纽约大都会博物馆购买的一批摄像技术刚开始时候的19世纪摄影作品

照像刚开始的时候,拍一张照可实在不是件容易的事情。不像现在,谁手里不拿着个数码相机,动不动就是几千张几千张的照片在图片收藏夹里。

今天的纽约时报,大意是纽约大都会博物馆估计至少花了几千万美元买了Gilman的收藏。都是十九世纪中叶以后的作品。

这里放一张是其中Lewis Caroll拍的个小女孩。写爱丽丝漫游奇境记的Lewis Caroll。他很爱小孩儿,尤其是小女孩儿。据说他是和Michael Jackson一样,有着恋童癖的倾向。这么一看,这张照片就有些诡异了。


Metropolitan Museum of Art
Alice Liddell as "The Beggar Maid" (circa 1859), a Albumen silver print from a glass negative by Lewis Carroll.

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Metropolitan Museum of Art

"The Large Tree at La Verrerie, Romesnil" (circa 1852), by Louis-Remy Robert.


Metropolitan Museum of Art

"Change of Position" (1911), a gelatin silver print by Anton Giulio Bragaglia.


Metropolitan Museum of Art

"The Pavillon de Flore and the Tuileries Gardens" (1849), a daguerreotype by Marie-Charles-Isidore Choiselat and Stanislas Ratel.



Metropolitan Museum of Art
"Self-Portrait" (circa 1855), a gelatin coated salted paper print from a glass negative, by Adrien Tournachon.

Metropolitan Museum of Art

"Winter Landscape" (1909), a gum bichromate and platinum print, by George Seeley.

Metropolitan Museum of Art

谈判高手

和我们的Bryan同学一年多前去的黄山,一直收在DV里,今天转了出来,用苹果的iMovie做了一个,看看效果如何.

我们的Bryan同学的客户们看到这个不知做何感想.

节目标题: 谈判高手
文件大小: 16.5MB
P2P网络类型: Bit Torrent
下载链接: negotiation.mov

Toodou.com怎么来的

土豆网现在算是开始可以外部测试了。忙了几个月,造出了这个土豆网。最近的一个月每天都到凌晨一点。兄弟们也都两个月没有怎么休息过。

象是建筑师造好了个楼,呕心沥血。象是看着自己的画,从草图到线条到上色。添添补补,一直不满意。但是忽然有一天,看着这么个楼,看着这么幅画,想,该把它放出去了,放出去,看看这个世界怎么看它。

去年的十月初。有一天和Marc去打球。难得离开这个一片喧嚣的城市,到户外的草地上活动活动。回来的路上,Marc说,你听没听说过Podcast?我说,没有。那是什么东西?

那个时候adam curry刚做发布他的ipodder软件不到两个星期。全世界的podcast电台好像不到10个。Marc拿着他的ipod,给我听了听几个节目。讨论了一路,我们都说,这个东西很酷。Blog给了我们大家文字的话语权,而有了类似于podcast的东西,我们就有了声音的话语权。我说,我们给中国也开发这么个东西吧。那时候我当然没想到,这句话后,会是接下来的五个月这么长的路程。

一开始我们不过想把Ipodder软件复制一下,做一个中文的版本,反正它是个开源的软件。纯粹是个兴趣,翻完了,扔出去给Blog的社区,就完了。毕竟我们都有自己的一堆事。Marc那时候已经忙到了他的女朋友每天只能见到他一面,这一面还都只能和Marc的电脑一起见。

但是也许我们都有这么个穷根究底的毛病。一边做着软件,一边我们就发现ipodder这个软件在中国会有许多的问题。它的下载虽然带了些BT的功能,但是所有的下载都是直接从服务器上下来的。带宽会是个很大的问题。在中国,绝大多数的博客不可能自己去建一个网站,租一个带宽,每月付一笔数字不小的费用。如果那样,podcast不过是极小数人的小玩具,干脆直接放个流媒体文件算了。果然,就在十一月初,纽约时报开始报道podcast,也顺带地报道了podcast上最火的the Dawn and Drew Show,因为很火,每天有几千个下载,而Dawn的文件是偷偷放在他工作的公司网站上,结果公司的服务器完全堵塞,Dawn差点丢了工作。

