串門曼陀羅

休息之後，覺得需要記錄自己的反思過程。開始想用文字的方式，後來發現，事情的轉變發生得太多太快，有時候還沒有整理清楚發生的事情，第二天又到了，又開始一堆事情發生轉變。有時候情緒還沒有整理好，心裡悶了一大堆。我後來就開始畫曼陀羅。

畫曼陀羅是一件很爽快的事情。我用的是粉彩蠟筆，選了一個顏色，就不管三七二十一的開始從一個點延伸成線，不管橫的直的彎的曲的，沒有對的錯的好的壞的是的非的，紅的黃的藍的綠的，就是給它畫下去，就是一種爽快的感覺。慢慢慢慢的，線就成了一個形狀樣態符號非符號。在中間段落或是最後，再把外圍的圈圈圍起來，就成了曼陀羅。

你問我曼陀羅的顏色線條形狀表達什麼，其實我不太清楚，也不想搞清楚。落款的標題可能是在畫畫的時候的感受，也可能是當天的感受，可能是完全跟以上講的沒有關聯，只是為了標而題之。

這就是我的曼陀羅。

P.S. 符號化的我從屬於文字的世界，非符號的我只好交給曼陀羅了。

≅≅≅≅≅≅≅≅≅≅≅≅≅≅
下午辦完事情後，到小學樂隊的教練家造訪。教練的孩子是我同學，碰面知道教練最近身體有點不適，便順道去教練家造訪。同學常常覺得父親嘮叨不停很煩，我剛好就暫時頂替了他的位子，成了聊天伴。

閑話家常後，同學送我回家，反正他也沒事，也就順道拜訪我父親，閑聊一會兒後，大家一起晚餐。父親平時愛吃豬腳我不愛吃，同學剛好也愛吃豬腳，剛好也就成為父親的豬腳伴。

我們這樣一來一往的串門子就花了四五小時。

平時大家時間匆忙，很多事情變成例常公事。誰誰誰生病了，去探訪成了一種另類的打卡，只為了出席率，串門子便成為生命的繁瑣小事，仿佛這件事是沒有價值的事情。如果不是這次休息，有更大的時間空間，讓自己可以閑暇作息，思考，怎麼有契機尋找回自己的靈魂呢？

我們的靈魂在哪裡？

今天參加外甥的頒獎禮。在台下的我，進入井井有條會場，看著微笑的總統蒞臨，聽著教育部長的熱情致詞，順著沒有意外的典禮進行，看著台上機械式的笑容和合影。我自已察覺我情緒越來越多。

對於工作，對於工作流程，對於人事，對於需要安排得有條不紊的世界，我感到厭倦了。厭倦不是因為討厭秩序，喜歡雜亂無章。而是覺得這有條理的世界，缺少了人的味道與氣息。我們的靈魂在哪裡？

覺得人的世界是有機( organic)的。有機不只是用在蔬菜農產品。Organic在英文其中一個意思是" close to nature"，就是接近或者趨向自然的意思。

什麼是自然？自然是傷心哭泣，高興鼓掌。而不是主持人在事前，告訴你在總統來的時候一定要拍手鼓掌。當然，如果是循序漸進的暖場，那又另當別論。(主持人其實也沒有提示大家要站起來，但是大家也自動自發的站起來啊？)

部長在演講時候，我心裡在嘀咕這一定又是主辦單位為他準備的講稿。因為演講沒有靈魂，沒有激情，連隨著內容情緒的起伏都可以看出是偽裝的。

總統在頒獎，尤其中後段的時候，完全是機械式的接獎狀，握手，面對鏡頭，微笑，頒獎，發呆，下一個。我還跟姐姐開玩笑說：幹嘛每個活人，當了總統都變成機器人啊？

頒獎後，總統安排和獲獎者寒暄。這些學生大概是平時乖巧不越軌的，臨時出問題的機會比較少。

想著想著，我的情緒越來越激動。猛然發現，我幾個月前還在進行同樣的勾當，策劃同樣的典禮，寫著同樣的講稿和演講詞。

我覺得夠了，對於這個沒有靈魂的世界。我知道世間的表面虛偽還是必須的，但是我曾經有過比較人性化的生活和環境。我知道這樣的生活會比較辛苦，這樣的環境比較艱辛，但是我必須鼓勵我自己，要尋找自己的生活，要獲得自己的快樂，要找回自己的靈魂與人性。

莫忘初衷。

醉者酒遊戲，明者觀三昧

有人覺得我是用頭腦的人，我一直覺得自己是身體性的人。多年前有個導演朋友在我看完戲劇後，驚覺我這樣理性的人怎麼可以感性的明白很身體性的舞台語言。我們何時才能停止語言的標識遊戲呢？

中文有一個詞語叫"體悟"——用身體去领悟。人們覺得身體只能操作，领悟是思維世界的範圍。很久前就把這兩個字連在一起用，想必用身體來思維且後來领悟的先輩必有人在。

年前運用了一些因緣，幫一位長者暫時化解了一些問題。後來因緣變化，反而又帶給長者一些麻煩。如果不是用身體經歷和感受這因緣變化，怎麼會得到後來的领悟呢？

無論我們如何計算因緣，畢竟算不儘因緣的變化。到底是頭腦還是身體性，其實到後來真的不重要。重要的是"好好過活"。不是嗎？

遊戲三昧？酒醉三昧？
醉者酒遊戲，明者觀三昧。

——記一次酒後的體悟。201310180815

生命之詩 — 死亡之歌

最近有機會休息，在思考有關生命的問題。重新閱讀生死學的書籍，老師說生死學就是一個烏鴉嘴的學問——大家都覺得重要，宗教說生死的問題就是生命課題，但是提起生死，大家都面有難色，很快就想要轉換話題，不正視它。之前在安寧病房學習，療養院工作的時候。父親都稱之為"看人家什麼時候死掉"的工作。

死亡絕對是一件吊詭的一件事情：離開的人不能跟你分享經驗，反而沒有離開的人在那裡大放厥詞，說長道短。死而復生對我來說不是"真正"的死亡。問題不是不能說，而是如何說。

在用語言了解世界的環境裡，我們只能以世間相對觀念來認識事物，用意義來創造這世界。生和死是相對的，但是也是真切的。生死卻是一個絕對的現象，它是一個一去不返的經驗。就如大家都知道，唯一真理就是無常。無常就是一出口就消失的真理。大家還抱著"真理"的尾巴在團團轉。

想要討論生死的朋友，我常常"烏鴉嘴"的提醒，無論我們什麼時候出生，預測我們死期是什麼時候，我們出生後都一分一秒的走向死亡，像我在寫這文章的時候，我知道我其實更加接近它。但是唯有正視這點，我們才能更真切的認識生死。

朋友看到我的一篇文章，他覺得這是生命之詩，我自己同時看到，這生命之詩正也是死亡之歌。但是也就恰恰我看到這死亡之歌，讓我更有勇氣繼續寫下我接下來的生命之詩。

正視死亡不一定是消極的，有時候反而是讓我們有繼續下去的勇氣。

大風來，拿一分錢去買旺來

下午姐姐叫我到老爸熟悉的攤位，買了他其中一種常吃的排骨王飯。排骨王飯，就是大塊的排骨肉，淋上酸甜醬，旁邊加上一些星馬地區熟悉的"阿札"。

到醫院時，老爸睡得嘴巴開開。這月第一次進醫院時，老爸在醫院打了幾天的抗生素，感覺已經康復了。卻在三四天後開始氣喘，然後呼吸困難。這次在醫院打了一星期的抗生素後，幾天復健後，前兩天又開始氣喘，呼吸困難了。看到他熟睡，雖然暫時安心，但是心理也明白他的狀況就像股市一樣，有上一定會有下。

姐姐看到他起身，便把一些排骨加入他醫院的飯菜。又跟他交換一些醫院的咖喱羊肉。自從這個月老爸進醫院後，胃口不好，只能吃一些粥和麵包。即使姐姐給他帶上他平時愛吃的食物，他也只是吃兩口。今天可能做了復健，加上下午有睡飽，所以胃口比較開。後來還吃了幾片玻璃罐菜心。老爸近期味覺漸漸下降，前天還投訴說醫院的咖喱肉碎很辣。我吃了吃，肉碎根本沒有什麼味道。我知道老人家到最後會只剩下吃這種享受，況且他最愛美食，加上先前戒煙，生活已經剩下不多樂趣了。我們知道他有高血壓高膽固醇，但是他胃口不好，還需要高能量牛奶補充營養，現在如果能暫時讓他有胃口，太咸太肥的食物也沒關係了。

吃完飯後，跟老爸到病房外走廊，順便讓他練習走路呼吸。喘氣後，坐在長凳，他默默也沒有說話。我正在煩惱為什麼沒有風，老爸不其然的說："你為什麼沒有念詩？"我問："詩？"他說："大風來，拿一分錢去買旺來。"(旺來是新加坡福建話黃梨的意思)

老爸書讀得不多，對於他來說，童謠順口溜就是詩歌。這時候風突然吹起，吹著我，姐姐，老爸三人。和老爸談到住在梧槽一帶，話頭一轉，老爸又開始講起以前媽媽懷孕時，常常會在那一地區賣小雞的地方，買小雞來養，等到生下孩子，就可以殺雞來補身子。

Invictus

Rating:	★★★
Category:	Movies
Genre:	Other

Invictus
by William Ernest Henley (1849–1903)

Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.

