Cerise Phiv (張俐紫)
Former Managing Editor of eRenlai.com
Alex Wang completed the translation in Chinese of Teilhard de Chardin's book, La Place de l'homme dans la Nature: Le Groupe zoologique humain (Peking University Press, 2014)
Why did you choose to translate this book by Teilhard de Chardin?
The evolution of mankind on the earth, I should say, the evolution of intelligent life in this universe depicted by Pierre Teilhard de Chardin provides us with a clear vision of what would come and what we should do to make it happen.
Teilhard has shared this version in his masterpiece "The human phenomenon" with a scientific and yet poetic language, while integrating the progress of his time. But the access to this major work is not easy, requiring patience and perseverance. "The place of human in the nature" is a condensed "but clearer" version of this important book, according to Teilhard himself. It could be considered as a stepping stone to enter Teilhard's world.
Why is it important to promote Teilhard de Chardin in China?
China has been achieving the huge and astonishing progress in each important domain for more than 30 years. There is no doubt that China will become a superpower of the 21st century, reshaping the entire world to come. Its uprising will be one of the major events of human history. All along the desire for the modernization and a better life, people feel at the same time and even more deeply a hunger for meaning, the meaning of life, the meaning of human efforts, the meaning of a higher moral standard, etc. In short, people are looking for the answers to the following questions: why are we here? Where do we go? In which direction and why?
Teilhard's thoughts provide us with his answers, inviting us to an extraordinary journey of exploration.
Could you recount for us the history of your career?
When I was a 13 year old boy, I asked myself a simple question: "What's the value and the meaning of human life?" Since then, all my life has been oriented to the search for this meaning.
Then in 1978, I felt the urge to leave the factory to resume my studies at the university after "the Cultural revolution". In 1983, I left my home land, flew to France, in order to "learn" with all the philosophers and thinkers I could find. There I obtained a PhD in philosophy and a second one in engineering.
But I remained unsatisfied until I encounter Pierre Teilhard de Chardin. For me, his thought is like a candle in the darkness of night.
I have been working for more than 25 years for the France Telecom Orange Group. After taking different positions in various divisions such as HR, Business development, Sales, R&D and procurement, I currently work as CEO of Orange Sourcing Consulting. I am very much involved in promoting Teilhard's thinking and also in the implementation of Corporate Social Responsibility principles, understood as part of efforts in the direction of ongoing human evolution pointed by Teilhard.
 Pierre Teilhard de Chardin, Lettres à Jeanne Mortier, 1949, Seuil, p. 53
Teilhard de Chardin wrote The Phenomenon of Man (Le Phénomène humain) over a period of time that coincided with his entire stay in China, from 1922-1946, during which time he often left China to visit Europe, other countries in Asia and the US. This book, still considered as his magnum opus, tells the great story of the "human phenomenon" advent through the continuity of the formation of matter and the debut of life on earth, while being at the same time a reflexion on what will become of the "human phenomenon."
The book was published posthumously in 1955.
This excerpt of the documentary Teilhard and China introduces an original typed copy of the book conserved at the Beijing Center and gives us the testimony of a Chinese reader.
In the following video taken from the unused footage of the documentary 'Teilhard and China', Thierry Meynard, SJ, director of the Beijing Center, discusses the theory of evolution according to Teilhard de Chardin and its significance for the World today.
The 'Teilhard adventure' started for me at the beginning of the year 2013 after reading the 'libretto', written in French by Benoit Vermander. Very dense and documented, the 20 pages were my first immersion into Teilhard de Chardin's world. I appreciated Benoit Vermander's pedagogical approach: in his usual concise style, he resumed a lifelong story while giving prominence to the texts and the voice of Teilhard. Thus I discovered the intense text of the Mass on the World and even had the chance to re-read a French school classic: an excerpt from 17th century philosopher Pascal.
But my challenge was to make a film of this 20 pages-long literary piece.
While working on the pre-production phase of the movie, we came across another team preparing a bigger scale documentary for US television: Frank and Mary Frost from Frank Frost Productions. Frank and Benoit had met during a colloquium on Teilhard in 2012 and they had kept in touch since then. Frank and Mary had planned a research site trip to China and they were very kind to invite us to join them.
In May 2013, I embarked on a trip to Beijing and Ningxia with Taiwanese filming assistant, Sharon Liu. Thanks to Frank and Mary's contacts, we met for example Hailu You, a paleontologist from the Institute of Vertebrate Paleontology and Paleoanthropology of China (IVPP) who appears in the movie.
The following video is an interview with Frank at the end of our trip:
In the meantime, Benoit Vermander was planning an intercultural workshop organized by Fudan University with the support of the Taipei Ricci Institute. The workshop, held in Inner Mongolia, would invite scholars and writers, mostly from Shanghai and Taipei, to read and discuss excerpts from Teilhard's work. The logistical preparation of the workshop was undertaken by Liang Zhun, a photographer based in Shanghai and a long-term collaborator of Benoit Vermander. She notably contributed to the film the beautiful shots of the desert and the Salawusu Valley.
