萌系御宅的社交和戀愛現狀

整个thread都不错.
香港台湾论坛的学术气氛.

学习就是一个不断消除偏见, 假设, 和非法逻辑的过程.
需要说的话会越来越少, 只得微笑.
现在觉得老人无语之时未见得是体虚
怕更多是神定.

可以说非常成功.
SAC才是王道啊.

电话了在T市的侄女,
泣不成声的她,
故事里正在重复我那段青春期,
虽然只能用英语交流,
彼此亲近感却一直存在.

之后她收到我寄去的anime/音乐碟套装,
喜不自禁, made her day.
我喜欢的, 她也.
我成了她的知心.

不论之前的decades中远隔万里,
彼此不知.
血缘/亲情到底是最终极的纽带.

不光真正的亲情,
对自己献出/令自己感受到亲情般感情的人
也是要永远珍惜的.

数月前十分上当地跟了<蜂蜜四叶草>,
完全不兼容. 而80后对其则统一赞誉.
不是因为其散文性, 而大约是除了部分唯美静画,
技法(视频/音频)上除了不太使用对比色之外
(这点也不是我喜欢的)没有任何圈点之处.
一大批年轻声优也表现平庸.
此外第一季看起来比较悲剧性的作品,
却不断内插早期Q版无厘头元素,
权当紧急安慰剂, 在我看来却SB之极.

开始<nana>.
因为先睹了影版,
多了不少注意力到技法上.
除了那些传统日剧/anime大约出于省钱目的
塞进去的直挺挺信息化对白,
小处倒有些圈点的视音频设计.
一再显出日本的小处着手.

第8话, nana二人去便利店采购,
站在玻璃门口对话, 镜头放到店内,
话音则被低通滤波,
模拟玻璃门后的听觉效果.
印象中很少有作品会做到此细节.
而如果是TV/movie场景则一般无须此处理.
DAFx在anime中果然是用处多多.

曾经自认为比较细致,
跟一郎比起来, 我简直大根一只.
老板确实是北美+日本啊.

连载艺术作品, 如同高级语言写出的顺序程序,
角色都有型别(拥有不同域的结构体),
初期这些角色变量被声明, 部分结构域被初始化赋值,
另一部分域被延迟到后期赋值.
或者说变量通常先被声明(无值, 留给观众想像),
在后期适当时机赋值(譬如身世).

若要有丰富的剧情和自圆其说, 要尽量在
程序开始声明相当数量的变量, 过多的中途声明则就像扯淡了.
不似现实中的程序, "初值未定"不是危机而是灵魂.
挑战于是变成如何随后选择变量赋值的时机, 并避免赋值后的各变量关系
产生逻辑矛盾, 否则在观众思维中的观赏程序将非法终止(异常? 非法传输协议?),
观众的异常处理程序也许有多样, 但默认处理是
print "it sucks!"或者sound("it sucks").

"赋值"的更准确的说法是运算, 许多域只是由其余变量的已知
域经过计算导出的结果. 只是, 程序通常包含非线性运算, 于是
产生了托尔斯泰之类的牛人在创作中通过初期的非线性网络设计,
通过自组织, 令变量逐渐有了生命.

生命的妙趣横生来源于网络中点滴的离散运算.

艺术与科学相生.

前些时候在朋友blog上先后看到给男人看的"男人的感情错误"和给女人看的"精品女人的条件"之类的灌水贴. 不由问到, 是不是该雌雄同体了? 而且, 内心给了肯定答案.

高中年少看到david bowie的经典同体舞台造型不屑一顾, 待到bowie娶名模产子, 也曾发出所谓同性恋不过是将繁殖推迟至50岁而已酱紫的轻狂. 但从迷上bowie, suede, lennox, 仙音, K歌要男女通吃, 幻想横跨男女声优两界, 到近年不可收拾地爱上女同影视动漫到认为女同性恋是人间最干净美好的爱情到承认....雌雄同体的合法... 我是不是已经走到了反社会的边缘? Ok, 有这话说明还在结界之内. 此外...对男同志之认同亦未到女同地步也算本人叶公证书一本吧.

