Monday, January 12, 2009

Cities of the future

Cities of the future
By Stefanos Evripidou

ANYONE WHO'S been to the archaeological site at Kalavasos-Tenta will know that a group of people gave up their nomadic lifestyle to settle there some 9,000 years ago.

They didn't know it at the time, but this community of pioneers developed an original civilisation called the Cypriote Aceramic Neolithic.

Ignoring the poor preservation of the site, the first thing that springs to mind is the sense of order to this prehistoric community. The cluster of circular-shaped buildings betrays a level of pre-planning in its organisation. Some are bigger than others, suggesting different uses, and even different rankings within the community. Well, it's nice to see some consistency over nine millennia.

It's a pretty impressive site for a bunch of islanders living 9,000 years ago, though you wouldn't exactly call it innovative urban planning. For that you'd have to fast forward to the third millennium BCE, with the rise of the world's three earliest urban civilisations: Mesopotamia, Egypt and the Indus Valley civilisation.

The level of forethought in the design and functionality of urban areas varied depending on the totalitarian rulers of the day, technological advances and agricultural development. The early cities going back some four thousand years boasted streets built in grid patterns, laid out to minimise noise pollution and maximise privacy. These ancient cities often had drainage systems, a nod to urban sanitation.

Further down the line were the Greeks showcasing Alexandria, the defensive-minded Romans with their square grid city planning and much later, the French boulevards of the 19th century, which brings us to the last 100 years when urban planning really developed into an organised profession.

In the meantime, globalisation brought down barriers in trade, the economy, culture, knowledge, information, communication and transportation. The shrinking of the planet also coincided with huge migratory flows to cities and urban settlements, which now make up more than 75 per cent of the world's population.

The difficulties are prevalent, with increased strains on infrastructure, transportation and communication networks, yet flows to the cities are also having a supra-municipal impact, with cities looking beyond their territorial and administrative limits.

Networks are being built and decisions taken on a multi-layered level, with greater exchanges between national, regional and local administrations around the world. Cities are spreading out, creating international networks in the process. Our futures are being built in the cities.

So what are today's urban challenges? Population growth, ageing population, urbanisation, social inequality, limited natural resources, mobility, pollution, destruction of the ecosystem and climate change to mention a few.

Following the transhistorical pattern of increasing needs and depleting resources, the buzzword on everybody's lips, from country leaders to CEOs and environmentalists is sustainability. But exactly how are we adapting our cities and landscapes to create a sustainable future?

Last November, 44 delegates from 29 countries in Asia and Europe were invited by the Madrid City Council to discuss sustainability, the future of cities and urban regeneration.

Alfonso Vegara, an architect planner, economist and sociologist all in one, addressed the conference. Vegara is President of Fundacion Metropoli, an international organisation that aspires to contribute globally to creating or developing cities as "ecosystems of innovation".

The global planner noted that in 1950, only 80 cities worldwide had a population over one million. By 2000, the figure increased to 365 cities with over one million souls. Now, there are over 19 cities with populations of over 10 million.

Vegara referred to the "Urban America 2050" project between 40 universities, a bottom-up network of "supercities" that wish to protect the environment and avoid sprawl in their cities as they grow larger and larger. One of the project's conclusions is that by 2050, middle America will disperse to the coasts, adding greater pressure to urban coastal areas. The only way for the US to maintain its lead in the world economy is through strategic planning and innovation to prepare for the changes ahead.

"In today's global economy, competition is not between countries but between cities and regions. Cities are fundamental for the competitiveness of companies, but they are also critical spaces for tolerance, solidarity and creativity. They are responsible for contributing to the sustainability of the planet," he said.

In a nutshell: "The greatest challenge of the 21st century is building a sustainable future through a culture of innovation. Over the long term, cities are not the problem, but the solution of 21st century challenges."

One easily identifiable challenge is how to meet our energy needs. Less than eight per cent of total energy consumption around the world comes from renewable energy sources like solar, wind or biomass energy. As we continue to guzzle energy, we are experiencing loss of biodiversity, water shortages, climate change and so on.

"Without leadership, cities cannot compete. Building cities of the future is a huge challenge in all aspects, social, environmental and political," pointed out Vegara.

"Innovation does not happen by chance. Cities of success must have the capacity to identify their own identity, their component of excellence along with the creativity to inspire new projects, and have a strong dialogue with other competitive cities and clusters of excellence," he added.

