The Sky, the Sea, the Earth

January 19, 2016 2016年1月19日

The sky, the sea, and the earth. These are some of the fundamental and commonly recurring visual elements that can be found in the work of the native Hong Kong photographer Rraay Lai. He is typically drawn to using nature and the wilderness as the setting of his photos, particularly by the sea, in forests, on rocky cliffs, or in open fields. Rraay is convinced that the perfect kind of photographic light to shoot in is the natural daylight of the great outdoors. With this kind of lighting, he likes to convey the feeling that every day is a new day, bringing a new beginning.


天空,海洋,與大地。這些都是香港本土攝影師Rraay Lai作品中基礎普遍的視覺元素。他偏好將大自然和荒野作為作品布景,諸如在大海邊,在樹林中,在石崖上,在大地間。Rraay堅信,在攝影中,戶外自然光才是最完美的攝影光線。通過捕捉這種光線,他向世人展示每天都是新的一天,新的開始。

Professionally, he shoots portraits, fashion and commercial photography. In his personal work, he tends to shoot more nature photography, which will often take him to the far outskirts of Hong Kong. From time to time, Rraay also likes to shoot street photography in the city itself. Just walking through the streets and the small back streets of his native Hong Kong can give him creative inspiration.


他的職業是人像、時裝,以及商業攝影。而個人創作中,他更傾向於去香港偏遠郊區捕捉自然風光。也有些時候,Rraay喜歡在城市中進行街頭攝影。單是在香港的大街小巷間穿行便能給他帶來創意靈感。

One of the greatest challenges he says he faces as an artist is being able to keep the balance between the work he does commercially with the kind of personal work that he most enjoys doing – and trying to reconcile the two. He believes that it is important for him to stay faithful to his artistic vision even when he is working on client projects. To stay inspired, he tries to make creative work and shoot on a continuous basis.


他說,作為藝術家,他所面對的最大挑戰之一,便是在商業工作和他最樂於其中的這種個人創作中保持平衡,並試圖達成兩者的協調。他認為,在客戶項目中對自己的藝術眼光保持信心相當重要。為了靈感不枯竭,他會盡力做創意的作品,並不停地拍攝。

Rraay often uses different cameras when shooting, but normally, depending on the project and its specific needs, he will shoot with a Canon 5D Mark II, a Fuji GF670, or a Nikon 35Ti. He doesn’t have a great preference between analog and digital. For him, it is important simply to shoot and to be able to shoot in any given situation. The content and subject matter that is being shot takes precedence over everything else.


Rraay在拍攝時常用不同鏡頭,但通常來說,他會根據不同的項目和具體的需求選擇使用佳能5D Mark II,或者富士GF670,或者尼康35Ti。在菲林攝影或數碼攝影方面,他並沒有特別的偏好傾向。對他來說,能夠在任何現有的條件下進行拍攝和拍攝本身才是重要的。拍攝內容和對象是高於其他任何因素的。

These days, he has been following the work of the Japanese photographers Sanai Masafumi and Okada Atsushi, with whom he shares a similar aesthetic and visual simplicity. Notably one of his favorite photographers of all time is Peter Lindbergh. Lindbergh’s humanist approach to photographing women redefined standards of female beauty in fashion photography. He once famously said that it was “the responsibility of photographers today to free women, and finally everyone, from the terror of youth and perfection.” It is easy to see his lasting influence in Rraay Lai’s work and how he likes to capture the female form, which feels naturalistic, light, and carefree.


近來,他一直關註日本攝影師Sanai Masafumi和Okada Atsushi的作品,相似的審美和簡單的視覺是Rraay的作品和他們的作品所擁有的共同點。尤其是他一向的心頭最愛攝影師之一,Peter Lindbergh。Lindbergh在對女性的拍攝中所應用的人文主義手法,重新定義了時尚攝影中女性美的標準。這位攝影師曾有過這麽一個著名的說法: “當今攝影師的責任就是要將婦女從對青春和完美的恐懼中解放出來,進而解放出所有人。” 從Rraay Lai的作品中,從他那自然輕松的對女性形態的捕捉中,Lindbergh一直以來的影響顯而易見。

Website: rraaylai.com
Facebook: ~/RRAAYLAIstudio
Instagram: @RRAAYLAI
Weibo: ~/RRAAYLAI

 

Contributor: Leon Yan


網站: rraaylai.com
臉書: ~/RRAAYLAIstudio
Instagram: @RRAAYLAI
微博: ~/RRAAYLAI

 

供稿人: Leon Yan

Jee Young Lee

January 18, 2016 2016年1月18日

Jee Young Lee is a South Korean artist whose elaborate self-portraits look like fantastical paintings upon first impression. In her tiny 3x6m studio in Seoul, she creates everything from scratch, taking weeks, and sometimes months to form incredible sets which she then photographs with herself embedded within. The end result, which often looks like Photoshopped wizardry, is actually completely analog and handmade. We talked to Jee Young Lee to learn more about her work and the ideas behind it.


이지영은 한국인 예술가로서 그녀의 정교한 자화상들의 인상은 환상적인 그림 처럼보입니다. 서울에 있는 그녀의 작은 3x6m 스튜디오에서, 그녀는 처음부터 모든 것을 창작하는데, 주 때로는 달을 걸쳐서 놀라운 세트를 만들고 자신의 사진을 찍어서 그 안에 사진을 넣는 작업을 합니다. 작업의 최종 결과물은 종종 포토샵의 마법에서 나온 것처럼 보이지만 실제로는 아날로그 식으로완전히 수작업으로 만든 것입니다. 우리는 그녀의 작품과 작품의 아이디어에 대해 자세히 알아보기 위해 지영과 이야기를 나누었습니다.

Neocha: How did you first get started with the idea to create sets based on your dreams, experiences, and thoughts?

Jee Young: I believe everyone is on a journey to discover their true self. Because we live in an environment that is constantly changing, I think it is very important that we keep asking ourselves who we are and what we are doing, in order to continually learn and grow. Unfortunately, looking at yourself from an objective point of view is almost impossible. I began thinking about my identity when I was a university student. Desperate for an answer I turned my attention to my inner psyche. That is how I started the series. I can say that the set also represents my personal experiences and childhood memories. It is my journal and reflection. I began studying fine art in graduate school, but I ended up with a major in design as an undergraduate.


Neocha: 처음에 어떻게 당신의 , 경험과 생각을 기반으로 세트를 만들 생각을 했습니까?

지영: 저는 모든 사람들이 자신의 진정한 자아를 발견하기 위한 여행을 하고 있다고 생각합니다. 우리는 끊임없이 변화하는 환경에서 살고있기 때문에, 지속적으로 성장하고 배우기 위해, 우리가 누구인지 스스로 계속 묻고 무엇을 하고 있는지 스스로 묻는 것이 매우 중요하다고 생각합니다.  불행하게도 객관적인 관점에서 자신을 보는 것은 거의 불가능합니다.  저는 대학생 정체성에 대해 생각하기 시작했습니다.  생각에 대한 답을 얻기를 간절히 바라며, 자신 내면의 정신에 관심을 갖게 되었습니다. 그것이 바로 제가 시리즈를 시작하게 이유입니다. 세트도 개인적인 경험과 어린 시절의 추억을 나타낸다고 있습니다. 세트는 자신의 일기장이며 투영입니다. 저는 대학원 미술을 시작했지만 학부 때는 디자인을 전공했습니다.

