遠視的一天
顧名思義：體驗遠視的人的生活一天。
方法很簡單，到眼鏡店配一副遠視眼鏡（深度還可隨個人喜好自由選擇），或者問遠視的朋友借，然後戴著一天過正常的生活。
很多人都有近視，也有較少的人有遠視這種眼疾，我本身是個四百多度的近視妹，平日不戴眼鏡的話一切就矇矓得很，要瞇著眼睛去看東西。忽然想，平日戴眼鏡令我的世界變得清晰，那可不可以也試試遠視的世界，看看跟近視有什麼分別沒有。
這是一種新的方法去看世界。
Inspired from：用鍊綁住腳生活
2010年4月30日
Art work idea::
行為藝術－快樂送給您
常常覺得香港人很慘！好像人人都很不愉快，走在街上，刻意留意身邊過路人的面部表情和動作，觀察良久，得出結論是：香港人很不愉快。工作壓力大、人際關係差、沒有找到生活的定位、過著非自己想過的生活……我不認識街上這些人，我也不知道他們不愉快的原因，極其量也只是猜測，但我卻希望做一些事去博取紅顏一笑。
我會準備一堆笑哈哈的公仔或襟章（當然會是便宜的啦），然後夾上一張紙仔寫上祝福的字句，希望這樣做能為他們苦悶的生活增添一點顏色:-P 當然啦，我不是像派發傳單或是基督教團體街上佈道那樣，這樣應該沒有人會理會我:'( 我把這些快樂派發的方法有：
1) 扮執到野
（拍膊頭）先生，你跌左野呀，（遞上祝福小物）祝你日日都開開心心啦:D！
2) 借電話
先生可唔可以借個電話俾我呀?（打俾自己）咦你有電話入喎，（遞電話俾佢，係電話講）祝你日日都開開心心，我有份禮物送俾你架（遞上祝福小物）
3) 借錢
先生有冇散紙可以借俾我呀? （拎出用假錢摺定左既心心，同埋祝福小物）多謝你呀，拿，還番俾你架（連埋佢借出的錢一齊俾番佢）
我知道實際上可能只有(1)係比較可行同容易，但我覺得(2)和(3)更有意義的地方是，對方同樣是個有心人，他的好心得到了好報，反之不肯借錢/電話的人可能就不能接受這份祝福了
藝術能帶給人快樂，能與參加者互動（這次的參加者是被動的接受邀請）
2010年4月11日
2010年3月9日
Midterm artwork - Make up on a paper
Make up on a paper
I’m just thinking why should we apply cosmetics only on faces? Can’t it be applied on any things else? Or even on a plane surface, but not an irregular surface?
So, a crazy idea comes up. I make up on a pure white paper. I imagine there are eyes, nose, and mouth on “her face”; she is a beautiful girl.
Nowadays, most of the women in Hong Kong make up their face before going out. I think this is too much. You can easily imagine how their faces look like after they take off their cosmetics. It is just like… my beautiful “miss paper” taken off her cosmetics – a blank paper.
Let’s get started
Actually I’m not good at making up; I just know the basics and make up when necessary.
I take out all the cosmetics I have.
And of course our main character – miss paper
Finished work
We all can see a “face” on the paper, right? Maybe all the faces of women on the street are just like this…
Part 2 – make up on a mirror
Then, another idea comes up on my mind. What if I make up not on my face but on the mirror when I am making up in front of a mirror? Would it be the same effect? (haha, of course I know it won’t be, I’m not retarded.) Then I can simply hold this mirror in front of me, and make up myself every time when I need. What’s more, I can even make up my friends’ faces in one second. (hahaha…)
Miss cutie apple mirror:-)
This time I hold a mirror and start making up on it…
But then I found some difficulties…
I found the final product very ugly! And even I can’t see myself in the mirror. Also, I should put the mirror very close to my face, which make my eyes hard to focus…
Any suggestions for this miss apple mirror:-(??
Anyway, I found this making up very interesting. And one more time I notice that art is around us. Life is art. Art is not so high, so faraway; art is about every details of our life. Maybe in some sense it’s a kind of dadaism.
