Showing posts with label Education. Show all posts
Showing posts with label Education. Show all posts

Thursday, 24 April 2014

交功課 - 尋找生命的教育:從中學到農田

中文大學教育學院
學位教師教育文憑課程(中學)
PGDE5206H環境教育自選題材 (2013-2014)

尋找生命的教育:從中學到農田


        我曾是一個中學的英文老師,現則一個星期有五天在錦上路謝屋村務農。原因很簡單,因為喜歡,但為了應付一篇二千字的功課,所以趁機整理一下我過去三年比較零碎的想法。


還記得第一次到中學面試時,我因拿著藝術歷史及建築歷史的學位,被英文科科主任問:「為何你認為你可以拿著和英文不相關的學位到本校任教英文?」天真瀾漫的我回覆:「因為我想透過藝術及建築,瞭解人類存在的意義和存在意義所涉及的符號。藝術及建築作為一個較易刺激五官感受的媒體相對可使我更容易感受以存在意義為命題的各種思考與感覺。英文我認為是一個渠道去瞭解一個東方以外的大文化歷史體系,可成為瞭解人類歷史過去、現在、未來和存在意義的道具。」我覺得作為語文科老師如果不探討或協助學生去研究人生的意義,那課堂實在是太乏味了。但很快我就發現原來中學教育不是這麼一回事,我倒更像一個工廠裡的監工確保每一人都能夠倒模般背誦一系列的生字,一篇又一篇的範文。讓我吃驚的是學生們透過十數年的教育,不但不喜歡上課,更不喜歡閱讀課外書,卻竟可取得好成績。記得和其中一個中五英文名列前茅的學生聊天,問他:「有沒有閱讀的習慣?」他說:「沒有。」「那最近看的是什麼書?」「How to Write Better Essays.」我真的嚇怕了,英文教育竟淪為一種解構語文成文法與生字攝取的取分遊戲,竟沒有一人為喜悅而閱讀。但為了確保學生培養閱讀的習慣,學校竟給學生們一份又一份的閱讀報告功課,使原本可能是純粹的快樂閱讀,變成沉悶的功課。甚至曾有英文科老師認為有寫字成分的習作或寫作才算功課,純粹的閱讀由於不能量化,所以不算功課。於是,英文只是一門語言學的解構和重構遊戲,成為入大學的門票,而非定位為一樣瞭解西方文明的橋樑。其實是我浪漫化了香港教育這回事。試問這種為進大學的語言教育又如何能夠培育一種對追求知識的終身學習?文學、電影、音樂、戲劇、遊戲等都只是一種依附於英文教學的小道具,重點卻放在一種大學程度的學術英語。這也意味著英語的教育其實在中學完結時已經圓滿結束了。我感覺自己滿手鮮血,不但沒有使學生愛上英文,更使他們討厭學習,放棄好奇。這可是影響他們一生的!


        就在我教學生涯的低潮,我看到問題的癥結。香港的教育都是一種理論的學習,並非著重實踐。我並不是否定理論的重要性,但腳踏實地的創造是有其重要之處,學習應該是一門有理論,有實踐的學問,非單一的紙上談兵。當我們把香港定位為著重金融、地產、服務、所謂高知識、高增值產業的一個國際金融都市時,帶來的後遺症是,我們都失去了創造、失去了勞動、失去了手藝。一切都淪為腦部運動和相附的語言藝術,彷彿手腳的運用等同低下階層的厭惡性工作。多少的怪獸家長,並非生出來就是怪獸,但都中了一種入大學就成為過海神仙的毒。香港作家陳曉蕾就說過現在的家長用心良苦,不讓孩子輸在起跑線,替孩子打點一切入名校的準備,希望保証他們入大學,但二十年後的世界極有可能是一個土地、空氣、海洋被污染,資源短缺、溫室加劇、水位上漲、氣候極端恆常化的地球。縱使保住了大學學位,又如何?美國金融投資專家Jim Rogers這幾年來的巡迴大學演講也對年輕人說:「如果你希望再進修,忘記工商管理學碩士吧。去讀一個農業學位,因為金融投資,銀行服務這些行業即將在十至二十年來沒落,金錢的不斷眨值意味著實物產業的捲土重來。未來最有價值的必定是食物。[1]」英國理論物理學巨人Stephen Hawking的推測也十分有趣,有人問他為甚麼到今天也沒有外星人探訪地球,他表示極有可能因為當一文明發展到了一個程度,會開始製造有害於本身文化承傳的各樣武器或實驗,最後意外地導致該文明的徹底消失。[2]確實,仔細地想想,從石器時代到核能年代,我們究竟進化了多少,每一次的科技大躍進使我們生活更舒適?還是更容易,更有效率地帶來毀滅性的破壞?我個人對於依賴科技來解決人類一切的問題有一定的懷疑,或許前天文台台長林超英的說法更貼切,「我們需要學會敬與愛大自然,並非淩駕於它去嘗試改變它的規律。」香港依然是一個很漂亮的城市,試問普天之下有哪一個繁忙如此的都市既靠山,又面水?八成多是綠化了的地帶,但我們多卻用一種消費或消耗式的方法和大自然互動。接觸它不是不好,但如果每次去欣賞它都是取它多於給它的一種單向關係,我們始終也會讓被觀賞,被使用的環境負荷過度。香港也是一個很可悲的城市,過度短暫、快捷、速食、變遷的文化使我們沒有在地感和歷史感。很多很多的歷史痕跡都在城市經濟發展的大原則下被犧牲了。後果,很老土的講一句,就是我們窮得只有錢。縱使我們可以從世界各地引入各種水果生菜,肉類海鮮,基本如水和米也是要大量購入的。我們甚至認為下一代不需要暸解食物的生與死,有能力消費,有能力享受更重要。作為一個教育工作者,我十分困惑於一個個體在國際金融都會的存在價值,彷彿我就像無數餐桌上小吃一般,只是有被使用的價值與其相附的價錢。但卻可隨時被帶有相同價值的東西所取替。如果從最基本的,最原始的餐桌上,我們不讓孩子暸解食為何物,只用金錢買來使用牲畜死後的使用權利,那我該如何思索、傳授、分享屬於生命的教育?