不可征服
威廉·埃内斯特·亨利（1849 – 1903）

夜幕中我独自彷徨，
无边的狂野一片幽鸣。
感谢万能的上苍，
赐给我倔强的心灵。

任凭恶浪冲破堤坝，
绝不畏缩，绝不哭泣。
任凭命运百般作弄，
血可流，头不可低。

在这充满悲愤的土地，
恐怖幽灵步步已趋，
纵使阴霾常年聚集，
始终无法令我畏惧。

且不管旅途是否顺畅平稳，
不管承受多么深重的创伤，
我是我命运的主人，
我是我灵魂的船长。

（页底注释：《Invictus》译文来自互联网，译者不详，谨向译者致敬！）

柯木林：从“咖啡山”风云谈到古迹保存问题

http://www.zaobao.com.sg/yl/yl111207_001.shtml
柯木林：从“咖啡山”风云谈到古迹保存问题
（2011-12-07）
柯木林

狮城脉搏

　　最近，“咖啡山”再起“风云”，舆论界对护山的情绪高昂。有趣的是，这座坟山已存在近百年，至今还有不少古墓无人清理！但自从当局宣布规划开路后，人们才对即将失去的东西，起了“怜悯之心”，开始关切起来！

　　记得在大学读书时，聆听历史系教授讲述当年拆除北京旧城墙的情景，只有古建筑学家梁思成（梁启超的儿子）抱着北京的牌楼痛哭，说这是摧毁近千年的古董，当时没人理他。60年后的今天，人们都对北京旧城墙的拆除感到惋惜。我们是否也要再过两代人，那就是60年后，才可以评断今天“咖啡山”的是非问题？

　　“咖啡山”迁坟事宜已定局。目前唯一可做之事，就是以科技方法将古墓资料记录存档，这也是无可奈何的权宜之举。然而，如果通过此次事件，能唤起人们对历史的普遍认知，从而引发人们对古迹保存的意识，那么，这批先贤的古墓总算没有白白“牺牲”！

　　目前，在我们周遭也有不少古建筑、文物、遗址等，值得我们关注。从这点上说，古迹保存局（The Preservation of Monuments Board）的工作，任重而道远。

　　古迹保存局成立于1971年1月，时称古迹保存委员会，这是在新加坡建国6年后成立的一个非常重要的法定机构。可见建国初期，我们就有保存古迹的观念。两年后的1973年7月，古迹保存局公布了第一批以天福宫为首的六处国家古迹。以后陆续分批公布，至今已46年，所公布的国家古迹，约25批，64处古迹。近期公布受保护的是丹戎巴葛火车站。

　　我对历史古迹一向情有独钟，或许是由于个人专业训练及兴趣使然。记得1973年大学刚毕业不久，就与几位同道友好，利用星期六、星期天或公共假期的时间，勘查新加坡的一些华族古迹，之后出版《石叻古迹》一书（1975年4月），列为南洋学会丛书第十三种。

　　如今38年过去，再回首当年所勘查的古迹，未免感伤：清元真君古庙、广福古庙、绿野亭公所、曹家馆、豆腐街(Upper Chin Chew Street)消失了；“天福宫”的旧名匾不知所踪（目前的名匾为复制品）；粤海清庙庭园变小，气派大不如前；双林寺虽在，寺内古老的法堂已被拆除重建；恒山亭毁于火，而粉刷一新的玉皇殿，早已失却当年古风；萃英书院被改装为餐馆等等……一言以蔽之，许多古迹在城市重建声中，烟消云散了！

　　于是，保存古迹的工作，更形重要。古迹保存局的责任，可媲美教育部。教育部与培养未来社会主人翁有关；但在保护文物、重建人文景观、培养国家意识，尤其是普及历史知识等方面，古迹保存局的工作不容忽视。

国家不能没有集体记忆

　　要培养国家意识，首先必须要有全民的集体记忆。集体记忆是指一个具有自己特定文化内聚性和同一性的群体，对自己过去的记忆。集体记忆有助于群体对某个地点，乃至一个城市或一个国家的眷恋。一个没有记忆的城市或地方，是没有什么值得留恋的。这就好像一部没有下载资料的电脑，丢了也不可惜一样。

　　古迹使国家的某部分历史具体化，古迹在每个人周遭，就是我们生活的一部分。它是可以触摸到、感觉到的实体；古迹也可以勾起个人的旧时回忆，及对未来的遐想，古迹的保存不应只停留在不拆除一幢旧楼，或一座房子的层面上，而是发掘蕴藏于此间的文化内涵，这就是我们历史的一部分。

　　过去46年来，古迹保存局在保存古迹方面贡献不小，受保护的古迹包括庙宇、教堂、回教堂、学校、殖民地建筑物等等，这是一项不错的成就。然而，从已保存的国家古迹看，对名人故居的保护，尤为欠缺，今后可以在这方面加强。名人故居作为人文景观之一，也是旅游资源的重要组成部分。

　　位于花柏山下秉德路（Pender Road）10号的金钟大厦（Golden Bell Mansion）就是很好的例子。这座具有土洋特色与历史内涵的名楼，至今尚未被列为国家古迹。然而，与金钟大厦建筑时间不相上下而被保存的古迹却有：陈德源大楼（Tan Teck Guan Building，1911年建，今卫生部建筑），暹宫（Siam House，1906年建，道南学堂原址，现为土生华人博物馆）等。唯独金钟大厦成了“漏网之鱼”，不知何故？金钟大厦（新华领袖陈武烈宅邸）是可以考虑升格为国家古迹之一的（参见拙文《金钟大厦不只是一栋大厦而已》，2011年8月13日《联合早报·言论》）。

　　至于那些已被拆除的名人故居，如振裕园、南生园、佘山楼、客云庐等，可以在其具体位置上，铭记碑刻，供人凭吊。除故居外，历史名人的墓地也应在保护之列。目前我们只保存了林谋盛烈士的墓地，前文述及的“咖啡山”坟场，有不少华人先贤的墓园，古迹保存局的专家可以积极参与保留及规划的工作。

　　古迹保存局可说是与新加坡的建国成长同步。再过4年，我们将迎来建国50周年，古迹保存局也成立将近半个世纪。在未来岁月里，古迹保存局更应具备新思维和新管理理念，扩大工作范畴，对保存古迹方面做出更多的贡献。譬如开办讲座、引导学生参观、出产系列纪念品（当年就曾铸造古迹纪念银章）、摄制纪录片等，目的是引起人们对古迹的兴趣。

　　过去50年，我们的经济发展已闻名于世。如果让这座城市再增多一点历史文化的内涵，该是一件美事。于今所能盼者，就是假以时日，我们也能有一两处世界文化遗产，传诸后世。

作者是本地历史学者

横山勝也 Katsuya Yokoyama - 虚空 Ko-kû (1976)

半夜三點聽這個，很妖魅的感覺，像是要從你內心勾出一些什麼黑暗的獨白。尤其是轉音有點走調後的空白小節。

不只是水墨畫的留白精采，尺八演奏的留白也很精采。

“不着一字，尽得风流”

I listen this piece of music at 3am in the morning. It sounds ghostly and tickles your deepest spirit of the dark, especially the empty bars after the inflexion of notes.

The emptiness of ink printing and shakuhachi is a profound language not easily be understood.

===================================
就知名度而言,横山勝也大概是日本尺八史上最具國際知名度的一位尺八演奏家。 除了他的演奏實力，及所代表的流派音樂旋律較容易為西方人士接受外，日本知名作曲家武満徹專為尺八編寫的交響曲，由日本最具知名度的指揮家小沢征爾指揮演出，1967年指定由 横山勝也主奏的“November step”為其名揚國際的主因之一
轉載自尺八學習 : 分享與心得!!網站
http://tw.myblog.yahoo.com/shakuhachi-taiwan/article?mid=325&next=72&l=a&fid=5

尺八是日本的一种傳統木管乐器，由中國唐朝時傳入。尺八是竖吹的樂器，以其长度一尺八寸（約55公分）得名。中国古代民族乐器也有“尺八”这种乐器，但是现在已经非常罕见。而闽南的南音，使用的则是一种外形与尺八颇为相似的乐器
轉載自維基百科
http://zh.wikipedia.org/wiki/%E5%B0%BA%E5%85%AB

Katsuya Yokoyama (横山勝也 Yokoyama Katsuya?, born in Shizuoka, Japan, 1934 - 21 April 2010) was an internationally renowned player and teacher of the shakuhachi, a traditional vertical bamboo flute of Japan.
extracted from wikipedia
http://en.wikipedia.org/wiki/Katsuya_Yokoyama

The shakuhachi (尺八?, pronounced [ɕakɯhatɕi]) is a Japanese end-blown flute. It is traditionally made of bamboo, but versions now exist in ABS and hardwoods. It was used by the monks of the Fuke school of Zen Buddhism in the practice of suizen (吹禅?, blowing meditation). Its soulful sound made it popular in 1980s pop music in the English-speaking world.
extracted from wikipedia
http://en.wikipedia.org/wiki/Shakuhachi

The Complete Works of Kuo Pao Kun, VIII: Interview 郭宝崑全集，第八卷：访谈

Rating:	★★★★★
Category:	Books
Genre:	Other
Author:	Practice Performing Arts Centre 实践表演艺术中心

The economy has been achieving excellence progress since Singapore independence. Kuo Pao Kun feels that culture building is relatively neglected compare with emphasis of economy in Singapore. Although starting from 1990s, the government invested heavily in culture, but its coverage is still too shallow. He said that we cannot neglect literature, history, philosophy, religion and mythology education should we want to improve the progression of our culture. “While the Government put in a lot of money supporting orchestra, theater groups, dance companies, we could not have something in-depth should we lack of foundation. Most pressing work to be done is to rethink and to build the base for our culture. There are great gap in our knowledge structure. There is no awareness of the importance of cultural building which we need to invest in generations of effort.

