「我懷疑你是要偷渡!」 是陳界仁被AIT簽証面試官羞辱後所發想的創作計畫。http://ccjonstrike.blogspot.com/
希望陳界仁對後帝國主義老大心態的批評從美國開始但不停在美國。接下來的第二個計畫應該把台灣放在對應於美國的位置去理解台灣發給簽證時的惡形惡狀，在台灣的脈絡下這第二個計畫應該可以讓性別議題更有效地發酵。
September 30, 2008
September 24, 2008
臨別前的告別/葉啟政
從郭笑芸導演那邊看到葉啟政的退休感言，是他回顧學術生涯的感想。他對教學的感觸裡有一份謙沖和自律，某種程度我也同意使命感的確是某種干預性的介入，但已經在這個位置上，撇清介入和干預其實太天真也太矯情，甚至可以成為一種不負責任的託辭。當然這是一種平衡，問題在於平衡的基準在哪裡、條件是什麼、對象又是誰。
＊＊＊
http://blog.yam.com/shiaoshiao/article/10871005
......擺在學術領域來說，這樣的自我表白，毋寧地是對著韋伯所說之學術做為志業的說法的一種另類詮釋，也是一種另類的對話。在我所理解的架構裡，學術做為志業的說法，乃是企圖讓大學教授對其生涯的期待走出無奈而流俗地向體制無條件屈服之「職業」角色所設定的慣性，而有著更深厚根植之文化性的自我期許與肯定。按照韋伯的意思，這是一種倫理性的說法，有著恢宏的心志意圖與心理期待的，然而，卻剔透出一種謙虛的態度，因為他並不強調大學教授一向自許之作為知識分子的強烈「使命感」，甚至對它還是質疑著。依我個人的見解，以去除「使命感」、或謂以對「使命感」質疑的態度來確立學術倫理觀，基本上是強調具自我反思與自我節制的戒慎修養態度，是一種美學的轉折表現，於是乎，倫理與美學產生了交集。在今天這樣一個如 MacIntyre在其著《德行之後》中所意圖指出的倫理被個體化的時代裡，這樣的交集無疑地有著更為特殊的意義。對我個人而言，三十年來，這樣企圖在倫理與美學之間謀求某種的統一，更是一再實驗、也是嘗試證成的生命目標。
這也就是說，三十年來，我一直對自己所扮演之職業角色調整著自我期許的方向。已經有一段相當的時間，在態度上，我已是相當堅定地認為，不能以學術作為一種企圖創造歷史與改變社會之「使命感」職志的恢宏期待來看待自己在大學教書、寫作的工作。沒錯，承擔創造與改變時代的使命感，一向即是知識分子宣揚、也是肯定自己之社會角色的重要自我期許。然而，我總認為，處在這樣一個一切價值被懸擱而個體性高度膨脹的所謂「後現代」的歷史場景裡，這樣的期許，當然依舊令人感到偉大，也應當給予以尊敬，但是，我總覺得太過沈重，尤其，它有著一不小心就會造孽的風險，自認難以擔當......。
＊＊＊
http://blog.yam.com/shiaoshiao/article/10871005
......擺在學術領域來說，這樣的自我表白，毋寧地是對著韋伯所說之學術做為志業的說法的一種另類詮釋，也是一種另類的對話。在我所理解的架構裡，學術做為志業的說法，乃是企圖讓大學教授對其生涯的期待走出無奈而流俗地向體制無條件屈服之「職業」角色所設定的慣性，而有著更深厚根植之文化性的自我期許與肯定。按照韋伯的意思，這是一種倫理性的說法，有著恢宏的心志意圖與心理期待的，然而，卻剔透出一種謙虛的態度，因為他並不強調大學教授一向自許之作為知識分子的強烈「使命感」，甚至對它還是質疑著。依我個人的見解，以去除「使命感」、或謂以對「使命感」質疑的態度來確立學術倫理觀，基本上是強調具自我反思與自我節制的戒慎修養態度，是一種美學的轉折表現，於是乎，倫理與美學產生了交集。在今天這樣一個如 MacIntyre在其著《德行之後》中所意圖指出的倫理被個體化的時代裡，這樣的交集無疑地有著更為特殊的意義。對我個人而言，三十年來，這樣企圖在倫理與美學之間謀求某種的統一，更是一再實驗、也是嘗試證成的生命目標。
這也就是說，三十年來，我一直對自己所扮演之職業角色調整著自我期許的方向。已經有一段相當的時間，在態度上，我已是相當堅定地認為，不能以學術作為一種企圖創造歷史與改變社會之「使命感」職志的恢宏期待來看待自己在大學教書、寫作的工作。沒錯，承擔創造與改變時代的使命感，一向即是知識分子宣揚、也是肯定自己之社會角色的重要自我期許。然而，我總認為，處在這樣一個一切價值被懸擱而個體性高度膨脹的所謂「後現代」的歷史場景裡，這樣的期許，當然依舊令人感到偉大，也應當給予以尊敬，但是，我總覺得太過沈重，尤其，它有著一不小心就會造孽的風險，自認難以擔當......。
September 17, 2008
孤獨
2003年四月一號，我在家裡考資格考，九點五十分打開outlook準備迎戰十點整從系上寄來的考題。然而令我震驚錯愕的信件不是題目，而是在香港的學姊寄來張國榮自殺身亡的消息。整整十幾個小時腦袋一片空白，無法閱讀無法書寫，超現實的悲劇讓人找不到述說理解的語言。我們永遠都不會知道哥哥為什麼縱身一跳，事情也許不過就是一種選擇，如同我們生活裡所做出大大小小的選擇，只是路徑是生死。
上youtube回憶張國榮凝結成永恆的俊美，在回顧葬禮的影像紀錄裡看到了梅艷芳，或許當時，她也已經做出某種選擇。
上youtube回憶張國榮凝結成永恆的俊美，在回顧葬禮的影像紀錄裡看到了梅艷芳，或許當時，她也已經做出某種選擇。
September 9, 2008
Keep record: On Sarah Palin
So looking forward to this discussion.
FLOWTV: CALL FOR PAPERS
Hockey Mom or Sarah Barracuda? Addressing the Media Coverage of Sarah Palin
