更多內容請見科技新報
2015年4月21日 星期二
復仇者盔甲下的祕密，Under Armour 特製高科技機能緊身衣
不說大家可能未必知道，復仇者聯盟的演員們其實靠著一樣祕密武器，支撐他們在長時間穿著厚重盔甲和裝備下，應付大量武打動作。據國外科技網站《GIZMODO》報導，漫威（Marvel）與美國功能性運動品牌 Under Armour 合作，為復仇者聯盟量身訂製祕密武器──高科技機能緊身衣，兼具保護力與舒適度。
更多內容請見科技新報
更多內容請見科技新報
2014年11月4日 星期二
創意資本主義來臨，許多產業都應該向好萊塢學習
創新資本主義來臨，許多產業都應該向好萊塢學習。過去很少有商學院教授想要走過紅地毯，對影視產業如好萊塢進行研究。不過，創意經濟時代下，某些產業越來越像電影業。創意工作者成為維持公司競爭優勢的關鍵，那麼，如何管理這些反復無常的明星，就是主管的任務了，而這些工作在電影產業早已駕輕就熟。
綜合以下兩篇短文，產業至少有三個面向需要跟好萊塢學習，第一個當然是他們管理創意人的能力。
第二個是創意或創新產品的管理，每一部電影一開始就像一個壞孩子，他必須要經歷過無數次的改變最後才能成為一個優雅的成人（Ed Catmull）。這個過程當中，老闆如何給予建設型的批評，是我們必須學習的。
第三，「好萊塢造夢，矽谷圓夢」，我們需要跟好萊塢學習的是他們跟矽谷的關係密不可分，他們集科技、生活、音樂、故事於一身，例如夢工廠和迪士尼在技術創新和應用的表現一直走在企業的最前端。另一篇文章便直接點名，不是科技業的傳媒公司只會越來越少。
（本文為版主摘要，實際內容請參閱原文）
2013年11月30日 星期六
骷顱與金鎖： 魏海敏的戲與人生
版主上週剛好有機會近距離感受魏老師的聲音、身段和表情。活動當中，有學員請教他一位名
魏海敏的相關書籍
「中國戲曲原本就是美學的綜合藝術，青衣更是其中之最。好的青衣是被要求每一個唱工都要完美無缺，每一個動作 都要能定格被拍成照片。為了這樣的高標準，從前的青衣不論乾旦（ 男人演女人）或是坤旦（女人演女人），都從日常生活開始修養自己 ，像是梅蘭芳大師養鴿子、畫畫、養花，就是要讓自己盡量接近美的 事物，進而薰陶自己成為美的一環」。
魏海敏的相關書籍
2009年6月15日 星期一
Creative Britain must be kept in good health
From Independent.co.uk
The departing Culture Secretary Andy Burnham says we cannot afford to waste the creative talent of a new generation
This is a great moment for Britain's creative businesses. While globally, traditional industries are struggling to adapt, Britain's new generation of talent is seeing – and seizing – opportunity in this fast-changing world. If you needed a reminder of the breadth of our worldwide influence in the creative industries, then the annual Hospital Club 100 should leave you in no doubt that our reputation as innovators is as strong as ever.
Last year, when I set out my blueprint to shift the creative industries from the margins to the mainstream of economic and political thinking, the global economy was in very different shape. "Creative Britain" celebrated our international success in businesses like film, video games, advertising and fashion, and mapped out a vision where all our major cities would be driven by creativity, with job opportunities on offer in every region.
Of course, a lot has changed since then, and the steep downturn, coupled with the threat of international competition as more countries wake up to the economic potential of creative industries increases, makes achieving that ambition a greater challenge. To emerge from our present economic problems in good shape, we need to work now. We need young people to feel confident that these industries offer realistic opportunities. If not, their creative potential could well be lost. It's not so long ago that support for these sectors, just like culture and sport, was the first in the queue for cuts when the economy was dipping.
These are not luxuries for the good times, to be ditched in times of trouble. We are investing in skills and jobs, building clear routes from schools and colleges into creative careers, making sure that young people have a choice to use their talents in a creative capacity. Ideas are the raw material of the creative industries. We need to capture our children's imagination and inventive enthusiasm early, which is why we created the Find Your Talent scheme, to give school pupils access to high quality culture – not just as passive consumers, but as practitioners too. Once that talent is unlocked, there must be opportunities to develop the skills to build a successful career.