六個月的深耕確實使我對於生命有更深刻的體會,我所學的有機耕種對農耕有著以下的討論重點。

《 概念討論 》
1. 有機耕種 / 永續農業 / 自然永衡法 / 生物動力農法 / 自然農法 。
不同的名稱,有不同的則重點,這些概念的共通地方,是透過實踐,展示和反思現行農業系統的問題。不同進路本身,蘊涵不同的自然觀與消費觀念,也有相關的農業技術互相配合。

2.
香港農業的盛衰
討論範圍包括:發展歷史、農業政策、興衰、困局,思考永續農業在今日香港的角色。

3.
認識病蟲與種植的關係。

《 農務實踐 》
1.
透過利用 Permaculture 的設計方法,建造一個永續、安全及高產的種植環境。

2.
生態觀察 | 植物由生到死都與整個自然環境扣連。農夫首要學習發問與觀察,掌握宇宙、空氣、四季、水土、動植物的依存關係,然後開始設計種植的流程。

3.
土壤管理 | 透過觀察,進入設計及種植,農夫要安排一個合適的地方種植合適的植物。陽光、水份,主要是從考慮農場環境來執行,但植物的養份,則要透過良好的土壤管理與堆肥來實踐。學習製作不同形態的肥料,配合不同植物及生長階段的需要。

4. 種植 | 種植當茬蔬菜,收成。[3]

集以上所成,耕田是一種集創造、實驗與實踐於一身的一門手藝。做一個好農夫的先決條件是要身體力行,通過觀察與身體的記憶,每一個抉擇與動作都會慢慢內化並成為很自然的一部份。它較像煮食,我可以告訴你煮食的每一個步驟和份量,但真要下廚卻需時間去練習並內化理論與實踐。和很多教導人走捷徑的學問或行業不同,耕作是透過腳踏實地,辛辛苦苦地透過日曬雨淋學曉的。在現今科技日新月異,資訊流動的世界裡,不難找到各種各樣對於耕作的不同看法。今天的農民需要學曉的是如何選取適合的耕作方法並把它適應於自己的土壤、氣候和實際情況。有趣的是有機農田的興旺(至少在日本、韓國、歐美等地)意味著一種時空的對話。我們從1970年代的化學農業走到今天的有機耕作,見證著一整代人於農地試驗農藥,現在正正是這一整代農夫快要退役並教導新一代正要投身的年輕民。農田於是成為一個充滿學習氣氛的地方:傳統農夫對自然規律的智慧,和有機農夫對各種有利環境的耕作方法的交流。正如國學大師錢穆老師的天人合一論:「中國傳統文化精神,自古以來即能注意到不違背天,不違背自然,且又能與天命自然融合一體。[4]」我感受最多的是我真的成為大自然的一部份:我的每一個決定都是根據我觀察周遭環境所得。和過往的教育工作不同,我可以肯定我在田裡的工作沒有為生態帶來任何傷害,更有可能間接使土壤更健康,物種更豐盛。另一個重大發現是時間並非在我掌握之中,放下種子後,我所能做的就是等待。我多麼頻繁的澆水也不及天下的一場雨般滋潤大地。我只能觀察,聽命,成為自然規律的一部份。相反地,現今社會的步伐,速度卻是愈來愈急促,愈來愈物化,價值化,人的存在及功用,彷彿晚一分鐘回覆一個訊息也會死掉般。自然何曾著急過?


        諷刺的是「皇帝不急,太監急」。大自然對存亡與否興趣不大,但我對人類未來感到非常憂心。可惜的是我們的政府仍抱緊新自由主義的經濟學與發展觀[5],「繼續投資多項超級工程,例如發展機場新跑道、開發新發展區和興建人工島。這些計劃將有助提升香港的效率和經濟實力,建造一個理想、宜居的未來城市。[6]」
完全漠視環境、心靈、人情、社區、本土、地球的長遠發展,只一面倒的以「保育」和「發展」作二元對立的討論,落力「發展」(詳見:林超英(2014),〈保育和發展沒有對立:談郊野公園、大嶼山發展、第三條跑道〉),使香港「很忙!從新界東北發展計劃、龍尾灘生物「被」搬家、還有高鐵從牛潭尾震出大角咀,四處飄散著「不遷不拆」、「守護」、「反對」、「保育」、「撤」等聲音,充滿憤怒與無奈。[7]」加上近日的馬屎埔農民黎生被收地事件[8]和錦上路鄉郊規劃[9],「大家終於醒覺香港的環保問題已殺埋身,是前所未有的迫切。[10]」政府的態度仿佛像他們擁有了一雙「上帝之手」,可隨意更改大自然的土地和海洋,任意找一堆藉口去為金錢發展主導的發展來發展。存活在這個城、鄉、自然充滿衝突的城市和年代,我覺得現在最重要的生命教育是很踏實的站在泥土上,一手一腳的通過自己的身體和大自然互動,量度、感受、明白和分享對於工業革命後的現代化社會,我們到底失去了什麼。而唯一我知道可以坦率,理直氣壯地非停留在討論「環境破壞、資源戰爭、工廠化養殖、血汗工廠[11]」的層面上而作出一點行動的,就是從種植自己的食物開始,拿回生活的自主權。全球化的分工與異化已發展到一個地步讓「我們對於我們種種購物行為背後所牽連的人、環境與動物視而不見。[12]」讓人和人或人和物件只剩下一種金錢交易的單一關係。「如果我們種植自己的食物,我們不會浪費其三份之一;如果我們自己製造桌椅,我們不會因室內裝飾的改變而把它們掉棄;如果我們要為自己的食水進行清潔,我們或許不會在水裡面大便。[13]」在瞭解到我們的存在對環境帶來的各種災害後,希望我能夠成為一個有利環境,有利社區的農夫。


