泰晤士報人物專訪【Joshua Wong interview: Xi won’t win this battle, says Hong Kong activist】
Beijing believes punitive prison sentences will put an end to pro-democracy protests. It couldn’t be more wrong, the 23-year-old says.
https://www.thetimes.co.uk/article/joshua-wong-interview-xi-wont-win-this-battle-says-hong-kong-activist-p52wlmd0t
For Joshua Wong, activism began early and in his Hong Kong school canteen. The 13-year-old was so appalled by the bland, oily meals served for lunch at the United Christian College that he organised a petition to lobby for better fare. His precocious behaviour earned him and his parents a summons to the headmaster’s office. His mother played peacemaker, but the episode delivered a valuable message to the teenage rebel.
“It was an important lesson in political activism,” Wong concluded. “You can try as hard as you want, but until you force them to pay attention, those in power won’t listen to you.”
It was also the first stage in a remarkable journey that has transformed the bespectacled, geeky child into the globally recognised face of Hong Kong’s struggle for democracy. Wong is the most prominent international advocate for the protests that have convulsed the former British colony since last summer.
At 23, few people would have the material for a memoir. But that is certainly not a problem for Wong, whose book, #UnfreeSpeech, will be published in Britain this week.
We meet in a cafe in the Admiralty district, amid the skyscrapers of Hong Kong’s waterfront, close to the site of the most famous scenes in his decade of protest. Wong explains that he remains optimistic about his home city’s prospects in its showdown with the might of communist China under President Xi Jinping.
“It’s not enough just to be dissidents or youth activists. We really need to enter politics and make some change inside the institution,” says Wong, hinting at his own ambitions to pursue elected office.
He has been jailed twice for his activism. He could face a third stint as a result of a case now going through the courts, a possibility he treats with equanimity. “Others have been given much longer sentences,” he says. Indeed, 7,000 people have been arrested since the protests broke out some seven months ago; 1,000 of them have been charged, with many facing a sentence of as much as 10 years.
There is a widespread belief that Beijing hopes such sentences will dampen support for future protests. Wong brushes off that argument. “It’s gone too far. Who would imagine that Generation Z and the millennials would be confronting rubber bullets and teargas, and be fully engaged in politics, instead of Instagram or Snapchat? The Hong Kong government may claim the worst is over, but Hong Kong will never be peaceful as long as police violence persists.”
In Unfree Speech, Wong argues that China is not only Hong Kong’s problem (the book’s subtitle is: The Threat to Global Democracy and Why We Must Act, Now). “It is an urgent message that people need to defend their rights, against China and other authoritarians, wherever they live,” he says.
At the heart of the book are Wong’s prison writings from a summer spent behind bars in 2017. Each evening in his cell, “I sat on my hard bed and put pen to paper under dim light” to tell his story.
Wong was born in October 1996, nine months before Britain ceded control of Hong Kong to Beijing. That makes him a fire rat, the same sign of the Chinese zodiac that was celebrated on the first day of the lunar new year yesterday. Fire rats are held to be adventurous, rebellious and garrulous. Wong is a Christian and does not believe in astrology, but those personality traits seem close to the mark.
His parents are Christians — his father quit his job in IT to become a pastor, while his mother works at a community centre that provides counselling — and named their son after the prophet who led the Israelites to the promised land.
Like many young people in Hong Kong, whose housing market has been ranked as the world’s most unaffordable, he still lives at home, in South Horizons, a commuter community on the south side of the main island.
Wong was a dyslexic but talkative child, telling jokes in church groups and bombarding his elders with questions about their faith. “By speaking confidently, I was able to make up for my weaknesses,” he writes. “The microphone loved me and I loved it even more.”
In 2011, he and a group of friends, some of whom are his fellow activists today, launched Scholarism, a student activist group, to oppose the introduction of “moral and national education” to their school curriculum — code for communist brainwashing, critics believed. “I lived the life of Peter Parker,” he says. “Like Spider-Man’s alter-ego, I went to class during the day and rushed out to fight evil after school.”
The next year, the authorities issued a teaching manual that hailed the Chinese Communist Party as an “advanced and selfless regime”. For Wong, “it confirmed all our suspicions and fears about communist propaganda”.
In August 2012, members of Scholarism launched an occupation protest outside the Hong Kong government’s headquarters. Wong told a crowd of 120,000 students and parents: “Tonight we have one message and one message only: withdraw the brainwashing curriculum. We’ve had enough of this government. Hong Kongers will prevail.”
