Piano Stairs

Larry Lessig on laws that choke creativity

Good Copy Bad Copy

Documentary film (Denmark, 2007)

Lawrence Lessig - Remix

♪ Otamatone ♪

Designing with Psychology in Mind

Designing with Psychology in Mind

View more documents from Joshua Porter.

AS3: ConvolutionFilter

Convolution Filter 矩陣盤繞濾鏡

[ConvolutionFilter 用途]

簡單來說：將每個像素，以他周邊的其他像素加進來一起運算，算出最後的像素值。

詳細來說：要使用該像素周邊的哪些像素值，是以一陣列來決定，陣列中心點為自己，如：

[0, 0, 0,
0, 1, 0,
0, 0, 0]

表示中心像素(也就是該像素自己啦)的加權為 1，周邊為 0。若：

[0, 1, 0,
1, 1, 1,
0, 1, 0]

表示，運算過程除了要使用自己的像素之外，還要使用上(x, y-1)、下(x, y+1)、左(x-1, y)、右(x+1, y) 四個像素來一起運算，這五個像素的加權都為 1(都只乘上1次的使用次數)。

算出來的值，可以給予一個除數 divisor 來避免像素值太超過，譬如上述的

[0, 1, 0,
1, 1, 1,
0, 1, 0]

若是給予的除數是 5 的話，意義上來說就等於是將這個位置的像素值與上下左右的像素值加總平均。

算出來的值，還可以再給予一個偏移量 bias，直接對像素做加減。


Original image


A sharpening effect


A blurring effect



from:邦邦的部落格
Using Matrices for Transformations, Color Adjustments, and Convolution Effects in Flash
http://docs.gimp.org/en/plug-in-convmatrix.html

AS3: ColorMatrixFilter

Matrix矩陣

[a, b, c, d, e, f, g, h, i]

通常以下列形式表現
[ a, b, c,
d, e, f,
g, h, i ]

four good reasons to use the transformation matrix:

• Skewing is not available in ActionScript outside of the transformation matrix
• BitmapData requires a transformation matrix to transform drawn bitmaps
• You can use a transformation matrix to encapsulate information about how to transform a MovieClip/BitmapData instance and then use it over and over again
• You can concatenate matrices to combine their geometric effects

There are four basic ways to transform a MovieClip/BitmapData instance:

• Translation: The values "tx" and "ty" in Figure 3 represent the x and y translation values, respectively, in pixels.
• Scale: The values "a" and "d" represent the x and y scale values, respectively. A value of 1 indicates 100% of scale.
• Skew: The values "b" and "c" represent the y and x skew values, respectively. A value of 0 indicates no skew, while a value of 1 indicates a skew value equal to the width or height of the object at a scale of 1.

• Rotation: The values "a", "b", "c", and "d" can be used in combination to affect the rotation of an object. For an angle "q", rotation is achieved in the matrix by using the following values:

  a = cos(q)
  b = sin(q)
  c = –sin(q)
  d = cos(q)

e.g.

import flash.geom.Matrix;
// Scale to 200% and move to _x = 100 and _y = 50:
var m:Matrix = new Matrix( 2,0,0,2,100,50 );
clip.transform.matrix = m;

-----------------
Matrix.concat 方法
可将某个矩阵与当前矩阵连接，从而将这两个矩阵的几何效果有效地结合在一起

Additionally, the Matrix class implements methods that make it easy to apply transformation changes to the matrix. These include the following:

• Matrix.translate(tx:Number, ty:Number)
• Matrix.scale(sx:Number, sy:Number)
• Matrix.rotate(angle:Number)
• Matrix.createBox(scaleX:Number, scaleY:Number, rotation:Number, tx:Number, ty:Number)

颜色矩阵（ColorMatrixFilter）

ColorMatrixFilter accepts a 4 x 5 matrix (20-element array).

Note that the source and result values for each channel range between 0 and 255.

