Computerlove™

November 24th, 2006

Wulumuqi Road

平时下班很少走乌鲁木齐路，今天无意中路过，发现很多好吃的啊! 还发现一家不错的老北京涮锅, 旁边就是水果摊吃完直接下火, 下次拉人一起去吃!

Shanghai Grand Theatre

因为最近要在大剧院举行一个活动，下午去兜了一圈看看场地... 站在大剧院的舞台正中央，感觉真的很棒!

November 23rd, 2006

VW & Beijing 2008

For Beijing 2008 Olympic Games

November 20th, 2006

Window

下班时一直路过的一个窗子, 是家画廊 :P

November 17th, 2006

Reinhold Messner

11月《华夏地理》中有一篇文章题目叫做[粉碎一切不可能]，开头有这样一段文字:“Messner正忙着造山... 这是神山Kailash”... Kailash就是冈仁波齐啊！因为曾经亲自感受过它凝固的寒气和神圣不可侵犯的尊严，我突然脑子里闪现出一个念头，Messner不会是想登这座山吧？冈仁波齐是冈底斯山的主峰，海拔6638米，是世界公认的神山，同时被印度教、藏传佛教、苯教以及古耆那教认定为世界的中心，也是雅鲁藏布江、印度河、恒河的发源地，是罕见的大河共源的山峰。这可是不允许被攀登的山啊！由于它的神圣地位，国家有关部门和西藏自治区已将冈仁波齐作为西藏的佛教圣山，不对任何登山队开放并严禁攀登，所以至今仍是一座处女峰。想想Messner的性格，再想想冈仁波齐，也许有一天，在成就了无数人的传奇和梦想之后，地球将成为一座没有处女峰，没有神山，没有传奇和梦想的星球，而且永久的失去了这种光华... 个人的经历将很快被淡忘，融于历史，但整个人类文化却为此付出了太多代价！记得1979年英国队第一次无氧气上干城章嘉的时候就为了尊重当地人的信仰主动没踏上最后几米。我想，不是这世界上的每座山都非登不可，并希望冈仁波齐永远都是处女峰！

Second Qinghai

第二次来到青海黄南藏族自治州考察热贡艺术区，真的被这里灿烂的色彩所征服了...

“热贡艺术”是藏传佛教艺术的重要组成部分和颇具广泛影响的流派，从十五世纪开始，发祥于黄南藏族自治州同仁县境内隆务河流域。数百年来，这里有大批艺人从事民间佛教绘塑艺术，其从艺人员之众多，群体技术精妙，均为其它藏族地区所少见，被誉为“藏族画家之乡”同仁地区在藏语中称为“热贡”因此这一艺术便统称为“热贡艺术”。公元十四世纪前后，藏传佛教开始在同仁地区流传，至十五世纪以后，随着萨迦派、格鲁派(黄教)的迅速发展，各地区大兴寺院，随之大量藏族、土族僧俗投入到绘塑佛像，装饰寺庙的活动中。

几个世纪以来，热贡艺人四处作画，足迹遍及青海、西藏、甘肃、四川、内蒙古及国外的印度、尼泊尔、泰国、蒙古等国，给这些地方留下了数以万计的精美艺术品，赢得了很高的声誉。并从西藏绘画艺术、敦煌壁画和国外的同类作品中吸取了丰富的艺术养料，加上结合青海本地的民间艺术总结、提练，因而技艺日臻娴熟，影响广泛，在中国西南、西北及东南亚一些国家久负盛名。

点击这里看关于这次考察的更多照片

Model Plane

就在新加坡apple center楼上... 无意中逛进一家航模店发现的, 纯金属铸造, 做工还不错, 不过在大陆竟然没有卖的... 突然在外面看到这个模型心里还是挺高兴的, 算是这次的意外收获吧, 不过当时我跟店员说这架飞机是我设计的她死活不相信... :P

点击这里看Singapore之行的更多照片

September 2nd, 2006

My New Home...

