For me that’s a beautiful thing. Multiculturalism isn’t just a buzzword, it’s not just something to debate – I am multiculturalism.
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For me that’s a beautiful thing. Multiculturalism isn’t just a buzzword, it’s not just something to debate – I am multiculturalism.

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Someday favorite.
Typecast as a terrorist by Riz Ahmed The Guardian Long Read https://goo.gl/Xkw3rD
“... It was the perfect encapsulation of the minority’s shifting and divided self, forced to internalise the limitations imposed on us just to get by, on the wrong side of the velvet rope even when (maybe especially when) you’re on the right side of it. [...] As I left, he called after me with a question “Bro, what kinda film you doing next?”
I looked at the ID badge hanging from a string around his neck. I told him that I hoped it would be one he liked.”
文字敘述都簡單,卻非常非常真摯的一篇長文。結尾很有畫面,舉重若輕,莫名被亂感動了一把。
Inspired by (x)
“There’s a sort of evil out there. Something very, very strange in these old woods. Call it what you want. A darkness, a presence. It takes many forms but… its been out there for as long as anyone can remember and we’ve always been here to fight it.”
Richard: Henry, how did Bunny die?
Henry: Cats ate his face.
Richard: No, I’m talking about Bunny.
Henry: Cats ate his face.
Richard: Look, will you just put Francis on the phone?
Francis: Hello?
Richard: Francis! How did Bunny die?
Francis: Cats ate his face. Here, talk to Henry. He knows more about it than I do.
[x]

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Dark side of the Force + Comic-Con portraits
19 November. Self-pity, because it is cold, because of everything.
Franz Kafka, Diaries (via fuckyeahfranzkafka)
Our exclusive alternate posters for Noah Baumbach’s Mistress America, designed by midmarauder.
#nicejob
Thanks !!

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Witness this: MADVENTURE TIME
Adrien Brody attempts to photograph his pet Chihuahua
I love him
August 3-5, clippings
[Platform]
+ The 3-D Printing Revolution Harvard Business Review
Platforms are a prominent feature in highly digitized 21st-century markets, and additive manufacturing will be no exception.
Those that control the digital ecosystem will sit in the middle of a tremendous volume of industrial transactions, collecting and selling valuable information.
HBR分析在3D列印急速發展的現在,生產者或服務提供者除了必須重新定義自己的產品/服務,考量在列印技術普及後的種種因應措施,未來最能在3D列印市場展穩腳跟的其實是掌握資訊的平台提供者。 文中用申請專利的數量來證明3D列印的創新狀況,主要的專利申請者大多分布於電子、機械、航太及醫療等領域。 + NBCUniversal Poised to Make Big Investments in BuzzFeed and Vox Media re/code NBC環球集團預計將會大筆投資知名網路新媒體Buzzfeed和Vox Media,爭取更多的數位內容和發聲管道,雙方也可以進行資源的共享,預計會是一筆雙贏的交易。 文中提到,Buzzfeed目前有很大部分的流量來源都來自於社群網站或數位平台,CEO Jonah Peretti 也曾表示未來將會持續開發Buzzfeed在其他管道的曝光空間,這個計劃據推斷在獲得環球的投資後應該可以獲得更驚人的進展。 最後,Buzzfeed雖然會以數位媒體為主要發展方向,但也不排除進軍電視或電影產業的可能性(WOW)。
+ Mutually Assured Content The Awl John Herrman繼續針對未來數位平台的發展提出質疑,有點像之前The Next Internet Is TV的續篇,行文比之前好懂很多,丟出的問題一樣也滿令人玩味的。
I take everything I’m feeling, everything that matters to me. I push all of it into my fist, and I fight for it.
July 31, clippings
1. A thriller with a bisexual male hero? American readers can't handle it The Guardian
筆者抱怨雖然美國已經宣布同性婚姻合法,但他所寫的犯罪驚悚小說卻因為由雙性戀擔任主角,在Amazon US受到許多男性讀者抱怨,理由也很妙,並非因為主角是雙性戀,而是他們覺得介紹應該要提供這個訊息,好「警告」讀者。這個角色設定甚至因此讓原本很有機會的出版計畫落了空。 透過這件事情,作者認為法律上的合法和想法上還是有很大的落差。不過,文章尾聲的一段才是讓人忍俊不禁 :
"There’s a memorable scene in Skyfall where none other than James Bond suggests to his gay nemesis that he might have had sex with men. (Daniel Craig delivers his line – “What makes you think this is my first time?” – as Javier Bardem caresses Craig’s thighs.) I thought that was a cultural moment, evidence of a real shift. A man can be tough, sexy and bi."