In Knotty Ash, Liverpool, last month, Feargal Sharkey, pictured right, and I had the pleasure of opening the first of ten Government-funded, professionally equipped music rehearsal spaces. Young musicians in deprived areas will have free access to top quality facilities, to give them a chance to join the long list of British talent that has deservedly dominated the music world for generations. Others will learn new skills like sound engineering and event promotion to set them up for a career in the music business. I was struck by something Feargal said to me that day: when he was first starting out in The Undertones, he was the only one of his original group of friends from school who had found a job.
New creative apprenticeship schemes are being developed around the country; Creative and Cultural Skills, the body responsible, has signed up over 160 employers to take on apprentices. Alongside the Arts Council and local government, we have launched a new scheme to offer artists and creative people, including the unemployed, free town centre spaces to develop their work. We will work with the arts, cultural and creative sectors to offer 5,000-10,000 job opportunities for the young unemployed. If we invest now to keep this sector healthy, we can not only make sure that we do not lose a young generation as a result of recession, but can create a fairer system of entry which allows the most talented – not just the most well-off – to have opportunities. That means an end to the days when the door was closed to those unable to move to London and work for free, or who didn't know someone who could help get a foot in the door.
We need to make sure creators are properly rewarded for their work: that we have a fair system that protects intellectual property. Digital innovation has brought huge benefits to the production, distribution and consumption of creative content. But it also brings the threat of unlawful copyright breaches that cannot be ignored. We need to work fast, and work across borders to make sure the talent we have nurtured isn't ripped off before it can be rewarded.
The departing Culture Secretary Andy Burnham says we cannot afford to waste the creative talent of a new generation
This is a great moment for Britain's creative businesses. While globally, traditional industries are struggling to adapt, Britain's new generation of talent is seeing – and seizing – opportunity in this fast-changing world. If you needed a reminder of the breadth of our worldwide influence in the creative industries, then the annual Hospital Club 100 should leave you in no doubt that our reputation as innovators is as strong as ever.
Last year, when I set out my blueprint to shift the creative industries from the margins to the mainstream of economic and political thinking, the global economy was in very different shape. "Creative Britain" celebrated our international success in businesses like film, video games, advertising and fashion, and mapped out a vision where all our major cities would be driven by creativity, with job opportunities on offer in every region.
Of course, a lot has changed since then, and the steep downturn, coupled with the threat of international competition as more countries wake up to the economic potential of creative industries increases, makes achieving that ambition a greater challenge. To emerge from our present economic problems in good shape, we need to work now. We need young people to feel confident that these industries offer realistic opportunities. If not, their creative potential could well be lost. It's not so long ago that support for these sectors, just like culture and sport, was the first in the queue for cuts when the economy was dipping.
These are not luxuries for the good times, to be ditched in times of trouble. We are investing in skills and jobs, building clear routes from schools and colleges into creative careers, making sure that young people have a choice to use their talents in a creative capacity. Ideas are the raw material of the creative industries. We need to capture our children's imagination and inventive enthusiasm early, which is why we created the Find Your Talent scheme, to give school pupils access to high quality culture – not just as passive consumers, but as practitioners too. Once that talent is unlocked, there must be opportunities to develop the skills to build a successful career.
In Knotty Ash, Liverpool, last month, Feargal Sharkey, pictured right, and I had the pleasure of opening the first of ten Government-funded, professionally equipped music rehearsal spaces. Young musicians in deprived areas will have free access to top quality facilities, to give them a chance to join the long list of British talent that has deservedly dominated the music world for generations. Others will learn new skills like sound engineering and event promotion to set them up for a career in the music business. I was struck by something Feargal said to me that day: when he was first starting out in The Undertones, he was the only one of his original group of friends from school who had found a job.
New creative apprenticeship schemes are being developed around the country; Creative and Cultural Skills, the body responsible, has signed up over 160 employers to take on apprentices. Alongside the Arts Council and local government, we have launched a new scheme to offer artists and creative people, including the unemployed, free town centre spaces to develop their work. We will work with the arts, cultural and creative sectors to offer 5,000-10,000 job opportunities for the young unemployed. If we invest now to keep this sector healthy, we can not only make sure that we do not lose a young generation as a result of recession, but can create a fairer system of entry which allows the most talented – not just the most well-off – to have opportunities. That means an end to the days when the door was closed to those unable to move to London and work for free, or who didn't know someone who could help get a foot in the door.
We need to make sure creators are properly rewarded for their work: that we have a fair system that protects intellectual property. Digital innovation has brought huge benefits to the production, distribution and consumption of creative content. But it also brings the threat of unlawful copyright breaches that cannot be ignored. We need to work fast, and work across borders to make sure the talent we have nurtured isn't ripped off before it can be rewarded.
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