(In Chinese, titles and names translated from Chinese)“Sowing Seed Of Drama In The Wilderness” written by Xiao Jiahui , "The Complete Works of Kuo Pao Kun, VIII: Interview " chief edited by Quah Sy Ren and edited by Chen Ming-luan, Practice Performing Arts Centre and World Scientific co-published in March 2011, Page 26


新加坡自独立以来，经济取得卓越成就。相对于经济，郭宝崑认为新加坡的文化建设被忽略太久。尽管1990年代起，政府在文化上大力投资，但涉及层面仍然嫌浅。他说，若要在文化建设上做根本的补救，就不能轻视文学、历史、哲学、宗教与神话教育。“政府虽拿很多钱支援乐团、剧团、舞团，但欠缺底蕴，再支援十年也出不了有深度的东西。大力建设文学，思考文化建设是当务之急，但我们的知识结构里有很大的缺口，意识上没有认识到文化建设的重要，这需要经历几代人的工作。”

--萧佳慧著〈在荒原上播戏剧的种子〉，柯思仁总编辑、陈鸣鸾主编《郭宝崑全集，第八卷：访谈》，实践表演艺术中心与八方文化创作室联合出版，2011年3月，第26页

承风启雨渡九年 A Perseverance of Nine Years

承风启雨渡九年

汪忠良

缘起与发展

我不是摄影人，也不是文化人。2003年在机缘巧合之下获知2002年开始主办的“城市的眼睛”活动，当年感怀新加坡很多值得保留的景物都被拆迁，社会也有很多的变迁，便拿起傻瓜相机参与了这项活动，希望能为我们的城市留下一些值得回忆的影像。后来知道这活动不办下去，便联合李子民先生在2004年一起接手主办策划活动，后来陆续的又增加了一些成员，并在公司机构的赞助、社会各界和义工的支持下，每年持续主办这项岁末活动。

先前参与策划活动的大多是艺文界人士，而后来我们接手后的大多是草根较强的社会人士或者是业余摄影人士，所以前后策划者关注的事物和看待事物都有些出入。大致上来说，前者关注的是保留文化记忆，后者是以关怀社会为主调。其间，我们面对了专业摄影对我们活动照片代表性的挑战，还有摄影技术与文字描述与照片内容之间重要性的拉扯。虽说风风雨雨，我们坚持了每年岁末24小时，不设立奖金奖品，没有主题，不以比赛的方式，一年年的坚持下去。

这几年的活动，我们接受很多参与者的意见，作出不少的改变和调整。为了让学生可以参与活动，我们把年龄限制调整至13岁；为了让活动容纳更多的内容，我们也接受手机拍摄的影像、增加了摄影组照 (Eye Essays) 和年度挑战 (Eye Challenge)。

城市的眼睛是一项社会人文运动

有很多人建议城市的眼睛应该设立奖金奖品、每年设立主题、或者以电邮的方式收集照片。这些建议能够更快捷方便，增加参与的人数与作品，而且也能因为有特定主题，更能够符合特定机构的捐款目的。但是我们认为城市的眼睛是一项人文活动，人和人之间的关系、沟通、了解，也是活动重要的构成。我们希望大家亲自报名、选择照片、和我们的会员交换心得，建立起人和人的关系。我们也看到很多参与者在参加活动或者参观展览的同时，也通过谈论照片的内容，加强了与家人和朋友之间的交流，甚至对于新加坡这城市的社会人文发展更加关切。

城市的眼睛也不是为了宣扬某一个文化、思想、价值观，或者是肯定或否定它们；我们强调的是社会的多元性和包容性。遴选出来的照片是代表当年参与者的共同回忆，没有被选的照片也不表示他们是不重要的，或者是没有纪念价值；而只是在活动在展览和出版数量和内容上的限制。我们相信所有的照片对于参与者都有他个人的价值，每个人因为个自的生活背景和经历，对于同样的照片也有可能也不一样的体会，而这照片带给人们的记忆或回忆不能够用数字或者金钱来衡量其价值。

从这个角度来看，城市的眼睛事实上是一个社会人文运动。我们希望借着活动的推展，从大家对于记忆与回忆的讨论，加强人与人之间的交流与沟通，并且关爱我们生活的城市。从更长远的眼光来说，我们希望成为一个相互平等尊重讨论议题的平台，让参与者能够相互分享自身拥有的信念以及拥有这些信念的理由，并且帮助他人了解自身的观点；并且能以各自的方式共同建立这城市的人文景观。

集合大家的力量，圆满今年的活动

有人说，城市的眼睛有一般活动没有的流动魅力。因为没有特定主题，很多时候，我们是在遴选过后才知道当年照片的组合与氛围，以及可能带出来的整体的内涵动力。当年的作品的内容其实是代表了参与者当年对于发生在新加坡的一个集体的记忆。但是在这个非敌既友的世代，活动有时候不能符合赞助机构商家的特定目的，而无形的人文价值和意义，对于很多人来说是没有投资回报价值的。但是吊诡的是，组织筹办活动还是要回到这有形的世界里，需要靠资金来推动的。由于缺少能为活动筹款的义工，今年我们向参与活动的朋友们筹款，并获得了$1,418.50的捐款，加上其他单位个人的捐款协助方才能圆满今天的结果。

此外，我们还要感谢以各种方式协助我们的个人、公司与单位，尤其是新加坡知新馆(Singapore Discovery Centre)协办与支持今年的展览。

今后的挑战

社会趋势和科技的发展对于主办城市的眼睛有相当大的影响。当年，数码相机没有今天普遍流行，大部分摄影都是以底片为主，如今大家只要拿起相机，都能不用迟疑的捕捉他们想纪录的影像。当年，分享资讯不像现在社会网络和电子书这样方便，所以当年出版书籍和展览相对还是主要的影像传播媒介。当年，“集体记忆”这字眼几乎是不存在的，也不像今天在商业与政治带动下，被重点地推上社会舞台。无论官方机构，或者私人机构都一把抓地把大家的集体回忆收罗起来，放在手中。

最近火车站的搬迁，更是被媒体、社会网络和政治人物炒得沸沸扬扬，成为城市的焦点。城市的眼睛如何在这新媒体蓬勃、商业介入和政治热闹的新局面下，避免集体记忆的探索流于表面，而能进入更深层文化和心灵层面的思考，将是今后我们主办人的一个挑战。

转载自《城市的眼睛--2010 岁末24小时人文影像纪录》，新加坡。城市的眼睛出版，2011年10月，pp10-11。

A Perseverance of Nine Years

Ang Chong Leong

Beginning and Development

I am neither a photographer nor an intellectual. By coincidence in 2003, I got to know “Eye é City”. The demolition of many historical and culturally-rich buildings and sites coupled with the social changes happening at that time moved me to pick up my compact camera to capture a moment of the city. In 2004, together with Mr Lee Chee Ming, I took over the reins of organising the annual year-end event which started in 2002, after the previous organisers decided not to continue. Since then, joined by more organising team members and with strong support from volunteers, corporate sponsors and the public, we managed to carry on the annual year end activity through the years.

As the previous organisers were mainly from the arts and literary circle, the focus was on preserving history and culture. After taking over, the organising team was made up largely by people with close connection to the community as well as amateur photographers. More emphasis was placed on expressing care and concern on social issues. In the meantime, we faced much criticism from professional photographers on our photos’ representation as well as our continuous dilemma to balance between participants’ write-ups, content and technical skills of the photos. Despite these, we persevered year after year, 

persisting with photo-taking in the last 24 hours of each year not turning the movement into a competition by giving away prizes and establishing specific themes. However, for the past years, we have also accepted suggestions from participants and made many changes. These include lowering the age criteria to 13 years old to allow more student participation; accepting photos taken by mobile phones; and introducing Eye essays as well as Eye Challenge to enhance greater photo content.

Eye  é City  is a social-cultural movement

Many also suggested giving away prizes, allowing online photo submission as well as setting themes to help attract certain corporate sponsorships, in the hope to increase participants and photo images in the fastest and easiest manner. However, we feel that Eye é City is a community movement. The relationship, communication and understanding between people are important part of the movement. Participants are encouraged to be involved personally from the point of registration to selecting their final photos and in the process share their experiences and the stories behind their photos with our facilitators and volunteers.  Through such interaction and discussion, participants sometimes not only strengthen their ties with their family and friends, but also develop a greater awareness of their surroundings and society.

Eye é City does not advocate any specific culture, values and beliefs, or comment on their negativity or positivity. We emphasize both diversity and inclusion of society. Selected photos represent the participants’ collective memories for that year. Unselected photos do not mean they are unimportant or of no memory values. It is simply due to the limitations of exhibition and publication space that choices have to be made. We believe that all photos hold personal values to its owners. Due to the differences in life experience and background, different individuals may view and react differently to each photo. Yet, the memories that it evokes cannot be measured in monetary terms or numbers.

