for cash, and an attempt at escape puts you right back at the centre. Any effort at political action or opposition becomes pointless, because this is not – on Ballard’s view – a conspiracy of false needs and false consciousness: by accepting the emotional lie and the feel-good fairy story, we are ourselves complicit in the consumerist society. But if this is right, then we can see the point of Ballard’s long-held insistence that we must, as he puts it, immerse ourselves in the most dangerous elements and hope that we can swim to the other side [See, for example, ‘An Interview with J. G. Ballard’, Mississippi Review op cit, p 33. And the following brief quote well-illustrates Ballard’s reasoning: ‘I certainly do believe that we should immerse ourselves in the destructive element. Far better to do so consciously than find ourselves tossed into the pool when we’re not looking’, interview in The Paris Review #94, 1984, p 143.] – a view that infects both the ‘extreme hypothesis’ of Crash and the studied ambiguity of Kingdom Come.

Sunday 5 December 2010

Junkspace = Junk Food for Mind

_i guess junkspace is like junk food. it's not necessarily good for physical health, but one needs it to maintain a good mental health when necessary. and if we are what we eat, then we are all somehow junk-ed in some sense.
_out of the whole passage, i must say not all that I agree - but below are some bits that i found interesting...and i kind of enjoy the sarcasm within.

"Junkspace" by Rem Koolhaas
"Continuity is the essence of Junkspace; it exploits any invention that enables expansion, deploys the infrastructure of seamlessness. It promotes disorientation by any means."
"When we think about space, we have only looked at its containers. As if space itself is invisible, all theory for the production of space is based on an obsessive preoccupation with its opposite: substance and objects, i.e., architecture."
"Brands in Junkspace perform the same role as black holes in the universe."
"Regurgitation is the new creativity; instead of creation, we honor, cherish and embrace manipulation... Superstrings of graphics, transplanted emblems of franchise and sparkling infrastructures of light, LED’s, and video describe an authorless world beyond anyone’s claim, always unique, utterly unpredictable, yet intensely familiar."
"Junkspace is post-existential; it makes you uncertain where you are, obscures where you go, undoes where you were."
"Junkspace knows all your emotions, all your desires."
"Junkspace heals."
"In the third Millenium, Junkspace will assume responsibility for both pleasure and religion, exposure and intimacy, public life and privacy."
"The office is the next frontier of Junkspace. Now that you can work at home, the office aspires to the domestic; because you still need a life, it simulates the city. Junkspace features the office as the urban home, a meeting-boudoir."
"The global spread of Junkspace represents a final Manifest Destiny: the World as public space..."
"Conceptually, each monitor, each TV screen is a substitute for a window; real life is inside, cyberspace has become the great outdoors..." [i like this.]

[this always sounds cool.] AMO will collect forces from media, finance, technology and art to consult in the architectural thinking where strategy and concept have a higher importance than realisation.

Friday 3 December 2010

_Testing on Background

Responding to one of the comments I received last tutorial, I tested out some possibilities in the backdrop of "Des(hopping)ire Land" - to make the film more dynamic and spatial.


Background Test 01 from Vivian Cheung on Vimeo.

Having the backdrop in motion itself, indeed, increased the dynamic. However, I think the current backdrop is not good enough to show the jubilee in shopping - therefore, I tried another route.


Background Test 02 from Vivian Cheung on Vimeo.

I think this one is much better than Test 01 in terms of spatial quality and atmospheric expression. The ecstasy in shopping is the feeling of lost in the bubbles of fanciness.


Background Test 03 from Vivian Cheung on Vimeo.

I tried to change the scale and orientation of it (just like what I did as well in my previous films - to look for different qualities of space) and decided to use a range of variation to achieve the goal [dynamic . spatiality . jubilee]. Right now, the backdrop is too wobbly, I will have to shoot some more footages later.

Evolution of Shopping

_Credit: The Evolution of the Modern Marketplace (22 January, 2010)


Marketplaces have always created value. Since the early inception of marketplaces, to the development of a mobile marketplace, connecting buyers and sellers has always been the focus. This linking, in creating a buy-and-sell environment – whether in a physical, or virtual (cyber) way – has always been about reducing friction to facilitate greater commerce. Once a market is established, its value, whether recognized or not, becomes ingrained in both the minds and the actions of those who engage the marketplace.

While the marketplace has developed in many ways over the centuries, it is important to note that each development has played an important role in evolution of the marketplace at its introduction, and today as part of the composition of the modern marketplace. Today, the marketplace is not just a bazaar, or a mega-store; and, it’s not just e-commerce or mobile shopping. It consists of the various in-roads, and the very diversity itself is its value.

Wednesday 1 December 2010

After Effects Meeting with Simon

After discussing with Simon, I know solving the 'edge' problems with Roto-Brush is apparently not a path worths going through. I will stick with key-lighting Green-Screen shots then. In addition, I hope it is still not too late to know 720p uncompressed footage should always be used to work on and should only be compressed to H264 at the very last step. (Although it means that I have to re-convert all the Green-Screen footages into uncompressed format again.)

Hard-Boiled Wonderland and the End of the World

it took me ages - but i finally finished reading it.
"Hard-Boiled Wonderland and the End of the World" is a 1985 novel by Japanese writer Haruki Murakami. It was awarded the prestigious Tanizaki Prize in 1985.
Its plot structures 2 parallel stories, happening in 2 different worlds, intertwining with each other. The two storylines converge, exploring concepts of consciousness, the unconscious mind (or as it incorrectly referred to, subconsciousness) and identity. [This is a good inspiration for me on how to construct my narrative in my film.]
i can't believe the name of "J. G. Ballard" appears in it - i feel that my life is now constantly surrounded by his name.
. i like Murakami .