Neocha: How did you first begin to understand what you wanted to do in your studio? How did you go from a 2D to 3D way of thinking?

Jee Young: I was always interested in recreating space and creating an imaginary world. If I hadn’t become an artist, I would have been a production designer or interior designer. When I was an undergraduate I was in the art team in our school movie club. I also worked short term for an ad agency. That’s when I realized I was drawn to creating imaginary landscapes. The beginning of my Stage of Mind series was the photography I took for my graduating exhibition. The scenes that I create exist only in my mind, so it is surreal. But it reflects my worldview and emotions so it is a reality for me. I wanted to create a tangible stage that would replicate the images that I see in my head. It made sense to create a set because we live in a three-dimensional world.


Neocha: 처음에 어떻게 당신의 스튜디오에서어떤 작업을 하기 원하는지 이해하게 되었습니까? 어떻게 2D 방식의 생각에서 3D 방식의 생각으로 전환하게 되었습니까?

지영: 저는 항상 공간을 재창조하고 가상 세계를 만드는 것에 관심을 가지고 있었습니다. 제가 만약 예술가가 되지 않았다면 프로덕션 디자이너나 인테리어 디자이너가 됐을 것입니다. 제가 대학생이었을 우리 학교의 영화 클럽 예술 팀에 있었습니다. 그런 후에 광고 회사에서 단기간 일했습니다. 그때 제가 상상의 풍경을 만드는 것에 끌린다는 것을 알게 되었습니다. 생각의 무대 Stage of Mind시리즈의 시작은 졸업 전시회를 위해 찍었던 사진이었습니다.  제가 만드는 장면들은 생각에 존재하는 장면들이며, 그래서 그 장면들은 초현실적입니다.  그러나 장면들은 세계관과 감정을 반영하는 것이며, 그래서 제게는 현실적인 장면들입니다. 머릿속에존재하는 이미지를 복제한 가시적인 무대를 창조하기 원했습니다. 우리가 3 차원 세계에 살고 있기 때문에 세트로 만드는 것이 이치에 맞다고 생각했습니다.

Neocha: Tell us about your process. What happens to the setup of your studio after you’ve completed making the image? How do you dismantle it?

Jee Young: I must destroy the set that I have invested months of my life in. It is a complicated and difficult emotional experience every time. But building the set and tearing it down is all an integral part of my creative process. The large objects are broken down into smaller pieces and carried away in a hired waste truck. Once that is all over with, I am left with an empty set again. I believe that this process enables me to let go of my past.

Taking a photo of the set that I have created allows me to look at my recreated reality from a more objective point of view. When the set is abolished, the photo becomes a document of a past event. I often come to terms with the events that prompted me to create the set in the first place as I destroy it.


Neocha: 이미지를 만든 후에 스튜디오를 설치할 때는 어떤지 과정에 대해서 알려주시겠습니까? 어떻게 그것을 해체합니까?

지영: 수개월을 투자해서 만든 세트를 해체해야 합니다. 세트를 해체 마다 매우 복잡하고 어려운 감정적인 경험을 합니다. 세트를 구축하고 세트를 허무는 모두 창작 과정의 필수적인 부분입니다. 물체들이 작은 조각으로 해체되고 고용한 폐기물 트럭에 실려가게 됩니다. 해체 작업이 모두 끝나면 다시 세트에 남겨지게 됩니다. 저는 과정을 통해서 과거를 놓을 있게 된다고 생각합니다. 제가 만든 세트의 사진을 찍으면 좀더 객관적인 관점에서 저의 재창조된 현실을 있게 됩니다. 세트가 해제 , 사진은 과거 사건의 문서가 되는 겁니다. 저는 세트를 해체하면서 처음에 세트를 만들게 했던 사건들을 받아들이는 법을 종종 배우게 됩니다.

Neocha: Your work is incredible and remarkable, especially without the use of Photoshop. How do you go about creating that surreal quality?

Jee Young: Once I decide on a theme and subject I make a rough draft of what I am going to create. Then I move on to research, preparation, and planning. I often test out different materials to find the right one. Once that is all settled, I then begin with the actual production. I have a wooden frame setup in my studio. I paint it, create objects that go into the set, and fill it one item at a time. When I am done, I choose an angle and lighting by taking test photos. The final photo is taken with a 4×5 large format film camera. It takes up to two months to create one set because it is immensely labor intensive.

 


Neocha: 당신의 작품은 믿을 없을 만큼 놀라운데, 특히 포토샵을 사용하지 않았다는 것이 놀랍습니다. 어떻게 그런 초현실적인 작품을 만들어 갑니까?

지영: 일단 테마와 주제를 결정하면, 제가 만들고자 하는 것의 대략적인 초안을 만듭니다. 그런 후에 연구하고, 준비하고, 계획을 세웁니다. 저는 종종 적합한 것을 찾기 위해 다른 재료들을 시도해 보곤 합니다. 일단 모든 것이 준비되면 이제 실제로 만들어내는 작업을 하게 됩니다. 스튜디오에 나무 프레임 구조가 있습니다.  저는 나무 구조에 색칠을 하고, 세트에 들어갈 물체를 만들고, 번에 하나씩 아이템을 그 안에 채웁니다. 작업을 마친 후에 테스트 사진을 촬영하여 각도와 조명을 선택합니다.  마지막 사진은 45 대형 필름 카메라로 촬영합니다. 세트를 만드는 작업은 매우 노동 집약적인 작업이기 때문에 최대 개월이 걸립니다.

Neocha: Apart from the installation and art direction itself, how do you setup your lights, camera and gear? Do you only shoot from one angle, one framing, or do you often do experiments?

Jee Young: I decide on lights and camera settings when I take test shots of the completed set. I need a volunteer to press the shutter while I model. For some sets, I have decided on the camera angle early on, but I usually take pictures from different angles and then pick the best looking one.


Neocha: 설치와 예술적인 방향 외에, 어떻게 조명, 카메라와 장비를 설치합니까? 한 각도, 한 프레임에서만 촬영 하나요 아니면 종종 실험도 합니까?

지영: 완성된 세트의 테스트 촬영을 할 때 조명과 카메라 설정을 결정합니다. 제가 모델로 서는 동안 셔터를 눌러줄 자원 봉사자가 필요합니다. 초기에 카메라 각도를 결정하지만, 일반적으로 다른 여러 각도에서 사진을 찍은 후에 가장 좋아보이는 것을 선택합니다.

Neocha: We live in an era of constant selfies. How is your work influenced by that? What has been the reaction of people who have seen it?

Jee Young: I am not very friendly with electronics and technology, so I am not up to date on media trends. I barely log on to Facebook or Instagram. The images that flood the social media today reflect the society we live in, but I personally believe it is too temporary and consumptive.

For me a self-portrait is a good way to project the artist’s ego into the artwork. In a way it is a performance. I can say the fact that I stand in as a model has attracted a lot of attention.


Neocha: 우리는 끊임없는 셀피의 시대에 살고 있습니다. 당신의 작품은 그것에 어떤 영향을 받았습니까?  작품을 사람들은 어떤 반응을 보였나요?

