ลองเข้าไปติดตามภาคภาษาอังกฤษได้ที่นี่นะครับ
Thaksin Shinawatra in Private Discussion
World Policy Institute Global Leader Briefing Series Thinking Points
World Policy Institute, 9th March 2016, New York
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Excellencies, Distinguished Guests, Ladies and Gentlemen,
I must thank you World Policy Institute for providing me an opportunity to share my thought on the challenges that revolve around the economic, regional and global implications of how Thailand will make its way through a period of transition and change.
We all know that no society in the twenty-first century can sustain any form of “progress” in the well-being of its people without at least two basic foundations:
The first one is political stability. The second one is the ability to create economic activities that allow growth and readiness to shift its creativities to sustain wealth.
Ladies and Gentlemen,
Let me tell you the tale of the two cities, which is not written by Charles Dickens. It is the tale of parallel progress of Washington D.C. and Beijing. Each has its own history, pain and loathing. As the years go by, the two cities have been seen as rivals which offers competing models for growth and prosperity.
One is Free Market-Capitalism with the so-called “Open Democracy” as the foundation of its economic model. The other one is State-Led Capitalism with the central control system by one party.
Both of the models have proven to be successful in a very dramatic way from the past to the present. Admitting that the Chinese model was fitting to the change of attitude among the leadership of the country at that time, in parallel with the change of economic model in the West, in which the definition of “free trade” benefits China’s shifting position from a close market to a semi-open market.
But we must admit also that both models are now having to adjust itself to the new reality; the reality of dramatic change in speed and character of technology for industrial production; the change from “a country-based product” to “network of global design, global sourcing,and global production for just one product”. This extraordinary change upends the “normal” internal economic adjustment of the country and made it very difficult to find a simple economic adjustment.
We must recognize that advancement in the wealth management technique and technology also upend the normal linkage between capital and changes in production. However, we probably agree, that one common threat for survival in this present so-called “New Normal” is either you have the ability and willingness to change or you don’t. Thailand, like the other countries, cannot get away from this New Normal in the international context.
Ladies and Gentleman,
There is a tale of a poor English teacher in China who soared to the list of the world’s wealthiest people. He neither built a big factory nor invested in any production facility. But, people paid for his service simply to reach the network of supply and demand on a grand scale. I believe, he must feel thank you to the internet.
Ladies and Gentleman,
Amid the global economic slowdown, the pattern of trade has significantly changed. Due to the development of information technology infrastructure and increasing number of population who is able to access to the internet, e-commerce has become a new engine that sustains growth for both developed and developing economies. According to UNCTAD’s report last year, the value of global business-to-business (B2B) e-commerce in 2013 exceeded $15 trillion USD. While global business-to-consumer (B2C) e-commerce still accounted for an estimated $1.2 trillion USD, this segment has grown at a rapid pace; especially in the Asia and Oceania region where B2C segment is expected to surge from 20 to 37 percent between 2013 to 2018. Due to the incremental growth of cross-border e-commerce trade, international postal deliveries of small packets and parcels have risen by 48 percent between 2011 to 2014 globally.
For both Asia and the West, I believe these numbers provide us with clues for the new growth opportunities where “access to networks” is the key: meaning, the networks of consumers and factors of production across geographical boundaries. Unlike the economy of twentieth century when “access to centers” is the rules of the game, today, businessmen who do not have big factories and are not the owners of multinational corporations, can manage to reach and satisfy the needs of their customers worldwide through networks of production and distribution with an assist of the new communication technology. Today’s economy is increasingly decentralized. Consumption and production are more and more dispersed. We could imagine that an American producers can sell their products online directly to consumers in the western part of China without having to spend business hours in Beijing or Shanghai. Vice versa, a Chinese producer can bypass New York to offer their products to customers in New England and Mid-Atlantic states. The network economy has provided the people, both in small and large businesses, with the ability to produce and access to consumers at lower costs. We, as a global community, must put special emphasis on how each country can invest and share risk with the people to create growth collectively.