In other words, for a city, big or small, to tackle this century's challenges and create a sustainable future, it has to be able to identify its strong points and work on them in a creative fashion, while maximising its connectivity (networks) with other innovative cities.

Vegara gave a few examples of innovative super cities, referring to the bottom up approach in Manhattan, where the meatpacking district has recently attracted a creative class of people who have upgraded a very depressed area.

Philadelphia, which has 80 universities and an excellent capacity to attract talent is now working on trying to keep that talent by creating an area intersected by the Avenue of the Arts and the Avenue of Technology.

Singapore whose capita per income was one third that of Spain in 1965 now has a per capita income 70 per cent higher than Spain after focusing on its own component of excellence. It is currently engaged in a top-down experiment called One North to create a new generation of technology parks dedicated to multimedia and biotechnology. The idea is to combine working areas with living areas to create a symbiosis between business ecologies and urban life, where residents, artists, venture capitalists live and work together in the same spot. By creating such an exceptional location, they hope to attract and retain diverse talent.

The Basque city of Bilbao employed knowledge-based innovation and architecture, allowing them to reap the benefits of the "Guggenheim Effect", whereby the Guggenheim Museum brought global attention to the city and greatly enhanced its self-esteem to even higher levels.

"They say Jesus was very humble, because having had the chance to be born in Bilbao, he decided to be born in Bethlehem," joked Vegara.

The city now enjoys one of the best metros in the world, designed by renowned architect, Norman Foster.

La Rioja is an example in agricultural innovation where the wine industry was transformed into a new tourist destination by creating cathedrals of wine, great architectural designs showcasing the culture of wine.

In Namibia, 60 per cent of the capital's population live outside the city in the Katutura township, which in the local language means "the place where nobody wants to live".

The Fundacion Metropoli convinced international artists to share their art with Katutura, using the township and the morphology of the land as one great big canvas. By splashing colour across the town, Katutura has become a tourist destination, increasing the township's self-esteem through art.

One of the main points repeated throughout the debate on sustainable cities was the need to have a strategic approach. Madrid City Council is a case in point, having employed Madrid Global to work on a long-term strategy to "internationalise" the Spanish capital. The aim is for the city to reach the same global relevance and connectivity as London, Tokyo, Paris and New York. It is no surprise then that Madrid is also vying to host the 2016 Olympics. It worked for Barcelona in 1992. It also worked for Valencia after hosting the Americas Cup. Global events, especially sporting ones, have consistently proved to be catalysts for urban renewal and internationalisation of a city.

So, going back to urban planning, how can we create sustainable cities of the future?

Peter Archer, director of regeneration and housing services at The Old Rectory in Britain stressed that any change or development needed community engagement to be successful in the long run.

"You need an accountable local champion, and some private investment to give a sense of ownership to the community," he said.

Of course, community engagement does not always provide the results urban planners want. Over a million people in Manchester recently voted against imposing congestion charge in the city. City planning and technology play an interlinked role in providing problems and solutions, particularly in transport.

In South Korea, citizens are able to use UV remote controls to control everything in their flat from great distances, lessening travel needs to their homes.

In Tokyo, the train system is highly complex and effective, allowing millions of people to travel to work and home on a daily basis.

Singapore and Estonia provide Wi-Fi access almost everywhere, with residents considering internet access almost a human right. Estonia even employs education buses to go round villages training people on internet use. However, not all countries have the same concerns, like Cambodia for instance, where the percentage of internet users has yet to reach double figures.

In one town in Pakistan, petrol credits are given out in a limited fashion, encouraging people to use bicycles. Barcelona has adopted a bike-sharing system where by residents can pick up public bikes from multiple points across the city.

In Lithuania, there is a website offering cooperation to car pool with someone going in the same direction, showing initiative for greater social responsibility.

It is obvious that there is no standard model solution for every city. Each area needs to find its own solutions, but certain key elements can be shared by all. A successful city needs to possess a number of important elements: innovation, diversity, skills, connectivity, living space quality and leadership. A future city needs to blend public and private spaces so work, home and entertainment are close enough to lessen transport needs. Cities need to be places of opportunity, creating healthy spaces that draw people away from their computers.

As one of the delegates noted, cities are not natural phenomena. They must be developed to allow freedom of thought while maintaining a safety net, so your neighbour does not grow hungry without you knowing.

Malaysian urban planning expert, Dr Goh Ban Lee highlighted two approaches to urban management. One is the building of integrity and social responsibility so you don't need CCTV cameras everywhere or even road bumps. "Like in Germany and Japan, though that took up to 200 years to achieve," he said.

