關於 dynamic paper ，我們在網路上蒐集到這些相關的討論、資訊與評價

Please join us this Wednesday, June 23 at 1PM PDT on our @LeicaCameraUSA Instagram for an IG Live interview with Los Angeles-based cinematographer, director, and photographer Michele Laurita.

Michele Laurita expertly invents fantastical, dreamlike worlds from her imagination. Her visual language speaks volumes through provocative color palettes, innovative styling and dynamic sound design. Michele’s love for photography was first sparked when her father gifted her a 35mm camera, encouraging Michele to document her life as a child actress. At the just 8 years old she could be found practicing her eye in the darkroom, reveling in those magical moments when paper becomes print.

Michele’s photography continues to stir our imagination, often occupying the space between fashion and fine art. She has created imagery for select clients such as 20th Century Fox, HBO, Warner Brothers, Dolce & Gabanna, Levi’s, Elle Magazine, Interview Magazine, Vogue Italia, Harper’s Bazaar Spain, Vanity Fair Spain, GQ Italia, MTV, Electra Records, and Capitol Records.

To see more of Michele Laurita's work:
www.michelelaurita.com
www.instagram.com/MicheleLaurita

#Leica #LeicaCamera #LeicaCameraUSA #LeicaCommunity #LeicaShooters #LeicaWomen #LWFP #SL2 #LeicaSL #LeicaSL2

用人工智慧處理影片，會是拍攝型VR的未來嗎？
https://youtu.be/qsMIH7gYRCc

🎹鋼琴的大千世界/名家名言：「為何稱我為大師？主人在這裡（指著鋼琴），我只是他的奴才。」

— 李斯特著名的弟子，德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)

Why, there is the master (pointing to the piano), I am only the slave.”

— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.

📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾，演奏李斯特的第十號匈牙利狂想曲：
https://youtu.be/e12YwuHiQtY

📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/

———————————————————————1905-1906 鋼琴名家萊森奧爾（Alfred Reisenauer）在美國進行數月的巡迴演出，並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版，隔年他在德國巡迴演出期間於下榻的飯店房間內過世。

📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.

▪️With Liszt

“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.

▪️Liszt’s Pedagogical Methods

“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”

Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:（見譜例圖四）

Chopin’s next thought was, no doubt:（見譜例圖五）

But with his unerring good taste and sense of symmetry he writes it so:（見譜例圖六）

Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:（見譜例圖七）

The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.

“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”

▪️A Unique Attitude.

Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”

▪️The Future of Pianoforte Music.

An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.

Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”

As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.

▪️American Musical Taste.

Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.

▪️Concert Conditions in America.

“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”

你夢想中的中世紀冒險體驗，是怎樣的感覺？揮動武器時手臂會與身體一同發力，然後刺向敵人。除了劍之外，武器上你多了更多的選擇，包含長槍、大劍、甚至是投擲斧。騎馬也變得更加的硬核，你需要精細調控馬匹的運動方向，才能夠精準地用長槍，一擊刺死敵人。

核心:

00:55 Epic Fight Mod 史詩戰鬥 https://bit.ly/3wZ4NGm
01:45 Patrix (材質包) https://bit.ly/3qofQGA
02:14
Complementary Shaders (光影) https://bit.ly/2UzNBJ3
Dynamic Surroundings 動態環境 http://bit.ly/2xy4Te2

擴充:

02:52 StepUp 往上走 向上走 https://bit.ly/2U4J5Su
03:10 Shoulder Surfing Reloaded 過肩視角 http://bit.ly/2TU1AXA

武器:

03:33 Spartan Weaponry 斯巴達武器 https://bit.ly/3qDzb6V

馬匹:

04:04 Velocity Based Damage 速度傷害 https://bit.ly/3jfnxgA
04:36 Horse Combat Controls 騎馬打仗 https://bit.ly/2UIDsKp
05:11 Callable Horses 呼叫馬匹 https://bit.ly/2UFxwlh
05:38 Realistic Horse Genetics 真實馬匹 https://bit.ly/2T5RMfn

地形:

06:06 TerraForged 真實地形產生器 https://bit.ly/3dhCBqf

怪物:

06:41
Dusk 怪物黃昏 https://bit.ly/3jelUzP
Mob Sunscreen 怪物防曬 https://bit.ly/3gTrGFo
Tantrum 怪物強度調整 https://bit.ly/3qpxfyH
Medieval Craft 中世紀工藝 https://bit.ly/3gXCqTb

--

Mod Loader:

Forge -
http://bit.ly/Paper-Forge

Fabric -
http://bit.ly/Paper-Fabric

Fabric API -
http://bit.ly/Fabric-API

--

Shader:

Sildur's Vibrant shaders -
http://bit.ly/Sildurs_Shaders

--

RPMTW Update Mod 自動中文化 -
http://bit.ly/Paper-RPMTW

--

※有想推薦的模組嗎？歡迎透過這份表單進行推薦！
https://forms.gle/JNi4sN4HCXZVuQHc9

—
[聊天室、留言規則]
請閱讀並遵守相關規則，否則就會被當作足球踢出去。

1. 請聚焦在影片上，勿討論無關或私人的話題。
2. 請尊重他人，嚴禁任何人身攻擊、辱罵、洗頻、不雅言論、髒話、歧視。
3. 請帶動有意義的討論，勿發送無意義訊息（例如太過簡短、只有貼圖等）。
4. 不要提及其他實況主，也不要在其他人的頻道提到紙片。
5. 如果你看到違反規則的訊息，請不要留言反應，直接檢舉、封鎖即可。