Ladies and Gentleman,
Another tale is about the rebirth of a road that nobody cares since the Portuguese discovered a possible sea route from Europe to Asia. The Portuguese did offer an alternative trade route with substantial margins for the goods carried. Although you might lose half of the cargoes on the way, you still did not lose your shirt. Since the demand for spices were overwhelming, the merchant marines heavily charge everybody.
Ladies and Gentleman,
The heavy-load transport through the sea has been with us till now, and the land routes from Asia to Europe have been neglected. If the world’s economy is thriving like the good old days, probably, not so many people would be interested in finding an alternative in life. But, since the situation goes awry, I believe, any country should consider all possibilities.
Ladies and Gentlemen,
Today, there are two major initiatives that, I think, have great potential to accelerate growth and leverage “quality of growth” that brought into being by the emergence of network economy. One is the China-led “One Belt, One Road” (OBOR) plan to develop transport and logistics connectivity encompassed some 60 countries, which include about 50 percent of the world’s GDP. And, the other is the US-led Trans-Pacific Partnership Agreement (TPP) between 12 Pacific Rim countries, which account for more than 40 percent of the world’s GDP. I have not seen these two initiatives as antagonistic, but rather a kind of two parallel processes that, at a certain point, will create mutual economic benefits for Asia and the West.
We must overcome the stereotype that perceive China and the US as merely the two opposing political superpowers. In reality, the economic development during the past decade has shown us how far these two major economies are interdependent. China is the largest foreign holder of US government securities with $1.24 trillion USD worth. With the total trade volume of $521 billion USD in 2014, the US is China’s biggest trade partner. Total US foreign direct investment (FDI) in China stood at $65.77 billion USD at the end of 2014, while the Chinese FDI in the US is estimated to have reach $11.9 billion USD.
Given this interdependence in mind, I believe Southeast Asia- the region that sits in between the two great initiatives of the two major economies- must put special emphasis on how to enhance the mutual economic benefits with its counterparts. For Southeast Asia in the twenty-first century, the geopolitics should be about how to reinforce the networks of wealth creation for the people that stretch across national and regional borders.
Ladies and Gentlemen,
Let me tell you the last tale about a Thai restaurant. No matter how many times the master chef tries to teach his protege, the young man keeps making mistakes in mixing the ingredients. Customers are kept waiting, hungry and mad. Once the customers are served, half of them get diarrhea afterward. The moral of this tale is one must make the written recipe right.
Ladies and gentlemen,
While some people may underline the unique characteristics of Thailand in terms of its history and developmental path, the country itself cannot avoid to come to terms with the global challenges of the twenty-first century. For half a century, the Thai economy has incrementally integrated into global economy. Values of Thailand’s exports per GDP and FDI in the country have shown us clearly how far the growth of Thai economy has been interwoven with the fate of global economy.
Against this context, we shall consider Thailand’s draft constitution with a very simple question: will the latest draft constitution “enable” the country to grow and become stronger in the present world? Or, will the latest draft constitution provide Thailand with a sufficient institutional infrastructure for investment, production, cooperation, and businesses?
Ladies and Gentlemen,
Due to the framework set out by the latest draft constitution, it is difficult to foresee a government that is responsive to the people and the challenges of the twenty-first century. According to the new draft, the 200-seat upper house, or Senate, will be appointed by the so-called “experts”. The Senate will also have greater powers to block legislation. Regarding the Constitutional Court, its scope of jurisdiction will be expanded. The Court will have the power to examine cases based on petitions filed directly by individuals, without the requirement that an actual dispute being brought by political organs or other courts.
If we consider the doctrine of separation of powers as the foundation for growth and stability, the critical issue that we shall examine is whether the judicial power will trespass the provinces of legislature/ and executive or not? For a government to be able to manage the economy against the global slowdown, I do hope that there will be no over-enforcement of the judicial power. Experiences of several countries show us that, if unchecked, judicial review can be inappropriately used as “delaying tactic”; thus, in turn, become an impediment to economic policy implementation.