Remarkably, the kids won. Leung Chun-ying, the territory’s chief executive at the time, backed down. Buoyed by their success, the youngsters of Scholarism joined forces with other civil rights groups to protest about the lack of progress towards electing the next chief executive by universal suffrage — laid out as a goal in the Basic Law, Hong Kong’s constitution. Their protests culminated in the “umbrella movement” occupation of central Hong Kong for 79 days in 2014.
Two years later, Wong and other leaders set up a political group, Demosisto. He has always been at pains to emphasise he is not calling for independence — a complete red line for Beijing. Demosisto has even dropped the words “self-determination” from its stated goals — perhaps to ease prospects for its candidates in elections to Legco, the territory’s legislative council, in September.
Wong won’t say whether he will stand himself, but he is emphatically political, making a plea for change from within — not simply for anger on the streets — and for stepping up international pressure: “I am one of the facilitators to let the voices of Hong Kong people be heard in the international community, especially since 2016.”
There are tensions between moderates and radicals. Some of the hardliners on the streets last year considered Wong already to be part of the Establishment, a backer of the failed protests of the past.
So why bother? What’s the point of a city of seven million taking on one of the world’s nastiest authoritarian states, with a population of about 1.4 billion? And in any case, won’t it all be over in 2047, the end of the “one country, two systems” deal agreed between China and Britain, which was supposed to guarantee a high degree of autonomy for another 50 years? Does he fear tanks and a repetition of the Tiananmen Square killings?
Wong acknowledges there are gloomy scenarios but remains a robust optimist. “Freedom and democracy can prevail in the same way that they did in eastern Europe, even though before the Berlin Wall fell, few people believed it would happen.”
He is tired of the predictions of think-tank pundits, journalists and the like. Three decades ago, with the implosion of communism in the Soviet bloc, many were confidently saying that the demise of the people’s republic was only a matter of time. Jump forward 20 years, amid the enthusiasm after the Beijing Olympics, and they were predicting market reforms and a growing middle class would presage liberalisation.
Neither scenario has unfolded, Wong notes. “They are pretending to hold the crystal ball to predict the future, but look at their record and it is clear no one knows what will happen by 2047. Will the Communist Party even still exist?”
https://www.penguin.co.uk/books/111/1119445/unfree-speech
同時也有1部Youtube影片,追蹤數超過5萬的網紅拉哥 Lai UP,也在其Youtube影片中提到,4/6/2013 HKU Student Ambassadors 同 Daewon Foreign Language High School 交流 佢地會輪米食飯~ 食完午飯仲會刷牙 O_o 唔單只玩得, 仲唱得, 又跳得!!! 好正呀!!! 拉的自我介紹 你好啊!我叫拉,是香港人啊!我是個在香港...
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[USA]_List of lots of scholarship in the US. Please help to share and tag your friend. You can google the name of the scholarship to get direct link!
Xin gửi đến các bạn một số học bổng cho chương trình Cử Nhân, Thạc sĩ, Tiến sĩ, Học giả tại Hoa Kỳ. Ngoài ra, tại các ÐH Mỹ (top 200) đều có học bổng cho chương trình Thạc sĩ & Tiến sĩ, các bạn tham khảo trên website của Department tìm hiểu về Fellowship, Research Assistantship, Teaching Assistantship.
National Universities Rankings: http://colleges.usnews.rankingsandreviews.com/…/national-un…
1. Southeast Asia Youth Leadership Program (SEAYLP)
http://vietnam.usembassy.gov/yseali.html
This intensive four-week exchange program in the United States aims at promoting high-quality leadership, civic responsibility, volunteerism, and respect for diversity. Each year, five Vietnamese high-school students and one teacher (who acts as chaperone) are selected for this program and are joined by similar groups from other Southeast Asian countries. It is designed to enable teenagers, ages 15-17, and teachers to travel to the United States for a program focused on building a sense of community, developing civil society and economic institutions, and recognizing the commonalities among Southeast Asians and Americans.
Timeline
July-August: Call for applications
September: Submission of applications to the Embassy; screening and interviews
October: Nomination of finalists to Washington
November: Selection results available from Washington; departure of selected candidates
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
2. Undergraduate Intensive English Language Study Program (UIELSP)
This program enrolls undergraduate students in the East Asia and Pacific region who demonstrate the potential to become student leaders in an eight-week intensive English Language course at colleges and universities in the United States with a focus on English language acquisition, leadership skill building, and civic education and engagement. It also provides participants with an introduction to American institutions, society and culture.
