코르풀라무 (korfulamu): 엄마 품에서 잠들 때 아이가 갖는 감정을 표현하는 말. 사랑이나 친밀감을 의미.

제니티스 (xenitis): 알렉산더가 소년으로부터 사는 단어. 영혼의 상태와 관계 있다. 이방인, 그것도 어느 곳에서나 이방인인 사람이 이 단어가 의미하는 바.

아르가티니(argathini): 알렉산더와 소년이 헤어질 때 나오는 단어. 영화의 중요한 주제와 관련. 원래 '매우 늦은 밤에'란 뜻으로 '시간이 다 되었다'는 것을 함축.

이 세 개의 단어는 알렉산더가 영화 속에서 던지는 중요한 세 개의 질문들과 관련된다.

"왜 우리는 사랑하는 법을 알지 못했을까?"
"왜 나는 망명의 삶을 살았을까?"
"내일은 얼마나 지속되는 걸까?"

앙겔로풀로스는 이런 질문들을 던지는 것이 <영원과 하루>라고 말한다.

-씨네21 478호, '영원과 하루', Cine Preview 중
홍성남/영화평론가 gnosis88@yahoo.com

국내 게임산업, 게임시장의 현황

하버드대 학생들이 가장 많이 읽은 책 Top 10

하버드대 학생들이 가장 많이 읽은 책 Top 10

1. 제인 에어 (샬롯 브론테)
2. 오만과 편견 (제인 오스틴)
3. 챔피언들의 아침식사 (커트 보네거트)
4. 백년의 고독 (가르시아 마르케스)
5. 태엽감는새 (무라카미 하루키)
6. 등대로 (버지니아 울프)
7. 롤리타 (블라디미르 나보코프)
8. 반지의 제왕 (톨킨)
9. 보이지 않는 인간 (랠프 앨리슨)
10. Beloved (토니 모리슨)

[Wikitree] Word of the Year chosen by Oxford University 옥스퍼드대 선정 올해의 단어

Word of the Year, chosen by Oxford University

Year	UK ver.	US ver.
2004	chav ‘B급문화’를 지칭하는 단어
2005	sudoku 일본이 유행시킨 숫자 퍼즐 게임	podcast ipod + broadcast
2006	bowered 코미디언 캐서린 테이트가 ‘bother’의 발음을 우스꽝스럽게 변형해 만든 신조어	carbon-neutral 탄소중립. ‘지구 온난화의 주범인 이산화탄소를 원칙적으로 줄이고 재생에너지 개발로 탄소를 없애는 것
2007	carbon 탄소	locavore local + vore. 자기가 사는 지역에서 가까운 거리에서 재배 및 사육된 먹거리를 즐기는 이들을 지칭하는 단어
2008	credit crunch 경제위기	hypermiling 휘발유 연비를 최대화하기 위해 자동차 등을 개조하는 것
2009	simples 영국 미어캣 광고에 등장한 단어	Unfriend SNS에서 쓰이는 ‘친구삭제’
2010	big society ‘큰 사회’란 의미로 영국 데이비드 캐머런 연립정부의 구호	refudiate refute + repudiate 논박하다 + 거부하다. 사라 페일린 전 알래스카 주지사가 만든 단어
2011	squeezed middle 전 세계 경제위기를 반영하는 ‘쥐어짜인 중산층’을 의미
2012	omnishambles 총체적 난맥상. 영국의 올림픽 준비에 허점이 많다는 의미로 사용됨	GIF 온라인에서의 이미지 전송을 빠르게 하기 위해 압축 저장하는 방식 중 하나
2013	selfie 스마트폰으로 자신의 모습을 직접 찍은 사진을 의미

[Twistedsifter] Astonishing Underwater Sculptures by Jason deCaires Taylor

Astonishing Underwater Sculptures by Jason deCaires Taylor [30 pics]

Categories: ART, LISTS Tags: · sculpture, water · Leave a Comment

Jason deCaires Taylor’s underwater sculptures create a unique, absorbing and expansive visual seascape. Highlighting natural ecological processes, Taylor’s interventions explore the intricate relationships that exist between art and environment. His works become artificial reefs, attracting marine life, while offering the viewer privileged temporal encounters, as the shifting sand of the ocean floor, and the works change from moment to moment.

Below you will find a small collection of his work. For more pictures and extensive details on each project, the Sifter highly recommends Jason deCaires official site. Enjoy!