The workshop was also quite an interesting experience: our heteroclit group got immersed in the immensity of the landscapes that Teilhard had crossed nearly a century ago. One of the most dramatic moments was probably when a small group of us went at dawn to the plateau bordering the desert of Ordos to listen to Yaling Wu, a lecturer at the Shanghai Academy of Social Sciences, read in Chinese the Mass on the World at the same spot Teilhard celebrated it.
After my trip to China, I joined Benoit Vermander in the region of Auvergne, Teilhard's birthplace in France, where we were very generously welcomed by his closest living relatives: his nephew Henri du Passage and daughter Marie Bayon de La Tour who inherited Teilhard's passion for geology. As we accompanied her to the banks of the river Allier where he used to take his nephews to show them rocks, one could even more vividly feel Teilhard's deep understanding of nature and Marie Bayon de la Tour, interviewed in the film, also emphasized this aspect: "Auvergne can only be understood if we imagine that it is alive, and that its geology evolves with time. I think it influenced Father Teilhard."
Once back in Taipei, I undertook the task of editing and finalizing the production of the movie, and finally the French version of the documentary premiered in Paris in June 2014 at the Centre Sèvres. The Chinese version was screened during the colloquium "Teilhard and the Future of Humankind" held in Beijing in October 2014. (Lien vers article BV) A year later the release of the DVD in its three versions, French, English and simplified Chinese would coincide with the anniversary of Teilhard's death.
Like any other project and human experience, this film in its three versions is the result of lucky encounters and fruitful collaborative work with all the difficulties and obstacles that it implies. I hope that this attempt of introducing Teilhard de Chardin to the Chinese audience, and to a broader public in general, can be the start of more dialogue, discussion and understanding between the people of different horizons.
2014 年 11 月 4 日─15 日
Exposition Benoît VERMANDER (peintures) – LIANG Zhun (photographies)
Le musée municipal Xuhui, Shanghai, accueille du 24 octobre au 10 novembre 2014 une exposition de Benoît Vermander (France) et Liang Zhun (Chine), intitulée « Entre ville et mont (見山‧畫城) ». Le dialogue entre les peintures de Benoît Vermander et les photographies de Liang Zhun – les unes et les autres confrontant condition urbaines et populations montagnardes du sud-ouest de la Chine - ouvrent sur d'autres confrontations : celle entre la « tradition » chinoise, et des modernités éclatées ; celles entre un regard ancré dans les grandes terres du sud-ouest et une esthétique du passage, de la fluidité ; celle entre l'instant photographique et le trait calligraphique.
Juste avant l'inauguration de l'exposition, une table ronde réunit au musée Xuhui des professeurs du département de philosophie de Fudan et des artistes de différentes nationalité habitant à Shanghai autour du thème : « L'œil et le trait. Qu'est-ce qu'une esthétique inter-culturelle ? » L'apport d'auteurs tels que Merleau-Ponty et Henri Michaux fera l'objet d'une attention spéciale.
Inauguration: Vendredi 24 octobre 2014, 16h
DATES : 24 octobre 2014 – 10 novembre 2014
Lieu : Xuhui Art Museum, Shanghai 1411 Huaihai Middle Rd, Xuhui, Shanghai, Chine
2013年, Liz Hingley 來到上海, 這也是上海第一條地鐵線開始后的第20年。
上海擁有世界第二大地鐵系統, 每天承載超過700萬人, 逐步影響並改變著城市裡社會, 經濟與地域結構 。Liz Hingley 因對此深感興趣, 於是自來到上海后, 便展開了長達兩個月往返於地鐵線終站的拍攝旅行, 穿梭記錄上海終站裡恣意隨生的建筑景觀與群聚現狀 。
"End Of Lines"已於2013年11月納入法國 the Portrait De Villes 出版系列並隨之發行。而Liz Hingley 目前也因此拍攝計劃擔任上海K11 藝術空間'Mapping Shanghai' 講座暨工作坊策劃人。
《 End Of Lines 》展覽資訊
展覽日期： 2014年4月19日（星期六）∼ 2014年5月18日（星期日）
地址： 上海市靜安區江寧路831號5號樓201室 200040
開放時間： 13：00∼19：00 （周末照常, 國定假日不開放參觀, 敬請諒解）
著名攝影師, 研究者與巴黎攝影畫廊Agence Vu 之一員。
Liz曾獲 the Getty Image Grant，Prix Virginia與 Photophilanthropy Activist Award 等多項國際攝影獎項。其並在獲得Fabrica 兩年駐義大利創作獎學金后, 創作了" Under Gods ", 2011年於Dewi Lewis發表, 並隨之完成國際巡迴個展。
2013年6月, Liz因受邀於復旦大學利瑪竇中西文化歷史研究所而移居上海, 進行多信仰城市社區攝影計劃, 現今為上海社會科學學院的訪問學者。