没有研究过专业文献. 只是空想中, 性是社会关系的关键因素. 同性恋依然是脱不了这干系. 看着一个个传统坐标系里中性化的文化形象, 如果把当今这种时间表式的人生轨迹视为后现代对生物钟的宏观流程控制, 再加上生化/数字技术的微观自然改造, 原始生物性不免要消灭(变异)一部分; 模块化的社会结构, 零件隔离的物件导向感, 从酒后寻欢的零星地理据点, 到second life这样可以预见的虚拟社区, 到未来的纯数据/信号交流, 人被一步步物理割据. 当性被科学实现为纯官能刺激, 当精神情人/性伴侣可以DIY, 实际上还不够de-socialization, 还是对外界的依赖, 那么雌雄同体就是脱离传统社会性之前的结界了吧.

bowie早知道这些了的样子.

也许, 这只是一种态度; the future isn't now.

不过, 那些星球背面掩人耳目嫁娶生子的芸芸, 当和家人看到越来越多各怀鬼胎的同性恋电影,
会作何感想呢... 会同星球正面那些人在曹营的君子们一样, 一再忆起一生一次的爱情么?


P.S. 一郎极为反对使用Mr., Miss之类的称呼, 反对性别主义. 粉可爱.

-- 写在这个周末看<植物学家的中国女孩>之前

Jonathan Abel: Roland RE-201 Space Echo的数字模拟

• 基于弹簧模型的physical modeling, 十分直观的混响/延时类比
  
• realtime效果很棒, 一段比较lo-fi的箱琴loop顿时变成所谓仙音吉他

Trevor Pinch: 60-70's合成器历史

• 如同windows和unix之争一样, 当年也有Moog和Buchla的战争. Moog的启用keyboard作为UI的重要决策和Buchla坚持用旋钮布线追求total control. 于是结果和OS战场是相似的, Moog成为了改变老百姓生活的大英雄, Buchla成为geek和avant-garde小小众精神领袖.
• beach boys是记载中使用moog第一人("good vibrations"). 但有趣的是, 这首歌的录音室版本用的其实是更先锋的theremin, 只是因为现场调试操作难度太大怕搞砸, 于是机缘巧合之下live用了moog, 就此粉墨.
• moog本人对自己的合成器被beatles们搞成迷幻乐专用设备十分郁闷. 他原先的想法仅仅是和早期合成器实践者的一样简单: 让电子管能演奏巴赫.
  
• 女键盘手的历史可以追溯到moog / buchla时代, 最终成为文化. 合成器也成了流行界女性virtuoso的一把尖刀.极端例子参见Belinda Bedkovic.
• Star Wars是第一部使用合成器的电影.
• 伴随日本合成器/游戏产业的倾销, 模拟合成器之声停留在吾等脑海成为meme, 周期性卷土重来.
  
• 合成器模糊了流行与古典, 音乐与噪声, 科学与艺术的结界.
  
• 合成器的历史是一种声音的产生, 存储, 传递, 重建, 消费的运动.

Simon Pressey: Game Audio

• Ubisoft音频组长, 演讲风格形散之极.
• 游戏音频的圣杯: 实时语音合成
• 由于目前动画全面采用粒子合成, 使得这一技法的鼻祖音乐有了用武之地.
• metadata辅助游戏音频
• 内容动态生成波及音频
• 物理合成静待CPU发展
• ambient音乐机器创作已投入
• 商人没时间圆游戏音乐人的美梦

贴个声音装置.

Water surface as a cheap music controller

Link	Artist	Title	Album
1	Julian Bream & John Williams	Enrique Granados: Danzas espan	Together
2	Jean Claude Risset	Sud a.	Sud. Dialogues...
3	Jean Claude Risset	Sud b.	Sud. Dialogues...
4	Jean Claude Risset	Sud c.	Sud. Dialogues...
5	川井宪次	Kaze No Hajimari	OST<风人物语>
6	折笠富美子	39.5℃	flower
7	Pat Metheny & Brad Mehldau	Ahmid-6	Metheny Mehldau
8	Pat Metheny & Brad Mehldau	Summer Day	Metheny Mehldau
9	Pat Metheny & Brad Mehldau	Say the Brother's Name	Metheny Mehldau
10	Pat Metheny & Brad Mehldau	Make Peace	Metheny Mehldau
11	Animal Collective	Whaddit I Done	Sung Tongs