JASON DECAIRES TAYLOR: ARTIST BIO

Jason deCaires Taylor is a man of many identities, whose work resonates with the influences of his eclectic life. Growing up in Europe and Asia with his English father and Guyanese mother nurtured his passion for exploration and discovery. Much of his childhood was spent on the coral reefs of Malaysia where he developed a profound love of the sea and a fascination with the natural world.

This would later lead him to spend several years working as a scuba diving instructor in various parts of the globe, developing a strong interest in conservation, underwater naturalism and photography. His bond with the sea remains a constant throughout Taylor’s life though other key influences are found far from the oceans. During his teenage years, work as a graffiti artist fired his interest in the relationship between art and the environment, fostering an ambition to produce art in public spaces and directing the focus of his formal art training.

He graduated in 1998 from the London Institute of Arts, with a B.A. Honours in Sculpture and Ceramics. Later, experience in Canterbury Cathedral taught him traditional stone carving techniques whilst five years working in set design and concert installations exposed him to cranes, lifting, logistics and completing projects on a grand scale.

With this range of experiences he was equipping himself with the skills required to execute the ambitious underwater projects that have made his name. Carving cement instead of stone and supervising cranes while in full scuba gear to create artificial reefs submerged below the surface of the Caribbean Sea, the various strands of his diverse life resolve themselves convincingly in the development of his underwater sculptures. These ambitious, public works have a practical, functional aspect, facilitating positive interactions between people and fragile underwater habitats.

Jason deCaires Taylor has gained significant interest and recognition for his unique work, with features in over 1000 publications around the world, including National Geographic, Vogue, USA today, the BBC, and CNN and he has made several TV appearances.

His international reputation was established in May 2006, when he created the world’s first underwater sculpture park in Grenada, West Indies, leading to both private and public commissions. Taylor is currently founder and Artistic Director of the Museo Subacuático del Arte (MUSA) in Cancun, Mexico.

JASON DECAIRES TAYLOR’S ‘VICISSITUDES’

Vicissitudes depicts a circle of figures, all linked through holding hands. These are life-size casts taken from a group of children of diverse ethnic background. Circular in structure and located five meters below the surface, the work both withstands strong currents and replicates one of the primary geometric shapes, evoking ideas of unity and continuum.

The underwater environment is much like that of the outdoors. An object is subject to changes in light and prevailing weather conditions. The cement finish and chemical composition of Vicissitudes actively promotes the colonisation of coral and marine life. The figures are transformed over time by their environment, and conversely as this happens so they change the shape of their habitat. This natural process echoes the changes exacted through growing up. Social interchange shapes this process, while conversely as the product of a particular society we in turn invoke change on the workings and dynamics of that environment.

The sculpture proposes growth, chance, and natural transformation. It shows how time and environment impact on and shape the physical body. Children by nature are adaptive to their surroundings. Their use within the work highlights the importance of creating a sustainable and well-managed environment, a space for future generations. Taylor notes that close to forty percent of coral reefs worldwide has been destroyed and that this figure is set to increase. His work reminds us that the marine environment is in a constant state of flux, and that this in turn reflects poignantly the vicissitudes, changing landscapes, of our own lives.

JASON DECAIRES TAYLOR’S ‘THE LOST CORRESPONDENT’

The Lost Correspondent depicts a man sitting at a desk with a typewriter. The desk is covered with a collection of newspaper articles and cuttings that date back to the 1970s. Many of these have political significance, a number detail Grenada’s alignment with Cuba in the period immediately prior to the revolution. The work informs the rapid changes in communication between generations. Taking the form of a traditional correspondent, the lone figure becomes little more than a relic, a fossil in a lost world.

JASON DECAIRES TAYLOR’S ‘GARDENER OF HOPE’

La Jardinera de la Esperanza (the gardener of hope), depicts a young girl lying on garden patio steps, cultivating a variety of plant pots. The sculpture is sited four metres beneath the surface Punta Nizuc, Cancun. The pots are propagated with live coral cuttings rescued from areas of the reef system damaged by storms and human activity. This technique, a well-established procedure in reef conservation, rescues damaged coral fragments by providing a suitable new substrate.





The sculpture, a synthesis between art and science, conveys a message of hope and prosperity, portraying human intervention as positive and regenerating. The young Girl symbolizes a new, revitalized kinship with the environment, a role model for future generations.

