• 谷文达：黑金--深圳OCT 2010-10-31 16:35:49
   


• 概念：茶和宣纸都是人对自然的炼金。谷文达用人发制墨，是否算是反现代？ 2010-10-31 17:04:16
   

 

• 20号：Back to the Mac, MBA升级？乔布斯你真要逼我再次出手？ 2010-10-17 00:36:35


• 语文书里的趵突泉... 2010-10-19 15:42:31
  
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• 芙蓉街

• 主席检阅花瓶

Having experienced the pain of disillusion of the late 90s’ “New Economy” of last century, we should look upon the technology and future more rationally. However, new myths are still being constantly produced. It is not the patent only for digital era, but the doom of capitalism. Every day, new internet services are provided, new promotion and entertainment platforms are created, new servers are installed to satisfy the soaring requirement of page-view; investment needs to be increased, and enterprises demand to join the market. Nevertheless, we should ask ourselves how many of those ideas are sustainable, and how many inventions of them are truly required? After downloading the free games to the phone, do we launch them for a second time? Should we use the video for each phone call? Won’t we feel much easier when the video camera isn’t in operation? Will the SNS (Social Networking Services) replace the traditional ways of social intercourse? Would we like to court one another in the virtual Starbucks Café? Will the paper books disappear? Will micro-blogs take place of the role of journalists and help us to come closer to the truth? Can the digital product placement marketing attract the benumbed consumers? Do we like to have our lives surrounded by screens and interfaces? Do we designers have no choice but to become accomplices in worship of consumerism?

Young creative individuals and designers keep on questioning themselves with these doubts. It seems that we are trapped in a dilemma: on one hand, we are celebrating the rich availability of new media and technologies; on the other hand, we wish to help all of us return to ourselves, and the world to itself. Franz Kafka had already demonstrated the terror of alienation caused by modernity to us in his The Metamorphosis. If we don’t rethink it profoundly, the digital civilization might even aggravate the alienation: in Kafka’s time, transforming into a monstrous insect would be exposed to everyone; but today, when we surf the internet, what is hiding behind an avatar could just be anything. Love, sincerity and equality… The pursuit of those universal values is yet the true motivation of the innovations.

DFI, positioning itself as a design school of tomorrow, encourages its students to reflect the meaning of creativity and the responsibilities of a designer. Embracing the future, we believe that creativity can make our lives better, but we shall always remind ourselves who we are and where we go, and the answers will guide us to constantly adjust our heading directions. Like the destiny of Prometheus, carrying kindling and bearing hardship, wandering between optimism and pessimism – perhaps this is the destiny of all creative individuals.

ZYP：“预测未来的最好办法就是设计未来。”——巴克敏斯特－福勒 （”The best way to predict the future is to design it.”—Buckminster Fuller）  

现代传播：请描述一则您对未来中国的绿色想象。

ZYP：很遗憾，我对所谓“绿色中国”的想象一直以来都是自相矛盾的。如果从节能的层面考虑，“绿色”意味着更低的能耗。对人口庞大的中国来说，在公共设施十分完善的情况下，人口高密度地集中于城市无疑是最节能的生活方式——任何事物无需远足即可办妥；任何资源便于共享和循环再生。但从人生存质量的生态性层面考虑，“绿色”意味着个人空间维度的保有，对真正的自然生态的渴望。而这种与大自然的亲近感又比较难在超级大都市中得到保证。所以，我想最理想的状态应该是这两种“绿色”的无缝结合。其实早在1500多年前，陶渊明先生对桃花源的想象就是对这种状态的极佳概括：“土地平旷，屋舍俨然，有良田美池桑竹之属。阡陌交通，鸡犬相闻。”  

现代传播：在您能力以内，您最想改变或最想实践的绿色行动是什么？

ZYP：我正在关注公寓房屋的垂直暖房，如果在家里种菜应该是很有意思的事。垂直暖房的概念是哥伦比亚大学的Dickson Despommier教授最早提出的，我觉得十分有趣。蔬菜瓜果自给自足，还能制造额外的氧气，并且不占用耕地，一举三得。这可比网上种菜绿色多了（并且不用担心别人偷菜）。另外根据多年经验，我发现虽然自己经常想去越野却又不付诸行动——是到了把我的吉普换掉的时候了。  