XDDD 2. Why are the most important people in media reading The Awl? The Verge 又一篇The Verge Longform的超長超用心專題,資訊量龐大,加上連結出去的文章都是幾篇千字長文,全部讀完至少要花個兩小時。但真的超喜歡Longform的網頁板排版,目前是僅次於The Guardian覺得最user-friendly的介面,只是差別在於Longform的著重美感,The Guardian除了顏色搭配、圖文並茂做的成功之外,在相關連結上也下了工夫,除此之外還有特別能引起讀者參與慾的神奇魔力。 不過像The Guardian在數位平台經營的這麼成功的媒體,大概會是文章主角Awl輕視的對象之一吧。 這篇文章以Awl編輯John Herrman在二月時撰寫的專題為引,討論了在如Facebook、IG、Snapchat等平台當道後,未來媒體的形式將會產生怎麼樣的變化,並在文章後半段花了不少篇幅介紹了Awl這個獨立媒體的背景和體質。雖然現在我傾向對太獨立的傳播媒介持保留態度,並對那種小眾的資訊供給者與受眾建立身分、品味認同的互動關係感到一股莫名的排斥感("The Awl makes a virtue out of its narrow audience when talking to advertisers, calling their readers "indielectuals," a term coined by former publisher John Shankman and which Sicha uses with an exaggerated shudder. According to Sicha, 29 percent of the site’s readers have graduate degrees."),然而他們對平台的觀點--不論樂觀悲觀與好惡--確實兼具洞見與根據。 Herrman在"The Next Internet Is TV"中指出,他認為在未來,由於受眾的閱讀和科技使用習慣改變,主要的媒體將不再經營自己的網路平台,轉而成為如Facebook、Snapchat等社群媒體的內容提供者。這種想像並非空穴來風,除了文中提到的幾個例子之外,Facebook也在今年宣布將推出Instant Articles的服務,已經獲得美方(New York Times, National Geographic, The Atlantic)及英方(BBC, Gaurdian)幾個代表性的媒體的支持。讓社群網站成為更完善的新聞閱讀平台:
"Currently, mobile readers have to click on a link in their news feed with a wait of more than eight seconds for the article to load in another web page – a slow experience in the fast-paced internet world. The new initiative, called Instant Articles, will see stories run within Facebook that the company says will make for a seamless loading experience 10 times faster than the current system."
雖然Facebook也特別強調,Instant Articles會創造媒體與平台雙贏的局面,意謂著不會讓媒體在Facebook制式化的版面上,失去品牌本身的意義("“Publishers can bring all their branding, people should feel that they are on National Geographic or the Guardian,”),但在Longform的文章中,Herrman及另一個Awl編輯Buchanan卻不這麼認為,因為在讀者的眼中資訊只會變得比以往更速食和破碎:
"As more content is published directly onto Facebook, users will gradually lose a sense of who’s producing what. The most consequential journalism becomes just another unit of content in a single stream of music videos, movie trailers, updates from friends and relatives, advertisements, and viral tidbits from sites adept at gaming fast-changing algorithms and behaviors."
他們的另一個憂慮是當媒體從網站轉換到平台,文章就會變得更加讀者取向,為了追求點擊率和廣告效益,撰文者很有可能會集體追著當紅的話題跑,內容因此便得單一化且少了媒體應有的獨立性;或者,更糟的是,媒體還得順應平台的遊戲規則,改變文章的的型態(加入更多影片、圖片等等):
"[...]platforms have their own dynamics. People share content that confirms something they believe or that they want people to believe about them. More arbitrarily, certain forms thrive according to the changing metrics of Facebook’s algorithm: time spent off site, or comments."
