关于那个短暂的转折

阿K说,不确定自己是不是要走这条路或者选这个人的时候,就离开TA。若是分离后还能找得回来,那TA就是你的。
花了一段很长的时间用来思考各种关于未来的可能性,在这段前怕虎后怕狼,移步之间怕爹娘的时日里寸步不移的站在原地,就这么生生的看时光流逝,未来滑至眼前,却什么都没发生。
这段日子对我来讲是荒诞的。于是我兴高采烈的把它送走,并在送走它的同时感叹它的伟大,因为它带走了浮躁,留下了淡定。
同济对我来讲,短暂的连个插曲都算不上。但我却在它身后,重重的括上了转折两个字。因为它神奇般的为我把前行的路找了回来。我清楚的看到我想要的快乐就在这路上。所以,再上路,让我坚决的,稳重的,勇敢的,头也不回的走下去。

谢谢最亲爱的老大,尽管不在身边,但心离的最近。
谢谢师父,你是伟大的预言家和计划者。
谢谢大师兄,虽然不用你再带着我下河游泳,但你永远是开路者,看着你就让我觉得有勇气继续游下去。
谢谢小郭郭,看见你,就看见了美丽的人生。
谢谢自始至终的原配孙孙孙,活了二十几年,你终于让我明白什么叫不管做什么选择,都有那么个人会一直站在身边,无条件的支持着陪伴着。
谢谢我对不起的戴妈,请相信你在我心中的地位,虽然连招呼都没打就仓惶的逃跑了,但真心就在这里,向着你,哪也不去。
最后,得谢谢我爹娘,你们为我在前行路上移来一座前所未有的大山,并亲手为我捆上绳索。但我爱你们。

虽然P奖都没拿,P事儿都没做。但跨过失意这道坎,比TNND什么都来的更值得庆祝和感谢。
打今儿起,憋足了劲,意气风发吧

Zip up

“慢慢的 连微笑都省去了 不想面对 不想交涉 不想争辩 不想交谈 不想回忆 不想憧憬 不想做任何事 默默的 静观 无语” 呵呵 我的激情呢?还我。

最美的时光以后

08年的那个暑假,我选择了逃跑。当我开始踏上这段旅程,尽情的描绘一切与自由相关的图画时,就已经知道,如果有一天,我必须为这段旅程画上一个句号,这幅被我填满色彩的画卷将会开始慢慢褪色,直到变成黑白,直到被埋进坟墓。
事实证明这一切都如我预期的那样不可抵挡的发生了。我像被燃尽的火柴,化成一缕醖烟,轻轻的漂浮在这个没有色彩的城市。想要再次逃脱却被各种以爱为名的冷空气狠狠的凝固住。他们说逃避和追赶是一个意思,可在我这两者的行走方向恰好相反。在将我包围的那些声音里,我的痛苦和反抗是可笑而幼稚的。但谁会知道这所有的斗争下我所期盼的仅仅只是不想要失去我自己。
以前常想未来,可现在,就连明天对我来讲,都是遥远的。

some words and images of dissertation and project

The Impact of Digital Technology on Live Performance

Cases:
continuous city from Builders Association (Liveness and Space) and How long does the subject linger on the edge of volume from the OpenEnded Group (Liveness and Body)

Thress

New form of TV

One of the most damaging discourses on television technology has been the “kill your television” bumper sticker displayed since the early 1980 by cultural leftists and environmentalists.

Many suggest:
TV viewers are perceived as passive couch potatoes
Computer users are by comparison seen as active and overworked
TV viewers often watch hours of programming at a time Computer users are imagined to be multitasking in a highly selective fashion
TV is massifying Computer are individualized
Television is slow Computer are fast

Personally, I do not agree with this suggestion, I believe the role of broadcasting is even more important as the overwhelming mass of information available in general increases the need for trustworthy editorial services.
And I believe, the convergence of television and the Internet provides an great platform for television to develop itself by allowing supplementary media forms like interactive websites, mobile phone services attaching to pre-existing television programmes.

In this essay, I want to focus on the media contexts surrounding “reality show”, programmes like ‘Big brother’ and ‘American Idol’ that has been most affected by the use of new interactive technologies by its viewers.
For Big Brother, the show stared in 2000, for the 2004 series of Big Brother, Channel 4 changed its offerings on the internet to give greater priority to interactive services.

The 2004 version of the website carried content that could only be seen there and had to be paid for by users.
The content included:
1.behind the scenes documentaries and extended footage.
2.The free streaming of coverage that marked the first series of Big Brother was no longer available.
3.with its access to the families and friends of the contestants, the official website was able to present web-chats and brief written reports that could extend the information available to user
4.the programme site also diverts its users to other services offered by Channel4 such as its pages on cars and property.
The 2010 version are free to viewer. Allows voting, users comments and embed with other social network.
Form Mobile
See iTunes
Same of AI
I suppose these two shows indicate the changing social position of television in terms of this cross-media phenomenon. It demonstrates how new directions in television may develop in this network society.

Outline
• The historical technical development of personalised television.
• The television’s shifting meanings in the context of its convergence with the in Internet.
• Explore the question of whether or not new media technology transforms a new form of television? If yes, how?

Questions:
• How can we understand the social nature of a media technology?
• Whether or not a media technology has the power to transform the form of culture, if so, who/what determining the transforming direction of media technologies?

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