Comments

1. 对尼龙弦质感的喜爱似乎与生俱来. 西班牙音乐家/画家enrique granados的这首金曲的最佳诠释似乎还是本国romero家族的版本, bream和williams黄金搭档的演绎与los romeros相比多了一份classical的雕琢, 不知怎地亦多了些许凄美.
4. risset大人85年作品, 作品分析见Sud Jean-Claude Risset: an analysis - Giselle Ferreira
• #2: http://www.anppom.com.br/opus/opus8/gisele/gistext.htm#First%20Movement
• #3: http://www.anppom.com.br/opus/opus8/gisele/gistext.htm#Second%20Movement
• #4: http://www.anppom.com.br/opus/opus8/gisele/gistext.htm#Third%20Movement
5. 押井守 / 川井宪次出击掌声志在必得. <风人物语>一反押井的政治文字片高压风格, 讲述几个中学生学习操控风的故事, 问着每个人都曾问过的问题"酷, 喜欢, 但, 学会了有什么用?" 川井在<攻壳机动队95>中的湿密音响再次浸润视线, 只是这次幽深都市网络迎来了湛蓝的天.
6. 32岁, 折笠富美子厚积薄发的精湛演技终得彰显. 一首萌向的.
10. 老少两大偶像, "expansive sense of lyricism and rhythmic interplay", "Metheny's melodic voice, his continually approaching the euphoric, that holds it all together and makes something utterly moving out of it." "Mehldau's typically understated solo splits the seam and allows the genuine intensity of the cut to come through." -- AMG
11. think about post-producing all folk songs in this fashion....

一个新厂牌的首发作品应该就是如此锐意.
<cowboy bebop>监督渡边信一郎执刀,
manglobe公司的第一部作品<samurai champloo>,
糅合hip-hop和江户文化的武侠动漫,
turntablism横飞的超超戏说,
频繁剪切, 加上近乎电影帧率的画面连续感,
实在是醒脑之作.

然而, 进行到6话左右,
故事开篇时笔笔存在的可视化scratching镜头处理
逐渐减弱,
也证实了我的疑问: 不同于电影, 更接近音乐的
tv / anime这般序列艺术如何在
演进中保持风格和新意的完美统一 ...

然而更想问的是
"我, 一个看官, 喜欢这集这么拍, 我可否现在就动手重构"酱紫的
播出期间实时/渐近优化重构(例如用形式化手段令第7话重振第1话雄风),
乃至与音乐上的remix对偶的影视动漫remix可否实现?

翻唱 / 致敬 / remix 也算是音乐工业的幕间休息组件,
更广义的mix已经是古典世界之外的主要内容,
艺人风格稳定前后的作品是既定框架下的remix.
如果风格首发作品的熵足够大,
受众将严重期待续集式mix.
然而相比之下, 那种咋听完全不一样,
但还能留下"这就是他"的明确印象的mix
往往是上品.

由于图像/音频信息量的差异,
音频创作和视频创作的复杂度不可同日.
没有系统研究应该是不可能想清楚的.
remix首先意味着概念分割, 确定变与不变.
类似<舞HiME>, <舞乙HiME>的成功就在于
实现了一种严肃的remix意图, 锁定了角色名称个性,
角色之间若即若离的情感关系, 基本宇宙观,
而将身份情节主题完全洗牌.
<x-files>编剧chris carter当时也用了外延手法启动了
<millennium>和<lone gun men>三个并发进程,
但其语义距离还远远没有达到<舞(乙)HiME>这种意味.
不过共同的是, 这种形式相比东西<无间道>翻拍类以及搞笑杂烩开涮类的电影作品而言
在tv / anime的世界中显得更为有趣,
你的兴致在一个较长时间内随时都在被挑逗, 陷于"下一个出场的惊喜是什么?",
"什么时候会崩盘?" 之类的专属於remix文化的审美期待.

是的, 哲学意义上的remix涵盖艺术创作和生活的方方面面.
我现在只是想看到视觉上的这个狭义概念能得到和音乐上的
同等创作自由而已 (最好能机械化, 咔咔).