지영: 저는 전자 제품과 기술적인 부분에는 별로 익숙하지 않아서, 미디어에 있어서는 최신 유행을 따라가는 편은 아닙니다. 페이스북이나 인스타그램을 거의 사용하지 않습니다. 오늘날의 소셜 미디어를 가득 매운 이미지들은 우리가 살고 있는 사회를 반영하지만, 저는 개인적으로 너무 일시적이고 소모적이라고 생각합니다.

저에게 자기 초상화는 예술작품에 작가의 자아를 투영 있는 좋은 방법입니다. 한편으로 자기 초상화는 공연 같은 것입니다. 자신이 모델로 있다는 사실이 많은 관심을 끌었다고 있습니다.

Neocha: What are some themes you’re obsessed with? When you work, do you have any rituals that help you get focused?

Jee Young: I tend to lock on to negative experiences rather than the happy ones. Another obsession is my childhood memories. I have to look inside my heart to find elements of the set that I am creating. There is no set ritual but I always drink coffee before I start working and leave the radio on while I work.

 

Neocha: Who are your biggest influences? What’s been a recent influence?

Jee Young: It is hard to pin down one specific influence. I’m really interested in movie art, especially Tim Burton, Michel Gondry, and Stanley Kubrick. All my subjects come from introversion, I am easily influenced by small and big events that happen in my life.


Neocha: 집착하는 테마에는 어떤 것들이 있습니까? 작업 , 집중하는 도움이 되는 어떤 의식 같은 것이 있습니까?

지영: 저는 행복한 경험보다는 부정적인 경험에 매이는 경향이 있습니다. 다른 집착은 어린 시절의 기억입니다. 제가 만드는 세트의 요소들를 찾기 위해 마음을 들여다 봐야 합니다. 정해진 의식은 없지만, 작업을 시작하기 전에 항상 커피를 마시고 작업하는 동안에는 라디오를 놓습니다.

 

Neocha: 당신에게 가장 영향은 사람은 누구입니까? 최근에 영향을 받은 것은 무엇입니까?

지영: 제가 영향을 받은 것의 특정한 가지를 지적하는 것은 어렵습니다. 관심은 영화예술, 특히 팀버튼 (Tim Burton), 미셀 곤드리 (Michel Gondry), 스탠리 큐브릭 (Stanley Kubrick) 이르기 까지 다양합니다. 모든 주제들이 내면에서 오기 때문에, 삶에 일어나는 작고 모든 사건들에 쉽게 영향을 받습니다.

Meet the Flabjacks

January 15, 2016 2016年1月15日

Ton Mak is an illustrator based between Hong Kong and Shanghai. She originally graduated from University College London, majoring in Anthropology. Ton never actually studied art, she just has always loved to doodle. When she was a kid, she says, “I had major anxieties dealing with school stuff I sucked at. The school back in Hong Kong was super strict and it was a lot of ‘watch, copy, repeat’ in everyday teaching.” For Ton, this kind of learning environment was pretty intimidating. Her mother wanted her to learn in a much more relaxed environment, so they all later moved to New Zealand. Ton says, “I would just doodle and experiment with artsy fartsy stuff all the time. My family was all about finding passion through exposure, and I feel like this has helped pave the way to what I am doing today.”


Ton Mak是常居香港和上海两地的插画师。她毕业于伦敦大学学院,主修人类学。Ton从没真正学习过艺术,她只是喜爱涂涂画画。还是个孩子的时候,她说,“我对学校里自己不在行的东西焦虑无比。香港的学校十分严格,教学中有很多‘观察,复制,重复’的东西。”对于Ton来说,这种学习环境令人胆怯。她的母亲想让她在一个更轻松的环境里学习,所以随后他们全家移居到新西兰。Ton说: “我总是信手涂鸦,对那些艺术兮兮的东西进行试验。我的家人最在意的就是在过程中寻找热情,我觉得这一点为我今天所做的开辟了最初的道路。”

In her artwork, themes and expressions often just occur intuitively. Ton Mak enjoys giving everyday mundane objects a new kind of spirit or emotion. “Whether it’s a meatball or a spud,” she explains, “giving these seemingly soulless objects some human-like qualities silently puts into perspective the emotional connection that we may have with these little things.” Her creative process is actually quite fluid and meditative, and it shows in the style of her work. It’s not about representing what is “right”, but more about being able to tell a story freely. In our interview with Ton below, we talk to her about Flabjacks and what inspires her.


在她的作品中,主题和表现总是直觉性的。Ton Mak乐于给日常事务添加一种新的神情。“不论它是个肉球还是土豆,”她解释道,“给这些看似没有灵魂的物体加上人类般的气质,就悄无声息地多了一种我们和这些小东西之间的情感连接。”她的创意过程事实上相当的流畅的和令人沉思,并且这点在她作品的风格里一览无余。它不关乎展现什么是“对的”,而是更多关乎自由地讲述一个故事。在以下的访谈中,我们和她将谈到Flabjacks,以及启发她创作的事物。

 

Neocha: Who are the Flabjacks?

Ton: Flabjacks is a friendly collective of chubby creatures. They tend to have fat lips, an occasional mole, and some kind of “flab”. They all live in an imaginary wonderland that is full of good vibes. It’s free entry. Anyone can be a “Flabjack”.


Neocha: Flabjacks是谁?

Ton: Flabjacks是一个胖乎乎创造物的友好群体。他们通常有着厚嘴唇,在某个地方有颗痣,总似软趴趴的。他们都住在一个有着正能量的想象世界中。谁都可以是一个 “Flabjack”。

 

Neocha: What inspires you to draw Flabjacks and other “friendly creatures”?

Ton: My anthropology backbone has a lot to do with my obsession in observing people and objects. If you have a funky haircut, I could be drawing you right now. The creatures may be chubby and imaginary, but they definitely have a sense of agency. I love it when people point at a fatty and go “That’s me!”. It completes the doodle tale a little more. Even if you take away all information on the artwork, you may find relevance in it. I want people to participate in this mystical world, create their own narrative, to find a common connection.


Neocha: 是什么启发你画Flabjacks以及其他的“友好创造物”呢?

Ton: 我的人类学支柱和我对观察人与事物的着迷有着很大关系。如果你有一头很时髦的头发,我现在可能就在画你。创造出来的形象可能会是胖乎乎的想象物,但是他们绝对有一种独立意识。我喜爱当人们指着一个小胖子说:“那就是我”。它让涂鸦故事更完整了一点。哪怕你拿掉作品上的所有信息,你也可能在其中发现与之的关联。我想要人们参与到这个神秘的世界中来,创造他们自己的故事,去找到一个共同的连接。

 

Neocha: Why are you especially drawn to elephant seals, fat, moles, and root vegetables?

Ton: My favourite animals since childhood are elephant seals and kunekune pigs. Root vegetables have this stubborn shape to them and I love how each and every one look awesomely awkward. And as for moles, you can’t escape moles. They are a living reality. They have character. All these have uniquely fantastic curves and features that inspire the creation of Flabjacks. At the end of the day, some doodles are unintentionally autobiographical.

 


Neocha: 你为什么特别被大象、海豹、肥胖、痣和根用蔬菜所吸引?

Ton: 我自童年起最喜欢的动物就是大象和酷你酷你猪。根用蔬菜有着这么一种固执的外形,我爱的就是它们每一个看着都尴尬得棒极了。至于痣,你逃不掉痣的。它们是活生生的现实,它们都有个性。所有这些东西都有着独一无二的曲线和特征,正是这些曲线和特征启发了Flabjacks的创作。归根结底,有些涂鸦是种无意识的自画像。

 

Neocha: Who are some of your favourite artists who have inspired you?

