一種眼神告訴你，對一切的攻擊，侵犯，挑臖，挑戰，挑逗，都不懼怕！但是....
我能夠對一切即將到來的變化，所將面臨的青春老去，孤獨與死亡，毫不懼怕嗎？
朋友出高價換取永生的青春與財富，這個高價必須犧牲十個人的生命.... 雖然，極度不願意承認，在一霎那躊躇間，讓我感到自己殺氣騰騰的氛圍....雖只是一霎那的懼怕！我的慈悲心呢？
所以，懂我的人，微笑說，我還是個需要"被照顧的小女人" ......
Saturday, January 24, 2009
金色筆記之 4：殺氣騰騰的氛圍
一種眼神告訴你，對一切的攻擊，侵犯，挑臖，挑戰，挑逗，都不懼怕！但是....
我能夠對一切即將到來的變化，所將面臨的青春老去，孤獨與死亡，毫不懼怕嗎？
朋友出高價換取永生的青春與財富，這個高價必須犧牲十個人的生命.... 雖然，極度不願意承認，在一霎那躊躇間，讓我感到自己殺氣騰騰的氛圍....雖只是一霎那的懼怕！我的慈悲心呢？
所以，懂我的人，微笑說，我還是個需要"被照顧的小女人" ......
Thursday, January 22, 2009
Zen in reality....
The Zen Master said: While we identify ourselves as CLOUDS, where belong to emotions, thinking, feelings, and physical sensations, we all have an opportunity to discover our true selves, the clear blue SKY, that we originally were born to be.
When Obama so eloquently spoke of the equalness of every one's happiness, I did see the SKY....
Wednesday, January 21, 2009
Hope over fear ...
Obama's Inauguration speech:
We have chosen Hope Over Fear!
http://cosmos.bcst.yahoo.com/up/player/popup/?rn=3906861&cl=11631215&ch=4226713&src=news
We have chosen Hope Over Fear!
http://cosmos.bcst.yahoo.com/up/player/popup/?rn=3906861&cl=11631215&ch=4226713&src=news
Monday, January 19, 2009
Saturday, January 17, 2009
Dance 5: Techniques of all Arts...
1 Ballet Swan Lake: http://tw.youtube.com/watch?v=T_5WCZ-XvG4
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
2 Rumba Performance: http://de.youtube.com/watch?v=NpKGY-AZO5M&feature=related
3 Argentina Tango: .http://tw.youtube.com/watch?v=PQRP50_7iPc
與其他的藝術相同，在"藝術論"裏 ，托爾斯泰談一切藝術涵蓋了靈性之深度，與藝術家意念的傳達，談到作品的特殊性, 歷史性與原創性。也因為擁有這些必要條件，一場演奏，一場舞蹈，一幅畫作，一部小說，才能稱之藝術。在這兒，我們更深入的談音樂性的體會，旋律節奏與舞步的相容，舞者感性的心靈交流，情感豐富與收斂的詮釋。如何的渾然天成，如何的讓人感動而不造作？ 這一切，都必須在純熟的技巧中完成，因此，技巧的準備與訓練是個重要且先決的條件。 雖然社交的舞蹈不同於表演的舞蹈，不同的是它courting 的特質..., 理論上他的進化過程要自由與輕鬆些，因為目的不同。
to be continued...
Javier Rodriguez y Andrea Missé's Photos
Dance4: Argentina Tango Music in brief
From argentina-tango.com
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
1. 1920s and 1930s, Carlos Gardel: Tango soon began to gain popularity in Europe, beginning in France. Bandleaders like Roberto Firpo and Francisco Canaro dropped the flute and added a double bass in its place. Lyrics were still typically macho, blaming women for countless heartaches, and the dance moves were still sexual and aggressive.
2. Gardel's death was followed by a division into movements within tango. Evolutionists like Aníbal Troilo and Carlos di Sarli were opposed to traditionalists like Rodolfo Biagi and Juan D'Arienzo.
3. The "Golden Age" of tango music and dance is generally agreed to have been the period from about 1935 to 1952, roughly contemporaneous with the big band era in the United States.
Some of the many popular and influential orchestras included the orchestras of Juan D'Arienzo, Francisco Canaro, and Aníbal Troilo.
D'Arienzo was called the "Rey del compás" or "King of the beat" for the insistent, driving rhythm which can be heard on many of his recordings. "El flete" is an excellent example of D'Arienzo's approach.
Canaro's early milongas are generally the slowest and easiest to dance to; and for that reason, they are the most frequently played at tango dances (milongas); "Milonga Sentimental" is a classic example.
Di Sarli had a lush, grandiose sound, and emphasized strings and piano over the bandoneon, which is heard in "A la gran muñeca" and "Bahía Blanca" (the name of his home town).
Pugliese's first recordings were not too different from those of other dance orchestras, but he developed a complex, rich, and sometimes discordant sound, which is heard in his signature pieces, "Gallo ciego", "Emancipación", and "La yumba".
Astor Piazzolla stretched the classical harmony and counterpoint and moved the tango from the dance floor to the concert stage. His compositions tell us something of our contemporary life and dancing it relates much to modern dance.
Dance3: Argentina Tango, being "at the present"...