维基怎么说:

沙發 (網路)
维基百科，自由的百科全书
跳转到： 导航, 搜索

沙發是中國大陸慣用的網路用語，其義為「第一篇的回應文」，其來由眾說紛紜，可能是「首發」的諧音，許多網友喜歡在知名BBS、部落格網站，等待發表文章，以搶在在第一時間回應為榮，獲得第一篇回應的位置即稱作坐沙發，這群社群被稱作「沙發族」。沙發族熱衷於搶坐沙發的動機，一種說法是在網路上獲得親近名人的滿足和網友的認同。

類似的概念，台灣網友一般則用「頭香」一詞表示「第一篇的回應文」，典故來自民俗慶典活動插頭香。

其他说法(转自不许联想)

很久以前，有个成人论坛，据说服务器在加拿大(kakyo: 汗一个)，现在已经关闭了。有个人发了一段美女脱衣的视频，回帖的人说，爽啊爽，要坐在沙发上打手枪，后来凡是第一个回帖的人就把这个意思简化为沙发二字了。又过了些时候，沙发一词流传到了非成人论坛，大家看第一个回帖的人都喊沙发，于是纷纷效仿，包括不少女孩子……后来更发展到徐静蕾在电视上坐沙发……

有没有酱紫的summary软件:
按照个人喜好把那些高度模板化的八股文(比如碟评, 观后感)
里面的实质内容自动列成bullet形式, 最好是树状的.
感觉对当今的中文碟评而言, 很好实现.

越来越觉得文字碟评已经变成数码空间的太空垃圾,
最好是有audio summarization + visualization作替代品.
特别是电音作品, 给个spectral flux图足矣.

i'm a lucky person.
i'm lucky because i watch only 2 films a year but they both work perfectly for me and for some other people.
(the other one was <the color of money> these two are the ones in which tom cruise hadn't given up his career as an actor (as a reward, he got nominated for oscar with both of these). and the motivation for me to pick these up was the bad name of mission impossible III, lol)

below is from an IMDBer:
-----
Don't overlook the story, 14 February 2002
9/10
Author: Drew (andrew7@erols.com) from Stratford, NJ USA

You've heard the express "can't see the forest for the trees", right? It refers to someone who gets so caught up in details, they miss the big picture. Reading other comments on IMDb regarding "Born on the Fourth of July", I think people have the opposite problem with this film. So many people seem to get caught up in talking about Vietnam, war, Nixon, America, Communism, and hippies, that they totally overlook Ron Kovic.

Ron Kovic is the center of this film. In "Platoon", war was the center, and the central character (Charlie Sheen's Chris Taylor) was merely a POV character through whose eyes we could see war. Not so in "Born on the Fourth of July". Vietnam is the setting, the context, and the backdrop. But Ron Kovic is the story.

Oliver Stone really understands a character arc. Look at Kovic's life, where it starts, where it ends. The film is the journey, how he got from A to B. It is a dramatization of a life, as opposed to an actual life, but it still rings true. It feels true. It reaches an artistic level of truth, even if some literal truths are overlooked, distorted, or rearranged. That's what Stone is trying to do. People who quibble about the facts miss the point. (This is a theme I will take up again when I review some of Stone's other films, as Stone is constantly being bashed for historical inaccuracies.) The connections from one point to the next work admirably, and the progression is completely believable, which is quite a feat for such a dramatic change of attitude (compare to "American History X", where the main character goes through a similar about face with scant motivation).

Anyway, what impresses me about this film is the honesty and respect with which Stone presents the opposing views of the film. Say what you want about Stone's political beliefs, but the argument in this film is presented in a very neutral light. It's a story about Kovic's choices, Kovic's politics, Kovic's judgments. And the anti-Vietnam beliefs he finally supports in the final act are a very natural and believable outcome of the story. This film isn't anywhere near as didactic as some people like to imagine.

The tragedy of Oliver Stone is that, because he has been so edgy, so controversial, so deliberately provocative, no one can really just sit down and, with a neutral eye, watch his films. They have become so burdened by this giant, irrelevant, political squabble. The films have been subsumed by the very issues they sought to raise. And it's a shame, with this film especially, because it is excellent.

Tom Cruise gives possibly the greatest performance of his career (I can't think of anything that tops it, though his performance in "Eyes Wide Shut", for very different reasons, is just as remarkable). The script is fantastic, taking time where it needs to take time, but not overly deliberate in its approach. It's very economical with time. It knows what each scene needs to say, and says it without any excess baggage, wasted space, or dead time. The direction is excellent, as is the editing and cinematography. The supporting cast is excellent.

But this movie would be nothing without the remarkable, heart-rending, true story of Ron Kovic. So, while we admire the technical achievement of the film, while we debate the points raised, while we enshrine or excoriate the director (as the case may be), let's not forget the story. Let's not get so fired up about Vietnam that we forget Ron Kovic. He is the heart and soul of this film.