Ton: David Choe, Jean-Michel Basquiat, and David Shrigley. All of their works are marked by liberating, informal, somewhat obsessive strokes. They taught me back in school that it’s totally okay to not draft everything till the cows come home.

 


Neocha: 启发了你的艺术家中,有哪些是你最喜欢的?

Ton: David Choe、Jean-Michel Basquiat和David Shrigley。所有他们的作品都印记着解脱的、轻松的,甚至有些执着的笔触。求学时期他们教会了我不用花费太多时间在画打稿上。

 

Neocha: Tell us about some of your side projects. What are some future projects that you have planned?

Ton: I am working on giving Flabjacks a more tangible presence. Something that you can poke. This includes new soft toys and some installation art projects for real estate spaces that are under development right now. In the more immediate future, I am also working on a new series of greeting cards, a tote bag and some tee shirts. In the immediate, immediate future, I am going to take a nap.


Neocha: 说说你的一些编外项目吧。在未来你都计划了哪些项目呢?

Ton: 我目前正在给Flabjacks塑造一个更实体的形象,你可以用手指头戳的东西。这包括了新的软体玩具,和为目前正在开发的地产空间所设的一些装置艺术项目。在更近一点的计划里,我要做一系列的问候卡片、一个手提袋和一些T-恤设计。在更更近一点的将来里,我要打个盹。

 

Websiteflabjacks.com
Instagram: @theflabjacks
Facebook: ~/flabjacksart
Weibo: ~/flabjacks

 

Contributor & Photographer: Leon Yan


网站flabjacks.com
Instagram: @theflabjacks
脸书: ~/flabjacksart
微博: ~/flabjacks

 

供稿人与摄影师: Leon Yan

Aristophanes

January 14, 2016 2016年1月14日

 

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Aristophanes is a 25-year-old Taiwanese rapper, who raps in Mandarin Chinese. Her recent collaboration with Grimes on the track “SCREAM” from Art Angels has brought her unique voice to the forefront of the international hip-hop scene. Her debut EP No Rush To Leave Dreams, which will soon be released, features genre-crossing, intercultural production.

 


Aristophanes是一位來自臺灣的25歲國語嘻哈歌手。她近來在Grimes的《Art Angels》專輯中與其在《SCREAM》一曲中的合作,將她獨特的嗓音推向了國際嘻哈樂界的最前沿。她即將發行的首張EP《No Rush To Leave Dreams》是一次跨界及跨文化的製作。

Listen to the exclusive premiere on Neocha of “I Am Not A Metaphor”, a new track taken from her forthcoming EP No Rush To Leave Dreams:

Aristophanes – I Am Not A Metaphor

 

Listen to Aristophane’s collaboration with Grimes, “SCREAM” off of Art Angels

Grimes – SCREAM ft. Aristophanes


“I Am Not A Metaphor”,來自她的新EP《No Rush To Leave Dreams》。現由Neocha獨家首播,歡迎試聽:

Aristophanes – I Am Not A Metaphor

 

以下是Aristophanes和Grimes合作的”SCREAM”來自《Art Angels》

Grimes – SCREAM ft. Aristophanes

Growing up in Taiwan, she had little exposure to pop culture, not even owning a TV at home. After high school, she started to slowly get into music. Five years ago, Aristophanes, whose real name is Pan Weiju, started making her own music after discovering artists such as Taiwanese rapper Dan Bao, and American rappers Jean Grae, Talib Kweli, and Bahamadia.

 


成長於臺灣,她自小並沒有受到多少流行文化的影響,家裡甚至一臺電視機也沒有。讀高中後,她才開始慢慢對音樂產生了興趣。五年前,Aristophanes(真名為潘韋儒)在得知了如臺灣說唱歌手蛋堡,美國說唱歌手Jean Grae、Talib Kweli和Bahamadia之後,便開始嘗試創作自己的音樂。

Recently, she quit her job as a creative writing teacher to focus all of her time on music. Aristophanes’ songs are full of literary references, and she often cites the novels of Gabriel García Márquez and philosophy as her influences. In describing her singing style, she admits, “It is hard to say what kind of style I have, it always changes. Every artist has a different style. My own style is not anti-commercial or anti-pop. It’s just what I like and what I’m comfortable with. Trying to describe it as a certain style is dangerous. Usually it’s only after I start something do I have an idea what specific style of music I want to do.”


最近,她辭去了創意寫作老師的工作,專心投入到自己的音樂創作上。Aristophanes的歌詞中充滿了文學典故,她常引用作家Gabriel García Márquez的小說橋段,和哲學。描述自己的說唱風格時,她坦言: “其實很難講我是哪種風格,它常常在變。每個藝術家都有不同的風格。我自己的風格並不是反商業或反流行,它只是我喜歡並且感覺舒服的這樣。把它說成是一種特定風格是危險的。通常我只會在開始著手之後才知道我要做具體什麽風格的音樂。”

“Some rappers first write the words,” she says, “then they work out the melody, and how it will come together. However many artists I work with are foreigners, and they don’t know what I’m singing about in Chinese, so they tend to focus on just the melody and the sound first. I focus more on that part too.” Grimes first discovered Aristophanes through her Soundcloud page, where Aristophanes sings exclusively in Mandarin. “People must have listened to it, thought it sounded very interesting and became obsessed with it.” She continues, “At first I wasn’t very confident, but then I realized the power of sound and language. Everyone thinks it’s quite interesting. A lot of engineers and producers don’t understand Mandarin, but they can still hear the meaning and visualize what the contents of the music – this is because of their understanding of both sound and music.”


“一些說唱歌手先是寫詞,”她說,“再編曲,然後看看組合起來的效果如何。但很多我合作過的藝術家大多都是外國人,他們不知道我唱的中文歌詞是什麼意思,所以他們會先專註於編曲和聲音上,而我也是如此。” 知名音樂人Grimes通過Aristophanes僅有中文歌的Soundcloud頁面找到了她。“人們必定是聽了這首歌,覺得特別有意思,變得十分著迷。”她說,“壹開始我也不是很有自信,但後來我意識到了聲音和語言的力量。每個人都覺得它蠻有意思的。很多音效師和製作人不懂中文,但他們依然可以聽出或想像出歌詞的含義,因為他們聽得懂聲音和曲調。”

Writing music is like “discovering something deep in the sea, it is unreachable now, but one day you can eventually reach it.” She tells us, “the work process is always changing. I have a very specific aesthetic with my own music, and I use my voice like an instrument.” Influenced by experimental vocal styles, her biggest inspiration comes from Erykah Badu, and she started paying a lot more attention to special ways to produce sounds. As one of the few female rappers in the male-dominated industry in Taiwan, Aristophanes says, “It is only natural that there will be females, and it will only become more common, as more and more women develop an interest in doing this.”