As such, Eye é City is indeed a social-cultural movement. We hope the annual activity will encourage and motivate more discussions and exchanges on our memories, we can enhance interaction and communication between people as well as show concerns for this city we live in. We envision Eye é City to be a platform for participants to share their ideas, thoughts and motivations freely based on mutual respect and equality and in their own way, contribute to Singapore’s social-cultural diversity.

 

Gathering Strength for 2010

Some say the uniqueness of Eye é City is in its fluid nature and unpredictability. As there is no specific themes, often times, we are not able to determine the dynamism of the photo collections till after the photo selection. The collection for a particular year represents the collective memory of participants for that said year. In this world of absolutes, it is unsettling for some sponsors seeking specific projects that can meet their contribution objectives and purposes. To many, there is no tangible returns in nurturing social-cultural values. However, the paradox of the situation is that funds are still required to run our activities. Due to a lack of volunteers able to solicit sponsorship, we sought donations from participants this year, who generously helped to raise $1,418.50. Together with other solicited donations in cash and kind, we managed to pull through to completion. We wish to thank all contributors, whether individuals or organisations who has helped us in their own way this year, in particular, Singapore Discovery Centre for co-organising and supporting the 2010 exhibition.

Future Challenges

Social trends and technological developments have had a huge impact on the organization of Eye é City. In the past, film cameras used to take precedence. But nowadays, digital cameras make it so easy for everyone to snap their desired image without hesitation. Back then, when e-book and the social network were not so popular, book publications and exhibitions were the main outreach medium for images. Even the term “collective memories” was virtually non-existent when the movement first started. Today, motivated by commercial and political interests, collective memories have been pushed into the social limelight. Public and private organisations alike are scrambling to gather everyone’s memories. Recently, media, cyber space and even politicians were abuzz with the moving of the railway station, making it the focus of the city. 

It is definitely challenging for Eye é City to avoid the superficial and to develop a deeper cultural and spiritual understanding of collective memories in this new landscape of vigorous new media development and increased commercial involvement and political activity.

 

Translated by Karen Kan & Tan Siang Bee

extracted from "Eye é City -- A Visual Account of the Last 24 hours of 2010", Eye é City, October 2011, pp 8-9.

“No, it is not even though we’re different, we are one. It is because we are different, we are one.” “政者正也， 子帅以正，孰敢不正”

http://www.wp.sg/2011/10/chen-show-maos-speech-debate-on-presidents-address/
Chen Show Mao’s speech (Debate on President’s Address)

Mr Speaker, Thank you, and congratulations.

Following our two elections this year, some commentators tell us that Singaporeans’ political differences are rising to the surface. Many of our leaders have expressed their concerns about the differences. They warned of divisions and called for unity. I’d like to remind us that differences are not divisions. It is the intolerance of differences that will be divisive.

I would like to quote a man who is not able to join us here today. In a newspaper interview, former Minister for Foreign Affairs George Yeo related what a Roman Catholic cardinal told him about the late Pope John Paul the Second. The cardinal had drafted, “Even though we’re all different because we speak different languages, we are one”. The Pope corrected him. “No, it is not even though we’re different, we are one. It is because we are different, we are one.” Mr Yeo then said, “I thought that was so profound and beautiful. In my first speech to the United Nations, I repeated that story because in the UN, it is also because we are different that we are one. To be a human being is to be different. The whole logic and driving force of biological life is diversification. An imposed unity is a false unity; it’s a contradiction in terms. To me, that is a core position, and Singapore is an expression of that core position.”

Singapore is an expression of that core position of diversity, and this must include political diversity in this day and age. Let me state quite clearly how I see myself as an opposition member of this parliament. I may challenge government policy in parliament, but I do not by definition oppose government policy. It does not mean that I do not support the government in its work. It is very simple. I am an opposition MP and will perform my role to voice alternative and opposing views in the law-making process, based on my party philosophy. But I submit to laws properly made because I believe they express the sovereign will of our people. You see, I do not believe that Parliament is just form, and no substance. I have been elected to serve in this Parliament and will do what I can to help make it work for Singapore, make it a First World Parliament after our own fashion. As an opposition MP, I am not the enemy of the government, I am a Singaporean and a patriot.

I believe that our community will come out of robust debates stronger. Not just in Parliament but in larger society as well. Social cohesion will be strengthened when we give people, including our young people, room to voice their views and grievances and participate in community affairs. This is being recognized in households and at work places around us and is affecting how they are run. There is no reason not to learn from it. But we must start from a position of difference, not a forced unity.

How do we move forward from a position of difference?

A wise Singaporean wrote to me recently on Facebook, “the key is always to set our ‘devilish’ pride aside and for both parties to communicate.” He did not mean political parties, but any two parties in a position of difference. He goes on, “The aim is not to impose one’s view over the other but to find as much common ground as possible for the good of the common objective both parties have… And yes, I have always practised this in the office and with the wife…so far so good.”

How do we expand the areas of common ground to accommodate political differences? I believe it will be best done through strengthening institutions that are non-partisan and capable of commanding the respect and allegiance of all Singaporeans in spite of their political differences. The office of the Presidency, for example. President Tan clearly intends this. In his swearing in ceremony he said, “I will strive to strengthen our common bonds and our core values that underpin our society. …Whatever your political views,… I will strive to the best of my abilities to represent you.”

The government in the addenda to the President’s address said, “The building of friendship, understanding and trust amidst increasing diversity will be supported through organisations such as the People’s Association and grassroots platforms such as the Inter-racial and Religious Confidence Circles.” We welcome this.

Let us Singaporeans take our cue from the President. Look for what Singaporeans’ different visions have in common and take our next steps in these areas of common ground. Let us ask ourselves “is there more we could do?” I believe that it would always be possible to find common ground among Singaporeans, even if it might now take greater efforts on the part of those of us here in this House. But it is possible – they call politics “the art of the possible”.

HUMAN CAPITAL

Mr Speaker

In the addenda to the President’s address, the government announced its plans to, “significantly enhance the transport infrastructure, quality and opportunities in education, healthcare and housing”. We endorse the goal. And we will hold the government to it.

We believe that Singaporeans in recent years have been underserved by enhancements in these areas. We believe that most of these enhancements are best thought of, not just as increased expenditure, but as investments in the human capital of our country, with long term benefits to our society, such as the productivity increase that the government calls our “fundamental economic challenge”. Adam Smith wrote many years ago about investments in a person, such as by the acquisition of new talents, he wrote, “such acquisition of talents always costs a real expense, which is a capital realized in his person. [but] Those talents, as they make a part of his fortune, so do they likewise that of the society to which he belongs.”

Many economists have long regarded expenditures on education and healthcare as investments in human capital. They produce income and other useful outputs for the individual over long periods of time. They also produce external benefits for the rest of society. When growing disparity in wealth suggest that more and more households may not be able to make the investments that may be needed to give their children a place at the same starting line as their cohorts, it is even more appropriate for the government to increase public investments in the human capital of our young people.

This is one of the goals the government set in the addenda to the President’s address: “Through our investment in Education, we ensure that every child, regardless of family circumstances and background, has access to opportunities.” That access to opportunities has to be meaningful and available to everyone.

Similarly, for many expenditures we make outside the areas of education and healthcare, If we just take an expanded view of the returns from these investments, we will be able to see their long-term benefits.

Take elder care for example. Our investments in this area do not just benefit our elders alone. They enhance the productivity of working family members who worry about their care. They sustain and unlock the rich social and cultural capital embodied in our elders, which enhance the efficacy of our economic capital. More importantly, taking good care of our elders who built the nation is the right thing to do in the “fair and just society” that the President wishes for Singapore. It strengthens our sense of community. It is consistent with the values that we wish to impart to our children. These are all intangible but significant returns on our investments.

This is part of our nationhood: these are the bonds that will hold us together in times of trouble.

Our social harmony needs to be sustained and cultivated, carefully ministered. We must invest in these efforts.

“People are the real wealth of a nation”, declared the United Nations’ inaugural Human Development Report over twenty years ago. “People are the real wealth of a nation,” this is especially true for our nation. Let us put our people at the center of our government policies.

Let us invest in Singaporeans. Invest in the future of Singapore.

Significant investments cannot be made all at once. In addition to fiscal discipline, we would need to watch out for inflation, for effects on our currency and competitiveness. But the investments must be made. So we should start now and engage in a long term sustainable investment pattern for the good of our people.

CONCLUSION

Mr Speaker, the Prime Minister concludes in his National Day rally speech that “ours is an improbable nation”. I cannot agree more with his call for all Singaporeans to treasure and fight for our improbable nation.

I would like to add that an improbable nation will be made more probable for future Singaporeans by the politics of possibility.

Mr Speaker, sir, I support the motion. And now in Chinese.