        透過中學教育,我看見了一個與自然完全脫節的教育系統如何繼續培育一群以消耗為主的模式去和大自然相處的人,但農田裡和其周邊的見聞卻使我對生命教育的未來充滿希望,因為關注自然環境的人多了,發聲和抗爭的方法也更多元,更深入。我覺得我活在最好的時代,也是最壞的時代。一個百花齊放,百家爭鳴的年代。也是一個承先啟後的關鍵年代。容我以人稱「台灣觀光教父」的嚴長壽的幾句話作為我對於生命過去、現在和未來教育曾經和將要面對的挑戰作結:

上一代的我們雖然一無所有,但我們從零做起,卻懷抱無限希望;
這一代的他們,生於安樂、充滿保障,卻因為找不到謀生的能力而對未來感到失望;
再下一代的子孫更將面臨國家負債、少子老化、資源耗盡完全無法承擔的絕望。 





參考資料:

馬寶寶社區農場

錢穆(1998),〈中國文化對人類未來可有的貢獻〉,《錢賓四先生全集》(台北:聯經出版事業公司,1998),卷 43〈世界局勢與中國文化〉,頁 419-423。並附有錢胡美琦寫的〈後記〉,頁 424-429。 http://www.sowers.org.hk/ckuploads/files/20121212145257.pdf

曾俊華(2014),〈二零一四至一五財政年度財政預算案〉

新自由主義(维基百科)

林超英(2014),〈保育和發展沒有對立:談郊野公園、大嶼山發展、第三條跑道〉

姚敏惠(2012),〈我們的綠色大事回顧〉新假期

本土研究社(2014),《租地任我行—馬屎埔短期批租土地個案研究報告》

本土研究社(2014),〈地政,你玩哂啦! 〉

朱凱迪(2014),〈八鄉報專題:黑箱規劃 摧毀錦上路鄉郊〉

陳宛茜(2014)〈拚創意 不填鴨 「改變就是起點」〉,聯合報台北報導

土地正義聯盟(2014)〈檢討農業政策 首重食物自給率及保護農地〉

Froelich, A. (2013), The Man Who Lives Without Money

Hawking S., Life in the Universe

Moore, E. (2013), Forget banking, become a farmer







[1] Moore (2013), Forget banking, become a farmer
[2] Hawking, Life in the Universe
[3]馬寶寶社區農場(http://mapopo.wordpress.com/)
[4]錢穆〈中國文化對人類未來可有的貢獻〉
[5]新自由主義(维基百科)
[6]曾俊華〈二零一四至一五財政年度財政預算案〉
[7]姚敏惠〈我們的綠色大事回顧〉
[8]本土研究社〈租地任我行—馬屎埔短期批租土地個案研究報告〉
[9]朱凱迪〈八鄉報專題:黑箱規劃 摧毀錦上路鄉郊〉
[10]姚敏惠〈我們的綠色大事回顧〉
[11]Froelich (2013), The Man Who Lives Without Money
[12]同上
[13]同上

Wednesday, 30 November 2011

children SHOULD ?

"It is a modern misconception that children prefer (or SHOULD be capable of) sitting still rather than running around, or that children SHOULD be more interested in doing their homework rather than daydreaming, or that children SHOULD be able to focus their attention, rather than getting curious about everything and anything."

-----------CYL

Sunday, 13 November 2011

To my students...

I ask myself this question the moment I open my mouth and "educate" you,

"Why am I educating you? Who said I have the right to teach you anything?"


原諒我們 我們都還在找

You are so much smarter than all of us, you just don't know it yet.

Thursday, 3 November 2011

To whom it may concern

If you are an educator and do not wish to learn new things or revisit wisdoms from the past, then you should not be teaching.

Teaching is about passionately delivering materials to learners and inspire them to dream.

If you don't dream, stop making our next generation not dream as well.

P.S. Laughing at your students is different from laughing with your students. Stop insulting them because you have 'authority' over them. Stop insulting them and you will stop insulting yourself.

Monday, 31 October 2011

For people who talk too much (a.k.a Architects & Teachers)


20 frequently asked questions about PechaKucha 20x20.

01. What is PechaKucha 20x20 ?


PechaKucha 20x20 is a simple presentation format where you show 20 images, each for 20 seconds. The images forward automatically and you talk along to the images.

02. Who invented the format ?

The presentation format was devised by Astrid Klein and Mark Dytham of Klein Dytham architecture. The first PechaKucha Night was held in Tokyo in their gallery, lounge, bar, club, creative kitchen SuperDeluxe in February 2003 Klein Dytham architecture still organize and support the global PechaKucha Night network and organise PechaKucha Night Tokyo.

03. Why invent this format ?

Because architects talk too much! Give a microphone and some images to an architect - or most creative people for that matter - and they'll go on forever! Give powerpoint to anyone else and they have the same problem.

04. What are PechaKucha Nights ?

PechaKucha Nights are informal and fun gatherings where creative people get together and share their ideas, works, thoughts, holiday snaps - just about anything really, in the PechaKucha 20x20 format.