In Shanghai

August 20th, 2006

BORN INTO BROTHELS: CALCUTTA’S RED LIGHT KIDS

Directors: Zana Briski & Ross Kauffman
India-USA, 2004
35 mm. / Color / 85’
Bengali-English; Turkish s.t.

2004 USA Los Angeles Film Critics Association: Best Documentary
2004 USA National Board of Review: Best Documentary
2004 Seattle Best Documentary
2004 Sundance Audience Award
2005 OSCAR Best Documentary
2005 Bangkok Best Documentary

In 1998, my then-girlfriend, photographer Zana Briski, began traveling to Calcutta to photograph life in the red light district. She literally lived in the brothels for months at a time, and while the prostitutes slowly came to trust Zana, it was their children who accepted her immediately. The children didn’t quite understand what Zana was doing there, but they were fascinated by her and her camera. She let them use it and showed them how to take pictures. She thought it would be great to see this world through their eyes. It was then that she decided to start formal classes in the red light district and teach them photography. Zana thrived on teaching them and the kids eagerly captured their lives and environment through the lens of their point-and-shoot cameras. The results of their work were exhilarating.

When Zana returned six months later to New York City, she was bursting with excitement about the kids and the class. She felt that their stories and the photo class should be documented in some way.

I remember telling Zana, “Look, if you want to go and spend all your money [she had none] to enter the dubious arena of documentary filmmaking for years to come, feel free. As for me, I will stay in New York, focus on my career and become a cameraperson.”

But Zana seemed to know me better than I knew myself. I guess she knew there was a filmmaker somewhere inside of me, and it just needed a good reason to come out. Before leaving again for Calcutta, she bought two video cameras on her credit card. She gave me one for my birthday, and took the other one with her to Calcutta.

Two weeks later, Zana’s first four videotapes arrived from Calcutta for me to “critique” (she had never shot video before). Within the first ten minutes of viewing the first tape, I knew I was going to Calcutta. The footage was breathtaking—these “children of prostitutes,” these glorious kids, these brilliant rays of light, smiling, laughing, taking photos. I was floored. I was hooked.

Three weeks later I was in Calcutta making this movie with Zana.

There are many legitimate reasons not to make documentary films. But in this case, I present to you eight wonderfully incredible, delightfully ridiculous, funny, sweet, loving, sneaky, unwieldy and ultimately beautiful reasons to take the leap.

August 17th, 2006

One world...

我驾车行驶在西部公路上
从起伏的山峦到奔腾的大海边
有首歌回荡在上空, 那就是——
在行走中, 我将自由……

624天、23万公里、48个国家和地区，这就是廖佳，一个很低调的女人，话不多也很谦和，给人的感觉是温文儒雅，她一直强调自己不是专业的摄影师，只是拍摄插图而已，但能够有如此的动力支撑她行走世界，我已经不是佩服，而是震撼... 昨天我们聊了很多我也学到很多，最重要的是她给了我无穷的动力！让我觉得很多事不仅仅是梦想！我们可以把梦想变为现实！

最后告别时她留下一句话:“出发时，记得告诉我...”

August 11th, 2006

NATIONAL GEOGRAPHIC INTERNATIONAL PHOTOGRAPHY CONTEST 2006

2004年5月在阿里地区海拔6000米左右的地方拍摄的这张照片入选了美国国家地理全球摄影大赛[NATIONAL GEOGRAPHIC INTERNATIONAL PHOTOGRAPHY CONTEST 2006]中国区决赛.

July 8th, 2006

“Because it's there.”

Preface:

“Why do you want to climb Everest?” It produced Mallory's historic reply, which has become a masculine catchprhase in the English language for responding to a formidable challenge. “Because it's there.”

“Because it is there. (因为山在那里)” 是1924年在珠峰8100米处遇难的马洛里留给后人的名言。“因为山在那里。”踏着前人的足迹，越来越多的登山者来到高寒缺氧的“生命禁区”，在峭壁、雪崩等险境中，以不怕牺牲、无所畏惧的英雄气概，谱写着现代登山运动的辉煌篇章。而这一切，最重要的不是珠峰的高度, 而是它在你心里的高度...