在今年的两次选举之后，我们许多领导人都提到团结的重要。全国人民现在必须上下一心，步伐一致地向前迈进。

他们有人认为新加坡有政治分裂，不利於团结与将来发展。但是各位想想，这分裂是怎么造成的？ 是因为社会出现了不同的声音，还是因为不能包容不同的声音才会造成分裂？

“政者正也， 子帅以正，孰敢不正”，“为政以德，譬如北辰，居其所而众星拱之”，“风行草偃”，这些都是孔子说的来形容好的执政者，意思就是，一个好的领导者，只要有信心，有正确的方向，有好的道德与能力把政绩做出来，人民自然会乐意跟著他走。不需要害怕国家分裂，强调团结。

爱国的权利不是任何一个政党可以独占的。一个党再伟大也只是国家的一部分而已，不是国家全部啊！陈独秀说过，＂党外无党，帝王思想。＂在民主社会里，有不同的意见，不同的建议，是很自然的事情。这也是好事。

其实孔子三千年前就已说过，“君子和而不同”。和谐，可却不尽相同。晏婴说过：乐团只演奏一个音符，谁听得下去？白开水上再加白开水，谁喝得下去？一个和谐的社会，不只有一种声音。而是每个人很和平的在法律的範围内发表他的看法，从事政治活动。我们不必防民如防贼。

在中国历史上最伟大的贞观之治就不是一言堂式的全民团结，就是有喜欢諌言喜欢说真话不怕被唐太宗讨厌的魏徵，才有了贞观之治。

在这国会的任期里，希望明理的执政党可以做唐太宗，而我们来做魏徵，开出太平盛世，而不是一个执政者独断，而小人唯唯诺诺的世代。

我屡次与国外的人接触，大家似乎有一种感觉，觉得新加坡守成有馀但开创不足，似乎欠缺了那创新的能力。在这全球化的竞争下，我们国家不是应该培养出更多有主见、有创造力的新一代吗？

李前总理在演说中也说了他担忧我们年轻人，生活太过安逸。可见李前总理也想过这问题。真正完整的人格、独立的精神，是不可能在一个凡事听从独大的执政党，凡事唯唯诺诺的环境下生成。我们要我们下一代有创新、有独立自主精神，就不能不在政治上、精神上给他一个自由竞争的环境。这要求及这深深的忧虑不安其实是隐藏在许多新加坡人心中，在全球化激烈的竞争下，我们的竞争力难道只能靠执政党的完全控制来达成吗？

所以我们在野党是为了国家的好，才提出建言与批判，爱国不是执政党的专利，希望我们能在各自的岗位上演好自己的角色，这样我们的国家才能有活力、创造力的向前进步。

最後我要提醒执政党除了对自己有信心以外，对国人也要有信心。但我也要感谢执政党，把新加坡建设成一个成熟的法治社会，让我们在野党，可以在一个合法的基础上与执政党并存，竞争,为人民服务。

谢谢。

Chen Show Mao’s speech (Debate on President’s Address) (Mr Chen is the member of Parliament, Aljunied Group Representation Constituency, Paya Lebar Ward)
extracted from The Workers' Party Website
阿裕尼集选区（巴耶利峇）国会议员陈硕茂先生演讲（关于总统献辞）
转载自新加坡工人党网站

陈鸣鸾：这方土地

http://www.zaobao.com.sg/yl/yl110925_007.shtml
陈鸣鸾：这方土地
（2011-09-25）
● 陈鸣鸾

　　老友年少离家，在这里落叶生根，回乡看看读书的小庙，吃着儿时的点心，谈吐间流露一种关爱的情怀，正是那味道、那建筑和其承载的记忆，让老友终身难忘。景物依在，难怪没几年都会回去走走。

　　当我回望我们的历史时，了解到1959年有一大批人对时局感到不安，选择离开了；1965年再有一大批基于同样理由的人也远走了。当年政治的动荡是推离的元素，近年的经济繁荣和社会稳定则是吸纳人才的动力。然而，锁定和维系一群人在一方土地上的究竟又是什么呢？　

　　走在史丹福路上，妹妹指着特别竖立在路边的小碑牌说：这上面书写的是我的小学。我们将有历史性的建筑拆除，务实地将地让给了商业大楼或马路，甚至让其暂时荒废以待未来的发展时，改用小碑牌来企图提醒和接续历史记忆，我们对自己短短快两百年文史的储存，用的是排上几行小字的小小碑牌。

　　以务实为目标的岂止是决策者而已？那天坐德士，细听大叔自豪地数说在十几年内搬了四次家，赚了150多万。几天前，在网上读到英国一位老人庆祝居家一百年整……这是两种不同的观念和价值。在这里，守候一方的邻里直到老去，简直是天方夜谭。

　　自建国以来，我们一直处在求存所以得求快的状态中，没有太多的回顾与珍惜，用快速的发展和接受交换得来的经济效益已是举国上下认同的代价、心态和价值。老旧的甚至不太旧的房子集体出售成了风气，售屋搬家套现成了生财之道，社区划来割去助长了人的疏离，原来熟悉的地标和地名不见时，取代的还来不及认识，又匆匆地悄然消失。

　　我在这里出生和生活了五十几年，小学没了，中学换了地点也改了名，大学的地点还在，名字和景观却几乎面目全非。童年住的、玩的已不复存在。凡几个月，街景和道路也不断地在改观。生活在似熟悉却又陌生的环境里，慢慢滋生出一种寄居心态，不免觉得有点沮丧和失落。宛如住在船上，漂泊的感觉竟越来越强，和建国所应逐渐积累的归属意识那样的不成比例，连自己也开始不安起来。

　　我曾傻乎乎地为一座立于1841年的古墓请命，也拜托除草公司照顾在咖啡山坟场的巨型墓陵免得像几年前那样，陷入丛林之中，差点毁了。或许这是一种妄求抓住实物，和这方土地做个联系的心理需求吧？

　　留住一两座古墓已是困难重重，一直前景未卜的咖啡山坟场最终为了拓宽道路，和建造私人住宅，快被整个清除了。我也只能预见在那个位置上，看到另一个小碑牌被竖立起来。

　　日本人对其文化历史的态度之积极，或许不是世人皆欣赏的，为了保留古桥的持久，固定每几十年依原貌、建材和建筑方式仿造一次，如此持续了几百年。走在桥上，或许会疑惑该桥之“古意”，然而对日本人而言这却是对历史的实在记忆与认同。历史上很多侵略者入侵时首要做的便是捣毁这种认同的标志，可见其展现的号召与凝聚力。

　　我们的文史，好似浮萍一般，外表绿意盎然，根则是浮浸在水里，落不着土壤，也就无能将自己和土壤交织在一起了。当我们学会在做某些发展决定时，放慢速度，仔细地深入地思考发展的决定对我们的影响时，代表软力量的情感和心灵的土壤才能得到培育。

　　当我环顾周围的外来新移民时，我真的很好奇五十年后，他们和他们的孩子是怎样看待这方土地的？对这方土地将有何眷恋和牵挂的东西吗？还是这方土地最终只不过是个舒适的度假村罢了？

（作者是教育工作者）

日語詩；「生命は」 吉野 弘

Rating:	★★★
Category:	Other

「生命は」 吉野　弘

生命は　　　　　　　　　　　　　　生命 可能是自分自身
だけでは完結できないように　　　　　 無法以自身之力成功的完滿
つくられているらしい　　　　　　　　 而被創造出來的花
も　　　　　　　　　　　　　　　　 好比花
めしべとおしべが揃っているだけでは　 就算將雌蕊與雄蕊聚集不充分
で　　　　　　　　　　　　　　　　也不足夠
蟲や風が訪れて　　　　　　　　　　仍需昆蟲與微風的造訪
めしべとおしべを仲立ちする　　　　　 連繫起雌蕊與雄蕊的關係

生命は　　　　　　　　　　　　　　生命本質上
その中に欠如を抱き　　　　　　　　 便懷有重要的匱乏
それを他者から満たしてもらうのだ　　 並因他者的存在而完滿

世界は多分　　　　　　　　　　　　世界　或許是
他者の総和　　　　　　　　　　　　所有他者的總合
しかし　　　　　　　　　　　　　　 然而
互いに　　　　　　　　　　　　　　我們彼此
欠如を満たすなどとは　　　　　　　 對於自身這份重要的匱乏
知りもせず　　　　　　　　　　　　 毫無自覺
知らされもせず　　　　　　　　　　 也未曾被告知
ばらまかれている者同士　　　　　　 原來我們是被播散的種子
無関心でいられる間柄　　　　　　　 總是冷淡的距離
ときに　　　　　　　　　　　　　　 然而有時
うとましく思うことさえも許されている間柄　 再難忍卻也能維持住的關係
そのように　　　　　　　　　　　　　　就這樣
世界がゆるやかに構成されているのは　　 世界被巧妙的構築了
なぜ？　　　　　　　　　　　　　　　 這是為什麼?

花が咲いている　　　　　　　　　　　　花盛開著
すぐ近くまで　　　　　　　　　　　　　 近身一看
虻(あぶ)の姿をした他者が　　　　　　　 便發現像馬蠅這樣他者的存在
光をまとって飛んできている　　　　　　　 在光線的纏繞中飛舞著

私も 　あるとき　　　　　　　　　　　　 曾幾何時
誰かのための虻(あぶ)だったろう　　　　　我也成為誰的馬蠅吧？

あなたも 　あるとき　　　　　　　　　　 曾幾何時
私のための風だったかもしれない　　　　 你也是得以完滿我的那微風吧？

--------------

此詩受引用於電影《空氣人形》

Ethical implications of charitable giving by Slavoj Zizek 《慈善的伦理问题》斯拉沃熱·齊澤克

First as Tragedy, Then as Farce－《先是悲劇，然後變成鬧劇》中文字幕版

This is a talk by Slavoj Žižek, one of the worlds most influential living philosophers, visits the Royal Society for the encouragement of Arts, Manufactures and Commerce (RSA) to investigates the surprising ethical implications of charitable giving. It is animate for interesting and easy understanding.

