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Project 的 Title 遲遲未能決定, 因此方向也不能夠很明確的鋪陳出來, 還記得大三下第一次開始研究的心情, 那時候什麼都不會, 所以會有初生之犢不畏虎的膽識. 一路也懵懵懂懂地理出了一番頭緒. 如今, 見識過了相當多卓越的研究, 也漸漸地明瞭自己的本領, 對於提計畫的焦慮不減反增, 過往的經驗反而成了一個絆腳石. 而且會常常陷入一種迷思, 我做研究究竟是為了什麼, 能對人類帶來多少幫助? 我如果領了經費, 能否不愧撥錢給我的單位嗎? 越想越多, 於是就卡住了, 上腦果然是很要不得的.

Nightmarket 2007

夜市, 我們所創造的叢林, 讓置身其中的一切, 有了截然不同的聽覺體驗. 鬧哄哄的夜市喧鬧, 迴盪不已的自身耳語, 都是新鮮的一次感官歷程. 五花大綁的裝置藝術, 隧道提供了絕佳的擺設條件, 讓等待釋放的聲波, 享受無比自由的碰撞. 作品與士涵, 仲理, 珮茵, 芷瑄一同完成, 也獲得台灣國際兒童電視影展負責人王耿瑜邀請參加明年的影展. 檔期相當尷尬...不過仍然值得期待~

MMM 2008

"Probabilistic Estimation of a Novel Music Emotion Model" is my new accepted paper and will be presented in the 14 th International MultiMedia Modeling Conference @ Kyoto, Japan, on 9~11, January 2008. I believe I will hold this chance to contribute my idea on topic "Music and Emotion" in this conference.

尚青春否?

搜尋電影配樂文章的同時, 偶然看到這篇文字特別有感觸, 而且網頁的配樂是情書
http://blog.pixnet.net/kytu/post/1942176 順道拿出了電影重新咀嚼一番, 戴了好的耳機, 電影裡的未曾察覺的聲響格外逼真, 校園電影就是有青春的魅力, 如同不能說的祕密一番, 逝往的情懷總是詩篇般地美, 這半年來, 親眼目睹了兩個年輕人的發光發熱, 而我卻是停留在原地許久許久
我, 很想用力, 心卻無法提起精神, 是憂鬱了吧, 是憂鬱了吧, 是憂鬱了吧,那種無間道的惡循環心情, 每天每夜似乎沒有什麼不同的罪惡感受揮之不去, 以前總是滿滿的行程, 那種陽光般的精彩, 就像印和闐的魔力被馬車奪去般, 巴不得回到那個沒有犯錯的時間點, 讓每日在沙發上疲憊睡去的淚痕能拭去, 巴不能回到那個沒有暖化的, 沒有汽機車的, 沒有電腦網路的, 沒有謾罵的, 沒有利害衝突的, 沒有第四台的, 沒有數不盡的表面進步的, 姑姑寄了張我小時後的照片給我, 真愛這種泛黃的美感, 一下拉的好遠好遠.距離遠了，心也遠了，然而，唯一不變的是偶而想起。時空的魔力, 還有後續的威力, 持續上演中, 誰也無法避免年華老去. 重要的是, 這個曾經存在過的靈魂, 有沒有讓他自己曾經深信不疑過自己.

Amazing Kenting!

Secret

不能說的秘密, 心情其實錯綜了那個寒假的臨演, 過去幾年的懵懂回憶, 暑假兩訪淡水的遊歷...
還有對於周董才華的羨慕, 黃秋生的演技及尊敬, 杜篤之的配音與後製, 當然...第二女主角很可愛...親自見證了一個明日之星的崛起...

Gödel's friendship with Einstein

Gödel had a most distinguished coach for his citizenship exam: Albert Einstein, who had earlier earned his own citizenship and who was concerned that his friend's unpredictable behavior might jeopardize his chances. Einstein accompanied Gödel to the hearing. To everyone's consternation, Gödel suddenly informed the presiding judge that he had discovered a way in which a dictatorship could be legally installed in the United States, through a logical contradiction in the U.S. Constitution. Fortunately, the judge, who was apparently a very patient person, took this in good part and awarded Gödel his citizenship. (See [1][2] .)Einstein and Gödel had a legendary friendship, shared in the walks they took together to and from the Institute for Advanced Studies. The nature of their conversations was a mystery to the other Institute members. Economist Oskar Morgenstern recounts that toward the end of his life Einstein confided that his "own work no longer meant much, that he came to the Institute merely…to have the privilege of walking home with Gödel". (Rebecca Goldstein, ISBN 0393051692, p 33)

Atrabilious

1 : given to or marked by melancholy : gloomy
*2 : ill-natured, peevish

"Atrabilious" is a somewhat rare word with a history that parallels that of the more common "melancholy." Representing one of the four bodily humors, from which it was once believed that human emotions originated, "atrabilious" derives from the Latin "atra bilis," literally meaning "black bile." The word "melancholy" derives from the Greek "melan-" and "chole," which also translates as "black bile." In its original sense, "atrabilious" meant "melancholy," but now it is more frequently used to describe someone with an irritable or unfriendly temperament. A word with a meaning similar to that of "atrabilious" is "splenetic," which is named after the organ in the body (the spleen) once thought to secrete black bile.

Performance listening

When performers listen to works that are part of their own repertoire, they may experience a form of vicarious performance. For conductors, instrumentalists, and vocalists, arms, fingers, and vocal cords may subliminally re-create the gestures and performance actions involved during actual performance. In such cases, listening may be mediated by an acute awareness of the listener's body. For example, musical passages that are difficult to execute may evoke a heightened sense of tension -- whether or not the sonic gesture conveys some musical tension.