现代传播：您如何看待绿色创意产业？

ZYP：创意产业的根本目标是为了生产附加价值。我想所谓“绿色创意产业”就应该是对这种附加价值的生产进行反思。我们经常看到过度的包装或华而不实的设计，而在资源被过度消耗的年代，可持续发展性必须成为创意产业界衡量自身的道德标准。当然，“绿色”已经不仅仅是创意产业才需要考虑的问题了。

现代传播：作为设计教育工作者，您如何让下一代设计师实践绿色行动？

ZYP：年轻设计师是敏感的族群，他们也有着强烈的责任感。对设计教育来说，如果在一开始便让学生关注设计中的可持续发展性，他们在未来对绿色设计的推动无疑将是巨大的。早在几年前我们就在教学中引导学生关注个人废弃物品的再设计，并以此为主题举办了第一届珠海大学生创意市集。最近几届的毕业设计我们也以可持续发展的设计为课题，将节能、环保和对全球性思考作为解决问题的条件，让学生从内容、材料、媒体、制作工艺、生产成本控制和销售等多方面综合考虑后，再用自己的设计提出解决的创新方案。 另外我们也在课堂中时刻提醒学生对绿色创意的实现过程进行反思：如果一种包装的设计材料环保但却工艺复杂，如果为了拍摄一条节能宣传片却需要动用直升飞机，那这一切还有什么意义呢？ 

现代传播：您对未来绿色中国有什么期望或者梦想？

ZYP：“绿色中国”是一次富有道德责任感的行动，它的意义就如同电影《盗梦空间》中所阐释的那样，为大众“植入”一种关于人类可持续发展的理想。我希望“绿色中国”在未来能坚持它的纲领，因为环保地生活与工作并不是一个暂时的，有期限的时髦话题，而是一种不断的挑战。如同英国的建筑大师Norman Foster爵士所说：环保不是为了时尚，而是为了生存。

TIn the era of digital communication, the rise of interactive technology has made it possible that creativities can change our lives promptly. Interactivity is no longer an abstract concept, but already pervaded every aspect of our lives, and it’s deeply influencing our future. Interface, once was the indispensable medium of digital revolution, connected the users and digital world. On the other side of the communication loop, men use their innate sense organs to perceive the material world. With an increasing number of artificial sensors implanting into the personal digital terminals, the interface is endowed with a complete new mission: Augmented Reality.

At the WWDC in April 2010, Steve Jobs announced that a new sensor was applied in the iPhone 4 -- the Three-axis Gyro, which was in the past only used as a precise instrument in the fields of aviation and navigation. Having heard of this message, the software developers in the press conference began to hail. This implantation offers iPhone 4 the capability to perceive its relative position changes in three dimensions. With the three-axis gyro, the developers have a strong presentiment that their possibilities of developing software for iPhone will be brought to a new level by this small sensor. Before this announcement, Apple had already implanted various sensors into iPhone. Some of them can imitate human senses, such as the traditional visual and sound receivers (camera and microphone); some of them can enhance our senses to become measurable and digital, such as the ambient light sensor, which can constantly measure the changes of the environmental light, the proximity sensor is capable to sense the relative distance between the mobile phone and the user, and the accelerometer is designed to detect the direction of gravity and its relative angle towards the ground. What is even more exciting is that some sensors now can work far beyond our sensation, such as the GPS and the gyro. All these sensors work synergeticly with the software and hardware systems. Together, they transform a PDA into a communication media between human begins and their entire physical environment. We have been dreaming to have the sixth sense, but now through these new technologies we may obtain even the seventh sense, eighth sense...... If the automobile was extension for legs, if the television was extension for eyes, and if the internet was extension for minds, the Augmented Reality is then the extension of our sensation to the material world in all dimensions.

Furthermore, as the Indian inventor Pranav Mistry had demonstrated to us, we can even replace the screen as interactive media with the synergy of an individual motion detecting system and an interface projector. In this way, the user interface can be projected onto any concrete surfaces, and we can execute all digital operations just through our gestures rather than sliding and clicking the mouse. Those are the innovations which are currently happening, not the special effects in the movie Minority Report.