寫歌如同“找到深海中的某洋東西,當下妳無法得到,但終有壹天妳會得到它。”她告訴我們,“創作過程中變數很多,我對自己的音樂有明確的審美,然後用自己的嗓音作為樂器去把它演繹出來。”受實驗性演唱影響的她,最大的靈感來源是歌手Erykah Badu,她會花大量精力研究各種特殊的發聲方式。在以男性嘻哈歌手為主流的臺灣市場中,作為少有的女性,Aristophanes說: “女性音樂人自然是有的,在將來只會是越來越普遍,因為越來越多的女性開始對做這壹行感興趣了。”

Facebook: ~/aristophanesmusic
Soundcloud~/aristophanesmusic

 

Contributor: Jia Li 
Photographer: Etang Chen
V
ideo Courtesy of Aristophanes


臉書: ~/aristophanesmusic
Soundcloud~/aristophanesmusic

 

供稿人: Jia Li
摄影师: Etang Chen
视频由Aristophanes提供

Postcards from Old China

January 13, 2016 2016年1月13日

Last week on January 5, the New York Public Library released a large cache of public domain images that previously were only available to view at their New York City location. Some of these images included spectacular old photographs taken in the early 1900s during the very last years of the Qing Dynasty in China before the founding of the Republic. The photographs were later developed by European publishers to be made into postcards for foreign tourists.


上周的1月5号,纽约公共图书馆公布了一大批此前只供馆内查看的数字化高清图片。此批部分图片中包含了摄于20世纪初中华民国成立前清朝末期的老照片,这些照片随后被欧洲出版商制作成明信片,供给当时的外国游客。

The photos in the collection were all taken in black and white, and later colorized through a process of handpainting or Photochrom. The fascinating scenes, which capture Chinese people on the streets and in their homes, reveal what life was like in early 20th century Shanghai, Beijing, Hong Kong, and elsewhere in China. The exact context and dates that the photographs were taken have all since been lost to time, with only a few captions to help the viewer place the image.


这组照片均为黑白摄影,再通过后期手工上色或者Photochrom上色。这些捕捉了中国人行走街头或活动于家中的迷人场景,展现了20世纪早期中国的上海、北京、香港以及其他地方的生活景象。这些摄影图片的确切拍摄背景和时间于时间长河中早已无迹可寻,只余下照片上的零星说明文字可供观者联想。

There are many remarkable portraits, such as one entitled Chinese Boys, which shows two boys standing next to a traditional Chinese drum and wearing late Qing dynasty era clothing. Other photographs depict domestic scenes, street barbers, vendors at outdoor markets, children in traditional ethnic dress, and pedestrians strolling along Old Nanjing Road. One photograph entitled No. 16 Chair. depicts a foreign expatriate seated in a sedan chair, being carried by two coolies. The photos are all roughly dated between 1907 and 1921.


这组照片中有众多夺目的肖像摄影,例如,《中国男孩》,其描绘了两个站立于一个传统中国鼓边上、身着清朝服饰的男孩。其他一些照片则捕捉表现了当时的家庭情景、街头理发师、户外市场小摊贩、身着传统民族服饰的儿童,以及旧时南京路上的各色行人。有一张名为《编号16: 椅子》的照片,拍摄了一个外国人坐在由两个苦力抬着的轿椅上。这些照片粗略估计摄于1907年到1921年之间。

During these dramatic years when these images were captured, China witnessed the tumultuous collapse of its imperial system. The Qing Dynasty, after suffering successive defeats in the Opium Wars in the previous century, was finally in 1911 overthrown by a group of revolutionaries in the Xinhai Revolution. In place of the monarchy, the Republic of China was established, ruling the territories of present-day China until the Nationalists were overtaken by the Communist Party in 1949.


在这些画面被定格的那些动荡年间,中国见证了它封建帝国的轰然倒塌。清朝,在上世纪鸦片战争中一系列连续的战败后,最终被辛亥革命的革命者们于1911年推翻。随后,中华民国成立,代替封建王朝统治着当今的中国领土,直至1949年被中国共产党夺取政权。

In this collection of rare photographs, the viewer can observe the ordinary lives of Chinese civilians during this pivotal period of transition in modern Chinese history. The streets of Shanghai then, as it is now, are bustling with commerce. The queue, one of the last vestiges of the waning Manchurian influence of the Qing Dynasty, is noticeably still prevalent in this collection of images. There are also signs of an influx of foreign influences in China during this time and hints of modernization in its cities, contrasting sharply to the abject poverty of China’s agricultural workers.


在这些稀有的照片资料中,读者可以观察到中国近代史关键转变时期中国人民的日常生活。当时的上海街道,犹如它们的今天一样,熙熙攘攘,商业氛围浓重。彼时,辫子,作为渐衰的满清遗风之一,其流行程度在这组照片中仍可见一斑。照片中也可见这段时期外国势力大量涌入中国的印记,以及这座城市现代化暂露头角的迹象,这与当时中国农业劳动者的极度贫困形成了鲜明对比。

By releasing the more than 180,000 items from their digital archives into the public domain, the New York Public Library has opened limitless creative possibilities for internet users around the world. The items are all free of copyright, free of charge, and have no restrictions on usage. Not only can the materials be used for research and reconnect us to a past not previously seen, but they can be reused for a wide variety of creative remix projects. Some of the possibilities NYPL Labs has already developed include: interactive mapping, networked catalogs, generative eBook artwork – even an historical version of Minecraft!


通过向公众发布超过18万来自他们数字档案的文件,纽约公共图书馆为全球的网络用户开启了无限的创意可能。这些文件均无版权和使用限制,并免予使用费用。这些材料不仅可供我们用于研究,与过去建立连接,更可供用于大范围的各类创意混合项目。纽约公共图书馆实验室已经开辟了一些可能性,包括:交互定位,联网目录,生成电子书甚至有一个Minecraft游戏的历史版本。

Websitedigitalcollections.nypl.org

 

Contributor: Leon Yan
I
mages Courtesy of The New York Public Library


网站digitalcollections.nypl.org

 

供稿人: Leon Yan
图片由纽约公共图书馆提供

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The Foxgrove

January 12, 2016 2016年1月12日

The Foxgrove is a new boutique electronic music and DJ school that opened late last year in New York City. It was created for beginner-level music lovers, who have absolutely no production skills and probably never imagined being able to make their own music. Co-founder Natalie Lam, who originally is from Hong Kong and previously had worked 20 years in the advertising industry, actually prefers to think of The Foxgrove not as a school, but more as a “music social club” or a “fine learning experience”.


The Foxgrove是一所电子音乐和DJ的精品学校,于去年年底开设于美国纽约。这间学校是为毫无制作经验,甚至可能从未想象过拥有能力制作自己的音乐的入门级音乐爱好者们所设。联合创始人Natalie Lam,这位前20年致力于广告业的原香港人,更乐于不把The Foxgrove看成一所学校,而更多是一个“音乐社交俱乐部”,或者是一个“极佳的学习体验”。

 

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She believes that most people’s knee-jerk reaction to the idea of schools is not necessarily a positive one, but aside from the learning part, how The Foxgrove functions is unlike how traditional schools work. For both Natalie and co-founder David Maurice, creating a comfortable learning environment was really important. They decided at the beginning to get rid of the things that they didn’t like about schools, namely the “bad lighting, coldness, rigidness, discipline, (and) pressure”, and add the things that they would have liked to have had in school.