Timeline
Oct-Nov: Call for applications
December: Deadline for submission of applications to the Embassy
Dec-Jan: Screening of applications; interviews of shortlisted candidates
February: Nomination of finalists to Washington
March: Selection and placement results available from Washington
June: Departure of selected candidates
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
3. Global Undergraduate Exchange Program (Global UGRAD)
This program provides scholarships for one semester or one academic year of study at a U.S. university. The goal is to provide a diverse group of emerging student leaders, from non-elite and under-represented groups, with a substantive exchange experience at a U.S. college or university, with in-depth exposure to U.S. society, culture and academic institutions. Students are selected based on 1) academic record, 2) leadership skills and potential, 3) community involvement and extra-curricular activities, and 4) English proficiency (minimum TOEFL score of 525 (paper-based) or 70 (iBT).
Timeline
September: Call for applications
November: Deadline for submission of applications to the Embassy
Nov-Dec: Screening of applications; interviews of shortlisted candidates
December: Nomination of finalists to Washington
March: Selection results available from Washington
June: Placement information available
July: Departure of selected candidates (whole academic year program)
January: Departure of selected candidates (semester program)
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
4. Fulbright Vietnamese Student Program
The Fulbright Vietnamese Student Program is a competitive, merit-based scholarship program which recruits and nominates young Vietnamese professionals for Master’s degree programs at U.S. universities. Approximately 20 to 25 fully-funded scholarships are granted on an annual basis for students in social sciences and humanities. Successful applicants will receive support in university placement and a full scholarship which covers tuition and fees, monthly stipend, round-trip airfare to the U.S. and health insurance. Selection is based on study objectives, work experience, understanding of the chosen field of study, impact potential, leadership, academic excellence and English proficiency.
Timeline
December: Grant announcement
April: Application deadline
June – July: Application review and semi-finalist selection
September: Interviews & finalist selection
October: Finalists take GRE/GMAT/TOEFL iBT
November: U.S. universities placement
April - May: Confirmation of final university placement
May: Pre-departure orientation
June – July: Medical check-up and visa application
July – August: Departure
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
5. Vietnamese Fulbright Scholar Program
The Council for International Exchange of Scholars (CIES) assists in the administration of the Fulbright Scholar Exchange Program for faculty and professionals. Started in 1998, the Program recruits and nominates Vietnamese scholars for placement by CIES as lecturers and researchers in U.S. universities for terms of three to 10 months. From six to eight scholars from Vietnam travel to the United States on an annual basis.
Timeline
October: Deadline of application submission
November – December: Peer Review Panel
January: Interview the shortlisted candidates
End of January: Submission of semi-finalist candidates to Washington
February - March: Selection results available from Washington
April – July: Affiliation and Visa Process
August: Pre-departure Orientation for the departing grantee
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
6. Hubert H. Humphrey Fellowship Program
This is a one year, non-degree, full scholarship program offered to promising mid-career professionals who have proven track records of leadership and a strong commitment to public service. Participants in the program spend one academic year at a leading U.S. university doing their self-designed program of academic course work, participating in professional affiliations off-campus, field trips, special workshops and seminars in their field of study.
Timeline
April: Call for applications
May: Information sessions held in Hanoi and HCMC
Early August: Deadline for submission of applications to the Embassy
Aug-Sep: Screening of applications; Institutional TOEFL for shortlisted candidates; interviews
October 1: Nomination of finalists to Washington
October: Finalists take official iBT
Feb-Mar: Selection results available from Washington
March/April: Departure for the U.S. (fellows needing Long Term English)
May: Placement results available
June-August: Departure for the U.S. (fellows not needing Long Term English)
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
7. Ambassador’s Fund for Cultural Preservation – AFCP
Since its creation by the U.S. Congress in 2001, the U.S. Ambassadors Fund for Cultural Preservation has provided financial support to more than 640 cultural preservation projects in more than 100 countries. The AFCP shows the depth of the U.S. respect for the cultural heritage of other countries. Ten preservation projects in Vietnam, averaging $20,000 each, have been funded by the AFCP, ranging from intangible heritage such as the Then Music of the Tay minority to tangibles such as pagoda statues, museum collections and historical/architectural monuments. In 2010, a major project ($74,500) was granted to Hanoi Department of Culture, Sports and Tourism to preserve the 18th century O Quan Chuong Gate – the only one of the 16 gates that remains of ancient Hanoi, as a gift from the U.S. Ambassador to the people of Hanoi as the city celebrated its 1000th birthday.