Wiki page for Slavoj Žižek
http://en.wikipedia.org/wiki/Slavoj_%C5%BDi%C5%BEek


这是当代哲学家斯拉沃熱·齊澤克在英国皇家艺术、制造和商业促进学会（RSA）的一场演讲，探讨慈善的伦理问题。RSA加入动画，使到这演讲比较“平易近人“。本片中文字幕由『 齊澤克學會 』翻譯，陳顯龍、唐健譯、方川明後期製作，

斯拉沃熱·齊澤克简介
http://zh.wikipedia.org/wiki/%E6%96%AF%E6%8B%89%E6%B2%83%E7%86%B1%C2%B7%E9%BD%8A%E6%BE%A4%E5%85%8B

Brene Brown: The power of vulnerability 脆弱的力量

Save Singapore Art History by Visiting an Exhibition 参观艺术展览--救救我们的新加坡美术史

http://blogs.todayonline.com/forartssake/2011/03/23/we-rat-on-koh-nguang-how-and-his-newspaper-collection/
We RAT on Koh Nguang How and his newspaper collection!
Posted at 10:40 am under Singapore,Uncategorized

(Photo courtesy of SB2011)

Artists In The News, Koh Nguang How’s work for the Singapore Biennale, is an explosion of newspapers, of words and images, of facts and opinions. It’s, as everyone knows by now, three decades worth of art reportage (mainly visual arts) in the English and Chinese newspapers.

It is a kind of spectacle in itself. You feel a sense of awe stepping inside the space at SAM 8Q and being confronted by that much material. The ubiquity of newspapers is heightened and concentrated into sheer visual force.

But of course, that’s only part of it. It is also a quiet, unassuming work. One that urges you to linger. And then you notice just how well your experience is framed – on one side, the archivist’s “office”, the other, a newspaper report on Tang Da Wu’s Earthworks, an installation at the National Museum Art Gallery in 1980 that was prematurely taken down because the museum director had some issues with the contemporary work. Between these two points, an entire, free-flowing discussion on Singapore’s contemporary art scene occurs within this place where time and space are compressed.

Standing in the middle of this maelstrom of words is Koh as performer, witness, and guide.

Last week we had a chat with the 47-year-old curator/artist/archivist. Read on.


***




How do you feel looking at your archive exhibition and seeing the reactions of people?

Of course I’m quite surprised too to see so many news (reports) up on the wall. They are not like that in my flat. The audience keeps asking me if I have them all pinned up in my house. The Biennale allowed me the opportunity to spread them out and group them physically, instead of just in the computer or in my head.

And of course, so many news don’t make it to the wall. It’s not practical or possible. Some artists ask me how come I don’t put up the news about them. Of course I just laugh.

I have my own criteria, and it’s quite random, too. A piece of news comes up, and then the next piece, which is related, goes up next to it. A third one, if it’s not related, goes to another wall. In the end, I have several groupings. The audience would see the relationship if they look at the news next to one another. I don’t have to put captions here and there.

Audience-wise, it’s from art students to old artists who I’ve not met for many years since I left the museum. They all remember me as a museum staff. But it’s good to see them again. Students are very important for me. One of the purposes of having this archive is also learning and sharing, especially since I’m from the privileged background of having worked for a museum doing art archiving. Not many materials are available to the schools.

Is there a kind of catharsis?

I’m happy that it’s like a real archive – and I’m the unpaid archivist. There’s a lot of satisfaction talking about the past with old artists and the young ones who are getting into the art world and telling them there’s a lot of things in the news that they can rely on.

So do you trust the news?

No. I don’t trust them completely. I notice mistakes made in names, dates, misquotes – I personally sometimes avoid certain journalists whom I do not trust or have proven to be not a reliable writer.

But then, ironically, the fact that you’re putting all these up on display on the walls – it’s a kind of stamp of approval in a way.

Well the title is Artists In The News, but I’ve added another line, which is Artists Not In The News? I try to balance the so-called imperfections. Journalists have also admitted that the press cannot cover every event that happens.

And yet, I noticed, you see the certain artists appearing once or twice…?

I have consciously removed or reduced – if one particular artist has 10 articles, I don’t put the 10 articles up. I just choose one, which I think is important that the public sees. Not how a certain artist wins an award but maybe like how he started or things like that.

In a way you’re also “editing” Singapore’s art history.

Yah, I’m like an editor. I have the privilege of selecting what goes up on the wall, can make some people even more famous. That’s what the press does sometimes. This is an exhibition, actually of the press, how they report, how they write, how they photograph even.

Has much changed?

Of course, through the years there have been so many different writers and actually I wanted to list out all the writers on my blackboard but I ran out of space so I erased all the names. Instead of listing the names of the artists, I had wanted to list the names of the writers. Through the years, some were very important, like TK Sabapathy, T Sasitharan, Susie Wong.

Has the press’ attitudes toward art changed through the years?

The popular type of question is Is It Art? It’s still the same. Of course if it’s the same editor, you get to see the same headlines. But maybe, during the last decade or so, (you saw) less controversial headlines appear about “crimes” committed by artists or artists in trouble with the arts council or the police. Previously if you go back to the `50s, `60s, `70s, artists were arrested. In the `80s, `90s, maybe it’s nudity or even urine. (laughs) Of course gay artists come out and have exhibitions and they’re reported in the media too. This was only in the `90s.

Do you now find that the fact that there’s less of that kind of controversial writing is a sign that local media has finally “got it” or understood?

Well, if you look at the change in the media, the people in the media, they’re probably younger too? Well, the older ones are probably retired already. And of course the level of understanding of art internationally. When Singapore gets into the international art arena and sends artists to international art events isn’t it that we have to be more open? And when you invite artists here for your own Biennale, shouldn’t you also not try to censor? That much? (laughs)

Any other observations?

It would seem like we don’t have to wait for one article per week, which used to be the way. Now you may get two, three articles. Like the Chinese papers sometimes have four articles in one day. They’ve increased the coverage.

Your show is very “analogue”. But you’re also on Facebook. There has been much talk about the future of the physical newspaper. What are your thoughts on new and online media? There’s a bit of irony there that here you are with three decades worth of print – and counting — and art writing has exploded online.

Firstly, on my Facebook account, when the show officially opened, I only posted a photo of the entrance, the sign board. I never showed the inside. I want people to come and experience this.

Can we rewind a bit and give us a mini-refresher course on your ongoing Singapore Art Archive Project and its connection to Artists In The News?

This selection of newspapers for the Biennale is part of my SAAP, which of course is part of my collection since 30 years ago. Besides newspapers, I have art catalogues, books, posters, relics, objects found in exhibitions. Here in the show I have three relics. I also have photographs that document mostly performance art and installation events for arts festivals, I also do some audio recordings of artists interviews.

Are they here?

No. That will be for the full SAAP collection for maybe four times this space. I did Errata (Errata: Page 71, Plate 47. Image caption. Change Year: 1950 to Year: 1959; Reported September 2004 by Koh Nguang How) in p-10. That was only catalogues and books.

In the Chinese coverage it was mentioned that I did that six years ago, and this is the so-called “part two” with newspapers. What’s the “errata” this time around? Tang Da Wu’s Earthworks.

It’s not a print mistake but a mistake in (not) acknowledging it as art. It has to be put back in history as art. That was a work that was not accepted 30 years ago by the museum director. After 30 years, we have gone through all these new art policies, promotions, artists emerging and dying, 30 years of art news – and we go back to Da Wu’s work again. Is his work still valid or not valid in today’s mindset about contemporary art?

And this “office” of yours in this space –

It is to me a real archive. I’m the manager, the archivist, the designer. I allow the audience to come in and if they have a request or question, I will try to solve it. Some audience don’t read Chinese. So for example I have a Chinese article of (Ng) Eng Teng, that person can’t identify it easily. Then I’ll point it out to him or her.

At the same time, there’s a performative element to what you’re doing.

Yeah, well, it’s live art for two months. (laughs) The audience and me will create the energy, but it’s only seen by the camera – the surveillance camera (he points to CCTV camera in the room)

Were you conscious of that?

I don’t care.

I mean it’s also another kind of “survey”. Literally a surveillance of the art history within this space. So anyway, to clarify, the idea of archiving reports on art started 30 years ago?

I was doing art as a subject in JC, but I was in the commerce stream. Every student did art until at least secondary 2. And art was something I liked but I didn’t do O Level art. Then I flunked my commerce in so I had to repeat. Somehow I knew I could do art as a subject as an alternative to maybe accountancy.

Which is the opposite of what people thought back then.

So I was given a test by my teacher because she wanted to make sure we can pass. Because my college had a 100 per cent passing rate in art and she didn’t want create history by failing art. (laughs) So anyway I got to do art and I was happy doing it. But it’s very simple and it was all skill-based — nowadays people have to do art history.

And then after my A-level art and the army, I joind the National Museum Art Gallery as a museum assistant. I helped the curator and assistant curator of art. In my job, I met artists like Tang Da Wu in 1986 – he was invited to give a talk on contemporary art. I was helping him with his slides, the lighting, and listened to his lecture. Later I went to the museum’s newspaper clippings and found Earthworks.