05. Why have PechaKucha Nights gone viral globally ?

With PechaKucha Nights now happening in over 230 cities around the world we have discovered that most cities - not just Tokyo have virtually no public spaces where people can show and share their work in relaxed way. If you have just graduated from college and finished your first project in the real world - where can you show it? It probably won't get into a magazine, you don't have enough photos for a gallery show or a lecture - but PechaKucha 20x20 is the perfect platform to show and share your work.

06. Where are PechaKucha Nights held ?

PechaKucha Nights are mostly held in fun spaces with a bar similar to the home of PechaKucha Night - SuperDeluxe - which is a space for 'thinking and drinking'. To date PechaKucha Nights have been held in bars, restaurants, clubs, beer gardens, homes, studios, universities, churches, prisons (disused), beaches, swimming pools even a quary!

07. Who can present ?

Anyone can present - this is the beauty of PechaKucha Nights. Astrid's daughter presented when she was 5 (about her artwork ;- ) and Mark's mother presented when she was 69 (about her elaborate wedding cake creations).

08. What can people present?

The key to a great presentation is to present something you love. Most people use PechaKucha Night to present their latest creative projects or work. Some people share their passion and show their prized collections of Nana Mouskuri records, other share photos of their latest site visit to a construction site or their recent holiday snaps. We always recommend people go and see a PechaKucha Night before they apply to present to get a good feel of what it is all about.

09. What makes a good PechaKucha?

Good PechaKucha presentation are the ones that uncover the unexpected, unexpected talent, unexpected ideas. Some PechaKuchas tell great stories about a project or a trip. Some are incredibly personal, some are incredibly funny, but all are very different making each PechaKucha Night like 'a box of chocolates'.

11. Who runs PechaKucha Nights?

Each PechaKucha Night is run by a city organizer. Well, they are more like stewards really who look after the PechaKucha spirit in each city. All PKN organizers must have a regular day job and they run PechaKucha Nights only for the inspiration, love and fun of it. They mostly come from the creative fields. The PKN organizer is usually supported by a big team of volunteers in putting on a PechaKucha Night and the more helping hands come together the better. The global PechaKucha Network is organized and supported by Klein Dytham architecture.

12. How can I run a PechaKucha Night?

We have never asked anyone to run a PechaKucha Night, people ask us. We only planned this as a one off event, people asked to run it again - and again - and we were 3 years and 30 events into it, just in Tokyo, before people started thinking it would be cool to have one in their city. Check to see if there is one in your city first - if not and you think you have what it takes to run one in your city get in read the 'start one in your city' section.

13. What's a PechaKucha Night Handshake Agreement?

We have a very simple Handshake agreement with each city basically to ensure there is only one event series per city and people are not treading in one another toes or pulling the rug out from under there feet. PechaKucha Nights take quite a bit of organizing and the more networks the better so we think it is better for cities to focus on one event. We run an event every month in Tokyo and believe us it is quite an undertaking! The handshake agreements are free, and renewed each year. Cities must organize a minimum of 4 events a year to qualify as an active city.

14. Why is PechaKucha Night trademarked?

PechaKucha Night is trademarked to protect all the effort and hard work of our PKN city organizers and network. PechaKucha Night is for CONTENT and not profit.

15. Why are we setting up a global foundation?

PechaKucha was devised and by Astrid Klein and Mark Dytham and their office Klein Dytham architecture has supported the movement and global network for the past 7 years covering all cost for staff and web development. To keep the project sustainable and viable going forward as the network expands we are setting up a foundation. The foundation will also support creative projects such as the Mark Hoekstra PechaKucha Night Award.

16. Can I use the the PechaKucha 20x20 format at school or in the office?

Sure - it is a great format for project reviews and presentations at schools or internal presentations in offices. We are setting up PechaKucha Learning and PechaKucha Corporate programs (????) We also license the event format for Events and Conferences, please check out PechaKucha Event for more details.

17. Is PechaKucha Night like TED?

Many people have said - “oh so you're like a local TED!” A very nice complement but not quite right! TED is brilliant but very different to PechaKucha. TED is top down, PechaKucha is bottom up! Deanne the hooper, Astrid daughter or Marks mum could not present at TED - but they had awesome stories and creativity to at recent PechaKucha's

18. Was PechaKucha the first format like this?

That's a good question. We have all heard of elevator pitches, a presentation so short you could pitch it to someone in an elevator, well 20 seconds x 20 is a bit longer than that, but the idea is the same short concise presentations. As far as we know PechaKucha was the first to put a limit on the number or images, number of seconds - and the all important auto forward. No 'next slide' or 'go back one please' at PechaKucha Nights. There have been several, rather sly - and not so sly imitators including Talk20 and Ignite - but PechaKucha was there first, seven years ago!

19. Is PechaKucha Night a social network?

No because there is nothing social about social networks, get out from behind your screen and get to a live event, with real people, real communication, real beer and real creative fun.

20. What's next for PechaKucha 20x20?

We have launched version 4.0 of the website. For press enquiries and further information, please get in touch!

Thursday, 27 October 2011

Life's lesson


Dalai Lama said, "sleep is the best meditation".

Imagine telling that to my students at school.

Tuesday, 4 October 2011

與英文老師共勉之

一.「雖之夷狄,不可棄也。」

原句:樊遲問仁。
子曰:「居處恭,執事敬,與人忠。雖之夷狄,不可棄也。」


二.「有教無類。」

上自君臣大夫,下至村夫俗人,不論老少賢愚,都要维持「有教無類」的心。

Sunday, 31 July 2011

被物誘了....