我们做Podcast的目的,是为了每个人都能够自由发出自己的声音,做出自己想做的节目。我们既然做了这件事,就得让这个目的实现得彻底,必须解决带宽的问题。我们决定把Bit Torrent文件共享的功能结合在我们中文软件里。通过P2P,每个人都可以选择把自己的电脑变成个网络电台,直接把内容发送到用户的电脑上。

这个决定,一个方向性的决定,导致了接下来四个月的一系列决定,到了我们离开原来的工作,全力投入到toodou.com上来。

为了使Bit Torrent和Ipodder软件结合,我们有了土豆网的第一个软件工程师。为了需要搭建一个网站来处理这些种子文件,我们有了个网络工程师。为了能够让软件能够更容易和网站结合在一起,我们搭建了一个Blog的平台,让这个Blog平台能够处理多媒体和Bit Torrent种子文件的上传和管理,我们有了制作和编辑。一开始我们借用一个朋友的办公室。到我们有了五个人的时候,我们在上海的体育馆附近找了这么个简单的公寓。然后我们有了设计,有了几个对土豆网想做的事非常有兴趣的业余兼职的学生。到了一月的一天,我们发现,我们必须全身心地投入,它才能成为我们希望它成为的东西。

我们的网站和软件也在这个过程中发生了变化。从简单到复杂又到了简单。这当中我们有了几个不同的版本,有了几次的内部测试。比如加入的视频内容(现有的许多资源)和暂时先去掉的和IPOD的同步功能(整体普及度太低,虽然我们都各自有几个)。到了今天,我们的网站和软件是这么个构架,还是为了我们最初的目的,只不过我们现在有了更明确的想法,而不再是几个月前的简单业余兴趣。但是我们最初的目的还是一样 — 让最多的人,用最简单经济的方式,发布自己的多媒体内容。

坐在这个客厅里,到处都是电脑和缆线。手头还有无数的事,还有几个重要的项目需要完成,才能够让土豆网健康地发展。这个算是个小小的回顾,在开始外部测试的时候。接下来一个月待做的:

1。结合发布和接收节目的iToodou软件。能够让接受,发布一次性完成。也许重新加入和IPOD这一类的便携播放器的同步功能。

2。Blog个人空间。除了P2P方式,还能够存储文件,可以让没有宽带的制作人们也可以拥有土豆频道。

为了让这个平台能够生存下去,我们还需要很快找出一个支持它的商业模式。也许是广告,也许是一些付费的个人频道,也许是和电视台的合作。土豆网上绝大多数的内容一定会保持免费。不过,我们相信,我们的土豆网这个大舞台上,很快也会有像The Dawn and Drew Show这样有趣的个人频道,有几十万的听众或者观众。如果中国的Dawn和Drew们愿意,他们可以让他们的听众们支持他们的节目,那么,只要有几千个土豆愿意每月付一元钱让他们每天做节目,做好节目,Dawn和Drew们就可以生存下去。

有一天,几十个或者几百个中国的Dawn和Drew出现的时候,土豆网就可以靠自己生存了。

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一路造土豆,一路发言

Is a Cinema Studies Degree the New M.B.A.?

By ELIZABETH VAN NESS

Published: March 6, 2005

RICK HERBST, now attending Yale Law School, may yet turn out to be the current decade’s archetypal film major. Twenty-three years old, he graduated last year from the University of Notre Dame, where he studied filmmaking with no intention of becoming a filmmaker. Rather, he saw his major as a way to learn about power structures and how individuals influence each other.

"People endowed with social power and prestige are able to use film and media images to reinforce their power – we need to look to film to grant power to those who are marginalized or currently not represented," said Mr. Herbst, who envisions a future in the public policy arena. The communal nature of film, he said, has a distinct power to affect large groups, and he expects to use his cinematic skills to do exactly that.

At a time when street gangs warn informers with DVD productions about the fate of "snitches" and both terrorists and their adversaries routinely communicate in elaborately staged videos, it is not altogether surprising that film school – promoted as a shot at an entertainment industry job – is beginning to attract those who believe that cinema isn’t so much a profession as the professional language of the future.

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Some 600 colleges and universities in the United States offer programs in film studies or related subjects, a number that has grown steadily over the years, even while professional employment opportunities in the film business remain minuscule. According to the Bureau of Labor Statistics, there are only about 15,050 jobs for film producers or directors, which means just a few hundred openings, at best, each year.