So your encounter of Earthworks is very much like how we encounter the works reported about here in this space.

Correct, only news clippings. Later, when I knew him personally, he told me the story behind Earthworks and the problem that he faced, that the show was prematurely terminated.

In a sense you’re one of us and not coming from a position higher than your audience.

Yes, I imagine this is the future, that’s why I don’t have much captions or clues regarding this important news. (In a sense) this is the future, I am the future, you are the future audience or user of the newspapers. There is no Da Wu around to tell us, only newspapers.

So when did you start the collection?

1980 as a student, without thinking of whether I would work for the museum or not. If you do essay writing, you probably have got to have some clippings. Even more if you’re an art student.

But you don’t just collect clippings, you collect entire newspapers.

No, I used to clip. I used to cut. But, as I said in Facebook, I cannot cut straight, which is quite true. Because I didn’t have a proper cutter or cutting mat. And then later, when I started to provide things for people, I realised there were no dates (in my clippings). This was in the `90s when I became an artist and started providing things for writers and museums.

So there are stacks of your clippings somewhere?

Yes, but I never put my cuttings in scrapbooks. Some of them are in boxes, some are in my house. I chose not to show too many old clippings here, because it’s hard to handle irregular shapes.

At what point did you realize you had an archive going on?

When I started to help the Fukuoka Asian Art Museum in `96. I was invited to be a coordinator for an exhibition called The Birth Of Modern Art In Southeast Asia: Artists and Movements. That job allowed me to meet artists whom I’d never met during my museum work. I was also providing biodatas of artists – and I realised I didn’t have enough. Not even enough to conclude whether the artist is alive or dead! (laughs)

But that’s a full 16 years between 1980 and 1996. You mean for that long you weren’t conscious of an archive?

No, when I was in the museum, I got to read the clippings done by the librarian anyway. I was still collecting.

Is there no gap at all in your collection?

I try to ask my mother or father to buy (when I’m not around). Those six months in Japan for example, she continued to buy newspapers for me. So as long they continued to buy – because I stopped subscribing even though I still buy in the mornings – that when I return home I would go through the pile. Of course it’s not as good as reading them every day.

Weren’t you tempted to sell them to the karang guni?

At times yes, the classifieds. (laugsh) That’s the first thing I would sacrifice. But I still have some classifieds. Especially the Chinese ones. Obituaries are with the classifieds in the Chinese newspapers. English papers, classifieds are purely classifieds. If I do throw away, it’s the Straits Times classifieds.

And the ones that are featured in this exhibition?

From section two or three. If it’s section 1, it depends on whether art makes it to the front page, for example art policies or art “crimes”.

Do you consider yourself an artist or an archivist?

I am an artist. I use photography, I do mixed media collage, normally with my own photographs. I do installation, mostly site-specific installation, in the Substation Garden, in the gallery…

My practice for residencies is archiving for two or three months, to use the material for my installation. Then later, when I did Errata, that’s using art history material for my installation. It’s a two-in-one thing. It’s functional art.

Prior to this, the last solo show you had was Errata?

Yes. But of course I had The Artist Village show, the Drawing (as Form) show (in 2009), where I showed 200 over photographs.

I had wanted to show my photos of performance art at Substation once but I didn’t propose. If I have the chance, the next show will be photography from my collection. My documentation of art work.

The first one was catalogues and books, this one is newspapers. I hope to show the three components of my archive.

I actually wanted to do three shows with p-10 – first was Errata, the second on relics or objects and the third one one photography. But only one was realised.

You mentioned before that the fate of this newspaper archive is uncertain, that you’re thinking of letting it go and that no one seems to be interested in acquiring it.

Uhm, I don’t know. So far there’s no real offer to help me extend the life of this archive, to host it after the Biennale. But definitely the audiences have been saying that it’s something very useful for their studies, for their research. They would like to have such a place.

It’s interesting that in the Biennale context, it’s a work of art. But the reactions of audiences are based on its potential as source of very specific information. Of data.

Of course this is presented as an artwork, but I’m also the archivist in the artwork. So I have two roles. The artist has done the work already, now I’m the archivist. I’m performing the role of the archivist now. Towards the end of the Biennale, the artist will pack up.

And…?
Some institution was actually working with me to host it but now they have stopped. They withdrew acknowledgement credits in the Biennale. Now I was told that they will only spend for the carton boxes, no digitization, no further loan for five years… So I mentioned on my Facebook that I would throw them (the archive) because I’ve lost faith, I’ve lost hope.

Which is rather painful because in a way, this is three decades of you having hope.

Yah, and also in a way I’m continuing the hope of the artists before me. In fact there are more than 30 years (worth of art reporting). I say 30 years because as a story I can start from my Junior College years. But I have in my collection, newspapers from the `50s, `60s, `70s — they are from the older collectors and the artists. More than 70 years worth of Singapore art history.

And then, you’re very much aware that even as you collect, in two months time there’s the possibility of the archive disappearing. It’s a very sadomasochistic performance.

In a way, I look at this collection, the people who come, the story behind these newspapers, the history behind, I believe, whoever makes the choice of not supporting this project will regret it. This is our history, our heritage. I personally feel that they’re all with me – the artists who have already passed away, the artists who are no more in the news, they are on my side.

***

PS, I sent the transcript to Koh to verify his responses and, meticulous as ever, he elaborated on the Errata exhibition:

Errata went to NUS and Singapore History Museum after p-10. The finale at SHM had artist Chua MT and the author Kwok KC confirming the date of errata was 1959 in a forum. What a perfect situation and ending for Errata!

3 versions of Errata:

2004 ERRATA: Page 71, Plate 47. Image caption. Change Year: 1950 to Year: 1959;
Reported September 2004 by Koh Nguang How, p-10, Singapore

2005 Errata at NUS: Exploring Singapore Art History, a new version of the ERRATA show in 2004, co-organised by p1-0 & University Scholars Programme, National University of Singapore, at NUS Central Library. (2 to 16 March)
(The show is accompanied by a series of presentations and workshops)


2005 Errata: Page 71, Plate 47. Image caption. Change Year: 1950 to Year: 1959;
Reported September 2004 by Koh Nguang How
Presented by the Singapore History Museum and Curated by p-10 (15 Aug – 25 Sep)

Like I said in the papers previously, best work at this Biennale.

Tags: art reportage, Earthworks, Errata, Koh Nguang How, Singapore art, Singapore Biennale, Susie Wong, T Sasitharan, Tang Da Wu, TK Sabapathy

别找了，你不觉得这里的文娱活动，甚至整个城市，都是为外国人才而打造的吗？

http://www.zaobao.com.sg/yl/yl110206_008.shtml
周文龙：回家，像回酒店
（2011-02-06）
● 周文龙

漂流记

　　到迪拜探访在那里工作的好友，他特地到机场接机。上了车后，我好奇地问他：“对了，你家住在哪里？”

　　朋友不假思索地回答：“凯悦酒店。”

　　“所以你的住家靠近凯悦酒店？”

　　“不，我住在凯悦酒店。”

　　结果我发现原来朋友过去一年来，真的住在豪华的迪拜凯悦酒店服务公寓里。

　　迪拜，的确是一个无比繁华的大城市。从朋友位于23楼高的公寓住家望出去，我看到的迪拜尽是一片灯火璀璨，一座座巍峨密布的高楼大厦，霓虹灯光闪烁，与高速公路上川流不息的汽车灯光交相辉映，构成一幅梦幻般的夜景。

　　几天在迪拜旅游，我也看到许多令人瞠目结舌的大规模建设项目。过去作为迪拜的象征性建筑——七星级帆船酒店，如今已显得一般。迪拜现在最火热的建筑是世界最高楼哈利法塔，高耸入云的建筑象征着迪拜永无止境的梦想，也洗掉一年多前迪拜主权投资公司拖延偿债带来的恶名。

　　迪拜另一个建筑项目是被誉为世界第八大奇迹的茱美拉棕榈岛。这是一个有如棕榈树干形状的人工岛，岛上建设超过1万多所楼房，以及水上乐园和奢华酒店等。坐车游览棕榈岛，我仿佛进入一座海上城堡。

　　有趣的是，在迪拜待得越久，我就越觉得迪拜和新加坡很相似。

　　迪拜和新加坡在上世纪五六十年代时，还是一个朴素的海滨小城市，到最近的20年，才发生脱胎换骨的变化，出现鳞次栉比的摩天大楼。2000年后，两国政府更雄心勃勃，迅速发展金融、贸易和休闲和旅游业，试图要成为世界级观光和金融中心。新加坡建设了滨海湾金沙和圣淘沙名胜世界综合度假胜地，举行了F1夜间赛车和新加坡双年展等活动；而迪拜则有一应俱全的娱乐设施和购物场所，有众多国际著名艺术家到此呈献各种音乐、舞蹈和娱乐演出。

　　但不知为什么，面对如此丰富多彩的生活环境，我的感觉也跟在新加坡生活一样——连连惊叹声后，却有一种格格不入的陌生感和失离感。

　　直到那天，我翻看一份最新的TimeOut杂志，寻找属于当地人的文娱活动时，好友忍不住说：“别找了，你不觉得这里的文娱活动，甚至整个城市，都是为外国人才而打造的吗？”