New addition in July:
(In ascending order of importance)

1. Shangri-La Hotel x Moleskin Notebook
2. Google G1
3. Habit of swimming
4. 韋惠英編著 -《少就是多淺入深出--青田陽光英語綜合教學法實踐與反思》
5. 海星 (自然學校籌辦人) -《方手自然教出好孩子》
6. Classical guitar 
7. Ultimate Ears TripleFi 10 Noise-Isolating Earphones
8. G-Shock G7900 (Black)
9. James Blunt Concert Tickets x 2
10. Ipod Nano 16 GB
11. Barry Kalb - You Can Write Better English
12. 劉若英 -《我的不完美 》
13. Panasonic Lumix DMC-TS3
14. Acer Aspire One

OR

(In ascending order of current market price of each item)

1. Barry Kalb - You Can Write Better English
2. 海星 (自然學校籌辦人) -《方手自然教出好孩子》
3. 劉若英 -《我的不完美 》 
4. 韋惠英編著 -《少就是多淺入深出--青田陽光英語綜合教學法實踐與反思》 
5. Shangri-La Hotel x Moleskin Notebook
6. Classical guitar
7. G-Shock G7900 (Black)
8. Ipod Nano 16 GB 
9. James Blunt Concert Tickets x 2
10. Google G1
11. Ultimate Ears TripleFi 10 Noise-Isolating Earphones
12. Panasonic Lumix DMC-TS3
13. Acer Aspire One
14. Habit of swimming ($20/session, but for life)

*all the said items, with the exception of books and watch, were all gifts from family and friends, thanks for enriching my life =)

I feel like one of those people in Hong Kong Tourist Board's colourful commercial with a lot of shopping bags and the commentator preaching - 'Hong Kong is an international finance centre / shopping paradise'

Thursday, 28 July 2011

老生常談,但在這都市卻歷久常新,長命百歲

不被物誘

子日:士志於道,而恥惡衣惡食者,未足與議也。
一個人如果真正立志於修道,這個「修道」不是出家當和尚、雷神仙的道,而是儒家那個「道」,也就是以出世離塵的精神做人世救人的事業。
一個人如果志於這個道,而討厭物質環境艱苦的話,怕自己穿壞衣服,怕自己沒有好的吃;換句話說,立志於修道的人而貧圖享受,就沒什麼可談的了。因為他的心志已經被物質的慾望分佔了。
孔子這句話是說,一個人的意志,會被物質環境引誘、轉移的話,無法和他談學問、談道。

— — — — — — 南懷瑾

Sunday, 22 March 2009

When did we lose our child like ability to see the world?

Currelty doing my research on Hundertwasser House in Vienna.

I'm responsible for looking at societies' response to it's construction and development over all these years since it's finishing in 1986.

I came across this article and it made me wonder why art and architecture had to be imbued with all these complex ideologies in order to have depth and culture. When did we begin to feed ourselves with the notion that because it has many folds of complexity and implicit meanings, that is what makes it beautiful and deeply mysterious?

A child never thinks like that. The world is beautiful in its own right no matter the colour, form or subject matter. Here's the opening sentence to the article:

"I picked up my niece at Vienna International Airport wondering what I would do with her. She is 22 years old, on her first visit to Vienna, and isn't interested in anything. You probably have relatives like this."

Which made me think a lot about why adults struggle so hard to find interesting things to do with people a generation below them. (It's not just Macdonald's Happy Meal / a playground or a concert that serves a growing child's burst of imaginative creativity, is it?)

It also reminded me of a TED video on "Do Schools Kill Creativity?" that mw urged me to watch awhile ago.

The article ended with this sentence:

"Even my niece was drawn to this magical place, waking up in surprise from her sleepy life to discover that there was at least one museum she actually liked."

Is it time architects go back to basics and think about how our inner childs look at buildings of tomorrow?

Tuesday, 17 March 2009

My begging and Art HK09

Please please please, I beg HK make art more educational and integrate HK art and artists as part of the curriculum for all art classes in secondary schools. HK art and artists should also have at least a few mentions in Hong Kong history textbooks.


Art HK 09: Hong Kong International Art Fair Announces This Year's Exhibitor List

Hong Kong International Art Fair announced that 110 of the world’s leading galleries from 24 countries will exhibit at the Hong Kong Convention and Exhibition Centre (HKCEC) from 14-17 May (Preview and Vernissage 13 May).

New participants for 2009 include Tomio Koyama, White Cube, SCAI THE BATHHOUSE and Galleria Continua, as well as Lisson Gallery and Gagosian Gallery. Antony Gormley and Anish Kapoor will both be present, alongside leading Asian artists such as Ai Weiwei, Cai Guo-Qiang and Jitish Kallat. This year, ART HK 09 is also pleased to introduce ART FUTURES, an initiative to enable galleries under five years old to showcase one or two emerging artists and to encourage a presence of fresh, exciting new work at the Fair.

In addition to being the leading platform for buying art in the region, ART HK provides a much needed focal point for the art world in Asia for networking and discourse between curators, artists, collectors and critics.

Asia Art Archive will present a series of thought-provoking programmes with some of the leading experts and practitioners in the field. Backroom Conversations will include panel discussions, talks and screenings that touch on a number of prevalent issues, and offer a first-hand look into the contemporary art world today. Speakers include: Vasif Kortun, Director of Platform Garanti Contemporary Art Center, Istanbul; Frances Morris, Permanent Collections Curator, Tate Modern; and Uli Sigg, collector of Chinese contemporary art.

Guided Tours will be available in both English and Cantonese organised by Para/Site Art Space.