To change the brightness of an image, you need to change the value of each color channel by an equal amount. The simplest way to do this is to offset the source value in each channel.


Increasing the brightness


To apply matrices in Flash:(doubles the amount of green)

import flash.filters.ColorMatrixFilter;  var mat:Array = [ 1,0,0,0,0,     0,2,0,0,0,     0,0,1,0,0,     0,0,0,1,0 ]; var colorMat:ColorMatrixFilter = new ColorMatrixFilter(mat); clip.filters = [colorMat]; 

Color Matrix Demo

椎名林檎 - 都合のいい身体

String

String = Char16[] String是一組有序的Char16字元的集合。
索引如同陣列一樣，都是從0開始。並且是有length屬性的
Char16是指處於｛'<>'...'<>'｝之間的65536個Unicode字元

AS3中針對字元的操作:

• charAt() - 存取目標位置的字元

• charCodeAt() - 得到目標位置的Unicode字元的整數字元程式碼

sample:
var ddd:String = "Action";
for (var i:int = 0; ilength; i++){
trace (ddd.charAt(i) + "Unicode字元整型值為:" + ddd.charCodeAt(i) + "\t十六進位數為:" + ddd.charCodeAt(i).toString(16));
}

//注:.toString(16)意思是將數值轉換成十六進位數來表示
/*輸出:
A Unicode字元整型值為: 65 十六進位數為:41
c Unicode字元整型值為:99 十六進位數為:63
t Unicode字元整型值為:116 十六進位數為:74
i Unicode字元整型值為:105 十六進位數為:69
o Unicode字元整型值為:111 十六進位數為:6f
n Unicode字元整型值為:110 十六進位數為:6e
*/

• fromCharCode()

sample:
ddd = String.fromCharCode(0x41, 0x53, 0x33);
trace(ddd);
//輸出:AS3

• match() / replace() / toLowerCase() / to UpperCase()

• search() / indexOf()

search()的參數必須是正則運算式，而indexOf()的參數只是普通字串
很多時候用indexOf()不是真的為了知道子字串的位置，而是想知道長字串有沒有包含這個子字串
如果返回-1就是沒有

• substring() / slice() - 根據起始和終了位置來提取一個子字串

• substr() - 根據起始位元值和長度來提取

• split() - 根據特定的識別字將字串分隔成子字串

• 一次輸入多行文字

使用XML和CDATA來配合
如果輸出的字串首尾有空白，可以使用mx.utils.stringUtil方法去掉
import mx.utils.stringUtil;
myString = StringUtil.trim(myString);

fl.display.Sprite

A Sprite object is similar to a movie clip, but does not have a timeline.
Sprite 可以理解为没有时间轴的 MovieClip 。
AS3的類如果想使用 MovieClip 的事件或方法必须让它继承(extends) MovieClip 或者 Sprite 。

AS3: Getter and Setter

setter和getter的妙用
A、setter或者getter一个不是普通的成员变量，假定某类中有一个sprite，我们总是要在类内部获取该sprite的高、宽，每次都***.width, ***.height岂不是很累，我们可以

private function get XXX():Number{return ***.width};

以后直接XXX即可，代码看起来也要舒服很多。

B、setter不一定要和某成员变量联系起来，譬如

public function set data(...)...

我们可以在set中做很多工作，譬如把data转换为我们需要的数据，根据数据刷新显示等等，不一定是要有一个data属性与之相对应！

其实用private+ getter setter是为了增强封装性!
你想,如果把变量暴露给外部使用,假如后期,需求
上要对这个变量先进行些处理,那你就得改N个你
调用它的地方,而如果是用了getter和setter,那你
只要改这两个方法就可以 ...