The essential message of this revolution is, it suggested “the third way “ to us, that we may finally be released from the dilemma depicted in the films The Matrix and The Terminator: either the human beings will defeat the machines (computers or artificial intelligence) or the machines will rule the mankind. The reason why we kept ourselves entangled in these dualistic imaginations is that a thinking model has been presupposed: for human beings, the only way to interact with the so-called digital world was to be “plugged in” through a network terminal. By doing this, we actually separate the digital world from the material world, and set them against each other. However, the Augmented Reality can integrate these two worlds with various sensors. Users no longer face only one of them, but a “communal reality” shared by both. The boundary between the world of atoms and electrons is dissolving. It seems to be an appropriate moment to declare an age of true interaction has come.

The British writer George Orwell was not optimistic about the future of human beings. In his well-known novel 1984, he imagined in the late 20th century people were under the control of totalitarianism, which was incessantly and comprehensively realized through high-tech. Unfortunately, to some extent his prophecy has become real. The fortunate thing is that the prediction inspired many writers and artists such as Philip K. Dick, Alan Moore and the Wachowski Brothers. Through their works, they kept reminding us to be aware of the totalitarianism and modern technologies.

Technological innovations always keep us in awe, and precautions are seriouly considered. John Ruskin asked us to abandon the clumsy machines; John Lennon wanted to bring us back to the country fields; William F. Gibson reminded us although the internet could make the communication unconstrained by space and time, it might make the relationships more and more diluted; in his movie 2001: A Space Odyssey, Stanley Kubrick implied with the piece of bone thrown up in the air that the abuse of technology could even date back to the age of apes. Whenever a great technological innovation will change the lives of human beings, panic and agitation make us hesitate and not forge ahead. Nevertheless, once this new technology has indeed changed our daily lives, we will forget the anxiety and fear and enjoy the convenience that brings to us. Among the masses, there are always a group of creative individuals – inventors, designers and developers – begin to think about what’s coming up. They contemplate the deficiency of present, and prepare for the next creative solution which may shock the world, again.

Nowadays, we become more and more accustomed to the technological innovation. We are very familiar with the situations that our common senses are transcended and “impossible is nothing”. For the creative individuals, it has always been the typical three-stage logic in creative process: to find, analyze and solve a problem. However, while technologies are being developed at such a high speed, we finally realize what need to be discovered are not only “problems“, but also “needs“. Abraham Maslow’s said: “Human beings, with infinitive needs, always have another need after one is met. Throughout their lives, they seem to often have some kind of hope and desire, so many things were created and problems arose…“ For instance, when the cell phone were introduced to the market, no one had wished that it could also allow users to do following things: taking photos, listening to music, watching movies, playing games, reading books and surfing on the internet. Yet when the smart-phones had all those functions, we began to sketch another wish-list: writing diaries, shopping, navigating routes, reminding birthdays of family members, and even choosing the next holiday destination for us. Each of our needs, whether it is desire through many years, or a flash of genius, can be customized and met. Due to their precise perception of the Zeitgeist, the creative people are able to push us beyond imaginations. Their roles have already changed, no longer the “problem solvers”, but the “desire stimulators”.

淘到一本 Flammarion 出的 American Streamlined Design, The World of Tomorrow. 封面有些旧了，但翻翻觉得编的很好，特别是照片拍得很精到，于是就收了。
上图：胶片放映机。1935-1945，芝加哥，伊利诺伊州

一向对曾经在30年代末到40年代在美国极为流行的流线派设计很感兴趣。说起来挺矛盾的：流线型设计受的该是未来主义的影响，歌颂的是机器时代的速度、精确和高效，但其视觉结果却仿佛是赋予了机器以人性——你看，这些电风扇、吸尘器、空气压缩机们，哪个不再向你微笑致意呢？
那个时代欧洲正忙着打仗，包豪斯也都搬美国去了。美国人觉得世界还是有希望的，仗一时半会打不到自己头上，而且上帝终将战胜魔鬼，于是建起高楼，搞起 Art Deco，做起流线型来。看来搞设计就要“四有”：不仅要有闲有钱，还要有理想有信仰。

便携式空气压缩机。设计师：John R. Morgan 1935-1940 芝加哥，伊利诺伊州

我的收藏：Instant Juice Press No.2 二号榨汁机，英国制造

回家仔细地擦去污迹，让那橘色、白色和蓝色露出来，不用P就是活脱脱的60's。今天到楼下配了个插头，一插电，居然转了，还能摇头！赚了赚了。