The interaction between the inanimate and living forms highlights a potential symbiotic relationship with the life systems of the underwater world. Over the past few decades we have lost over 40% of our natural coral reefs. Scientists predict a permanent demise of 80% by 2050. The Gardner of Hope is designed to focus attention on this important, often forgotten, ecological issue. Built into the base of the sculpture are specialized habitat spaces designed to encourage individual types of marine creatures such as moray eels, juvenile fish and lobsters.

JASON DECAIRES TAYLOR’S ‘ARCHIVE OF LOST DREAMS’

The Archive of Lost Dreams depicts an underwater archive, maintained by a male registrar. The archive is a collection of hundreds of messages in bottles brought together by the natural forces of the ocean. The registrar is collating the individual bottles and categorising the contents according to the nature of each message – fear, hope, loss, or belonging.





Various communities from a broad spectrum of ethnic, religious and cultural backgrounds have been invited to provide the messages, which, it is hoped, will document current values and aspirations for future generations to discover.





The sculpture is placed within an area of the national marine park, which had been previously damaged, by hurricanes and tropical storms. The choice of location aims to draw the high number of visitors to the region away from other sections of pristine reef allowing them space to develop naturally.

ARTIFICIAL REEFS

Oceans teem with microscopic organisms that are constantly drifting down towards the sea bed, attaching to and colonising on the way any hard secure surface, such as rock outcrops, and thereby creating the basis of a natural reef. Coral reefs attract an array of marine life (such as colourful fish, turtles, sea urchins, sponges, and sharks) and also provide enclosed spaces for sea creatures to breed or take refuge.





Only about 10 – 15% of the sea bed has a solid enough substratum to allow reefs to form naturally. In order to increase the number of reefs in these areas artificial reefs have recently been created from materials that are durable, secure and environmentally sensitive. These reefs appear to have been successful in that they have attracted coral growth which, in turn, can support an entire marine ecosystem.





One of the greatest benefits of artificial reefs is that they have lifted the pressure off natural reefs which, over the past few decades, have been over-fished and over-visited. By diverting attention to artificial reefs, natural reefs have now been given a greater chance to repair and to regenerate.

ALL INFORMATION AND PHOTOGRAPHY VIAUNDERWATERSCULPTURE.COM

[예술의 전당 클래식 스타 시리즈] 바리톤 서정학 공연 앙코르 목록

[앙코르] 10월 11일(금) 바리톤 서정학 공연엔 무려 9곡의 앙코르가 있었다.

1. 카를로스 가르델 / 영화 <여인의 향기> 중 '간발의 차'

2. 에두아르도 디 카푸아 / O sole mio

3. 아리랑

4. 로시니 / 오페라 <세비야의 이발사> 중 '나는 이 거리의 제일 가는 이발사' 

5. 요한 슈트라우스 / 라테츠키 행진곡

6. 롤프 러블랜드 / You Raise Me Up

7. 프랭크 시나트라 / My Way

8. 비숍 / 즐거운 나의 집

9. [마지막 앙코르] 즐거운 나의 집(Home! Sweet Home)

[Little White Lies] 15 Films To See At The BFI London Film Festival 2013

Only Lovers Left Alive (Jim Jarmusch) – Cult

Directed by Jim Jarmusch, this love story between vampires Tilda Swinton and Tom Hiddleston is what would play if there was an indie heaven, projected inside a giant coffin made of upcycled lace. Expect gothic imagery, grand emotion, genre riffing and an offbeat tone. The translucent and talented Mia Wasikowska is in the mix as a sisterly spanner in the works.

12 Years A Slave (Steve McQueen)

The third collaboration between director Steve McQueen and his star Michael Fassbender sounds as ambitious as Hunger andShame while also treading new storytelling ground. Fassbender plays the villainous plantation boss Epps, Chiwetel Ejiofor stars as Solomon, a slave struggling for dignity. McQueen regulars DoP Sean Bobbitt and editor Joe Walker are present to ensure a visually engaging ride.

We Are The Best! (Lukas Moodysson) –  Sonic

Swede Lukas Moodysson has had a curious career. Emerging 15 years with the smalltown comic delight Show Me Love he was hailed as the new Ingmar Bergman before disappearing into a cinematic no-man’s land. Early buzz around We Are The Best!suggests this coming-of-ager about two punk-loving adolescents in the ‘80s is return to what Moodysson does best.