大致上Awl提出的憂慮都很令人同意,雖然我對於媒體與平台的結合比較沒有像他們這麼悲觀,其一是覺得媒體平台不會真的消失,畢竟這樣一來便放棄了用視覺創造品牌形象的機會;二來是相信每個不同的媒體,本身就會就相同事件做出不同的表現方式,即便是在相同的社群網站上,不同行文語氣或圖片選擇,或許都是讓讀者感受到「喔我在看的是xxx」、「我在看的是ooo」的關鍵。 在Herrman的文章中,另外發現很有趣的東西是,現在許多品牌或大公司,竟然也開始投資、創設自己的網路媒體。例如在年初進行網站改版,並大動作招募許多知名寫手的邁阿密年輕媒體Fusion,便是Disney及電視網Univision合作下的產物,且據說其中的交易金額超過兩億美元。如此既能"實驗"如何與數位時代的新興族群溝通,又能掌控媒體的力量讓它替品牌發揮影響力甚至代言,說不定會未來娛樂產業新的發展可能之一。
3. Rolling Stone's Managing Editor Will Dana To Depart Advertising Age Everything We Know About the UVA Rape Case [Updated] New York Magazine 2014年底滾石雜誌發表了一篇獨家新聞,揭露在維吉尼亞大學所發生的一宗校園輪暴案,引起各界譁然,維大千夫所指,事件核心的兄弟會更成為眾人箭靶,但文章刊出後幾日,開始有多家媒體跳出來質疑該篇文章的真實性,認為滾石原文使用匿名、只取信單一受害者的說詞、並未針對多項疑點求證,且沒有試圖與強暴犯連絡等可避免的新聞疏失,讓這篇文章的可信度大減。 這個事件延燒了超過半年,中間也有許多當事人跳出來反駁該篇報導,但由於受害人一直未曾真正出面,而且說詞反覆,至今還是無法確認到底是如滾石之前所發表的聲明(但立刻被罵翻)所說,是記者錯信被害人,還是記者在確認故事真實性上過於草率,但從原文和整件事情的發展來看,或許兩者都有一些過失。 滾石在致歉並撤下文章後事情也並未落幕,連翻受到認為被汙衊的校方人員及兄弟會成員控告。因此這次主編突然離開,也被揣測應該是引咎辭職。 原文文章已經被從滾石網站上刪除,換成了哥倫比亞新聞研究所針對這起爭議事件發表的調查報告"Rolling Stone and UVA: The Columbia University Graduate School of Journalism Report",副標題竟是An anatomy of a journalistic failure,已可見哥大對這篇文章的態度。報告書多達上千字,對於每個環節都有很清楚的分析及評估,有時間慢慢來看。 另外,雖然那篇專題在新聞處理上有很大的問題,但不少人仍然相信該受害者真的有遭到攻擊,滾石雜誌和主筆的記者在道歉聲明也都提到,他們擔心這件疏失會讓遭受校園暴力的受害者因此失去站出來的勇氣:
"Sexual assault is a serious problem on college campuses, and it is important that rape victims feel comfortable stepping forward. It saddens us to think that their willingness to do so might be diminished by our failings."

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七月大偷懶#2, catch-up
[Online streaming platforms-catch up] 1. Japan TV Networks to Launch TVer Online Video Platform Variety 下半年度從秋天開始,目前確定至少會有三個串流平台率先在日本啟用,分別是TVer、Netflix和Bonobo,內容上,三者看起來將互有重疊和區分。TVer由五個東京的電視台提供內容,一週10個節目,每個節目將會在無廣告的頻道中供訂閱者觀賞一星期(文中沒有提到是否一定要是訂閱用戶才可以使用);Netflix除了將提供它們的自製節目外,依照之前傳出的消息,也會在地化地播出日本製作的節目;Bonobo則是今年五月才成立的新媒體集團Japan Contents Group (不知道中文翻做什麼)所推出的線上串流平台,內容將由版權擁有者直接提供,除了播放電影、電視節目外,還會有國外及日本的動畫。
有點好奇這三者的提供來源及內容上該如何做區分,若TVer以電視台為主,也許會選擇獨家播出自行製播的節目?既然如此,Netflix和Bonobo的在地節目會從何來、由誰製作?Bonobo目前還十分神秘,但從他們的口號(最接近電影的網站),和集團中的組織來看(有個國外影片進口發行協會),或許會是以藝術片和獨立製片等小眾電影為主的平台?
感覺上,台灣目前最具整合力的線上平台只有MOD和itunes,但在使用上似乎都還不普及,也許多少和大陸的盜版網站太過方便有關,畢竟,如果可以看免費,為什麼還會花四五百元到itunes買片?