Whether you are a seasoned collector, thinking of buying for the first time, or just keen to be part of one of the most significant cultural events in the international art calendar, we look forward to welcoming you to ART HK 09.

http://www.artdaily.com/index.asp?int_sec=2&int_new=29603

Monday, 16 March 2009

Why do people visit museums (6 theories)

Why museums have become our home from home

People are visiting our galleries and museums at a startling rate. Is it the cafés, the absence of swearing... maybe even the art?

Why do people go to museums? It's not easy to find out. Frankly, there's a lot of waffle. I've spent the past week in them, trotting up to people and saying: “According to the Association of Leading Visitor Attractions, museum and gallery attendance is rocketing in Britain. Why are you here?” Everybody is polite, because people always are in museums and galleries, but nobody really knows. “I was interested in the exhibition,” they might say, not all that helpfully. Or, “the kids like it”. It's hard, at first, to see the thread. People go for all sorts of reasons. Or so they think.

A friend and I, for example, once went to the Saatchi Gallery, drunk, to understand how our other friend Jez had ruined his shoes. He'd been a few weeks before, also drunk, and he'd blundered into Richard Wilson's 20:50. Do you know it? Big room full of reflective engine oil, with a walkway down the middle. Totally disorientating. Amazing. Jez had flailed around, bewildered, and scooped the stuff on to his feet. Art all over his Nikes. We went to see if we could replicate it. It sounded, like, mind-expanding. Hey, we were students.

It turns out that this was actually a very old-fashioned way to behave. According to the various histories of museums into which I have delved (Giles Waterfield's Palaces of Art is particularly good on this), I was buying into the German Romantic idea of the museum as a temple, in which the visitor “should enjoy a quasi-mystical experience”. Sounds about right. None of the many museum-goers to whom I spoke in the past week was doing anything like this. So, here's theory No1: museum numbers are up, because, quite suddenly, museums aren't much like museums.

I've a few theories to come, but this one makes a lot of sense. It certainly does in Liverpool, which, as 2008's EU Capital of Culture, saw museum and gallery attendances soar by something like 400 per cent.

“We decided to take a real look at the audience,” says Phil Redmond, who was the creative director of Liverpool 2008 and also, just so it clicks, the guy who created Grange Hill, Brookside and Hollyoaks. He says: “If you have people who are used to bright and breezy entertainment with TV, you have to make the venues a lot more bright and breezy too. You make them more kid-friendly. Have a kid zone. Education workshops. Follow the dinosaur prints.”

Redmond adds that you need to balance this with the ability for people to sit quietly in museums and reflect, and that some things should be family-friendly and some perhaps not. It's notable, though, that when it comes to attendances, family-friendly is what works. Consider: Tate Liverpool (bright, breezy) up 67 per cent; Merseyside Maritime Museum (likewise) up 69 per cent; The Lady Lever Art Gallery (austere, heavyweight) down 16 per cent.

You could call theory No1 the “dumbing down” theory, only none of the punters I met was dumb. There was Sean Barron, the bar manager from Brighton, who was up to see the Picasso exhibition at the National Gallery and was “particularly pleased to see Picasso's interpretation of the Las Meninas” because he liked the Velásquez original. There was the Carter/House/Downing family from Woking and surrounds, all three generations, who were in the British Museum only because little Abigail, 8, was doing a project on the Egyptians, but knew their stuff about the mummies and had been to St Albans the other week when she was studying the Romans.

Quite un-dumb, in fact, which allows me to sluice neatly into theory No2, as expounded by the likes of Melvyn Bragg, the broadcaster, and Neil MacGregor, the director of the British Museum. This is what you might call the “dumbing up” theory. In other words, museum numbers are up because people are getting cleverer.

There's a lot to be said for this. This is the Britain where everybody loves watching Stephen Fry on QI, and more people listen to Radio 4 than Radio 1. “There is a huge desire,” MacGregor says, “to understand and to address complexity, and to spend the time that it takes to do so.” For the museum's Babylon exhibition (which ends tomorrow), the average dwell-time was an hour. For Hadrian, it was an hour and 40 minutes. For the current exhibition on Shah Abbas, it is about an hour and a half. It is not true, MacGregor says, that we live in an era of dropping attention spans.

Nicholas Kenyon, formerly the controller of the Proms and now managing director of the Barbican, reckons that there is something very British about the pace of a museum: “There is something in our culture that is free-flowing. People can take as long as they want.” He notices it particularly, he says, coming from a background in the performing arts.

The British Museum, perhaps, sits bang in the centre of competing notions about what a museum should be. There are cafés and a restaurant, and it's certainly family-friendly. But there's a dose of mystery here, too. In Liverpool, Redmond insisted that the whole point of collections is that “they are there to contextualise our past”. We have to view them, he said, “in terms of the stories they can tell. People often think that collections themselves are the point, and don't need to be explained.”

This sits uneasily with more oldfashioned notions of custodianship, which many still feel is the purpose of a museum. Still, he has a point. I thought of his words when I went through to the Duveen Gallery to see the Elgin Marbles and hunted in vain for a sign to told me that, yes, these actually were the Elgin Marbles.

I walked through the V&A on a Monday afternoon, and in some sections - South- East Asia, Japan, European Textiles - I didn't see a soul. This is your proper quasi-mystical museum experience. Take your German Romantic friends, if you have any. They'll love it. To stand alone in half-light on a polished floor, staring up at a 16thcentury tapestry of men with crazy beards, lambs in armour and a soldier shaking the hand of a bear is a bewildering experience. You can feel the ticking in your head. It's not what crowds want. The V&A was down last year by 15 per cent - although perhaps that's because they did so well the year before with the Kylie exhibition.