2010年3月4日
Dail 達利
如能踏進達利畫的畫
能融掉了鐘講遍夢話
超現實主義 (Surrealism) 起源於二十年代的法國，受到精神分析學家佛洛伊德(S.Freud) 的影響，認為人的真正面目，是隱藏在潛意識及夢境裏的。超現實主義畫家相信繪畫不應受理性及傳統所束縛，於是便嘗試在繪畫中融合現實及內心世界的景象。
The Persistence of Memory
在『記憶的堅持』之中的軟掉的時鐘正是一個代表。『由硬變軟』對人類心理而言通常是一種『越來越糟』的時間感加失望感，對比的心理聯想是食物腐爛、冰淇淋溶化等等意像。於是在我們尋常觀念中冷硬的時鐘在本畫變軟，馬上很容易產生『越來越糟』的感覺；更由於主角是『時間』，更產生對青春白白浪費的恐懼感。所以展示這幅繪畫給人的第一眼印象，往往有一種說不出的恐懼，這正是達利的超現實主義畫風要帶給觀賞者的心理感受。
如能踏進達利畫的畫
能融掉了鐘講遍夢話
超現實主義 (Surrealism) 起源於二十年代的法國，受到精神分析學家佛洛伊德(S.Freud) 的影響，認為人的真正面目，是隱藏在潛意識及夢境裏的。超現實主義畫家相信繪畫不應受理性及傳統所束縛，於是便嘗試在繪畫中融合現實及內心世界的景象。
The Persistence of Memory
在『記憶的堅持』之中的軟掉的時鐘正是一個代表。『由硬變軟』對人類心理而言通常是一種『越來越糟』的時間感加失望感，對比的心理聯想是食物腐爛、冰淇淋溶化等等意像。於是在我們尋常觀念中冷硬的時鐘在本畫變軟，馬上很容易產生『越來越糟』的感覺；更由於主角是『時間』，更產生對青春白白浪費的恐懼感。所以展示這幅繪畫給人的第一眼印象，往往有一種說不出的恐懼，這正是達利的超現實主義畫風要帶給觀賞者的心理感受。
整件事情充滿想像，若能將想像跟實際用途結合；我想做一個時鐘，時分針真的會走的時鐘，但形狀卻是如上圖中的那樣扭曲，質感要非常奇奇怪怪的，例如綿花、糖果、綿綿膠之類，給人感覺徹頭徹尾是一個軟軟的東西，甚至要軟得有點噁心的樣子。
現在街上所賣的時鐘已不如往日般死板，千奇百怪各式各樣的時鐘也有，不知道有沒有賣這個"達利的時鐘"，就算有就算冇我都希望弄一個送給自己，好讓我看到聯想起達利的內心世界與現實的融合，感受那份心理上的恐懼感與失落感。
2010年2月13日
How much do I know about Michael Snow?
聽老師說，Michael Snow是個很偉大的filmmaker，若看過他的片子別人都會讚好，我試著從網絡上找多一點關於他的資料，卻發現關於他的記載不是很多，現在先擱著，遲些讓我再找找看關於這個Michael Snow的資料；我對他確實是蠻有興趣的，他的想法總是有趣。
Michael Snow: A Brief Introduction
By Peter Rist, November 30, 2002
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US). Although Michael Snow practiced as a visual artist in Toronto in the 1950s, Canadian art critics as a whole only began to champion his work after he moved to New York City with his wife, Joyce Wieland, in 1962. In the 1960s, he developed a reputation for being an important innovator in the fields of Pop and Minimalist art, with his “Walking Women” series, and with his film work. Retrospectively, his second film, New York Eye and Ear Control (1964), is now viewed as being a key to the important contrapuntal complexities of Snow’s oeuvre. In it, the improvised, spontaneous, “expressionist” and “emotional” music of avant-garde jazz musicians Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock and Sonny Murray “coexists” with the “classical,” measured, “composed,” and “intellectual” filmed images (in Snow’s own words).
那倒不如說說看過michael snow的wavelength之後有何感覺。
起初是感覺很有趣，有點吸引，有點像舞台劇的做法，感覺平靜。
聽老師說，Michael Snow是個很偉大的filmmaker，若看過他的片子別人都會讚好，我試著從網絡上找多一點關於他的資料，卻發現關於他的記載不是很多，現在先擱著，遲些讓我再找找看關於這個Michael Snow的資料；我對他確實是蠻有興趣的，他的想法總是有趣。
Michael Snow: A Brief Introduction
By Peter Rist, November 30, 2002
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US). Although Michael Snow practiced as a visual artist in Toronto in the 1950s, Canadian art critics as a whole only began to champion his work after he moved to New York City with his wife, Joyce Wieland, in 1962. In the 1960s, he developed a reputation for being an important innovator in the fields of Pop and Minimalist art, with his “Walking Women” series, and with his film work. Retrospectively, his second film, New York Eye and Ear Control (1964), is now viewed as being a key to the important contrapuntal complexities of Snow’s oeuvre. In it, the improvised, spontaneous, “expressionist” and “emotional” music of avant-garde jazz musicians Albert Ayler, Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock and Sonny Murray “coexists” with the “classical,” measured, “composed,” and “intellectual” filmed images (in Snow’s own words).
那倒不如說說看過michael snow的wavelength之後有何感覺。
起初是感覺很有趣，有點吸引，有點像舞台劇的做法，感覺平靜。
然後卻出現了視覺上的強烈對比，利用光與顏色，做到contrast的效果，
觀畢全片不是易事，因其內容老實說頗為沉悶，需要花一些精神邊看邊想artist到底想表達些什麼……
閱全片後第一個感覺是：到底過了多少時間？四十五分鐘？還是我剛才到底於畫面上經歷了多少天多少年月，這樣的時空重疊，加上整套作品的深度，令我一時間腦子需要思考的很多，整套片跟wavelength又有著些什麼關係？
Wavelength，波長，是既有一直存在但我們不去留意的事物，或者說，是我們看不到觸不到的事物，只有透過機器，我們才能看得見。
機器的眼睛，和我們人類的眼睛不同，從機器聽到的聲音、看到的顏色、光影的捕捉，都跟我們所看所聽的不同，這就是攝影機，把攝影機作為一種工具的特性發揮出來，去模仿現實，把機器的特性突顯表露出來，這是頗有趣的一個做法，是一種新的方法去看事物。
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