Ladies and Gentlemen,
I believe that the foundation for the country to create growth and prosperity is to build trust in the global community. The constitution shall protect the rule of law and provide at least a minimum level of freedom of speech that facilitates economic cooperation between the people and the global community. Trade and investment cannot flourish if there is no certain degree of confidence provided by the rule of law. Against the transition and change, Thailand must reevaluate its strength and weakness. The country shall find a sensible way to regain its political stability and economic dynamism. I have only proposed the way of how should we think of the phenomena that is the world today.
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grand meaning in english 在 玳瑚師父 Master Dai Hu Facebook 的最佳解答
【玳瑚師父茶會課室】 《以茶會友–第八場 :新春大年初三餐會》
8th Recap : 2016 Lunar New Year Dinner With Master Dai Hu (English version below)
2016年二月十日,大年初三,玳瑚師父在新加坡文华东方酒店的MELT ~ The World 咖啡廳,舉辦了《新春大年初三餐會》。餐會開始前,出席者們和玳瑚師父互贈年柑賀年。
餐會當天,最年輕的出席者是兩位二十出頭的年輕人。她他們有這機緣來增長智慧,玳瑚師父為她他們高興。師父甚希望大家抱握青春的時光,主動去接觸佛法和玄學,因為趁早學習改寫自己的命運,這一生才會真正「出人頭地」。
其中有一位出席者,更被玳瑚師父點說,她臉上的光是眾人中最亮的,師父亦娓娓道出其原因,讓眾人了解先輩對後代的影響,原來是如此的密切!
餐會精彩回顧:
丙申年世界動態 ~
一、 哪兩個國家最好不要去?
二、 哪一地區的國家會有病毒感染?
三、 神洲大地會有什麽天災人禍?
四、 新加坡的哪一區會有瘟疫?
五、 猴子的年份,有何寓意?
六、 天災為何而來?
七、 有天災為何不一定是壞事?
丙申年家庭運勢 ~
八、 家中有寵物,為何會離婚?
九、 真心愛一個人,應該期盼她他幸福,不應該在爭吵時,白刀進去,紅刀出來。
十、 單身女子今年的愛情運。
十一、 屋子裡的哪一個方位,會問題多多?
十二、 家中大門開在哪一個方位會特別旺?
十三、 今年家中誰最旺?
十四、 家中哪一位成員,最易沖犯和生病?應該如何防範?
十五、 已婚男主人,丙申年裡的展望、問題及化解方法。
十六、 家中女主人,丙申年裡的展望、問題及化解方法。
十七、 家中長子,要事業與情場兩得意,一定要這麽做!
十八、 家中長女,丙申年裡的展望。
十九、 家中次子,要注意的事項。
現場答客問 ~
二十、 為何不同人拜太歲會在不同的日子?
二十一、 參加寺廟的謝太歲與安太歲同修,卻無法攜帶師父所交代的供品,怎麽辦?
二十二、原來犯太歲不祇是自己的生肖,這樣的情況也會犯太歲!
二十三、矛盾的生肖配偶組合,婚姻會時甜蜜,時有距離感。
二十四、玳瑚師父為何一直不缺錢?
二十五、如果自己今年宜守不宜攻,如何進行購屋換車的計劃?
二十六、怎麽樣的居住環境,是天然的美容師,讓女主人越來越漂亮?
二十七、為超市裡的肉類畜靈唸往生咒,可以怎麽做?
玳瑚師父亦開示在正月初九,供養南無天公玉皇大天尊的意義何在。
現場一位出席者,廖文豪先生,主動說出,在去年的新春餐會,玳瑚師父曾指點她他們夫婦倆,如何能夠互旺彼此,讓先生賺錢更容易,而太太的脾氣也會比較收斂。她他們照做後,果真很快就看到「效果」。廖先生更稱讚玳瑚師父在去年所做的預言一一都應驗,準確無比!
餐會後,玳瑚師父帶領出席者們去觀看設在酒店內的菩薩像。 兩歲孩童見到玳瑚師父向菩薩像合掌頂禮,竟也可愛地模仿師父,向菩薩像合掌禮拜,真是「近朱則赤」啊!