Timeline for the 2011 AFCP program:
October: Calls for proposals from Vietnamese organizations
Nov: Proposal Screening
December: Submission of proposal to Washington
July: Selection results available from Washington
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
8. Small Grants Program for civil society organizations
The Small Grants Program is designed to assist countries around the world to strengthen democracy, human rights, civil society, and rule of law, and to combat extremism in their countries by making grants of up to $20,000 to local non-governmental and not-for-profit organizations. Proposals must support program activities that promote democratic practices, including civil society, freedom of information and independent media, transparency in government, NGO capacity building, rule of law and judicial reform, civic education, conflict resolution, human rights, ethnic, minority and women's rights.
Timeline
March: Call for proposals from Vietnamese organizations
May: Submission of proposals by Vietnamese organizations
May-June: Proposal screening by Embassy Committee
June: Submission of shortlisted proposals to Washington
August: Selection results available from Washington
Contact: Contact info: Tel: 84-4-3850-5000; Email: [email protected].
Source: http://vietnam.usembassy.gov/educational_exchange.html…
9. VEF Fellowship Program for 2018 (?)
The Fellowship application and selection process is open, competitive, and transparent. Applicants do not need to pay any fees to anyone in order to apply or be considered for a VEF Fellowship. Winners are chosen based on individual merit, including academic performance and preparation, intellectual capabilities, English proficiency, and the potential for contribution to scientific education and research.
Contact: fellowship@vef.gov, information@vef.gov
Source: http://www.vef.gov/details.php?mid=6&cid=392
10. VEF Visiting Scholar Program 2017 - 2018 (?)
VEF Visiting Scholar Program (VSP) for Vietnamese nationals, who already hold a doctorate in any of the fields supported by VEF, namely, in the major disciplines of sciences (natural, physical, and environmental), mathematics, medicine (such as, public health), and technology (including information technology). Fields include the basic sciences, such as, biology, chemistry, and physics, as well as agricultural science, computer science, and engineering. Priority this year will be given to applicants, whose field of study focuses on climate change (environmental sciences) or on nuclear energy, provided that all other qualifications are equal.
Contact: vs@vef.gov, information@vef.gov
Source: http://www.vef.gov/details.php?mid=7&cid=393
self introduction high school student 在 YOSHITOMO NARA Facebook 的最佳解答
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
self introduction high school student 在 拉哥 Lai UP Youtube 的最佳貼文
4/6/2013
HKU Student Ambassadors 同 Daewon Foreign Language High School 交流
佢地會輪米食飯~
食完午飯仲會刷牙 O_o
唔單只玩得, 仲唱得, 又跳得!!!
好正呀!!!
拉的自我介紹
你好啊!我叫拉,是香港人啊!我是個在香港土生土長的男生,接受香港教育和香港文化。我想向喜歡香港旅遊的朋友介紹不同的香港文化。
由於我超喜歡旅行!最近我開始為香港拍攝旅遊短片。希望你能更了解香港的美啊!
訂閱Lai UP ▶ http://bit.ly/laisubscribe
Lai's Self Introduction:
Hello! I'm Lai from Hong Kong. I'm just a normal Hong Kong boy being raised in Hong Kong, having local Hong Kong education and Hong Kong culture. Lai in Hong Kong would like to introduce different culture from Hong Kong to Hong Kong lovers.
Since I like travelling so much, recently I started making travelling videos for the sake of Hong Kong. Hope that you can know more about the beauty of Hong Kong.
Related videos:
【醫院故事18+】插尿管時伯伯的小鳥竟然變大鳥!? -《拉姑娘醫院日常》
https://youtu.be/vAS7Vy3H2uY
在香港醫院職員餐廳吃甚麼?私家醫院竟然比公立醫院更難吃?!-《拉姑娘醫院日常》
https://youtu.be/1tgO_hYCNRk
為甚麼讀Nursing? -《HKU拉》
https://youtu.be/VilvDpk3JYc
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Telegram 吹水 Group: https://t.me/laiup
Telegram 收風 Channel: https://t.me/laichannel
合作查詢: jackylaiyc@gmail.com

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