Because the nature of its "improvisational steps", we may experience the highly concentrated attention paid during the dance, as parallel to performing arts, music performance, yoga practices and athletic sports. One to create a master piece is when one truly loves what he is expressing and communicating. Tango is envisioned as an intuitive and non-verbal language, which bridges two souls together, completing the vacant part of another.
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Striving to act and react, to lead and follow, moment by moment in tango could be a very transforming experience, as we never know what to expect in life from your partner, and so does the Argentine Improvisational Tango. Responding for the moment, and fully attending every change throughout the music, throughout the time being, have all essentialized the philosophy towards our understanding the context of the music and the understanding of our partner. It is similar to meditation, for it provides the secrete of concentration, being "at the present", while we observe the ups and downs in our lives. The only difference is that tango takes two partners to culminate the perfection at a very close relations in a very short moment, and the meditation in life expands much longer and more complex.
Through a simple signal, one partner's insight thought has to transmit to the other partner's mind, the full attention was paid and the physical sensation was magnified. As an old saying: there is no "wrong" steps in tango, but only "misunderstanding". Your hearing becomes broader, your feeling of touch becomes sensuous, your feeling of smell becomes acute and your physical body becomes highly alert, open, responsive, and yet relaxed.
However, can one tango beautifully with anyone? The question lays upon can you give your heart fully for that person for the time being? Can you also melt into the music, feel its passion, its sorrow, its longing, its pain, its humor, its rage, its curiosity, or its alluring? Can you?
Dance2 : Argentina Tango, the initial "embrace" tells you everything
Historically, dance has created community bonds, served as a form of spiritual practice, provided physical exercise and stress relief, and, of course, taken on the important role of a "mating ritual". Dance has always been distinguished in two categories either in the court or in the country circles, as the close position was not yet recognized in 17th century, however. While close embrace creates the most direct and instinctive communication between two people, it serves the power of its social purpose .
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Close position was first found in the Viennese Waltz, while subsequently from the past 100 years, the tango traditions of close embrace was slowly emerged into the court dance and the dance culture of nobility and middle/high social classes.
In recent years people have been experiencing a revival of social dances from around the world. This indicates a growing need for people to reconnect with each other, their communities, and themselves. Partner dance just might open the door to this reconnection, and the tango, one of its most distinguished representatives, could be the key. In Buenos Aires, Argentina, where the tango was born around 1850, they say that the initial "embrace" tells you everything before you even take the first step. Well, what exactly, you might ask, is this "everything" that can be learned in a mere instant of physical contact?
The tango sidesteps the notion of a "right way," but rather teaches us, above all else, to "improvise." He, the leader, then invents a step of his own to accompany her, she follows, and so on until the end of the song. This is why the tango appears so complex, and why the two partners' legs manage to intertwine in such a remarkable way. Herein lies the beauty, and the puzzle, of the tango. While dancers change partners often, and every dance is different, bringing its own surprises, challenges, and thrills. Do we take a step softly, or does it carry a sharp accent? Do we embrace our partner very tightly, or very gently? There is a sudden connection between you and your partner after the initial embrace, whether you like it or not... That demonstrates the telepathic communication without language and without distracting thoughts ...
Friday, January 16, 2009
周杰倫-蘭亭序
曲：周杰倫 詞：方文山蘭亭臨帖 行書如行雲流水 月下門推 心細如妳腳步碎忙不迭 千年碑易拓卻難拓妳的美 真跡絕 真心能給誰
牧笛橫吹 黃酒小菜又幾碟 夕陽餘暉 如妳的羞怯似醉摹本易寫 而墨香不退與妳同留餘味 一行硃砂 到底圈了誰
無關風月 我題序等妳回懸筆一絕 那岸邊浪千疊 情字何解 怎落筆都不對而我獨缺 妳一生的了解
牧笛橫吹 黃酒小菜又幾碟 夕陽餘暉 如妳的羞怯似醉摹本易寫 而墨香不退與妳同留餘味 一行硃砂 到底圈了誰
無關風月 我題序等妳回懸筆一絕 那岸邊浪千疊 情字何解 怎落筆都不對而我獨缺 妳一生的了解
彈指歲月 頃城傾客間湮滅 青石版街 回眸一笑妳婉約恨了沒 妳搖頭輕歎誰讓妳蹙著眉 而深閨 徒留胭脂味
人雁南飛 轉身一瞥妳噙淚 掬一把月 手攬回憶怎麼睡又怎麼會 心事密縫繡花鞋針針怨懟 若花怨蝶 妳會怨著誰
無關風月 我題序等妳回手書無愧 無懼人間是非 雨打蕉葉 又瀟瀟了幾夜我等春雷 來提醒妳愛誰
Wednesday, January 7, 2009
For An Agitating mood.....
1. Argerich's Chopin Prelude: http://tw.youtube.com/watch?v=W8LoC3siqIY&feature=related
Kissin:http://tw.youtube.com/watch?v=iOLwHU31Wc0&feature=related
2. Argerich's Prokoviev Toccata: http://tw.youtube.com/watch?v=i6AhHBu_A_U
Frederich Chui: http://tw.youtube.com/watch?v=bSPDmQtWPak&feature=related
3. Bach's Toccata in d: http://tw.youtube.com/watch?v=eSjYAcUomds&feature=related
Tuesday, January 6, 2009
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