她相信,大多数人对于学校这个概念的本能反应不见得是积极的,但是除开学习部分,The Foxgrove的运作与传统学校则是大相径庭。不管是对于Natalie,还是另一位联合创始人David Maurice来说,创造一个舒适的学习环境相当重要。他们一开始就决定去除学校中他们不喜欢的东西,即“糟糕的光线,冷清,坚硬,纪律,(以及)压力”,加入他们希望一些学校有的东西。

The space of The Foxgrove was designed with “organic luxury in mind”. They used “ample wood, leather and fabric elements to create an intimate, relaxing space to offset the brand new music gear”. For Natalie, it was important that people didn’t feel intimidated by some of the challenges of having to learn and work with new technology. Some of their past students have likened the experience of attending a class at The Foxgrove to “learning to remix EDM in a spa”, while Natalie herself likes to describe it as a “boutique hotel meets recording studio”.


The Foxgrove的空间设计上应用了“有机奢华”。他们用“大量木料、皮料以及织物元素去营造一个私密放松的空间去陪衬崭新的音乐器材”。对于Natalie来说,让人们不被应用新技术所遇到的挑战吓退是很重要的。他们过去的一些学生曾将在The Foxgrove上课比作“在SPA中学习电子混曲”,而Natalie自己本人则喜欢说它是“精品酒店遇见录音工作室”。

The Foxgrove believes that the future of music in this digital age will go beyond streaming music and will also involve the democratization of music production. Natalie says, “We all love music. A hundred years ago, many people played music in their homes. It was only in the past fifty years that music was monopolized and commoditized by the record industry – music was put on a high pedestal. Music creation was reserved by the industry for the few who are ‘talented, charismatic, and connected’ in order to make massive profits.” The Foxgrove believes that with the current advancement of electronic music technology, more and more people can become the creators of music without even relying on record labels. With the technology becoming more accessible and affordable, the future of music may soon lie in the hands of music lovers and amateur producers. Natalie says, “We want to be the portal for those who never thought of touching music to get the first sweet taste.”


The Foxgrove相信在这个数码时代中,音乐的未来会超逾流媒体音乐,也将迎来音乐创作的普及化。Natalie说: “我们都爱音乐。一百年前,很多人在自己家中演奏音乐。仅在过去的五十年间,音乐就被唱片行业垄断和商业化了,音乐被高置神坛上了。音乐创作被预留给‘有才华、有魅力、有关系’的少数人以大举逐利”。The Foxgrove认为当下电子音乐技术的发展中,越来越多的人可以无需依赖音乐厂牌就能成为音乐创作人。随着技术的越来越触手可及,音乐的未来可能很快就被掌握在音乐爱好者和业余创作人的手中。Natalie说: “我们想要当一个传送门,让那些从未想过触碰音乐的人得到美好的音乐创作初体验。”

So far, The Foxgrove have had over 300 students attend their school. They are mostly young professionals looking for a new hobby or teens from high school. Their approach to classes and workshops is to provide their students with useful music education in digestible quantities that are short and sweet. There are music introduction classes that cover about 80% of the basics of music production and DJing, and there are also more advanced courses for those who are more serious. The focus is mostly on having fun, and turning the idea of music production into a mainstream hobby, like going for yoga class after work or going to catch a movie during the weekend. Similar to how Instagram and digital photography have in recent years helped democratized and popularized photography, The Foxgrove is looking to help bring music creation back into the lives of people. In the future, they are looking to expand globally to other important creative hubs, in cities such as Shanghai, Hong Kong, Beijing, and elsewhere in Europe.

 


迄今,The Foxgrove已有超过300个学生加入他们的学校。这些学生多数是寻求一个新爱好的年轻职业人士或高中青少年。学校的课程和研讨班,以短而精易为消化的数量,为学生们提供有用的音乐教育。这里拥有初阶课程,其包含了80%的音乐制作和DJ基础知识;也有更高阶的课程,以满足有更进一步追求的学生。这里的注重点多数还是在于享受乐趣,以及将音乐创作转化为一个更为主流的爱好,好比下班后上瑜伽课或者周末看场电影。与Instagram和数码摄影近年为摄影的普及化和流行化助力相似,The Foxgrove期望可以将音乐带回人们的生活里。他们期待着在未来可以扩展到全球其他重要的创意中心去,例如上海、北京、香港这样的城市,以及欧洲。

Websitethefoxgrove.com

 

Contributor: Leon Yan
Video & Images Courtesy of The Foxgrove


网站thefoxgrove.com

 

供稿人: Leon Yan
视频与图片由The Foxgrove提供

The Cambodian Space Project

January 11, 2016 2016年1月11日

 

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The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.

 


គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។

 

Neocha: Why did you choose the name “The Cambodian Space Project”?

PoulsonHaving the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.


Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

PoulsonThe band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.

 

 


Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat


ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:

 

The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

NeochaHow did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

PoulsonI was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Rolland Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.


Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.


Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.


Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter


Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter

Book Design Shop

January 7, 2016 2016年1月7日

Book Design Shop is a specialty design bookstore in Beijing that was founded by Taiwanese entrepreneur, Tony Li. The shop has its own courtyard and is located in Dashilar, near Qianmen off Yangmeizhu Xiejie, in a small hutong. It carries a wide selection of books that would appeal to both avid readers and design aficionados alike. The shop’s carefully curated selection of publications from both Chinese and international authors showcases a wide range of material, from creative editorials to thought-provoking design books. From time to time, the store also turns into an exhibition space that promotes the creative work of illustrators, photographers, and other independent artists. Tony encourages artists to publish their own work and having it available to be purchased through his shop.


北京前门大栅栏的杨梅竹斜街,自古书局林立。台湾人Tony Li创立的书的设计店,便是在这条街上一个带院子的微型胡同空间内,向喜爱设计和阅读的人们推荐来自国内外的编辑创意、精彩版式设计,以及经典生活用品设计,同时也不定期有摄影、插画等独立创作以及出版主题相关展览展出。此外,Tony也努力鼓励创作者将作品集成出版物并代为销售,书的设计店用自己的方式给这条出版业老街添加了新的含义。

In today’s busy world, oversaturated with an endless stream of images and text from social media, being able to produce quality content is of utmost importance. Tony, who also previously worked in media, believes, “Many people still consider the book to be the most ideal way for receiving and disseminating information, especially among professionals. A book is an amazing gateway – the content of every book is a world in itself.” He hopes that his store can become a select shop for books.


今天的社交网络充斥着各种图片和文字,所以当下的出版物更注重用心、独特的编辑。“书的形态,在很多人,特别是专业者的心目中,还是最理想的载体。” Tony,这位曾经的媒体人说,“书籍是个很好的窗口,每个书籍的内容都是一个世界。”正所谓“一书一世界”,他要做的是一个书的select shop。

With a background in architecture, Tony used to work for GQ Taiwan along with various lifestyle magazines. He had experienced the turbulent times for lifestyle magazines in the early 2000s, as well as the impact of internet media affecting printed publications following the financial crisis. Having been through these uncertain times, Tony’s passion for lifestyle, design, and printed publications still remains unchanged. Shortly after relocating to Beijing in 2010, he founded a social app targeting readers. He also worked on branding it as well as creating content specifically for iPad users. He found that he was fascinated by the role of the medium that information is delivered through.