2. Netflix China Launch by 2016 Is Uncertain Variety Netflix從年初與中國媒體集團交涉至今,似乎還沒有太顯著的進展。
3. Netflix U.S. Viewing to Surpass ABC, CBS, Fox and NBC by 2016: Analysts Variety
線上串流平台逐漸分食電視的大餅,這個趨勢看來已經再明朗不過。不過這篇新聞中,換算數學的地方還滿有趣的,另外,也呈現出Netflix經營上清楚過人的策略:不是隨點隨看,絕對不播送廣告。 從文中連出的另一篇文章(Why Netflix Adoption of Video Advertising Would Be a Total Disaster)中,Variety便分析Netflix拒絕廣告的決定雖然可能會失去一筆龐大收入,但遠程而言,絕對是這個公司持續成長的關鍵:「觀眾在觀賞線上節目時,絕對會比看電視時更恨廣告。」 文末最後更拿Hulu與Netflix做了對照,點出若Disney, NBCUniversal and 21st Century Fox三家巨頭持續緊抓著廣告收入不放,Hulu便永遠無法成為真的可與Netflix相匹敵的競爭對手。
七月大偷懶, random clippings #1
1. The Secret of Saint Laurent's Success Business of Fashion
如果說高中到大學一年級真的有所謂崇拜的偶像的話,應該除了Hedi Slimane沒有別人了,那個時候是在他回歸YSL之前,離開Dior Homme之後,會認識他是因為貌似也很崇拜他(誰不是?)的ppaper雜誌,從那之後一直固定追蹤他的攝影直到升大學之後。 他的照片總是泛著低調光澤但卻對比強烈的黑白,從過度修飾的時尚攝影,到離開品牌之後為雜誌拍攝的專題照片,再到美國熱情野性的年輕群像,他的作品主題看似一直在改變,事實上卻從未變過:照片中永遠都是纖瘦至不可思議的青澀臉孔,波西米亞、搖滾、叛逆,大概便是高中過度壓抑下需要的養分,後來大學大解放,舉目四顧發現拍這種照片的人多的是,美當然美,但對拍攝者和照片都很想再追問:「然後呢?」視覺疲乏,多少對Hedi的藝術也有些幻滅。 文中對Saint Laurent的成功要素大致分了幾類,大部分都歸功於品牌開發實穿系列的策略,雖然對精品毫無概念,但一件要價6000美金的皮夾克會大賣,直覺而言總覺得和亞洲市場脫不了關係,而回到Hedi本身對年輕人的號召力和個人品牌形象,和從前follow類似新聞的經驗,這類的品牌訊息對亞洲絕對是有吸引力的。這篇報導表面上意圖想要分析Saint Laurent的品牌策略,也提供了數字佐證,卻沒有提到銷售數字的成長從何而來,令人疑惑之外,多少也削減了文章的說服力。 但從文章有三千多篇share看來,過了這麼久Hedi的魅力仍然不減啊!
2. How Do Independent Magazine Make Money? Business of Fashion
又是一個從前很愛,現在有時會很想問「然後呢?」的東西,不過一定得說,獨立刊物盛行確實讓文化和視覺上變得很有活力,在翻閱的過程中也時常會被細膩的紙質、攝影或排版所驚豔,但翻書時的速度畢竟快,被驚喜的時間相較下仍然短暫,最後總覺得決勝負的仍是「內容」兩字。 文中提到定價、廣告等經營方式,在台灣的獨立刊物也很常見。因為追求印刷的品質和刊物呈現,許多不定期推出的刊物定價真的是到會令人嚇掉眼鏡的地步,成品確實也極細膩及精美,從排版到顏色都無可挑剔,但就內容而言,傳達的仍是非常個人的訊息,常常一本書翻完,只覺得被排山倒海而來的個人想法所淹沒,表達上也不一定有尋求理解或溝通的意思,在被極致雕琢的形式下,與其說是一個帶有傳播概念的媒體,更像是一個精緻的藝術品,適合被欣賞、讚嘆,但營利的目的可能得先暫時擺一邊。 但當它自稱媒體時,就會不免令人想汗顏問 :「然後呢?」 文中提到廣告的部分滿令人有感而發的,有種在半夜突然又被提醒建立媒體關係有多重要這件事。如果在發行時沒有足夠的窗口曝光訊息,尋求合適的商業夥伴支持,也許在外人看來,這件產品也會被視為純粹孤芳自賞的東西吧。