from: 学AS3的那些破事


example:

package
{
 import flash.display.Sprite;
 import flash.text.TextField;
 
 public class Starter_13 extends Sprite
 {
        private var tsecField:TextField;
        private var tField:TextField;
        public function Starter_13 ()
        {
                myTest();
        }
        private function myTest():void
        {
                var a:Testvar = new Testvar();
       
                tField = new TextField();
                tField.autoSize = "left";
                tField.background = true;
                tField.border = true;
                a.mynewVar = "This is the new var.";
                tField.text = "Test is: "+a.myVar;
                addChild(tField);
        }
 }
}
import flash.display.Sprite;
import flash.text.TextField;
class Testvar extends Sprite
{
 public var test:String;
 public function Testvar()
 {
 }
 public function set mynewVar(newTest:String):void
 {
        test = newTest;
 }
 public function get myVar():String
 {
        return test;
 }
}

from: flashscript.biz

User-Generated Content 用戶原創內容

User generated content has also been characterized as 'Conversational Media', as opposed to the 'Packaged Goods Media' of the past century. The former is a two-way process in contrast to the one-way distribution of the latter. Conversational or two-way media is a key characteristic of so-called Web 2.0 which encourages the publishing of one's own content and commenting on other people's.

Grassroots experimentation then generated an innovation in sounds, artists, techniques and associations with audiences which then are being used in mainstream media.

UGC often also has a collaborative element to it, as is the case with websites which users can edit collaboratively. For example, merely copying a portion of a television show and posting it to an online video website (an activity frequently seen on the UGC sites) would not be considered UGC. If a user uploads his/her photographs, however, expresses his/her thoughts in a blog, or creates a new music video, this could be considered UGC.

Motivating factors include: connecting with peers, achieving a certain level of fame, notoriety, or prestige, and the desire to express oneself.

Mere copy & paste or a link could also be seen as user generated self-expression. The action of linking to a work or copying a work could in itself motivate the creator, express the taste of the person linking or copying. Digg.com, Stumbleupon.com, leaptag.com is a good example where such linkage to work happens. The culmination of such linkages could very well identify the tastes of a person in the community and make that person unique through.

Adoption and recognition by mass media: Scoopflash

from: Wikipedia

Entrepreneurial Generated Content provides a less diminishing and much more meaningful and positive expression for what has generally been called User Generated Content, Web 2.0, Consumer Generated Media (CGM) or User created Content (UCC).

Web 2.0 --> UGC + SNS

UGC就是User Generated Content，這是大家都知道的Web 2.0基本元素，但也是常被濫用的一個字。UGC有一個蠻嚴格的定義，譬如讀了新聞評選這篇新聞好不好看，不算是UGC；看到好棒的文章馬上收錄到del.icio.us，也不算UGC。嚴格的框限UGC定義是為了表示UGC的真正美好處，它不只是「平民發聲」，不只是「全民評分」，它最美之處是在「平民內容」，這才是重點。因此所謂真正的UGC不見得是原創，但絕對要是分享一個本身蘊含故事的內容，譬如，一篇自己身邊的新聞、一段自己小狗的影片，一小則自己引吭高歌的錄音podcast、一段自己摸索出來的使用說明、一支自己寫的Flash遊戲、一張自己拍的美麗山景照，不必搞得太專業也可以放到CNN I-Report、YouTube、Photobucket、OhMyNews、eHow，全球一起分享。在「內容是王」的情況下，這個網站真的有原創物在裡面。這是真正提供一些值得大眾閱讀、欣賞素材的內容網站。

至於「SNS」，Social Network Services，社群服務、社會化服務皆有人譯。社群網站始於六度分隔理論的交友服務，字義愈來愈廣，到了今年它變成一個蠻空靈的字，儘管最近人氣很旺的Twitter、MyBloglog、Meebo等都號稱自己也有某些SNS功能，但它們的成功各自有自己的造詣，並不是源自於真正的SNS公式，對這個字義嚴格一點，也是想強調SNS的厲害，從目前真正成功的幾個兩年內爆紅、超過1000萬名會員的「社群網站」如Myspace、Bebo、Facebook來看，真正厲害的SNS有幾個關鍵元素，最重要的，是讓個人有個公開的首頁，在這首頁之上，交朋友、設立群組、放東西，然後再針對它們留言討論，所謂SNS公式是Web 2.0網站最近才摸索出來的，到目前為止依然是人氣的保證；添加這些SNS元素，能讓網站的黏性大增。