The Double (Richard Ayoade)

Richard Ayoade’s second feature film is about a man driven wild by a doppelganger. Jesse Eisenberg plays Simon, a downtrodden office clerk besotted by colleague Hannah (Mia Wasikowska). A descent into madness is prompted by the appearance of a confident and successful double. Adapted from a Dosteyevsky novella, we’re expecting endearing, Submarine-like touches to find their way into this psychologically fearsome premise.

Under The Skin (Jonathan Glazer)

Scarlett Johansson plays an alien femme fatale in this adaptation of Michel Faber’s eerie and humanity-hating sci-fi novel. With Birth director Jonathan Glazer at the helm, its Glasgow setting never seemed so grim. Under the Skin has been bowling over all at Venice even as critics struggle to pierce the heart of this strange and haunting story. Read our review from the 2013 Venice Film Festival.

Tom At The Farm (Xavier Dolan)

Precocious 24-year-old French-Canadian Xavier Dolan has been very busy since he made his name with Heartbeats in 2010. Hipster soundtracks, stylised cinematography and self-casting ( you would if you looked like the male Helen of Troy) have divided audiences but early word on Tom at the Farm is this taut relationship drama dealing with sexuality will impress beyond Dolan’s usual (adoring) fanbase. Read our review from the 2013 Venice Film Festival.

The Armstrong Lie (Alex Gibney)

Alex Gibney is rapidly emerging as the most important documentarian of his generation, shedding light wherever there is murk. His muscular investigative style is brought to cycling superstar turned dope-scandalee, Lance Armstrong. Expect great access, clear storylines and a forceful drive towards truth.

Exhibition (Joanna Hogg) –  Dare

We do so love the well-observed civil awkwardness of Joanna Hogg's previous films, Unrelated and Archipelago. Long shots, stilted dialogue and a pathetic desire to stay polite even as sucked down by emotions are her calling cards. This third time round, Tom Hiddleston (Hogg’s good friend and regular collaborator) is in a supporting role while Viv Albertine and Liam Gillick play the lead artist couple dealing with the domestic furore of selling the house.

Half A Yellow Sun (Biyi Bandele) – Dare

Chimamanda Ngozi Adichie won the Orange Prize for Fiction with his 2006 novel about two sisters, Olanna and Kainen, trying to live a full life on the cusp of the Nigerian Civil War of the '60s. With Thandi Newton playing Olanna and Chiwetel Ejiofor (hi again) as her husband, Odenigbo, this adap promises to bring the war of a flailing relationship to the fore just as much as the actual impending war.

Locke (Steven Knight) –  Journey

Would you like to be locked in a car with Tom Hardy for 90 minutes? It's not for everyone, but The Hard man’s performance has been praised to the hilt in this single character study of a life unraveling across the length of a car journey.

Enough Said (Nicole Holofcener) – Laugh

Sadness rocked the industry in June when it was announced that James Gandolfini died of a heart attack at the age of 51. Enough Said was his penultimate film (Animal Rescue, out next year, was his last) and he’s got serious female acting cahoonas keeping him company. Julia Louis-Dreyfus, Catherine Keener and Toni Colette help to rock this mid-life-crisis rom-com.

Gone Too Far (Destiny Ekharaga) – Laugh

British/Nigerian comedian/director Destiny Ekharaga is one to watch according to festival programmer, Clare Stewart. Her first feature is a comedy set over the course of a single day in Peckham, south London. Family, loyalty and race are among the themes.

La Belle et la Bête (Jean Cocteau) – Love

At last year’s LFF, David Lean’s four hour masterpiece, Lawrence of Arabia was among the highlights. This year’s archival treasure of note is a restoration of Jean Cocteau’s 1946 gothic love story.

Norte, The End of History (Lav Diaz) –  Dare

Filipino auteur Lav Diaz favours epics, meaning this sub four-hour drama is the perfect (comparatively) tame entry point for the uninitiated. Loosely based on Dostoevsky’s (hi again) classic 1886 novel, 'Crime and Punishment', Diaz transplants the action to the Philipines where lush imagery takes the place of bleak Russian streets.

The Congress (Ari Folman) –  Cult

This follow-up to Waltz With Bashir takes on the revealing subject of ageing from the perspective of a Hollywood actress. Robin Wright plays... Robin Wright, who sells her digitised image to Miramount Studios. Blending live action and animation, The Congress looks like it could take satire to a whole new form-pushing plain.