You might be alone, but you don't worry about getting mugged. The V&A says that it rarely has more than a couple of security incidents a year. The National Gallery is bang on Trafalgar Square, but even they need to kick people out only every couple of months. That brings me to theory No3. Museum numbers are up because museums are safe. “They attract only a certain type of person, let's face it,” says Margaret Child, 79, from Essex, visiting the National with a group of older ladies and then heading off to see Sunset Boulevard: “In any museum, do you ever hear the F-word? You hear it up and down every high street. In the cafeteria, all ages, all denominations, no one swearing.”

I meet Debbie Norton and Sarah O'Connell, both from Haringey, in the Museum of Childhood in Bethnal Green, which is part museum, part playground. They are with their respective two-year-olds, Jessie and Leila. “It's a safe space to play,” Debbie says: “We can have something to eat, they can entertain themselves.” Sarah says that the kids can run off and she can wait a minute or two before having to chase them. “It's also safe as in health-and-safety safe,” she says. In Tate Modern, I was struck by the number of disabled folk in buggies.

Aside from me and my drunk friends, people really do behave themselves in museums. Redmond jokes that this is because there is “more security per square metre than anywhere else on Earth”. He agrees, though, that there is something about museums that people respect. Neil MacGregor , at the British Museum, agrees. “The Great Court has become London's village green,” he says. “It's where you bring the children. It's where you meet a friend. It's the space that belongs to everyone.”

Free entry has a huge amount to do with this. That should probably be Theory 4, the credit-crunch theory. People are going to museums because museums are free. Most of Britain's biggest museums have been free for years, but, as MacGregor puts it, it's the rhetoric of free admission since 2001 that has had an impact, as much as the fact. When the Tory culture spokesman, Hugo Swire, spoke of reintroducing entry charges in 2007 there was national uproar, and a few months later David Cameron sacked him.

When I asked Redmond his best tip for getting people into museums, he snorted and said “create a recession”. Everybody going to a museum approves of free entry, even if (and this is the crucial bit) they are then paying extra to see a special exhibition, such as Picasso at the National (£12.50) or Shah Abbas at the British Museum (£12). Free admission to museums has given the public a sense of ownership over them. This ties into Theory1, and the way that many museums no longer feel like somebody else's country house. They feel like they are ours.

And so to Theory5. They're coming thick and fast now, these theories, but this, I think, is my favourite. People are flocking to museums because museums are the best public space we have. Britain is too secular to value its churches and too divorced from local governance to give a damn about town halls. Schools are not the social hubs they once were. Museums fill a gap.

All the other theories, I reckon, trickle into this one. Museums are as much about activities, these days, as collections. Debates at the British Museum. DJs at the Royal Academy. The Museum of Childhood, as discussed, being used as a playpark. In East London, galleries stay open late every Thursday, as nightlife. The V&A does the same on Fridays. Cafés. Restaurants. Places to go.

The National Wool Museum in Wales had 24,344 visitors last year. That's a bad Saturday morning for the British Museum, but it is 11 per cent up on last year. Ann Whittall, the museum's manager, tells me why. “We've got a very successful family trail,” she says. “The Woolly Trail. It helps families to understand what they are seeing. It's interactive and you get thread at the end. We've a café that sells local produce, and mills. We're 16 miles north of Carmarthen, so in the winter we rely on our local audience. We have a carol concert and a craft fair at Christmas time. We have a knitting club, and nursery groups meet here, too.”

That's almost every theory, in a single tiny package. See how they all work? Only the German Romantics need feel left out.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5901145.ece

Saturday, 21 February 2009

Can't wait

I can't wait to graduate and get a job.

I can't wait to do something really meaningful in life and get paid for that.

I can't wait to be touched by all the beauties in life and work with them in my future job.

I can't wait to combine different perceptions of what art is all about and present it to whom art is all about. The people.

I have a burst of energy waiting to be released to good use (I hope) and I just can't sit still on my chair thinking about how one can touch another's life through history, art and architecture.

But most of all... I can't wait to be over and done with essays and presentation in the horrible month called March.

I digress too much.

I can't wait for my next digression.

Friday, 20 February 2009

Sudden thought on the difference between English and Chinese language.

A sudden thought came to me while i was clicking through the internet and sauntering in my studies.

I just thought about capital letters in the English language and how Chinese does not have capital letters.
Is there a paper about this difference and what that means to English and Chinese as a language and how people are influenced or not influenced by that?

Thursday, 19 February 2009

Chip Tsao (陶傑) compares HK students abroad in UK and HK local students

http://hk-magazine.com/feature/vote-your-feet

For me it was very uninspirational, condescending and very generalised.

But perhaps I should learn more how the HK government uses its money on subsidising students to go abroad and how it uses its money to do education reform in HK....

But Mr. Tsao who claims to be The number one scholar in Hong Kong (香港第一才子) should know that not all things are skewed to one side.

1) “patriotic education” - go to any country and tell them that learning one country's national anthem and mandatory hoisting one's national flag is an ill founded idea and see what they say to you.

2) Would the Labour government in UK or the Democrats in US educate their children about the corruption of their own party and reveal all the dark secrets behind the scene?
NO.
Why do we know about that then?
Because they have different ruling parties who know how to play politics to reveal that to the wider public. China has one and only one ruling party, why would it let you dig up its dark secrets?
Would you dig up your own dark secrets Mr. Tsao? Or does paparazzi generally dig it out for you?
So there is nothing wrong with not including “Mao: The Unknown Story” by Jung Chang in their high school education, it's the political, social system of China that is different if you want to be precise.