Or the short-cut approach: massive state intervention. Lee referred to Singapore, using the example of the American youth who was punished with painful lashes by the authorities after falling foul of the country's strict vandalism laws.

It's a question worth asking, do you compromise on liberty for clean and crime-free streets?

Lee also stressed the dangers of a flawed legal system.

"When we see non-compliance, like the many illegal food hawkers on the streets in Malaysia, they are there because the system is flawed. If they obeyed the law they would starve. The system requires non-compliance for their survival," warned Lee.

Finally, the debate ends with a series of pertinent questions. What kind of future cities do we want for Cyprus? What is the long-term strategy for our capital, Nicosia? What is our component of excellence and how can we create an ecosystem of innovation which allows us to live in a sustainable manner while putting our cities on the world map? Do we need a bottom-up or top-down approach or a bit of both?

Do citizens want to see "common sense" cities, where public and private spaces attract human contact, where there is trust, co-existence and sustainable living intertwined with technologies that support the infrastructure?

Do we want our cities to be friendly, safe, comfortable, noise and pollution-free, providing us with confidence to interact with other residents?

If yes to any of the above, then what are our plans for capacity building, urban planning and urban management? What compromises are we willing to make and what is our strategy?

If we really are to prepare for a sustainable future, these questions have to be asked and answered by city leaders and residents together, starting today.

Copyright © Cyprus Mail 2008

www.cyprus-mail.com (January 11, 2008- feature)

Saturday, January 03, 2009

周星驰与后现代@Stephen Chow & Postmodernism

周星驰是我的偶像。以前有个网站叫做“无厘头部落”(www.zhouxingchi.com),登入主页面,看到很多不同的论坛名称,其中一个让我吃了一惊:后现代。  喜欢了周星驰这么久,还不知道,原来他也跟“后现代”有关系。突然间,似乎有点明白之所以研究类似“后现代”这些概念的学科叫做社会学(sociology),是因为它的研究对象就是社会本身,而它的研究结果及结论也可以用来解释,至少是套用在社会现象上面。

  那么,周星驰跟“后现代”到底有没有关系呢?

  很多影评家都说周星驰电影的一大特色就是“小人物的故事”,而且这些故事还有一个共同的特点,就是这个“小人物”一定可以克服困难最终取得成功。这一特色,跟以前香港流行的电影有所不同。无论是李小龙、周润发、或者是成龙,他们扮演的都是一些英雄,这些角色满怀正义感,不畏艰难险阻,最终凭着一腔热血和过人的智慧及武功取得胜利。如果说这样的英雄模式是现代的,那么,周星驰的小人物模式显然是后现代的了。这些人物可能是茶餐厅的伙计(《行运一条龙》),可能是靠骗术混饭吃的流氓(《情圣》),也可能是跑龙套的小演员(《喜剧之王》)...而且,很多人物在刚刚出场的时候往往有一些令人厌恶的性格,最后却奇迹般地作出善良的壮举。下面以《百变星君》一片为例,讲解这种特色。

  在这部电影中,周星驰饰演的男主角李寿星是个富家子弟。他狂妄,因为他爸爸是学校的校董,所以他就在学校里胡作非为;他好色,每天都有无数泳装美女陪伴;他顽劣,日日以发明一些新的手段来整蛊同学为乐;他贪财,为了钱财不肯认亲生父亲;他绝情,在风雨交加的夜晚把生父赶出门。所有这些性格特征,都告诉观众这不是一个好人。但是,当他和生父面对黑社会追杀,在两个人只能有一个人存活的生死抉择之时,他竟然说出了这样的话:“我一辈子也没有对你好过,今天一次还给你”,他救出了生父,自己却被炸得粉身碎骨。在这之前,没有任何转折,没做任何交代,按照以往的观点,这样的情节安排是不合乎逻辑的。但是周星驰的电影就是这样,观众不会觉得唐突,只会觉得感动。在这之后,这部原本是闹剧的电影又变成了科幻片,一个博士的研究成功,只要保存人的两个器官就可以再造,使这个人死而复生,而且在大脑中植入电子芯片之后,更是可以千变万化,就像神话中的孙悟空一样。得到新生的男主角痛改前非,使一班顽皮的学生变得努力读书,也得到了女主角(梁咏琪饰)的爱情。故事发展到这里,似乎接近尾声,但是“后现代”的周星驰是不会这样安排的。在婚礼上,当年追杀他的黑社会再次出现,在彼此的打拼中一度置他于死地。谁想他再次复活,最终取得了这场正义与邪恶之战的胜利。看到这里,愕然发现,这个男主角已经完全变成了正义的化身,这转变没有一个循序渐进的过程,却也丝毫没有突兀之感。看完结尾,观众早已不会理会片中的男主角当年为什么得罪了黑社会,而事实上,是由于他跟黑社会大佬的女朋友去酒吧被撞见。

