癌症病人的一絲希望

參考文章:
Mr.6的天底下沒有「專家才能做」的事
ZDNet 的 "How a software engineer tried to save his sister and invented a breakthrough medical device"

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【轉錄】CNEX紀錄片《1428》勇奪66屆威尼斯影展地平線單元最佳紀錄片

由CNEX基金會出品，華人優秀紀錄片導演杜海濱拍攝，以四川地震為題材的紀錄片《1428》，在9/12日勇奪第66屆威尼斯影展「地平線單元競賽」的「最佳紀錄片」，成為本屆威尼斯影展至今唯一獲獎的華語影片。評審團表示，《1428》在面對國家級的災難，影片以冷靜、不煽情的語言，記錄了事件的多個面向，包括了災後的生活等。《1428》製片人蔣顯斌表示，CNEX感到榮幸能再度支持杜海濱導演的拍攝製作。導演杜海濱則希望身為一個紀錄片工作者，透過詳實的記錄為災難與傷痛做出一點貢獻。

《1428》是CNEX以及杜海濱繼2007年的《傘…》之後，二度向地平線單元叩關，更首度成功奪下最佳紀錄片大獎。導演杜海濱表示，面對這樣大規模的災難與傷痛，不禁問自己身為一個紀錄片工作者能為社會做些什麼？或許透過對事件詳實的記錄，是我們能做的一點貢獻。CNEX執行長，同時也是《1428》製片人蔣顯斌則說：「本片代表了紀錄片工作者對於死難者的悼念與生者的關懷，也很榮幸能夠再度支持杜海濱導演的拍攝製作。」

《1428》的片名，來自於地震發生的14點28分。杜海濱希望透過這樣的片名，清晰的表達出自此開始，人與環境展開的一連串變化與反應。杜海濱在威尼斯表示，《1428》的拍攝是相當震撼的經驗，更與以往自己的創作不太相同。不僅是生平首度面對這麼大的一場災難，而餘震不斷的拍攝現場，更是首度身處在具有高度危險中的拍攝經驗。杜海濱並表示，該片在汶川拍攝之後回到北京，在CNEX的再次介紹下，與法國著名導演侯麥的剪輯師瑪莉斯蒂芬見面。聽完杜海濱對於影片的描述，瑪莉同意協助杜海濱來處裡後期的剪輯，這也是雙方繼2007的《傘…》之後第二次攜手合作。

CNEX基金會執行長蔣顯斌表示，《1428》是CNEX的2009年度主題「下一代的家園」的監製影片，這份榮耀代表責任的重大，希望《1428》能讓全世界透過影像了解到中國四川地震的重建過程，將遠比得獎更為重要。CNEX營運長陳玲珍則表示，《1428》不同於以往電影投資的概念，CNEX的投入在於提供導演與攝影師的支援，重點在於資源整合。只希望能夠透過這樣的平台，發掘各方優秀的影像工作人才，製作出代表華人發展的優質紀錄片。

蔣顯斌強調，CNEX本著紀錄片的社會意義，希望透過十年百部紀錄片的方式來記錄華人世界的思維觀點與社會真實。《1428》不僅代表了CNEX的創始意義，威尼斯的得獎更肯定了CNEX製作與拍攝的水準，能夠引起國際的注目與共鳴。未來CNEX將一如既往的支持紀錄片導演，堅持拍攝優秀的紀錄片。也希望觀眾能夠透過影像的欣賞，開啟討論與思想的空間。(轉錄自CNEX Group on Facebook)

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Dan Pink on the surprising science of motivation @ TED Talk

Unbelievable but true. DO NOT MISS THIS VIDEO.

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The Rethininking of Storied Navigation and online videos

Today I got this message from one of my friends, saying that there's a online video service-providing company who has asked for something similar to what Storied Navigation does. It sure is something exciting.

Indeed we are stepping into (or literately LIVING IN, if you agree) the digital age. As what Chris Anderson wrote in his recently-published book Free: The Future of a Radical Price, computation power, storage, and bandwidth, are becoming cheaper and cheaper. They're becoming so cheap that they're all gonna be free soon, like very soon. And that video will become the major form of media online is no more a prediction, but something happening right now. Search is certainly the first-priority problem which needs to be solved, but when do we envision it to happen: where users need more than watching individual clips at a time or posting one clip in one tweet/blog post, and look for a series of clips to construct the so-called "flow" or even "perspectives", captured by the idea of StoriedNavigation?

YouTube is not doing too bad. It has its own social network, it has keyword recommendation (or maybe even collaborative filtering), and people ARE watching one after another clips on youtube via all the resulted hyperlinks that are shown to you. What StoriedNavigation provides is a thematic approach of finding out how the story could proceed in the way that some perspective can be constructed during the process of walking through the video corpus. If YouTube would ever want to acquire this kind of functionality in its service, I suppose it'd because they somehow discover that the meaning or motivation of consuming online videos has shifted from entertainment, introduction, promotion or marketing, and all the traditional purposes in broadcast systems, to somehting more twitter-like: snippets of ideas, observations, or emotions?

In other words, what we'd be interested in finding out is, thus, "Is the usage of the media form of online videos becoming more and more instant and fragmented, just like microposts on twitter that originate from the longer blogposts in the Web2.0 construct, or even the more formal html webpages in the Web1.0 world, so that a different mindset of using these these fragmented clips will emerge, e.g. people will take advantage of online videos in a different way, and also manage the videos in a different way?" If the answer is Yes, then is a novel mechanism that allows users to collect and make up streams of fragments that symbolize their streams of thoughts, going to be useful to most people at all?

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Ideas on 雲門's 行草三部曲 & 董陽孜x書法紀錄片

Just like to share with you some ideas I got from 雲門's 行草三部曲 that i went to see two days ago..

This whole notion of the "cursive" chinese calligraphyical art to me, seems so much like the characteristics of our culture that is prevailing in our daily lives: from how we talk or interact, how we move, to our architecture, our urban layout, and so on so forth.

It is composed of flexibility (or even irregularity), 留白, humbleness, 應對進退的拿捏, .....and so many things specific to our culture.

So it occured to me, when I thought about the possibilitiy of telling a story about chinese calligraphy/characters:
How do we capture these essential elements shared by the dancing, the writings, and all these other activities or objects in our culture? Or are we going to be able to illustrate the way the audience's emtional feedback resonates with (or be analogous to) the calmness or joy they get when writing calligraphy? These are the questions I would think important to think about when we try to put together things into a story.

To be more specific, when we interview people that are not themselves professional calligraphers while interacting with calligraphers greatly, what kind of conversation would we wanna have with them? How are we going to set up the contextual environment, such that the important notions that we want to touch upon under this whole chinese-culture umbrella, can be clearly identified and examplified? To answer these questions, we may also want to clarify our potential perspectives towards this topic, in order to know what we want (or don't want) to explore.

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