玳瑚師父細心地向大家解說,站立和坐立的佛像有何區別。他語種心長地提醒大家「我們本來就是清淨的。」,何以現在「處處惹塵埃」?人間沒有一樣東西或人,是屬於我們的,包括妳你最愛的孩子。不要一直想要留連在人間。
不要覺得自己一直都不夠,事實上「妳你已經很幸福了」。
人的毒,來自自心,所以能夠從内到外的排毒法祗有佛法,而不是什麼營業品或目前最流行的果汁。
妳你真的學會佛法,修行有成,就不再受五行的約束,也當然不用看風水或批命了。
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On 10th Feb 2016, the third day of the Chinese New Year, Master Dai Hu held a Chinese New Year Dinner Session at Melt - The World Cafe at Mandarin Oriental Hotel. The attendees and Master Dai Hu exchanged mandarin oranges and Chinese New Year greetings before the dinner session commenced.
The youngest participants that night were two youths in their early twenties. Master Dai Hu is glad for them, having the affinity to grow their knowledge at such a young age. It is Master Dai Hu's hope that everybody can make good use of their youth, to take the initiative to learn the Dharma and Chinese Metaphysics. The younger we begin, the earlier we can learn the ways to rewrite our destiny, and truly stand head and shoulder above your peers in this lifetime.
Master Dai Hu also pointed a participant out, for having the brightest facial aura among all present. He further explained the cause of it, and highlighted that the influence our ancestors have over the descendants is more intricate and closely knitted than many of us realise!
Highlights of 2016 Annual Luck Cycle Talk:
Global Outlook in the Year of the Fire Monkey ~
1) Which two countries should we avoid travelling to?
2) Which region of countries will see the occurrence of infectious diseases?
3) What natural disaster or man-made tragedy will surface in China?
4) Which region in Singapore will experience an outbreak of contagious diseases?
5) What is the implied meaning in a Year of the Monkey?
6) Why are there calamities?
7) Why is the occurrence of natural disasters not necessarily a bad thing?
Family fortunes in the Year of the Fire Monkey ~
8) Why would having a pet at home increase the risk of a divorce?
9) If you truly love a person, you should wish for his or her happiness, and not draw the dagger during fights and arguments.
10) How is the romance luck for single ladies this year?
11) Which sector in your house will bring you the most problems?
12) Which front door direction is the most auspicious?
13) Which family member will experience the most prosperity this year?
14) In the year 2016, which family member is at the biggest risk of getting sick and experience spiritual disturbance?
15) The outlook, obstacles and solutions for married men in this Year of the Fire Monkey
16) The outlook, problems and solutions for the woman of the house, in this Year of the Fire Monkey
17) To have success in both his career and love life, the eldest son must do this!
18) The outlook for the eldest daughter this year
19) The precautions the second son must take this year
Live Q&A
20) Why do diffferent groups of people make prayers to the Grand Duke of Jupiter, on different dates?
21) You took part in a temple puja, to thank the Grand Duke of Jupiter and welcome the incoming Grand Duke of Jupiter. But you are unable to bring the offerings, as suggested by Master Dai Hu. What should you do?
22) Clashes with the Grand Duke of Jupiter not only depend your Chinese zodiac sign. It could also happen in such situations!
23) A married couple, with contradictory zodiac signs, fluctuates between feelings of sweet bliss and emotional distance.
24) Why is Master Dai Hu never short of money?
25) If you have been advised to stay on the defensive this year, how do you proceed with your plans to buy a property or a car?
26) What kind of living environment is a natural beautifying tool, for the woman of the house to look more gorgeous?
27) The way to recite the Rebirth to Pureland mantra, for the numerous animal spirits in the meats, at a supermarket.
Master Dai Hu also expounded the significance of making offering to the Heavenly Jade Emperor on His birthday, on the 9th day of the Lunar First Month.