Kinesthetic listening

This form of listening is characterized by the auditor's compulsion to move. Feet may tap, hands may conduct, or the listener may feel the urge to dance. The experience is not so much one of `listening' to the music, as the music `permeating' the body. Kinesthetic listening is best described as `motivation' rather than `contemplation'.

Emotional listening

Emotional listening is characterized by deeply felt emotion. The music engenders feels of sorrow or joy, resignation, great satisfaction. Occasionally there will be overt signs of emotion, such as the sensation of a lump in one's throat, imminent or overt weeping, or smiling. The emotions may be related to current events in the listener's life, but the feelings are more apt to seem non-specific and to arise `from nowhere'.

Ecstatic listening

The term `ecstatic listening' is meant here in a very concrete and technical way. On occasion music will elicit a sensation of "shivers" localized in the back, neck and shoulders of an aroused listener -- a physiological response technically called frisson. The frisson experience normally has a duration of no more than four or five seconds. It begins as a flexing of the skin in the lower back, rising upward, inward from the shoulders, up the neck, and sometimes across to the cheeks and onto the scalp. The face may become flush, hair follicles flex the hairs into standing position, and goose bumps may appear (piloerection). Frequently, a series of `waves' will rise up the back in rapid succession. The listener feels the music to have elicited an ecstatic moment and tends to regard the experience as involuntary. Goldstein (1980) has shown that some listeners report reduced excitement when under a clinically-administered dose of an opiate receptor antagonist, naloxone -- suggesting that music engenders endogenous opioid peptides characteristic of pleasurable experiences. Sloboda (1991) has found evidence linking "shivers" responses to works especially loved by subjects.

Distance listening

Distance listening is characterized by an ongoing iterative recapitulation of the music up to the current moment in the work. As the music unfolds, the listener attempts to thread together past events and to build a complete scenario or over-view of the entire work. The distance listener is apt to make mental notes of the advent of new "sections" in the work. Distance listening may be likened to the task of memorizing a list of words. Beginning with a few words, the memorized words are iteratively repeated, each time adding a new word to the memorized list.

Directed listening

Directed listening entails a form of selective attention to one element of a complex texture; the listener purposely excludes or ignores other aspects of the music. For example, the auditor may attend to a single instrument for a short or prolonged period of time. Directed listening may ensue as a result of a listener's special interest, or may result from suggestions made by others. When a listener is concurrently viewing a notated score, it is possible that a visual attraction or interest in a particular aspect of a score may cause the listener to selectively attend to the corresponding sounds. The Norton Scores use a highlighting method to draw attention to various parts in orchestral scores. These scores thus dispose listeners to adopt a directed listening mode.

Memory scann listening

When an auditor knows a work by memory, a special type of signal listening called scan listening is possible. An auditor may approach a memorized work with a question concerning the occurrence of a certain event: For example, the auditor may be interested in knowing whether the composer has used timpani in a given work; or does the word "but" occur in the lyrics to "Row Row Row Your Boat?" The scan listener will mentally execute a speedy rendition of a work in order to answer a given question. What distinguishes scan listening from signal listening is that the auditor tends to be impatient: the tempo of the music can be doubled or quadrupled to advantage for the scan listener.

Innovation listening

A variant form of allusive listening is one based, not upon the recognition of similarities to previous compositions, but upon the identification of significant musical novelty. Innovation listening is characterized by a vigilant listening-in-readiness for a musical feature, gesture, or technique that is unprecedented in the listener's experience. Composers may be especially prone to engage in innovation listening.

Feature listening

This type of listening is characterized by the listener's disposition to identify major "features" that occur in the work -- such as motifs, distinctive rhythms, instrumentation, etc. The listener identifies the recurrence of such features, and also identifies the evolutions or changes which the features undergo. The "feature listening" mode may be considered superficially to be a creative union of two other listening modes: retentive listening (identification and remembrance of features), and signal listening (recognition of previously occurring features).

Fault listening

Fault listening occurs where the listener is mentally keeping a leger of faults or problems. A high-fidelity buff may note problems in sound reproduction. A conservatory teacher may note mistakes in execution, problems of intonation, ensemble balance, phrasing, etc. A composer is apt to identify what might be considered lapses of skill or instances of poor musical judgment. Fault listening tends to be adopted as a strategy under three circumstances: 1) where an obvious fault has occurred, the listener switches from a previous listening mode and becomes vigilant for the occurrence of more faults (this is a type of signal listening); 2) where the role of the listener is necessarily critical -- as in tutors, conductors, or music critics; or 3) where the listener has some a priori reason to mistrust the skill or integrity of the composer, performer, conductor, audio system, etc.

Retentive listening

The goal of "retentive listening" is to remember what is being heard. Retentive listening is most commonly encountered when music students perform ear training or dictation exercises. Unlike many other modes of listening, retentive listening is very much a problem-solving behavior. A composer in the process of improvising might use retentive listening skills to recall a fleeting passage or an appealing juxtaposition of notes.

Identity listening

A listener engaged in asking any "what is" question regarding the music is engaged in what might be called "identity listening." Typical "what is" questions are: What is this instrument I am listening to? Is that a Neapolitan sixth chord? What is the meter signature? What language are the lyrics in? Who might the composer be? What is the style of this music called? etc. Identity listening often employs allusive listening as a problem-solving tactic.