from:Mr.6 ＂Web 2.0退場後，「UGC + SNS」火熱依舊＂

VJ Software Interface Research

vidvox


virtualdj


Resolume_3


Onyx-VJ


motion_dive_tokyo


modul8


ArKaos GrandVJ

Privacy and Street Photography

Documentary photography is a way to record what is happening in the moments at present for future reference. However, documentary photography has always had the inseparable connection with portrait with its reflections on people in daily life. The series of images below aim to reflect the moments of people’s imagery status in the public from photographing. In this set of images, I try to explore and present people’s personal life in the public in terms of imagery status by taking photographs from absent-minded people. These images revealed the disconnection from their spiritual status to the world. Even existing in the surrounding of crowds and noises, the isolation of their spiritual status remains at those particular moments.

On the other hand, Street Photography is extremely easy disputed by law, such as how and where you take or use the photograph. Especially in the situation of violate Portrait from the citizen. In theory, it is against the law of the Portrait when someone takes those personal photographs for business purposes without the represents’ permissions. However, to remain people’s reflections of the moments in documentary photography has to photograph them immediately at the time when things happen in order to record the facts. Nevertheless, most of time people don’t realize they have been photographed while it’s happening, therefore, photographers can capture the actual image they wanted from the person at that special moment. However, in this case, there seems to be a contradiction between the right of expression oneself and the power of the law in one’s portrait. At the result, Street Photography has been retrained a great quantity of ideas expressing from the right of Portrait.


Inspiration:

The spirit of Street Photography - Bruce Gilden


Bruce Gilden, born in Brooklyn, is known as the "archetypal street photographer" and is famous for his unique attitude towards photographing, which shows a strong spiritual force in his photographic works. He brings the philosophy of the survival on the street into art. For Gilden, the images of all objects and people are his inviolable private properties; he must be cruel to "capture" them even with the risks of any conflictions. My favourite image of his works is a photography called “Two Members of the Yakuza Asakusa”. The characters have drawn the distinctive personalities and dramatic tensions into his photographic. However, his approach of shooting was full of controversy. Bruce Gilden once claimed, "I'm known for taking pictures very close, and the older I get, the closer I get."



Privacy Policy - Cases Study

“Heads ＃13” by Philip-Lorca diCorcia


In 2006, Ermo Nussenzweig accused photographer Philip-Lorca diCorcia of violating his privacy and Jewish Orthodox faith, by displaying, publishing and selling his portraits without his consent. However, based on his portraits has been taken in public places, and was recognized as works of art, the court ruled Ermo Nussenzweig lost in the end. New York court ruled that the works of art, which were for sale in a limited numbers, were still under its artistic; it is not equivalent to profit-seeking behaviour. Even so this work was sold 10 copies on the sale price of 30,000 U.S. dollars.


Cardiff at Night (2008) by Maciej Dakowicz



Like Bruce Gilden, Maciej Dakowicz used the "violent" approach, toughly and quickly took pictures of the targets. His latest works “Cardiff at Night” aroused the widespread discussion. He spent four years in the regional capital of Wales Cardiff shooting a series of photographs of people’s nightlife, represented the scene of night of the Cardiff Street.

However, the most interesting part for me is the deputing of the right of portrait in his photographs. In his works, most of the people have been taken photographs while they were in their drunken states, such as vomiting on the side of litter, or passing out in the middle of the road. These kinds of images might even have affects on the personal image and life. It would have a lot of attentions for the right of portrait and the follow-up impacts of it are worth to investigate.

In my opinions, the timing is the most difficult thing of street photography. Neither for the legal or moral considerations, it is impossible for me to take picture without concerns of these kinds of issues in the course of shooting like Bruce Gilden does. I only manage to wait for the best moments and take some snap shoots. In addition, compared to some other countries, the privacy policy is much more concerned in the United Kingdom, which also encountered some difficulties in the process.