第六站 - 溫哥華島 - 維多利亞市 - 維多利亞原住民友誼中心 (Victoria Aboriginal Friendship Centre, VAFC)
「在維多利亞原住民友誼中心接待我們的Mr. Bruce Parisian，便提到保留地原住民從部落到城市工作的艱辛歷程，這何嘗不是台灣都會原住民遇到的問題？我們的政府因都市更新將城市內的部落強制拆除，對此我們要如何因應？此中心是由不到十位的都會原住民創立，他們在一間不到十坪的辦公室，自發性地寫企畫、向民間團體與政府單位申請經費，在一番努力之下，政府與民間團體紛紛願意投資合作，我覺得這樣的耕耘相當值得借鏡。」
Filmed and edited by C. Phiv, subtitled by Vica Zhuhan
Photos: Top: Richard Chen Down: Shu-ching Hsueh
第一站 - 溫哥華市 - 史丹利公園 原住民村 (Klahowya Village)
結束了上午在溫哥華市內的觀光行程後，我們便啟程前往我們第一個原住民文化交流地點 ─ 史丹利公園。這片靠近溫哥華市中心，佔地400公頃的綠地，於今年五月到九月的夏季期間，已由溫哥華公園委員會將一部份的史丹利公園成功地轉變為新的原住民村，讓來訪的遊客能體驗充滿活力的原住民歌舞、藝術、和道地的飲食。原住民村提供講述部落故事的節目、搭乘小火車遊村的心靈之旅、每日固定兩場的舞蹈演出、原住民特色佳餚、每天都有的文化導覽行程，以及特有的原住民節日 (Nations days)。他們也有來自部落的工匠在現場製作傳統木雕和紡織，遊客可以和工匠一起做出自己的手工藝品或是由商店購買。本次走訪特別關注的是讓台灣原住民學生探索如何應用文化產業來達到經濟獨立，而經濟獨立也是為了達到長期政治自主的必要條件。我們也希望藉此機會瞭解 Klahowya 村如何利用生態旅遊和文化企業啟動文化復興，並以尊重他們的傳統和人民的方式，提供當地原住民更多的就業機會。
── 邱婕 Ibu Isliduan - 國立東華大學民族語言與傳播學系四年級 - 布農族
── 韋聖安 Takun Neka - 銘傳大學公共事務學系四年級 - 泰雅族
Video filmed by Cerise Phiv and Diane Chen, edited by Cerise Phiv and Nick Coulson, subtitled by Yen-ching Chu
Photo courtesy of Laurent Vu-The
A review of documentary ‘Cradle of Happiness’, directed by Asel Juraeva, Kyrgyzstan, 2010, Digi-Beta, color, 20’
The movie starts in a hospital: white ceiling, white gloves, the sound of a heartbeat reproduced by the echography machine, a robotic sound that will stop as we see a doctor or a nurse take what seems to be surgical instruments of abortion. Then a fade out opens on to a dusty road, two little boys play at the foreground. A close-up lets us guess that they are twins.
This 20 minute movie is about the simple and happy life of these two little boys who basically spend their time playing in the garden, eating, watching TV and sleeping. The scenes are filmed at their eye-level, thus adopting their point of view and making us enter their world where adults are scarcely present: their mother, pregnant, who bathes and dresses them, their grandparents and their father who appears only once as he comes home.
So the space of representation in the movie just varies between the house and the garden in a continuous coming and going (va-et-vient). But another reality pierces through the opening created by the screen of the TV: the uninterrupted broadcast of images of war and violence contrasts with the serene sequences that depict the games and the activities of the family. As the camera lingers on the eyes of the little boys mesmerized by the TV, one of them suddenly lowers his look as though sadness has invaded him. That scene preludes the only fight scene between the twins (inside the house) which is followed by a long shot of the deserted garden where a toy gun remains.
The movie impresses by its scarcity of information: we only know that it takes place in Kyrgyzstan because of this strange sentence which opens the movie both in Russian and English: “Kyrgyzstan is a country of short films!” But we don’t know which village or town or city; also none of the people are named, there isn’t either any time indication. In fact, the movie is almost mute, only punctuated by the chirping of the boys. And this is what precisely gives to the movie its universal meaning and its interest. What we are told here is not the story of a particular family but the story of humanity through its particularism, with a certain Rousseauistic perspective: the innocent happiness of humans in nature disturbed by the corruption of a violent outside world that will maybe see these boys grow old to be soldiers; the opposition between childhood and adult age, the close tangle of life and death. But the movie is not pessimistic as it finishes on a note of hope with the birth of the twins’ little sister: the circle closes finally on life.
In June and July 2013, the Fijian navigator Setareki Ledua and the Samoan dancer Tupe Lualua toured Taiwan for a cultural workshop designed to enhance the exchanges and links between Taiwan Austronesians and other cultures from the Pacific. Here are some videos filmed, compiled and edited by members of our team and participants in the workshop.
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