　　顿时，我恍然大悟，知道陌生和失离感从何而来。

　　迪拜的崛起是个奇迹，其经济成就吸引无数外国人前来工作和居住。目前，生活在迪拜的外国人占城市人口80%以上，包括专业人才、商人、艺术家和打工者。相反地，戴头巾的迪拜原住民已很少见，据说一般老百姓受不了迪拜的奢华消费，跑到邻近酋长国居住。

　　无论是对外国人或当地人而言，迪拜只是一间豪华的酒店公寓，即使有再高级的设施，再贴心的服务，大家始终没有“家”的温馨感觉，匆匆住下，第二天匆匆离去。

　　所以，好友说，只要一有空，他宁愿拿假离开他的豪华公寓，花千多元和7个多小时飞回新加坡的组屋住家。他才调派迪拜一年，却已回新五六次，包括过新年。

　　吊诡的是，他因寂寞回国，以为能在这里得到某种家的抚慰，回国后却发现在新加坡的失离感更大，以至才待了几天，又不禁想回迪拜。

　　这让我想起前阵子本地掀起的“国家归属感”话题，工人党主席林瑞莲曾说的一句话：“有时在等交通灯时，闭上眼睛听四周的声音，我会觉得自己好像身在另一个国家。”

　　到底我们打造的，是一个温馨的“家”，还是一座海市蜃楼般的豪华酒店？我的好友一来一回间，是更接近了家，还是远离了家？　　（作者是本报记者）

Eye é City – A Visual Account of the Last 24 Hours of 2009 Exhiobition 《城市的眼睛》2009年岁末24小时影像记录活动展览

http://eyeecity.multiply.com/
Eye é City – A Visual Account of the Last 24 Hours of 2009 Exhibition


Eye é City, a non-profit organization that promotes the preservation of memories belonging to modern day Singapore, will present photographs from its annual flagship event, A Visual Account of the Last 24 Hours of 2009, in a roving exhibition from 1 August 2010 to 28 August 2010.

The black and white photography exhibition will kick off on 1 August at The Substation and will run till 10 August before moving to Jurong Regional Library for its final show from 11 August till 28 August. Admission to the exhibition at both venues is free.

The photography exhibition is a culmination of the best works received in the 24-hour event that aims to raise awareness and concern for the society through a collective photographic documentation of Singapore’s extraordinary, everyday and the mundane. Featuring more than 50 black and white photographs, the show will appeal to all ages because of the wide-ranging topics that were documented by ordinary folks from all over the city.

“Our society is changing rapidly in all aspects as Singapore continues to grow and mature in this globalized era,” said Mr Lee Chee Ming, Head Organizer of Eye é City 2009 Committee. “With that, memories of the society we live, play and work in become even more important. We hope this exhibition can truly inspire viewers to show a greater interest and compassion to our society.”

A Visual Account of the Last 24 Hours has become a yearly platform for individuals to make a statement on the current state of the society and her people. This year’s collection of photographs will also make its way into a book, slated for release at the end of the year.

For full listing of exhibition dates and venues, as well as to learn more about Eye é City and its past activities, the public can visit http://eyeecity.multiply.com or email eyeecity@yahoo.com for more information.

Details:

1 August 2010 – 10 August 2010, Daily, 12pm – 9pm (Gallery will be closed on 9 Aug)
The Substation (Gallery)
45 Armenian Street
Singapore 179936

11 August 2010 – 28 August 2010, Daily, 10am – 9pm
Jurong Regional Library (Level 1)
21 Jurong East Central 1
Singapore 609732

Admission to the exhibition is free at both venues.


About Eye é City

Eye é City – A Visual Account of the Last 24 Hours is an annual event with the aim to preserve the memories of Singapore through the eyes of ordinary individuals via photography. Since 2002, event participants from all walks of life have dedicated their last 24 hours of the year to photograph images of the island and her people. The pictures are valid documentation of the ever-changing social and urban landscapes of Singapore, and collectively serve as an urgent reminder to preserve the island city’s national heritage. The best works representing each year are exhibited and subsequently published in a book.

Eye é City is a registered non-profit society led by a group of avid volunteers. For more information about Eye é City, visit http://eyeecity.multiply.com or email eyeecity@yahoo.com.


《城市的眼睛》2009年岁末24小时影像记录活动展览


《城市的眼睛》2009年岁末影像记录活动已迈入第八年，经过数次的遴选，入选作品将在来临的8月1日起展出。

展出的60余张黑白照片继续记录岛国的社会与人文变迁，让大众透视新加坡24小时内最真实的面貌。由于参与者来自四面八方，照片覆盖的层面广泛，并把生活周遭的平凡事物定格在影像中，从中让我们看到社会的另个层面及一个很不一样的新加坡。

所有入选作品将收录在摄影集内，定于今年底出版。


展览详情：
2010年8月1日至8月10日（8月9日休假）
电力站
中午12时至晚上9时
入场免费

2010年8月11日至8月28日
裕廊区域图书馆（一楼）
上午10时至晚上9时
入场免费


关于《城市的眼睛》

《城市的眼睛》岁末24小时影像记录活动自2002年起，于每年的12月31日，欢迎公众用相机捕捉周围的事迹，旨在从一般社会人士的角度记录社会的变迁，并集合共同的新加坡回忆。同时也希望大家在探索与观望岛国各层面的时刻，能够用心关怀社会，用眼睛记载时代的变迁。入选照片都会做展出及收入在摄影集内。

《城市的眼睛》是一个非盈利组织，活动全由义工在工余积极推广。

公众若有任何询问，可以电邮 eyeecity@yahoo.com 或上 http://eyeecity.multiply.com 查询。

浪子回头

从台湾回来新加坡五个月，终于开始上班了。这和我当时的预想差不多。

想到这五个月找工作面试的日子，真的是惨不忍睹。我这段时间一直努力的找工作，我希望能够像在花莲一样为临终病人或者老人服务，当一名社工；或者是回到我以前的社区工作。

本来认为念了宗教研究所，新加坡宗教机构应当最能够接受我，反而是宗教机构让我最失望。到本地最大的宗教团体之一面试，竟然被主管和人事经理嘲笑对于我理想的坚持和念宗教研究所的响往。后来到另外一间宗教福利团体面试，在过了三个星期，临时约我第二次面试，又匆促的取消面世，然后没有音讯。

在几乎感到绝望的时候，有一间服务老人的机构竟然想请我当副执行长，因为机构的规划和管理的不明确，加上我这次回来想直接服务人群，我有些迟疑。后来我的旧东家要我回去，薪水有可能增加：另外一家老人护理之家希望我去当社工，但是几乎是我大学刚毕业前几年的薪水。

那天，我到了这阵子常去静修的小公园，静静的坐了一阵子，我做了选择。虽然从此我的经济将不允许我过着以前潇洒的生活，随意的背包旅行、念书、辞职。无论是这世界的主宰是无常因缘、上帝、阿拉或者是存有，我希望我选择自己想走的道路，然后把自己交托给祂，随着这条道路走，一直走下去。

=============================

上班不到几天，一位也是当社工的朋友打电话给我，告诉我当社工的薪水太低了，他因为有两个孩子，负担有点重，所以想换工作，到薪水较高的政府部门。我听了之后，有点感慨，有点后悔我自己放弃高职位高薪的决定。

 

正当在情绪交织的时候，我在大巴窑碰到一位在这一带卖黑糯米粥的62岁妇女。大巴窑的老居民一定认识她，她在大巴窑组屋区，一层楼一层楼的沿楼叫卖35年的黑糯米粥，看她现在身体还很硬朗，精神也很好。一阵寒暄后，妇女向我推销黑糯米粥。因为要吃饭了，就拒绝她，但是她还是继续跟我推销她的鸡翅膀。原来她现在不止卖黑糯米粥，也买炸鸡翅膀、炸鱼圆和炸五香。想必现在黑糯米粥不太受欢迎，而且现在大家也很少要买沿街叫卖的食物。我就跟她买了炸鱼圆，她又把一包炸五香推给我。我想她的生意一定不好，就买了一包炸鱼圆一包炸五香。

回到家后，我更加感慨。我在想：妇女虽然忠于自己的工作多年，但是现在却已经跟不上现代。从前一个人老老实实过后能过一辈子，现在已经不行了。老实过活和现在的社会是不是会有冲突？

这让我更担忧我的未来。

==============================

那天同事不在，我就代替他接应了来访老人的孩子。原来老妇人已经91岁了，孩子60多。因为一些行政的事务来找我同事，我替他办好了事情，陪他到病床看妈妈。妈妈鼻子插胃管，手因为担心她拔掉胃管，被包了起来。

孩子后来聊开来，告诉我他以前是水手，赚了很多钱，因为不听话，花天酒地，把钱花光了。他现在只好在做散工过日子，觉得他太对不起妈妈了。我告诉他现在孝顺妈妈还不迟，但是他的眼中还是一直怀着歉意，并且一直表示太迟了，还一直对机构能帮助他妈妈表示感激。

后来我和同事谈到这件事情，我告诉同事，对于我来说，我尊敬这种回头浪子，可能超出一辈子安安稳稳的好人。因为他们曾经坏过，享受过，他们对于自己的决定会很坚定的。

说了这番话，重新回想起来，我突然觉得服务这些人，对于我来说其实是一种恩典。对于这几天关于转换工作的思考和疑惑，我突然有另一番新的感受。

阿门。阿拉。感恩。

(照片摄于2010年6月21日新加坡加东一带)

eye e city exhibition 2009 城市的眼睛展览