I explore this project by using black and white images to create the dramatic tension and intend to congeal the moments. Compose the image based on colour levels of monochrome in black, grey, and white to inspire the appreciator with its power of simplicity.

Peyton Chiang 04/06/2009

The Fine Art of Digital Imaging

It's been over 150 years since the beginning of photography, and there’s always been a fine line between photography and painting. The aim of this series of photography is going to investigate the relationships between painting and photography in this digital era and the authenticity of digital images.
These five images are finalized by postproduction. They are the results of combinations of several realistic photographs, for example, the boy who dresses up as a vampire under London Bridge, the scenery of River Thames and the people walk in central London. However, after decomposing and recomposing the elements from each photographs for these reproduced images, they become the hyper-real and aerial photography.

Pictorialism and Photorealism

In the era of invention of photography, many painters were photographers at the same time. As the result, a large number of photographs showed the similarities in not only the compositions but also the lightings of paintings back in the early days. Therefore, photography was also described as ‘The painting of light’.

The English photographer Peter Henry Emerson claimed in 1886, photography was a pictorial art, ‘superior to etching, woodcutting [and] charcoal drawing’ (Emerson, 1886, p. 139) in the article of ”Photo: A Pictorial Art”. Besides, he declared that there should not be any boundaries either in between art and science, nor in painting and photography, which contributed to the Pitorioalism. Pictorialism emphasized on the pictorial elements such as, hues, lines, and balances of the images and discarded the realistic facts, which were valued in the documentary photography.

Painting has always had a significant influence on photography. Even nowadays we can still repeatedly recall shadows of traditional paintings from photographs. For instance, Gregory Crewdson’s technique is very different from Henry Cartier Bresson’s “The Decisive Moment”. First, the compositions of his photograph were intentionally planned ahead like the rough pencil sketches of a painting. Besides, the process of capturing the moment or visually speaking as an image was progressed as if making the movies. They are a series of reproductive clips rather than one single irreplaceable shoot. Moreover, the colours were even retouched by computerizing afterwards. Undoubtedly, all of these techniques are entirely against the realistic characteristic of photography.


Untitled (2003) by Gregory Crewdson

However, photography on the other hand, has also played an important role in paintings since its origin. Photorealism paintings in the 60s had a magical way of keeping the realistic characteristic of photography. For instance, Richard Estes’s paintings represented the surreal beyond the reality by using the amazing realist painting skill.


Untitle (1972) by Richard Estes

Benjamin believes that the invention of photography absolutely has the significant impact on modern art: the reproduction of photographic destroys the “aura” of original art works. Nevertheless, Photorealism using photography as a creative source, they dissipate the replication of the images with their superb skills. When the unity of creation is from the mechanical reproduction of images, the questions such as “what is aura?” and “where is aura? cannot be explored anymore.

Reality and fabrication has become extremely difficult to identify their differences since the occurrence of digital photography. Lev Manovich discussed this subject further in ‘The Paradoxes of Digital Photography’. He suggested that, “Computer images are not inferior to the visual realism of traditional photography. They are perfectly real -- all too real.“

Nevertheless, the difference between traditional and digital photography is that the former believes in fabricating the image with objectivity and the intension of photography while the latter stands for opening its fictitious process. Nowadays we live in a society of artificiality, therefore, the virtual image has become rather indispensable in our lives. The comparison between image and reality is no longer as important as it used to be, which allows the world lies somewhere in between dreams and realities.

Digital photography allows the infinite freedom in imagination. Through working on collage pieces, I try to deconstruct the realities in photography by intentionally place conflicting elements into one image to create the narrative imagery. For instance, River Thames becomes a green field where lie two face-to-face camels and a man on the cell phone in the desert. However, only by adjusting colours and hues would make the elements seem exist in the same time and space. In my opinion, contraction is the most important feature in digital photography.