建筑出身的Tony,曾在台湾的GQ等生活方式类杂志媒体工作。他经历了2000年初生活类型杂志的蓬勃,也经历了随后金融危机和互联网冲击带来的纸媒衰败。但是他对生活方式的议题、设计和出版物的热爱并毫无衰减。自2010年移居北京之后的他做过阅读社交APP,做过branding,也做过iPad的出版系列,但他最在乎的还是媒体,更是媒介的角色。

“As magazine editors, by introducing the subjects through writing and photos, aren’t we really just recommending things we like? Whether it be a person, an event, or a city. If we remove ourselves, then this person, event, or item will still possess a certain relationship with the reader. Items are unable to interact and communicate with potential users so by this logic we are just the middleman. There are a lot of products, magazines, and books out there, so the purpose of Book Design Shop is just to serve as a medium.”


“我们做杂志编辑,不就是在介绍每一个我们推荐的东西吗?或者是人,或者是事,或者是城市。如果将我们自己的角色拿掉,那这个人、事、物跟读者之间,它也存在这个关系。我们是中间人,所以在这个逻辑上,有很多物品没有办法自己和它的用户进行直接沟通。但是中间又有很多物件、杂志和书籍,书的设计店就是作为媒介的角色。”

Canadian philosopher McLuhan coined a very famous phrase, “The medium is the message”. Tony truly believes in and lives by this quote. In his eyes, books are a gateway, and the contents of every book is a world in itself. He believes that all people and things are also mediums and this is why his shop carries well-designed household products. He later expanded on that idea by creating an online shop that he named Goods & Media (or Wujie in Chinese). The first Chinese character “Wu” represents item, and “Jie” represents medium. Tony chooses the products to feature on the website based on his own criteria: the design quality, content quality, and if it has a “soul”.


加拿大媒介环境学代表人物McLuhan有一个非常著名的说法:“媒介即信息”。这是Tony所深信不疑的。当然除了书之外,任何的人事物都是媒介。这也是为什么这间书店除了书之外,也有生活用品设计,近来更是设立了相应的网络购买平台——物介:物,是物件的“物”;介,是媒介的“介”。设计也好,内容也好,Tony来说都有一个衡量的标准:看它是否有“灵魂”,有深度和内涵。这也是Tony甄选纸品和物品的原则。

Tony is elated about the fact that the connections between people and publishing companies, as well as between one another, are now more closely knit than ever. “I have known the author of Design Tokyo for quite a while. I feel like his work is finally starting to become different from before. There was one that I particularly liked and I asked him if he wanted to have it up for purchase in my store. Also because of this book, I developed a closer relationship with my importer. This store has a good working relationship with all the creators of the books that we carry. The connection that I have with the authors of these books is what separates us from any other bookstore out there.” Tony even photographs and writes the descriptions for all of the items that are sold online; every single magazine, book, and product has been personalised by Tony.


目前为止Tony最为开心的是,从人和各种出版社,到人和人,都有着更紧密的连接。“《设计东京》的作者,我本来就跟他认识。我觉得这个作者终于出现了变化,这一本做的很好。我问他要不要来我们店里卖。我也因为这本书跟我的进口商也有更多连接。这个店,和这些做书的人非常熟悉,有着非常私人化的联系。人与人的连接,是我们与大书店的不一样。”甚至,不同于现有的大型书籍销售平台,物介网站上的每一本杂志书籍,每一个物件,都将由Tony及其团队完成图片拍摄,以及推介文本撰写。

When asked about the future, he says that as a business owner there are always unexpected problems that may arise. If in five years, the store still remains, it will mostly have an online presence and the physical storefront will become more of a showroom. Not long ago the co-founder of Airbnb, Joe Gebbia, also visited Book Design ShopTony is particularly proud of that visit from Joe. “He purchased a lot of independent publications, some published out of China, some from Japan. He said that he didn’t ever want to leave my shop. Joe Gebbia’s own Twitter bio reads ‘I design things’. so I felt he really was passionate about everything he purchased.” Through Tony’s interpretation, the design that Joe Gebbia mentions and Tony’s own ideas about things being a medium are interconnected. “The definition of ‘design’ is actually quite broad. It involves trying to find order in this vast world of ours.” This is also what Tony strives to do as an ardent observer of life.


问及未来,Tony说,做生意常常会出现规划外的事情,如果5年后,这间店还在的话,会在网络上为主,而线下则作为showroom的形态存在。前段时间Airbnb的创始人之一Joe Gebbia也曾造访过书的设计店,这让Tony颇感自豪。Tony说: “他买了一大堆独立出版。有中国的,有日本的。还包括一些小物件。他说这个店他都不想离开。Joe Gebbia的Twitter页面上写着‘I design things’(我设计东西),他真的是喜欢这些东西。”Tony的理解中,Joe Gebbia所说的“设计”和他所说的媒介的概念是相近的,“这个‘设计’的概念是非常广泛的,都是在一个很大的世界里中去找到一个逻辑系统。”而这也是Tony作为一位生活观察者会一直努力去做的事。

Address:
No. 23, Yangmeizhu Xiejie, Dashilar
Xicheng District, Beijing
People’s Republic of China

Phone:
+86 010 8319 7844

Website:
bookdesignshop.org
goodsmedia.com

Facebook~/bookdesignshop
Wechat: bookdesignshop

 

Contributors: Banny Wang, Eric Zhang
Photographer: Banny Wang


地址:
中国 北京市西城区
大栅栏杨梅竹斜街23号

电话:
+86 010 8319 7844

网站:
bookdesignshop.org
goodsmedia.com

脸书~/bookdesignshop
微信: bookdesignshop

 

供稿人: Banny Wang, Eric Zhang
摄影师: Banny Wang

The Beauty of Screenwriting

January 7, 2016 2016年1月7日

In Thai, nang is the idiomatic word for film or cinema. Generally used in Thailand to refer to any performance that involves light and a screen, the term became the fitting name for a newly released bi-annual print magazine that details budding cinema culture around Asia. The first issue of NANG‘s ten-part publication covers the often “mysterious and marginalized” profession of screenwriting.


“Nang”来自泰语中意为“电影”的词语,在泰国被用来指所有涉及到灯光和屏幕的表演。对于一本关注亚洲地区最新电影文化的双年刊杂志,《NANG》显然是最合适不过的名字。第一期的杂志共分为10部分的内容,专题讲述常被人们视为”神秘和非主流”的编剧专业。

In addition to specializing in Asian cinema, NANG sets itself apart from other publications by remaining print only. Editor-in-Chief Davide Cazzaro states that the print medium has “undisputable beauty, tactility, and permanence,” which “will best amplify the voice of the visual and textural materials that make up every issue.” NANG is printed in Sweden with the cooperation of Göteborgstryckeriet and Arctic Paper, allowing the team to print in the most environmentally friendly manner possible.


《NANG》致力于关注亚洲电影行业,且仅于平面印刷发行,这是它区别于其它杂志之处。在主编Davide Cazzaro看来,平面印刷作为一种媒介,有一种“无容置疑的美、触感和恒久性”,可以”充分突显出每一期杂志中的视觉设计和纹理材料”。杂志团队与印刷公司Göteborgstryckeriet和纸业公司Arctic Paper合作,在瑞典以最环保的方式来印刷《NANG》。

At the helm of the inaugural issue is Ben Slater, a Singapore-based guest editor. This issue revolves around the subject of screenwriting and features a collection of in-depth interviews that showcases 13 writers and writer-directors from around Asia, including Indonesia, the Philippines, Singapore, South Korea, Malaysia, Thailand, and Iran. “While films may be famous or successful, the writers remain in the background, and yet their work is vital to the process of creating cinema.”


