Taichung 台中市 2014 + 2021 . 第一版和第二版 First and second editions detail
(English below) 從2014年的時候台中蓋了好多的新建築. 也有新的捷運, 新的TRA火車站. 覺得我應該加了這些地方. 也再見天外天劇場. 這個第二版會最終版, 會有100張.
Taichung changed the fastest out of all the cities I've made, and it was long due a new edition. The area around the new City Hall and the TRA Station especially, so I've shown those here. I also had to add the new MRT and the new park at Shuinan. This will be the final edition of the Taichung drawing, limited to 100 prints. It's interesting seeing how much the city has changed, less enjoyable spending ages trying to seamlessly add the new parts in. I didn't really leave enough space for the new MRT but I think I made it work! I don't want to be in a situation where I'm constantly re-doing old drawings so most will be either number or time limited in the near future. Hope you're all staying safe!
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future city drawing 在 李怡 Facebook 的精選貼文
The silent revolution (Lee Yee)
Before democrats’ primaries, except for one or two Hong Kong government officials jibber-jabbering sporadically, major bureaucrats from Beijing and Hong Kong had been very reticent about it. But afterward, Hong Kong and Macau Affairs Office, the Liaison Office of the Central People's Government and Carrie Lam denounced in tandem that the primaries were a breach of the Basic Law, the National Security Law as well as the electoral law, yet without uttering which article of them. Why? Perhaps it was due to another wrongly projected scenario by the Chinese Communist Party. In view of the media being nonchalant about the primaries and Tai Yiuting being unconfident in drawing in one-tenth of the pro-democracy electorate(170 thousand voters), they had thought that citizens were apathetic towards the primaries. If that was what it all amounted to, there was nothing to worry about, and they would surely be glad to see it end in fiasco.
Who would have thought that as many as 610 thousand voters who had kept a low profile would have swarmed the polling stations to take the whole world aback? Though the communist China and Hong Kong hastily took remedial actions right away, it was already too late. The primaries already shocked the world.
A wise young man has called on me lately. He put forward a few questions, the first of which was: Which four among all major events in the past year including 6.9, 6.12, 6.16, 7.1, 7.21, 8.31, siege to the Chinese University of Hong Kong and Hong Kong Polytechnic University do you pick to best encapsulate the entire course of the movement?
My answer was: Being a watcher and critic, I’m far from being able to encapsulate the entire movement, but since the start of the anti-extradition movement, there have been a lot of incidents boggling my mind, or more specifically getting me awakened, while changing my perceptual knowledge thoroughly.
The first event is 6.12. Before that day, I had not believed the extradition amendment bill would be laid aside for the communist China and Hong Kong’s resolve was so decided and the pro-establishment faction, the majority in the Legislative Council, had declared support for it, not to mention the government proclaimed on the night right after the 6.9 one million people demonstration that the Second Reading debate on the bill would be resumed. I was concerned about the safety of the protesters who charged, and deemed the radical behaviors useless. Though I understood why the young people did so, I did not find the valiant attempts in the protests desirable. After 6.12, my conception has altered and the five appeals put forward since have been prevailing.
The second event is 6.28. Nothing happened in Hong Kong that day when leaders of various countries converged for G20 summit in Osaka, Japan. Less than a week before, some young people had advocated crowdfunding 3 million dollars for advertising on front pages of influential newspapers in different languages all around the world. Fundraising aside, based on my half-a-century experience in news publication, it is hardly possible to pull it off. But they did it jaw-droppingly well beyond doubt. Even though the leaders of G20 did not react forthwith, the global attention being drawn to Hong Kong and the Hong Kong’s story being ushered into the international arena by the advertisement are indisputable facts. The thought-provoking courage of the young people reshaped my appraisal of the new generation of Hong Kong.
The third event is 7.21+8.31. This two-in-one incident totally transmuted my impression on Hong Kong police. Citizens come into contact with police officers more than any civil servants. The complexion of the police is the complexion of the city. When police officers become public security officers, Hong Kong becomes a place I am no longer familiar with.
The forth event is siege to the Chinese University of Hong Kong and Polytechnic University plus the District Council election. Before the District Council voting, young people had kept on charging valiantly with support from the public, and some citizens had complained about traffic inconvenience caused by the protests. When the day of election was nearing, the society was surprisingly peaceful. Would ordinary citizens, mostly self-absorbed, support the protest? In the end, the turnout and results of the election were dumb-founding. The misjudgement by communist China and Hong Kong became laughingstock. The Chinese officials in charge of Hong Kong affairs stepped down or got demoted.
Every time my mind was boggled, I came at something in one way or another and was somehow awakened through self-reflection. Looking at the primaries of democrats under the threat of the National Security Law, I realized that Hong Kongers on the whole have completely mutated in the past year. All the events that all citizens can take part have been undergoing fundamental changes. Those who keep a low profile will creep into our view to take us aback.
A silent revolution is ongoing. There is no turning back for Hong Kong. When Hong Kongers reminisce about the current “darkest hour” in future, they will find out that in fact that was the “best time”.
(Lee Yee, a prominent political commentator in Hong Kong who embarked on a career of writing and subediting in 1956, has been contributing unremittingly political commentaries to the local press.)
future city drawing 在 Sonic Deadhorse Facebook 的精選貼文
【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架,附上英文版的介紹。
Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.
Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.
As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.
Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”
Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.
Tristan Bath
future city drawing 在 Juno Lin Youtube 的精選貼文
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EP047 Vlog 120716 - Ghostbusters 2016, Jillian Holtzmann | Sketch by Juno L.
Ghostbusters is a 1984 American supernatural comedy film directed and produced by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. The film stars Bill Murray, Aykroyd and Ramis as eccentric parapsychologists who start a ghost-catching business in New York City. Sigourney Weaver and Rick Moranis co-star as a client and her neighbor, and Ernie Hudson as the Ghostbusters' first recruit.
Aykroyd conceived the film as a project for himself and fellow Saturday Night Live alumnus John Belushi, with the "Ghostmashers" travelling through time and space in the future with magic wands. He and Ramis dramatically rewrote the script following Belushi's death and after Reitman deemed Aykroyd's initial vision financially impractical.
Ghostbusters was released in the United States on June 8, 1984. It received a positive response from critics and audiences and grossed $242 million in the United States and more than $295 million worldwide. It was nominated for two Oscars at the 57th Academy Awards for Best Visual Effects and Best Original Song (for the eponymous theme song), but lost to Indiana Jones and the Temple of Doom and The Woman in Red respectively.
The American Film Institute ranked Ghostbusters 28th in its AFI's 100 Years...100 Laughs list of film comedies. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".
The film launched a media franchise, which includes a 1989 sequel, Ghostbusters II, two animated television series, The Real Ghostbusters and Extreme Ghostbusters, several video games and a 2016 reboot film.
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future city drawing 在 Hand line drawing, futuristic city - Pinterest 的推薦與評價
Apr 14, 2016 - Hand drawing, futuristic city architecture vector scetch + PNG (300dpi) + JPG (300dpi) + EPS (10) + Ai (10) ... <看更多>