In light of the overwhelming surge of discourse following John McCain's selection of Alaskan Governor Sarah Palin as his vice-presidential running mate, the editors of FlowTV invite submissions dealing with the media treatment, reaction, and handling
of Gov. Palin as a politician, a woman, a "Hockey Mom," a wife, an Alaskan, and a Conservative. We hope the following quotes serve as a jumping off point - what we view as some of the most poignant examples of the recent media treatment - but we encourage submissions to look to viral video, spoofs, celebrations, editorials, Facebook status updates, blog entries, and myriad other sources of coverage.
Submissions should be between 1000-1500 words. Because of the topicality of the particular subject, we welcome submissions as soon as possible, and no later thanSeptember 30th. While we seek neither diary entries nor diatribes, submissions need not be overly formal or academic, and we encourage the incorporation of images and video. Additionally, we encourage alternative perspectives from students,
non-Americans, bloggers, etc.
Please send submissions and inquiries to Anne Petersen
Co-Coordinating Editor
For more info, seehttp://flowtv.org/?p=1711.
FLOWTV: CALL FOR PAPERS
Hockey Mom or Sarah Barracuda? Addressing the Media Coverage of Sarah Palin
In light of the overwhelming surge of discourse following John McCain's selection of Alaskan Governor Sarah Palin as his vice-presidential running mate, the editors of FlowTV invite submissions dealing with the media treatment, reaction, and handling
of Gov. Palin as a politician, a woman, a "Hockey Mom," a wife, an Alaskan, and a Conservative. We hope the following quotes serve as a jumping off point - what we view as some of the most poignant examples of the recent media treatment - but we encourage submissions to look to viral video, spoofs, celebrations, editorials, Facebook status updates, blog entries, and myriad other sources of coverage.
Submissions should be between 1000-1500 words. Because of the topicality of the particular subject, we welcome submissions as soon as possible, and no later thanSeptember 30th. While we seek neither diary entries nor diatribes, submissions need not be overly formal or academic, and we encourage the incorporation of images and video. Additionally, we encourage alternative perspectives from students,
non-Americans, bloggers, etc.