Reference:

Untitled (2003) by Gregory Crewdson from Luhring Augustine
http://www.luhringaugustine.com/index.php?mode=artists&object_id=66#

No title (1972) by Richard Estes from Collection of the National Gallery of Australia
http://nga.gov.au/PrintedLight/details/40365.cfm

Benjamin, W. (1936) The work of art in the age of mechanical reproduction.
In: Liz W. The Photography Reader. Routledge. P.42-52

Lev M (1995) The Paradoxes of Digital Photography. In: Liz W. The Photography Reader. Routledge. P.240-249

Peyton Chiang 04/06/2009

Today I Die

Play here
from: Ludomancy

Elliott Erwitt

Elliott Erwitt
(American, born France, 1928 - )

With a touch of humor and an eye for the humane,
Elliott Erwitt's black and white photographs reveal the most basic and
candid human emotions. He developed his vision during the post-war rise of documentary
photojournalism, and has captured many of life's most poignant ironies
through an amusing vernacular.

WNYC Street Shots: Bruce Gilden

Wiispray

from:Wiispray

Stop motion with wolf and pig

via: Motionographer

The Green Effect

via: Motionographer

Noteboek by Evelien Lohbeck

via: Vimeo

Scrabble Advertisments

via: Gems sty

Freelance Contracts

Sample contract from Logomotives

Standard Form of Agreement for Design Services from Aiga

Never Work Without a Freelance Design Contract from About.com

Freelance Contracts from Graphic design forum

Sample Contract from Rooster Graphics

AS3 Webcam Motion Tracking

from: Soulwire

Tracking Multiple Objects Using a Webcam by Chris Teso

Visual Mapping / AntiVJ

10th Annual First Boards Awards Motion Graphics Winner

2009 Motion Graphics / Designers Winner
Stephen Watkins - self promotion - Float

Light and Glow Effect Practice

tutorial: Light and Glow Effect in Photoshop

Lighting Effects Inspiration

by Sakke Soini

Multisensory and Multimedia

"At the seashore, between the land of atoms and the sea of
bits, we must reconcile our dual citizenships in the physical
and digital worlds. Our windows to the digital world have been
confined to flat rectangular screens and pixels—“painted
bits.” But while our visual senses are steeped in the sea of
digital information, our bodies remain in the physical world.
“Tangible bits” give physical form to digital information,
making bits directly manipulable and perceptible."
-- Hiroshi Ishii

"Designing Interactions" by Bill Moggridge

digital x physical --> Vision x Smell

Minilogue - Animals

Joakim Eskildsen - The Roma Journeys

by: Joakim Eskildsen

VPlay: An Interactive Surface for VJing

by SATBack
VPlay is a new paradigm of VJ interaction. Designed for collaboration, it gets the VJ out from behind the laptop, and allows the audience to get involved. Clips, effects, mixers and more can be dragged and linked on-screen to create dynamic visual flows. Direct from the lab, this pioneering prototype showcases the dramatic possibilities of surface computing.

VJ Kung Fu: Structure in VJ Performance

After Effects Tutorials

Tutorials:
ayato@web
ae tuts+
Video Copilot
Adobe Design Centre
Computer arts
pixel2life
AfterEffects* 300+ Free After Effects Tutorials

footage:
artbeats
RevoStock
TK Time-Lapse

Samsung i900 Omnia

利用開箱影片銷售3C產品

Big Shadow

by GT Inc.