3) Lan Kwai Fong is crowded with foreign students and they can tell 'a martini from a Babycham' because their studying environment provides them with the skills to do so.

When have you seen a foreigner study in local high schools?
And when have you seen local HK students integrating foreigners into their circle of friends like what Singaporeans do?
It's because UK boosts cross cultural exchange and when you are a kid studying abroad, you try your very best to get to know other cultures so you won't stick out like an odd ball.
The so-called 'government official’s children' (which I am not one of) can tell the difference between one drink from another because they can integrate with other cultures easier than, say foreigners can to HK culture.
The root of all evils is the dominant language called English, which is taking over the world.

Why don't you ask a foreigner whether they can tell one dim sum from another?

4) Modern education basically started as a result of Industrial Revolution, there were too many kids in the filthy dirty streets, and intellectuals saw fit to house them in proper institutions so they can becoming a functioning part of an element in an industrialised society. Now we have come a long way from that and the British have refined their model according to their own needs and wants because they have been the ruler of their country for the past centuries or so.
Hong Kong, being a British colony in the past, obviously created an education that was favourable to the British which meant that the education system would work as a factory to create a cream of society who would want to go to Britain for further education.

But Hong Kong have just took back our autonomy for 11 years and the government is struggling to come into terms with post colonialism and has failed to provided a successful education reform, and a lot of people has lost hope in that reform. It doesn't mean adopting or assimilating Chinese education into our system is not good. Look how prestigious Beijing University and Tsing Wah University is in the world.

So please stop being fearful of being patriotic and be proud of being a Chinese, because whether you like it or not. Hong Kong is going to become directly under Chinese rule in 2047. And the best is not to breed misunderstanding and mistrust between Mainland China and Hong Kong, but to actively engage in cultural exchange that is not only driven by economic forces, but through educational reforms.

If you don't want to be patriot about loving China, then don't.
But at least love Hong Kong and give suggestions on ways of improving local education instead of dreaming about the past. Rather, try and understand the past so you can try and predict the future.

Monday, 9 February 2009

Summer voluntary work: 1) Echigo Tsumari Art Triennial 2009, 2) Aqua Metropolis Osaka 2009, 3) Fundraising efforts:

Dear all,

I will be doing voluntary work in Japan this summer. In the remote
rice farming communities of Echigo Tsumari, Niigata and also in the
sprawling metropolis of the city of Osaka.

1) Echigo Tsumari Art Triennial 2009

Echigo Tsumari (Niigata province, Japan) is a city scattered with rice
fields, dotted with hills and a brush of river running in between. The
art triennial is about using public art to revitalise vast amounts of
land covering six farming municipalities.

The story goes that urbanisation, a lowered demand for pearl rice in
Japan and a declining birth rate has meant that schools continue to
close down and the average age of the population continues to
increase. Its a trend that the entire nation will have to face and, in
many ways, what happens in the villages is a preview of times to come.

300 or so artists, mostly from Japan, but also selected from all over
the globe, will gather in Echigo Tsumari this summer to celebrate it's
4th Triennial by creating artworks addressing themes touching upon
the vice and virtues, friendships and conflicts of our contemporary
world.

I shall be working with a Hong Kong artist, Mr. Kingsley Ng (伍韶勁), who has
been selected by the Echigo Tsumari community to create an artwork
amongst rice paddies and village townhouses.

Please follow the link to see one of Mr. Ng's art piece called metier
a tisser musical (Musical Loom)
http://www.youtube.com/watch?gl=HK&hl=zh-TW&v=qXjKmerqHwY

The following are related links:

facebook group:
Echigo-Tsumari Art Triennial 越後妻有大地の芸術祭

Kingsleys Ng's homepage:
http://www.kingsleyng.com/

Echigo Tsumari Art Triennial 2009:
http://www.echigo-tsumari.jp/

2) Aqua Metropolis Osaka 2009

I shall also be working on an art project for the
city of Osaka under the title 'Aqua Metropolis Osaka 2009', an
initiative that aims to bring water back to the city of
Osaka.
Osaka was once known as the Venice of the east due to its rich
waterways. Modern infrastructure has meant reclamation and an
explosion of vehicles on concrete roads instead of water
transport as a way of commuting.

The project aims to stimulate questions about modern urban land use
and explore various themes such as conservation, nature,
city, development, and urban interaction.

The following are related links:

Aqua Metropolis Osaka 2009' Touting new city image
http://www.osakacity.org/news/newsItem.aspx?news=370

Kansai in Focus: Waterside with people: for revival of 'aquapolis'
http://www.kippo.or.jp/KansaiWindowHtml/News/2008-e/20081105_News.html


3) Fundraising efforts:

In order to make all these happen, we plan to
have a tour to sponsor the artist, Mr. Kingsley Ng and
his team as well as students who will form a team at Echigo Tsumari
and Osaka.

The tour will be led by Mr. Alexander Hui (許日銓), a trained architect who was
a curator and lecturer from the University of Hong Kong. He also spent
some years as the executive officer of the Hong Kong Arts Centre.
He is currently pursuing a PhD degree and is also actively involved in
many community projects in Hong Kong.

One tour will cover a special preview to Echigo Tsumari to see the artists and volunteers at work.
The other tour will take all to a special visit to the Naoshima,
inland Seto Sea area for a special preview of not only places like
ChiChu and Inujima with the curators but also museums and art sites
under construction by Tadao Ando, Hiroyoshi Nishizawa and Li U Fan in
preparation for their opening in 2010.

If you are interested in these projects / tours / donations,
please email to

James Lam (林自立)
juanjaime@gmail.com

or
Alex hui (許日銓)
huialexy@hotmail.com

Warm regards,
James Lam