以上，只要您遵守規則，歡迎使用任何語言進行討論。

—
Instagram: http://bit.ly/Paper_IG
Facebook: http://bit.ly/Paper_FB
Discord: http://bit.ly/PaperDiscord
—
錄影程式：Bandicam
聲音處理：Audacity
後製軟體：Adobe Premiere Pro cc
—
如果您有適合本頻道的合作提案，歡迎寄信至：mlz85613@gmail.com。基於上述理由，我們只會回覆對頻道有益且符合時間表的提案，還請見諒。

Music/Lyrics/Arranged/Produced by Dough-Boy

Directed by Seanie Pictures
Director of Photography: Quinton Wong
Art Director: Reo Ma
Powered By: Beats By Dre

Listen to Dough-Boy’s new single “Noisy”:
https://doughboy.lnk.to/Noisy

About Dough-Boy
Hong Kong’s premier underground rapper and producer extraordinaire has dropped his first mainstream debut "Noisy"; a dynamic and powerful track filled with his signature production of infectious beats.

_______________________________

▼ Follow F records
Facebook: https://www.facebook.com/frecordsgroup/
Instagram: https://www.instagram.com/f_records_group/
YouTube: https://www.youtube.com/channel/UC_otXJN-yE_XgO89xlUGZPQ/

▼ Follow Dough-Boy
Facebook: https://www.facebook.com/doughdoughdoughboy/
Instagram: https://www.instagram.com/doughboybeatsyou/
YouTube: https://www.youtube.com/channel/UCXJM-UjNp1q1PzFCsOI2lHA

Noisy Lyric

I’ve been on the grind and it’s doing no good
Got profit on my mind and I’m moving like I should
You know that I’m a killer
You know that I’m a killer
I’ve been on the grind and it’s doing no good
Got profit on my mind and I’m moving like I should
You know that I’m a killer
You know that I’m a killer

Yeah I’m staying noisy x8

I’ma stay noisy
I’ll be where them boys be
If you can't be down with the sound better avoid me
Cos man you annoy me
You don’t come from my town
You hear the system bumping, every time we ride around
This beatboxer told me, my music ain’t gon’ make it
Album after album after album, you can’t take it
Where are you now? Oh you got a day job
I’m in the Bakerie with the stove and I stay hot
I ain’t got no time to waste
I be working everyday
Started in the back of the crib, selling beats like lemonade
I’m in it for the paper though, until I get my million
These other rappers cool, but I ain’t feeling them

I’ma stay noisy, noisy like my city is
How you from my city if you can’t get used to the grittiness
We used to getting lied to, used to getting cheated on
Used to seeing rivals, use my hands to beat them all
Yeah I’m so Noisey, Vice better put me on
I have them on my WeChat, tell them that I did this song
I need cash and co sign, yeah I’ll admit that
I got my boys knocking at your door to get my thing back
Cos I got nowhere to go and I’m feeling alone
Whatever happen to my smile baby now that I’m grown
It’s 4am and I’m counting all the money now
Looking out the window guess it’s kinda funny that I’m on the

HP challenged me to do an art project using ONE HP Ink Advantage Cartridge, ONE HP printer, and 1500 sheets of A4 paper. Like my previous art projects, I kept to using ordinary, every objects as my medium. In this case, I chose to use FEATHERS - which became the title of my art project.

This project was done by scanning a handful of feathers, then arranging them out differently each time. The 1500 sheets of paper are then laid out and taped together, and installed with the design and mechanics like a giant fan, revealing a giant dove that looks like it is flying out from the printer, to inspire everyone to let their creativity soar, especially in situations that seem impossible or too hard. I've done the dove, a bird signifying peace, with eyes of an eagle that shows tenacity and power, to show that while people may look demure and ordinary, they can also be strong and dynamic.

This project is also made into a 30 second commercial, and will be shown in Malaysia, Indonesia, Thailand and China.

Shot in Pudong, Shanghai.

---
Find out more about HP Ink Advantage:
Malaysia:
http://www.hp.com.my/inkadvantage
Indonesia:
http://www.hp.com/id/inkadvantage
Thailand:
http://www.hp.com/th/inkadvantage
---
Client: HP
Advertising Agency: BBDO Singapore
Production team: Great Guns & P.I.G. China

ps: you guys were so awesome to work with! :)
---

MORE PHOTOS AND BLOG POST ABOUT ART HERE:
http://www.ohiseered.com

OFFICIAL WEBSITE
http://www.redhongyi.com

OFFICIAL FACEBOOK
http://www.facebook.com/redhongyi

OFFICIAL TWITTER
http://www.twitter.com/redhongyi

---
BIG THANKS to Evan Chakroff (www.evanchakroff.com), Jun Lee Sia, Andrea Tan, Jess Wung, Chen Tang, Sunming Lee, Bernard Hiew, and my very own dad for your help and support with the installation!

ps: wore my favourite jeans - they're from Rag and Bone!