For more information on the 57th LFF and to book tickets visit bfi.org.uk/lff

[the Guardian] Swedish cinemas take aim at gender bias with Bechdel test rating

Swedish cinemas take aim at gender bias with Bechdel test rating

Movies need to pass test that gauges the active presence of women on screen in bid to promote gender equality

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• Associated Press in Stockholm
• theguardian.com, Wednesday 6 November 2013 09.18 GMT
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Jennifer Lawrence as Katniss Everdeen in The Hunger Games, a film that would pass the Bechdel test and gain an A rating. Photograph: Murray Close

You expect movie ratings to tell you whether a film contains nudity, sex, profanity or violence. Now cinemas in Sweden are introducing a new rating to highlight gender bias, or rather the absence of it.

To get an A rating, a movie must pass the so-called Bechdel test, which means it must have at least two named female characters who talk to each other about something other than a man.

"The entire Lord of the Rings trilogy, all Star Wars movies, The Social Network, Pulp Fiction and all but one of the Harry Potter movies fail this test," said Ellen Tejle, the director of Bio Rio, an art-house cinema in Stockholm's trendy Södermalm district.

Bio Rio is one of four Swedish cinemas that launched the new rating last month to draw attention to how few movies pass the Bechdel test. Most filmgoers have reacted positively to the initiative. "For some people it has been an eye-opener," said Tejle.

Beliefs about women's roles in society are influenced by the fact that movie watchers rarely see "a female superhero or a female professor or person who makes it through exciting challenges and masters them", Tejle said, noting that the rating doesn't say anything about the quality of the film. "The goal is to see more female stories and perspectives on cinema screens," he added.

The state-funded Swedish Film Institute supports the initiative, which is starting to catch on. Scandinavian cable TV channel Viasat Film says it will start using the ratings in its film reviews and has scheduled an A-rated "Super Sunday" on 17 November, when it will show only films that pass the test, such as The Hunger Games, The Iron Lady and Savages.

The Bechdel test got its name from American cartoonist Alison Bechdel, who introduced the concept in her comic strip Dykes to Watch Out For in 1985. It has been discussed among feminists and film critics since then, but Tejle hopes the A rating system will help spread awareness among moviegoers about how women are portrayed in films.

In Bio Rio's wood-panelled lobby, students Nikolaj Gula and Vincent Fremont acknowledged that most of their favourite films probably would not get an A rating.

"I guess it does make sense, but to me it would not influence the way I watch films because I'm not so aware about these questions," said Fremont, 29.

The A rating is the latest Swedish move to promote gender equality by addressing how women are portrayed in the public sphere.

Sweden's advertising ombudsman watches out for sexism in that industry and reprimands companies seen as reinforcing gender stereotypes, for example by including skimpily clad women in their adverts for no apparent reason.

Since 2010, the Equalisters project has been trying to boost the number of women appearing as expert commentators in Swedish media through a Facebook page with 44,000 followers. The project has recently expanded to Finland, Norway and Italy.

For some, though, Sweden's focus on gender equality has gone too far.

"If they want different kind of movies they should produce some themselves and not just point fingers at other people," said Tanja Bergkvist, a physicist who writes a blog about Sweden's "gender madness".

The A rating has also been criticised as a blunt tool that does not reveal whether a movie is gender-balanced.

"There are far too many films that pass the Bechdel test that don't help at all in making society more equal or better, and lots of films that don't pass the test but are fantastic at those things," said Swedish film critic Hynek Pallas.

Pallas also criticised the state-funded Swedish Film Institute – the biggest financier of Swedish film – for vocally supporting the project, saying a state institution should not "send out signals about what one should or shouldn't include in a movie".

Research in the US supports the notion that women are under-represented on the screen and that little has changed in the past 60 years.

Of the top 100 US films in 2011, women accounted for 33% of all characters and only 11% of the protagonists, according to a study by the San Diego-based Centre for the Study of Women in Television and Film.

Another study, by the Annenberg Public Policy Centre at the University of Pennsylvania, showed that the ratio of male to female characters in movies has remained at about two to one for at least six decades. That study, which examined 855 top box-office films from 1950-2006, showed female characters were twice as likely to be seen in explicit sexual scenes as males, while male characters were more likely to be seen as violent.

"Apparently Hollywood thinks that films with male characters will do better at the box office. It is also the case that most of the aspects of movie-making – writing, production, direction, and so on – are dominated by men, and so it is not a surprise that the stories we see are those that tend to revolve around men," Amy Bleakley, the study's lead author, said in an email.