  以让人厌恶的性格做开头,却以使人佩服的行动做结尾,这样的设计其实并不算少见,可是周星驰的演绎是不同的。因为在他诠释的角色及故事中,不存在通常被人认可的“逻辑”,所以被称做“无厘头” 。而这种“无厘头”,恰恰体现了“后现代”的特征:对现代传统的否定,带激进的,革命性的;以多元论为基础的思想及艺术风格;不确定性、不清楚、不协调、变化、边际化、及有差异。

  在《文化理论》(“Cultural Theory”)之中,对于后现代有这样的论述:Postmodernism has several dimensions. It refers, first, to an aesthetic and artistic style that rejects the aesthetic and artistic codes of modernism. It also encompasses a philosophical and theoretical position that emerges from post-structuralism and rejects the tenets of modernist thought.也就是说,后现代是可以有多个衡量标准的。首先,后现代的美学及艺术风格不同于现代主义;而且,后现代这个概念也包含一些从后结构主义引发的哲学及理论的层面,这一层面反对现代主义的原则。

  这就正好可以用来解释在上面的例子中一些看似矛盾的情节安排。周星驰的艺术风格不同于早已被人接纳和认知的风格,于是被认作无厘头。而他也不会因此就改为遵循以前的约定俗成的规则,这也是后结构主义,后现代主义的表现。

  现在来看他在另一部电影中的表现,《大内密探零零发》。周星驰饰演的零零发是“保龙一族”的成员,负责保护皇上。开场的时候,四打高手各展绝技,零零恭会金钟罩铁布衫,零零喜会虎鹤双行拳,零零财会碎石脚,而零零发只是表演了一连串极不象样的前滚翻,之后开始展现自己的发明。接下来,就说说这些令人称绝的发明。这些发明包括利用磁石特性的护身牌、手动风扇、抽油烟机、按摩床、鸳鸯铲、左边扫帚右边畚箕的鞋子、防止切菜时候伤到手的假手、还有类似机关枪的可以发射钢珠的小炮等等。这些东西,大部分在生活中早已确有其物,可是经过周星驰的重新创作之后,让人不禁捧腹。而且这些发明大多不止出现一次,对于故事情节的发展有很大作用。这部分内容构思确实精巧,但是更加令人拍案叫绝的是在影片快要结束的时候突然插入上映的一场电影颁奖典礼。剧中的男主角在经过了一番努力的表演之后却没有得奖。而几位演员的对话更是意味深长,以下我凭着记忆作摘录(国语版):

零零发(周星驰饰):这部戏我从头带到尾,堪称水准之作,有目共睹,你竟然把奖给那家伙(零零发的岳父)?!
助手(黄一飞饰):你也不错,可是表情做作,略嫌浮夸。
零零发:那些都是世俗人对我的看法,难道连你也不识货?
零零发老婆(刘嘉玲饰):... ...老公,你真的不是很会演戏。
助手:总而言之一句话,你-不-懂-演-戏!  

不知道这段对白是不是周星驰的内心独白,努力却不被人认可,创新精神不被理解,佳作不少,票房也很高,但是一直很少得奖的周星驰在电影中安排这样的情节是否出于自嘲不得而知。但是,可以知道的是,无论是这样的设计安排,抑或是周星驰电影本身,都体现着浓烈的后现代主义色彩。除了周星驰,还有哪个电影人会在电影中突如其来安排这样的场景,并以自嘲的方式试图解释?这就验证了如下的说法:后现代主义企图抹去固有的身分,然后按照个人的取向,再任意为任何东西定位(Postmodernism operates in ideological ways to prevent people from connecting with their history and collective identity. It generates confusion and celebrates the superficial)。虽然周星驰在电影中并不是试图将自己的社会地位重新定位,但是,我们可以很明显地感觉到他在进行着自己的艺术的再定位过程。