via: Media Land

The Creative Treatment of Actuality - John Grierson

John Grierson（1898~1972），在1926年時因評論Robert Flaherty
以玻里尼西亞人日常生活為題材的新片Moana的「紀錄價值」，
而使documentary films一詞首次受到重視。
葛里爾森後來在1932年時發表‘First Principle of the British Documentary Film Movement’中
進一步指出：紀錄片乃是一種 The Creative Treatment of Actuality（對真實的創造性處理），
紀錄片「不是一面鏡子而是一把槌子」（Art is not a mirror but a hammer.），
他強調握在手中的攝影機猶如一把武器，是在「觀察」與「陳述」何謂真、善、美的事物，
而非只是日常例行性活動的公開報導而已；紀錄片是一種「視覺藝術」，它具有化腐朽為神奇的魔力，
可以將日常的世界翻轉成美感的饗宴（It is something more magical.
It is a visual art which can convey a sense of beauty about the ordinary world.），
所以紀錄片本身具有說服觀眾的能力，讓人們瞭解從生命自身觀察和選擇，即能綻放出嶄新和鮮活的藝術形式
（We believe that the cinema's capacity for getting around, for observing and
selecting from life itself, can be exploited in a new and vital art form.）

From:真實與再現的爭議 - 廖慶華

The Decisive Moment - Henry Cartier Bresson

The Decisive Moment決定性的瞬間（1952）:

*To me, photography is the simultaneous recognition, in a fraction of a second,
of the significance of an event as well as of a precise organization of forms
which give that event its proper expression ----- Henri Cartier-Bresson
這一瞬間是畫面最具張力，也是排列組合最具意義的一刻

*There is a creative fraction of a second when you are taking a picture.
Your eye must see a composition or an expression that life itself offers you,
and you must know with intuition when to click the camera."
"That is the moment the photographer is creative.--- Henri Cartier-Bresson

AS3.0: Adding Video

var nc:NetConnection = new NetConnection(); //用來連結檔案
nc.connect(null); //null表示不需連結到外部伺服器
var ns:NetStream = new NetStream(nc); //用來控制連結的檔案（播放/停止/暫停）
ns.play("myMovie.flv");

var myVideo:Video = new Video(320,240);//建立一個影片物件
myVideo.attachNetStream(ns);//將影片物件指向先前連結的檔案
addChild(myVideo);//將物件加到舞台上


＊暫停語法：ns.pause();

Crayon Physics Deluxe

From: Crayon Physics Deluxe

The Elements of User Experience

From:The Elements of User Experience by Jesse James Garrett

充分利用網頁行銷

Before you start a project, either a new website or a review of an existing site,
it is important to start from scratch and ask yourself key questions:

* What is our website for? Is there an offline equivalent?
* Who are we aiming at? Define user groups or construct profile
* What do they each want?
And what do we want them to have achieved having been to the site?
* What are our competitors doing and what can we learn from it?
* What are partner organisations doing?
Is there anything you should be joining in with or linking to?
* Set deadlines, budgets, responsibilities

網站規劃的三個階段：
1. Site view - Site Map
Depending on how complex your structure is, use colour, positioning, shape etc.
to distinguish different elements and include a key.
2. Page view - the layout and content of individual pages
You should confirm grouping and separation of elements but not the design, positioning, colour etc.
3. User view - the functionality
each function(searches, forms, filters, animation etc.) should be specified in this detail.

As a rule of thumb, keep pages to no more than 3 screens high;
you can add more pages or downloads if you need to.
Your information should be tailored to how people read websites:

* Skimmers – want a brief overview of everything
* Dunkers – will go straight for the specific piece of information they want and then leave
* Swimmers – are looking for detailed information

Web Design's three levels:

* Interface design
* Visual design
* Content design

Accessibility is an important topic for modern websites.
The key principle is to separate structure, presentation and behaviour.
將樣式與內容分開，結合圖片構成網頁。
this will make the site more compatible with mobiles and handhelds（尤其手機上網已成為趨勢）
and more search engine compatible.

Search Engine Optimisation is highly connected with accessibility along with:

* External links to your site, and their ranking
* Internal links within the site. Some experts suggest linking to and from every page.
* Keywords within text
* Search-engine friendly page titles and URLs (i.e. they use keywords, they describe what is on the page, and they are consistent with each other).

