Erenlai - Items filtered by date: Friday, 14 March 2008
Friday, 14 March 2008 19:48

Picturing Music

The New Tide of Taiwanese Photographers

Every picture has its tempo, its rhythm and its inner music.

Its tempo comes from the moment and the speed at which the picture was taken. It comes also from the tempo of the subject itself: tempo of an Olympic runner, of a body at rest on a beach, or of a leisurely walk in the forest...
A picture’s rhythm is created by its lines and treatment of space: rhythm of modern buildings which translates into an abstract, orderly and repetitive space, erratic rhythm of a market street, hypnotic rhythm of a tree trunk that seems absorbed in the simple act of growing.
The inner music of a picture surges form the combination of volumes, colors and meaning. Pictures may sound as a Mozart quintet, as a lied by Schubert, as a jazz improvisation, as a popular tune, or else as a solitary flute echoing the rise of the moon.
Some pictures do not seem to be simply hinting at music, they seem to be picturing music –like if they were blurring the frontier between vision and hearing. Conversely, some musical works are not exactly “visual”, while other ones will spontaneously evoke landscapes of northern sea, lofty mountains or gentle countryside.

This issue of Renlai introduces young photographers living in Taiwan, be they Taiwanese or foreigners, and is meant at a celebration of the alliance between sound and vision. We have chosen the works we published here based on their tempo, their rhythm and their inner music. We have also asked the artists to reflect on what guides their sensitivity and their aesthetic choices. At a time where digital cameras have further democratized the art of photography it is good to help each of us to ponder over the way we make use of the tools that are now so widely offered. Sometimes, the digital revolution looks like a sure recipe for universalizing bad taste, generating second rate imagery and fostering aesthetic complacency. This is not a fatality. Creative photographers educate our senses and make us able to better use our own cameras. May this issue help us to create visions and music that will enrich our life and the life of the ones with whom we will share our works.

**We thank Calyon for the support given towards the publication of this special issue.
An exhibit of the photographs published in this issue will take place at Calyon Taipei Branch(No.167, 16Fl., Dunhua N. Rd), starting from Monday April 21.

Attached media :
Friday, 14 March 2008 19:47



楊昊 撰文
Supachai Panyaviwat 攝影

本屆東協外長會議無意外地確認了下任秘書長人選,決定將由現任泰國國會議員素林(Surin Pitsuwan)接任。本次推薦角逐東協秘書長者,可謂人才濟濟,其中包括了泰國駐聯合國前任大使坤瀛(Khunying Laxanachantorn Laohaphan)、前駐美大使克拉司特(Krasit Piromya)以及現任外交部的維拉薩克(Virasak Futrakul)等。不過,最後還是由素林脫穎而出,將成為開創東協新時代的重要舵手。


儘管素林明年一月才正式接任東協秘書長,但他早在十年前的一項提議,曾一度引起東協國家就既有區域規範挑整與否的一系列辯論。當時(1998年)因為區域國家深受東亞金融危機的衝擊,從而影響了各國的政經穩定與發展步調。因此,當時任職泰國外長的素林提出了「建設性干預」(constructive intervention)的概念,試圖修正在區域內行之多年的不干涉內政原則,以期建立起更透明的區域經濟與社會監督機制。他甚至表示,如果區域各國要進一步整合,那麼要某種程度上、在某些議題上讓渡部分主權的作法,應當是東協成員必須面對的抉擇。

他認為既存的不干涉內政原則儘管重要,但區域內更需要有一系列能提供意見交換、提供政策建議的透明機制,才能加速各國的重建腳步,也才能有助於深化日後的進階區域合作。然而,或許是這項概念內含的「干預」一詞太過敏感,這使得素林日後改采「彈性參與」(flexible engagement)一詞,以作為促進區域互動關係的新主張。



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