A participant, Mr James Liaw, voiced out his positive experience with Master Dai Hu, from last year's CNY dinner gathering. Master Dai Hu had advised him and his wife, on the ways to enhance prosperity for themselves and each other. Those recommendations would help Mr Liaw to make money easier and Mrs Liaw to be more even-tempered. The couple followed Master's advice, and indeed, witnessed the results in a short time. Mr James Liaw also praised Master Dai Hu for the accuracy of his predictions last year!
After the dinner session, Master Dai Hu led all participants to view statues of Bodhisattvas, which was placed in the hotel. Seeing Master Dai Hu put his palms together and bow in respect to the Bodhisattva, a two-year-old toddler mimicked the same act and adorably prostrated to the Bodhisattva too! It was a classic case of positive influence when one is with a good role model.
Master Dai Hu explained in detail to all present, the difference between a statue of a Bodhisattva in a standing position and one in a sitting position. He further reminded us that every one of us came from a original state of purity, but unfortunately got all tainted with the filth of the secular world. There is nothing in this world that absolutely and permanently belong to us, including your beloved children. Do not hanker after the life in this human realm.
Please do not keep feeling that you are lacking. In fact, you are already living a very fortunate life.
The poison in a man derives from his own heart. The only way to detoxification from inside out lies in the Dharma, and not some health food or the fruit juice of the moment.
When you genuinely learn the Dharma and attain true accomplishment, the bounds of the Five Elements will lose their grip on you. And when that happens, there will be no need to do a Feng Shui audit or destiny consultation anymore.
www.masterdaihu.com/8th-recap-2016-lunar-new-year-dinner-with-master-dai-hu/
grand meaning in english 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….
grand meaning in english 在 Mr.GTA5 MOD Youtube 的最讚貼文
Made by GT-Ace with eveything: http://ameblo.jp/xgt-ace-l-wingx/
And enough quality suppose 720p graphics if you wanna see the sight that almost original model. ↓↓↓ Detailed INFO(以下詳細)↓↓↓
The originally ENB technology which GT-Ace studies, this dosen't show on the area of general GTA4, EFLC and GTA5 MOD's sites. GT-Ace would offer this technique only somebody special who notified programming in particular with GT-Ace for PC or have a talent with photography unique for Grand Theft Auto for PC and only to the person who can speak English with another person satisfactorily as a union card.
Matter of fact,GT-Ace characterized by a more realistic feeling of air and one per one of natural light all like a photograph taken on a spot with this ENB.
And last, GT-Ace intended to make the base of the program in conjunction with the graphic for the Grand Theft Auto V for PC platform and gave this test, so thus, itself does not have the deep meaning with nothing special .
・このENBは、今年の夏頃からPC版のGTA5発売時に備えて、実写のようにリアルな空気感と現実的なライティングを追求して試作したもので、写真撮影が得意な"Lyc"という外国人の方に特別にENBを限定配布し、撮影を依頼しました。動画では、何回かに分けて撮影したそれらの写真をいくつかまとめております。また、現在も更新中です。
・GT-Aceでは、ハイスペックPC向けの非常に綺麗なENBを制作しています。
PC版GTAの持つ本来のグラフィカルな魅力とDirectXを改造し、独自のプログラミング(コーディング)を行うことで、GPUの眠っている潜在的な能力を最大限に発揮させていますので、GTA4-Mod.comやGTA4-insideなどで配信されている通常のENBセッティング・ファイルでは再現できないような質感、空気感を実現します。
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ENB is made by GT-Ace in GTA4 EFLC GTA5 for PC.
Posted by L-wing.
Photo by Lyc.
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Tested on Patch 1.0.7.0. Ain't tested on 1.0.4.0.
Spec by NVIDIA GeForce GTX TITAN SLI 3-way, Intel core i7 3970X EE,32MB RAM,2TB HDD,1500W POWER.
NVIDIA GeForce GTX 680 2GB / 30-40 fps with Maxed out in Game Graphics Setting.
NVIDIA GeForce GTX TITAN 6GB / 40-50fps with Maxed out in Game Graphics Setting.
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