Given the gap between aspiration and opportunity, film education has often turned out to be little more than an expensive detour on the road to doing something else. Thus, Aaron Bell, who graduated as a film major from the University of Wisconsin in 1988, struggled through years of uninspiring nonunion work managing crews on commercials, television pilots and the occasional feature before landing his noncinematic job designing advertising for Modern Luxury Media LLC, a Chicago-based magazine publisher.

"You sort of have this illusion coming out of film school that you’ll work into this small circle of creatives, but you’re actually more pigeonholed as a technician," said Mr. Bell, who is now 39.

For some next-generation students, however, the shot at a Hollywood job is no longer the goal. They’d rather make cinematic technique – newly democratized by digital equipment that reduces the cost of a picture to a few thousand dollars and renders the very word "film" an anachronism – the bedrock of careers as far afield as law and the military.

At the University of Southern California, whose School of Cinema-Television is the nation’s oldest film school (established in 1929), fully half of the university’s 16,500 undergraduate students take at least one cinema/television class. That is possible because Elizabeth Daley, the school’s dean, opened its classes to the university at large in 1998, in keeping with a new philosophy that says, in effect, filmic skills are too valuable to be confined to movie world professionals. "The greatest digital divide is between those who can read and write with media, and those who can’t," Ms. Daley said. "Our core knowledge needs to belong to everybody."

In fact, even some who first enrolled in U.S.C.’s film school to take advantage of its widely acknowledged position as a prime portal to Hollywood have begun to view their cinematic skills as a new form of literacy. One such is David Hendrie, who came to U.S.C. in 1996 after a stint in the military intending to become a filmmaker, but – even after having had the producer/director Robert Zemeckis as a mentor – found himself drawn to the school’s Institute for Creative Technologies, where he creates military training applications in a variety of virtual reality, gaming and filmic formats. One film he developed was privately screened for the directors John Milius and Steven Spielberg, who wanted to understand the military’s vision of the future.

"That was like a film student’s dream," said Mr. Hendrie, who nonetheless believes he has already outgrown anything he was likely to accomplish on the studio circuit. "I found myself increasingly demoralized by my experiences trying to pitch myself as a director for films like ‘Dude, Where’s My Car?’ " Mr. Hendrie said. "What I’m doing here at I.C.T. speaks to the other interests I’ve always had, and in the end excited my passion more."

In recent weeks, members of a Baltimore street gang circulated a DVD that warned against betrayal, packaged in a cover that appeared to show three dead bodies. That and the series of gruesome execution videos that have surfaced in the Middle East are perhaps only the most extreme face of a complex sort of post-literacy in which cinematic visuals and filmic narrative have become commonplace.

Melding easily with the growing digital folk culture, some film majors have simply taken to creating art forms outside the boundaries of the established film business. In one such instance, Wes Pentz, a k a DJ Diplo – a 2003 graduate of Temple University, where film majors are encouraged to invent new career paths in museums, leisure businesses and elsewhere – broke through with his trademark Hollertronix, a style modeled on cinematic soundtracks. "I think of my songs as having a movement, like I would watch in a film, and there’s a narrative feel to them," said Mr. Pentz, who said he had learned to frame music differently because of his film school experience。

In the public policy arena, meanwhile, students like Yale’s Mr. Herbst hope to heighten political debate with productions far more pointed than the most political feature film. Even a picture like "Hotel Rwanda," with its unblinking look at African genocide, is "a soup kitchen approach," Mr. Herbst said: "You’re offered something to eat, but there are no vitamins." Bringing film directly into politics, he expects to throw objectivity out the window and change minds – perhaps not an unrealistic aim at a time when, in a bit of what a headline in The Wall Street Journal characterized as "film noir," the Edward D. Jones & Company brokerage has entered the fray over the proposed Social Security overhaul with a highly produced video.

To some extent, such broadening vision is already helping to make economic sense of film education, which in the past was often a long path to nowhere. "Most find their way, and the skills they learn from us are applicable to other careers and pursuits," Dale Pollock, dean of the School of Filmmaking at the North Carolina School of the Arts, said of his students. "So we’re not wasting their time or money."

Still more, Ms. Daley, the U.S.C. Cinema-Television dean, argues that to generalize such skills has become integral to the film school’s mission. More than 60 academic courses at U.S.C. now require students to create term papers and projects that use video, sound a
nd Internet components – and for Ms. Daley, it’s not enough. "If I had my way, our multimedia literacy honors program would be required of every student in the university," she said.