在不同環境下測試：IE6/7 & Firefox為主要的瀏覽器

配合Web 2.0 technology的應用，例如Blog.
An additional, two-way communication channel with your audience

Make use of e-flyers and e-bulletins with one or two messages each

From:
Maximising your Online Presence - SUMO

Museum Marketing

「美術館不再僅只是提供展覽、典藏、教育、研究等功能的文化設施，
而社會意識的急速變遷與消費型態的大幅改變……未來美術館除了伝統的展示空間外，
將設有書店、咖啡店、庭園餐廳、賣店等休憩設施以提供民眾更多元的服務；
大大滿足民眾休憩和美感享受的需求。以打破高不可攀的精英化固有印象。」

抓緊固定瀏覽者（會員）及吸引非固定瀏覽者（偶爾來參觀/觀光）
吸引非固定瀏覽者的方法：1.提高各接觸點的質感，包括硬體（交通指示、停車設施、廁所清潔度、餐廳食物好壞等）、
及軟體（進館時的第一感受、人員的態度）2.具吸引力的展示/定期更換展覽；3.開放時間(假日延長)；
4.教育活動；5.事件的配合（節日、博覽會、音樂會）；6.成為地方發展團體的一部份

配合週邊商家cafe pub舉辦夜間活動，吸引年輕族群。
Reference:
Marketing to the Lazy Socials market

配合e-newsletter（e-marketing)來吸引消費者進入網站。
Don’t try and fill the newsletter with information;
it is just a tool to channel users to the website,
where you can then inform, persuade or inspire your audience,
depending on your e-marketing strategy.
When creating your e-newsletters, be clever with headings (short),
language (calls to action), images (eye-catching and relevant) etc.
You should include a sign-up function for your e-newsletter on every page of your website,
in which you should always tell users why they should sign up and show an example e-newsletter.
Also reassure them about frequency and ease of cancellation.
Reference:
Getting the most out of your e-newsletter

網站是用來開發更多的觀眾(on-line relationship）

True Lies (2)

Jeff Wall
via:MoMA
Wall曾表明攝影中真理(truth)是經常被挑戰的，探求真實（truth）與非現實（Fiction）、虛幻之間，
在actuality（現實）與fantasy（想像）之間的關係才是他創作的精神與目的。
在他的作品中，不論是帶有濃厚色彩寓言式的cinematographic攝影（如畫作的詮釋）或是即使是傳統的
documentary攝影（如landscape攝影或是靜物攝影），在在都傳達Wall對於真理的質疑，
現實與想像的猶疑不定、曖昧不明的意念。
(擷取自：Fragments dun discours amoureux)

Gregory Crewdson
via: Luhring Augustine



海珊被美軍活逮時，所藏匿的地下套房

Kitchen2004
Thomas Demand
利用紙版再製重現原始照片，將原本的政治、人文意涵洗去，刻意將人為痕跡抹除。



Paul Graham
via: Paul Graham Archive



Fran Herbello: In Our Own Likeness
表象與真實

True Lies (1)

Thomas Grünfeld - Misfits
via:Designboom

John Goto - High Summer
via:John Goto's gallery



Andreas Gursky
"關於電腦的運用，Gursky 並不是要虛構影像以欺人耳目，而是創造一種他認為的真實世界再現。
這個論點牽涉到「攝影與真實」、也牽涉到「視覺與再現」的複雜議題，其實將三度空間濃縮於二度平
面，攝影本質上就不代表真實，Gursky 受過紀實攝影的訓練，也熟稔各種商業攝影操弄技法，
他認為真實並不一定要直接取材於世界，可以透過人為的技法，創造他心中的世界觀。"
(截取自當代社會無機感的巨量化—Andreas Gursky 大型彩色影像研究 by羅惠瑜)



John Stezaker - Marriage : Collage
via:Lifelounge
Related:

Gwono Sang


David Meanix



Loretta Lux : Painting vs photography
“對我來說，在電腦上進行圖片後期處理就像在畫布上作畫一樣。”