Please send submissions and inquiries to Anne Petersen
Co-Coordinating Editor
For more info, see
keep record
Sounds like a very interesting conference, esp two panels which specifically deal with post colonial issues as expressed by artists.
http://www.goldsmiths.ac.uk/postcolonial-studies/afterlives.php
[Theme]
In recent times some scholars have proclaimed that postcolonial theory has exhausted its critical energies- at the very time that it has been taken up by scholars and activists not located in English or Literature departments, the area where postcolonial theory made its early impact and sometimes found an institutional home. The Centre for Postcolonial Studies at Goldsmiths is organising a conference on the “Afterlives of Postcolonialism”- the ‘after’ referring both to its life/lives after the proclamation of its death, and also to its life after/outside the study of literature. In what ways can/has postcolonial theory been taken up by artists, architects and scholars of art and architecture, by those who study politics, anthropology and sociology, and area studies, and to what effects? Does it merely provide another way of ‘reading’ texts, to does it have the potential to destabilize and reconfigure practices and disciplines? And what happens to postcolonial theory when it moves into politics, art, sociology, and area studies; what mutations does it undergo, or need to undergo? Drawing upon speakers from a range of geographical (India, the U.S., South Africa, Palestine, the U.K.) and disciplinary locations (everything from architecture to art, film, music, politics…), involving practitioners as well as theorists, this conference asks whether postcolonial theory still has any life in it- and what sorts of lives it is leading once it travels outside of literature.
http://www.goldsmiths.ac.uk/postcolonial-studies/afterlives.php
[Theme]
In recent times some scholars have proclaimed that postcolonial theory has exhausted its critical energies- at the very time that it has been taken up by scholars and activists not located in English or Literature departments, the area where postcolonial theory made its early impact and sometimes found an institutional home. The Centre for Postcolonial Studies at Goldsmiths is organising a conference on the “Afterlives of Postcolonialism”- the ‘after’ referring both to its life/lives after the proclamation of its death, and also to its life after/outside the study of literature. In what ways can/has postcolonial theory been taken up by artists, architects and scholars of art and architecture, by those who study politics, anthropology and sociology, and area studies, and to what effects? Does it merely provide another way of ‘reading’ texts, to does it have the potential to destabilize and reconfigure practices and disciplines? And what happens to postcolonial theory when it moves into politics, art, sociology, and area studies; what mutations does it undergo, or need to undergo? Drawing upon speakers from a range of geographical (India, the U.S., South Africa, Palestine, the U.K.) and disciplinary locations (everything from architecture to art, film, music, politics…), involving practitioners as well as theorists, this conference asks whether postcolonial theory still has any life in it- and what sorts of lives it is leading once it travels outside of literature.
September 7, 2008
花吃了那女孩
http://blog.sina.com.tw/candyrain/
許多年前貓在鋼琴上昏倒了，現在花把女孩吃了。意識形態廣告公司出身的陳宏一的第一部劇情片。看完宣傳片段，感覺畫面和聲音都很MV。以四個短片組成的劇情結構，偏重視覺感降低敘事濃度的選擇有邏輯可循。電影還沒看就先買了原聲帶，屬於飄渺無重力的那種好聽。聽說過關於攝影師的二三事，劇照之外特地獨立拍攝的攝影展應該也會蠻有趣的。
[上映戲院]
台北
信義威秀影城(台北市信義區松壽路18號)
美麗華-大直影城(台北市中山區敬業三路22號6樓)
絕色影城(台北市萬華區漢中街52號)
學者影城(台北市長春路176號)
新竹
大遠百威秀影城(新竹市東區西大路323號8樓)
台中
德安威秀影城(台中市東區復興路四段186號4樓)
台南
大遠百威秀影城(台南市中西區公園路60號8樓)
高雄
大遠百威秀影城(高雄市苓雅區三多四路21號13樓)
***
｛花與女孩｝攝影展 les fleurs, les filles
8/31 – 9/18 法雅客信義店（新光三越A9館B2）
9/6 – 9/15 法雅客台中店（新光三越9F）
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