One final note: I bristle when people call this an anti-war film. That really diminishes it, I think. It's so much more than that. It's not just saying that war is brutal, nasty, and horrific. It's saying something far more specific about a specific war, and about the effect of that war on a specific man.
----

my additional comments

• i totally agree with him in that this film works more as a biography of a man who survived a broken dream through extraordinary physical and mental sufferings. the truth hurts. but victory often goes to someone who is able to say "i was wrong" or even "i am wrong", much like kovic, who stopped cursing fate and started confessing about being a blind patriot, who went all the way in his wheelchair to the tragic family, simply to say "i killed ur son. it was all my fault" (then cried the truest tears). that was the moment when a boy became a man, when a life began.
• like a few other people, it is weird that i choose to avoid being synchronized with the world as well, and always fall behind the fasion by quite a few beats or (in my case) several hundred measures. i saw sth on tv about this film in highschool and it just stayed there like a miracle till i got it here in canada, couple thousand miles away, couple years later. my supervisor said "nothing happened in the 80's", in a sense it is true that there is a lack of contemplation in the flow, when a character "should have" invested more silences and facial work as in the asian movie/tvs with which we have been so brain-washed up. movies in the 80's simply replace these with scripts, most of which started to seem shallow and redundant as their lips started to move because we are so "smartly" ready to read unvoiced audio and visual language nowadays.
• has anybody applauded the audio engineering of this film? there were moments when i was caught by the subtle multiple delays on voices that they were using for the short battle scene and also the acousma that kovic suffered from truth when trying to give a deceiving presentation. there are other short but neat processes there. the original score was also working pretty fluently. i guess that was from a functional john williams back then.
• the scenes when kovic became a drunken loser showed the very weakness of tom cruise's acting, he was too young and proud to shout the words out of a true pain. instead, he was simply spending the energy of a young actor who had just won the pool game in "the color of money" ( sometimes an identical copy of how he did it there). a real pity that gary oldman didn't show up for those parts. it would've been perfect for him to take it over. on the other hand, tom did present some nice monologues with right moves.
• another interesting gadget is the cast section, where people are grouped by scenes. from an information retrieval perspective, this is definitely better than the linear list, which simply throws everything at the audience.
  

抄袭的时代.
代码世界里的auto completion是替代人来输入熵为零用途远大于零的语句, 抄袭正统程序库.
code snippets也可看做是音乐界采样创作在程序界的镜像.
web 2.0的世界里有无数的优秀概念和语句在庞大的语义网中流动,
只有title和ip被不断引用,  但那些极为优美/趣致的, 非输入法记忆能胜任的文字片断若能被做成
公共访问的code snippets,  用于日常写作中的auto completion, 辅以一些随机修饰变异, 应该是有用的.
于是衡量作者/网站的价值将增加一维特征: snippet reference rate.
这样对统计信息流动, 追踪meme轨迹也应该是有价值的.

每天paper里就有不少好看的,
music thing, infomation aesthetics,
乱七八糟的blog..
真的是恨不能炸掉宇宙重整时空规则.

最近终于发现一个稀饭的非科技个人blog...
咔咔~

看到一组乐队名字来历, 不少都知道了, 但还是有些当年望文生义的dd, 所谓的原创几乎没有,
文化概念的遗传变异, 也是meme存在的绝佳证明.

所谓naming其实也就是hash历史到新晋.

死记是存储真实数据
活记是理解记忆/计算记忆, 记一个简短脚本, recall时call此脚本生成数据.

GRADUATE COLLOQUIUM

Jonathan Abel

Center for Computer Research in Music and Acoustics at Stanford University and Chief Technical Officer of Universal Audio

Modeling the Roland RE-201 Space Echo

The Roland RE-201 Space Echo is a tape delay and spring reverberation unit known for its flexible echo effects and chaotic self-oscillation. Introduced in 1973, the Space Echo can be heard on a wide range of recordings, from 1970s Pink Floyd and David Bowie, to countless Reggae and Dub albums, to recent efforts from bands such as Portishead and Radiohead. In this talk, tape delay and spring reverberation are discussed, and a digital emulation of the RE-201 Space Echo is presented.

Friday, November 3, 2006

Room C-209

15:45

Upcoming events: November 10th: Sean Olive, November 17^th: Line Grenier