第一期杂志以编剧为专题,由新加坡客座编辑Ben Slater 负责,包括了对 13 编剧或编剧兼导演人的采访,他们分别来自印尼、菲律宾、新加坡、韩国、马来西亚、泰国和伊朗等亚洲地区。”一部电影可能会一举成名或大获成功,但编剧始终在幕后默默工作。然而,他们的工作对一部电影来说是至关重要的。“

This 120-page inaugural issue features screenplay excerpts from Mary Is Happy, Mary Is Happy, Kisah Paling Gengster (Gangster Wars), Shahrzad, The Handmaiden, Laskar Pelangi, Rainbow Troops, Unlucky Plaza, Water Lemon, Imbisibol (Invisible), Taklub (Trap) and Tropical Malady.


第一期杂志共有 120 页,里面涵盖了多部电影剧本的节选,包括《玛丽真快乐》(Mary Is Happy, Mary Is Happy)、《Kisah Paling Gengster》(黑帮战争)、《Shahrzad》、《小姐》(The Handmaid)、《彩虹战队小学》(Laskar Pelangi)、《霉运大厦 》(Unlucky Plaza)、《Water Lemon》、《隐形》(Imbisibol),《塔克洛班的困境》(Taklub) 和《热带疾病 》(Tropical Malady)。

Issue 1 of NANG is now available in the Neocha Shop in limited supply.


《NANG》Issue 1 限量发行,现已于Neocha商店发售。

To pay via PayPal or international credit card, please check out through our Shopify. To pay with AliPay or WeChat, please visit our Weidian.


如需使用PayPal或国际信用卡支付,请转至我们的Shopify页面;如需使用支付宝或微信支付,请至我们的微店


“编剧”《NANG》Issue 1

¥180

立刻购买

Details:

  • Year of Publication: 2016
  • Edition Size: 1500
  • Number of Pages: 122 (including front and back cover)
  • Size: 17 x 24 cm
  • Binding: Swiss binding
  • Printing: Offset (Hybrid Print Technology)
  • Paper: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall Rough 100 g/m²
  • Price: $25

详情

  • 出版年份: 2016年
  • 发行量: 1500
  • 页数: 122 页 (包括封面和封底)
  • 尺寸: 17 x 24 厘米
  • 装订: Swiss binding
  • 印刷: 平版印刷(混合打印技术)
  • 纸张: Munken Kristall 400 g/m², Munken Lynx 120 g/m², Munken Kristall Rough 100 g/m²
  • 价格: ¥180

Website: nangmagazine.com
Facebook: ~/NangMagazineAsia
Instagram: @nangmagazine

 

Contributor: Whitney Ng
Images Courtesy of NANG

 


网站nangmagazine.com
脸书~/NangMagazineAsia
Instagram@nangmagazine

 

供稿人: Whitney Ng
图片由NANG提供

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The Retro Games of Joypad

January 6, 2016 2016年1月6日

Sega Genesis, Sega Saturn, Dreamcast, GameCube, Nintendo 64, PSone – these are just some of the game consoles you might find at an event organised by Joypad, a London-based group of gaming specialists, who fanatically collect retro Japanese video games. They host large rave-like parties in the UK, that feature live DJ sets, a full bar with drinks, and many classic gaming stations for people to play on, with the goal of bringing together passionate gamers for a night of pixelated debauchery.

Despite the fact that the gaming industry has over the years undeniably attained worldwide mainstream status, gamers can still sometimes be unfairly stereotyped as being antisocial or geeky. To break the stereotype of the “gaming nerd”, Joypad wants to show non-gamers just how culturally significant video games have now become, how far reaching their appeal is, and that gamers can get together and party just as hard as anyone else.

Now having been established for two years, Joypad’s co-founders Matt Farthing and George Swain have amassed an impressive collection of over a thousand Japanese retro games and all the major consoles from the Atari 2600 (1982) leading up to the Nintendo GameCube (2001). Their collection now spans and covers almost the entire history of the Japanese gaming industry during its prime years. We spoke with Matt and George recently about the current nostalgia for and revival of classic Japanese video games.

Neocha: Why are Japanese games so special, and what would you say are the distinct characteristics that sets them apart from Western games?

Joypad: Japanese games have always been synonymous with creativity, invention, and purity of vision. We’ll commonly hear people exclaim, “How did this even get made?!” when they play some of our rarer collections. This dedication to ideas and innovation is hard to find anywhere else. If you ever wanted to see an example of this in a nutshell, look no further than Yoot Saito’s Seaman for the Dreamcast!

Neocha: Do you think there is a demand for retro Japanese video games now, and do you feel like there is a trend of people wanting to get back to these games?

Joypad: Gaming is still a young industry, but it is growing exponentially. With this growth, just like in music and film, there’s been a big kickback against “triple A”, Hollywood-esque productions and instead there has been a subsequent breakout of the independent scene. New video games, such as Minecraft, Super Meat Boy, Fez, and Hotline Miami, have broken all sorts of records and traditionally-held conventions with their astronomical sales and unconventional gameplay styles.

Interestingly, modern independent games have a lot in common with retro video games, they are made with very tight budgets, with more focus on innovation and technological restrictions. Many of the developers of these indie games look back to the classics for their purity of focus, tight gameplay and punishing difficulty – not to mention the creativity with which they overcame the technical limitations of the time. This cultural loop-back to the 80s and 90s has seen a lot more younger people enthusiastically consuming games that they have no nostalgic link to and in many cases games that were made before they were even born.

Neocha: How has Japanese arcade culture influenced your events?

Joypad: We’re huge fans of the popularised, cyberpunk vision of Tokyo: rain-slick streets, bright neon Kanji, synth music, outlandish games from both the past and present. Whenever we throw a party, all the lights go off and we will light the room only with CRTs, projectors, and the neon glow from our “Joypods”. There will always be something transformative and hugely immersive about that perceived Tokyo vibe to us and that’s the note we try to hit every time!

Neocha: What do you think about some of the criticism or comments about the slowing down of some of these big Japanese game companies and the Japanese game industry overall?

Joypad: I would argue that it’s not so much of a decline as it is a change in the way Japanese games and all games in general are consumed. Mobile gaming is on the rise, and at least in Japan, traditional console gaming seems to be on the decline. As with all technology, what can be defined as the cutting edge is constantly shifting in unexpected ways. Especially now that there is Virtual Reality (VR), the rise of eSports, the indie revolution, and so on. I think this is truly a transitional time for many of these Japanese companies.

Neocha: What do you think the trend of Japanese video games will be like in the next five years, ten years? What sort of niche do they fill compared to Western video games?

Joypad: I believe that Japanese developers will reconnect with their independent roots. One of the biggest news stories of the year came when Hideo Kojima (former president of Konami Digital Entertainment and also game designer) departed from Konami shortly following the release of Metal Gear Solid 5. He was considered to be one of the dominant figureheads for the commonly held belief that Japanese games are synonymous with creativity and innovation. This move raised a lot of eyebrows in the West. Perhaps Kojima will be the indie trailblazer for an entirely new generation of innovators and we will see a return to the golden days of Japanese games!

Websitejoypadbar.co.uk
Facebookfacebook.com/joypadbar
Twittertwitter.com/joypadbar
Youtubeyoutube.com/joypadbar

 

Contributor & Photgrapher: Shanshan Chen

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