  1992年,周星驰凭着一部极卖座的电影登上东南亚影帝宝座,这部电影叫做《审死官》。下面我将就着这部电影的特点来解释周星驰跟后现代之间的联系。

  周星驰在影片中饰演著名状师宋世杰,开头还是惯用的手法,男主角昧着良心替别人打官司,结果遭到报应,12个孩子没有一个可以活到一岁。终于,在他妻子(梅艳芳饰)的劝说下决定封笔,并发下毒誓。可是,后来遇到一个含冤的女子,宋世杰冒死替她打官司,险些家破人亡,还是靠装疯卖傻逃过一劫。后来在公堂上神机妙算,依靠自己的伶牙俐齿和超快的反应,终于打赢了官司,伸张了正义,惩治了“官官相卫”的恶人。

  在《审死官》中,以最后公堂上的对决最为精采。起起落落,几经周折,当中不乏利用思维惯性的小骗局,终于使得真相大白,民冤得雪。其中有这样一段,宋世杰夫妇为了让知县何汝大(吴孟达饰)承认曾经收取山西布政司五千两银子的贿赂,合演了这样一段闹剧:

(从宋妻的背囊中掉出一锭官银)
宋世杰:老婆,过来。怎么会有锭官银在你身上?
(经过一番搪塞之后)
宋妻:是何大人的。
宋世杰:你勾引我老婆!
(这是,何汝大的妻子从后面跑出来)
何妻:你勾引人家老婆!
宋妻:不是,何大人买房子,我是中间人,这是订金。
(经过几次争吵之后)
宋妻:房子是何夫人买的。
宋世杰:买房子花了多少?
宋妻:五千两。
何汝大:你竟然花了五千两跟人家买房子!
何妻:我哪有五千两?
何汝大:你没有?!
(这个时候,宋世杰在一旁提醒)
宋世杰:山西布政那五千两呢?
(已经开始露出马脚)
何汝大:那五千两我都不敢动,你竟然...
何妻:那五千两我没有动过。
(接下来,是最精采的一幕,宋世杰引出事情的真相)
宋世杰:那山西布政那五千两现在在哪里?
何妻:山西布政那五千两在我房里!
宋世杰夫妇击掌欢呼:哦,山西布政那五千两在她房里!  

这样一点点套出事实真相的手法在周星驰的电影中几次出现(情节类似的还有一部《九品芝麻官》,影片《算死草》中也有一段这样的表演),虽然略显雷同,但是这样的技巧屡试不爽,收效非常好。这样出其不意的构思,让我想到了在《文化理论》(Cultural Theory) 一书中有一个章节叫做“艺术与文化中的后现代”(Postmodernism in Art and Literature),当中说到后现代在艺术及文化领域里面有着独到的审美标准。这无疑最好的描述了周星驰电影的特点。就像刚刚举例的公堂对决,如果按照以前的现代主义观点,可能把这视作不被认可的方法,但是在后现代概念中,这就是最恰当的安排及表演。

  后现代主义还有一个特点在周星驰的电影中十分显著,那就是反精英主义。“后现代的作品常常向高层次文化同低层次文化之间的界线发起挑战”(Postmodern work can also frequently challenge the boundaries between high and low culture),这一特色在《食神》中有所体现。

  这里要说的不是这部电影的故事内容,而是其中的一道菜式,那就是周星驰饰演的男主角斯蒂芬周在最后的厨艺大赛上最后完成的作品──黯然销魂饭。而事实上,这是一碗叉烧饭。当初男主角在庙街流落街头,正在饥饿至极的时候,女主角火鸡(莫文蔚饰)给他作了一碗叉烧饭,所以他觉得那是他吃过的最好吃的东西。那样的街边小摊,是市井小民经常出没的场所;而厨艺大赛却是顶级菜肴云集,面对对手的极品用料作成的“佛跳墙”,男主角只是作了一碗看似极为普通,甚至随便在夜市就可以吃到的叉烧饭,却使评委感动的落泪(当然是在洋葱的帮助下)。如此把所谓的“低层次文化”和所谓的“高层次文化”融为一体,与后现代主义中的反精英主义吻合。

  后现代主义还有一个相对具有一定独立性的特色,就是“全球化”。随着全球性文明的兴起和国民国家(nation-state)的衰落,新的世界主义理想逐渐呈现出来。这一特点反映在周星驰身上,就不再是他的电影本身,而是他的电影的运作过程。曾经传闻和里活(Hollywood)要收购《食神》的英文版版权,改编剧本,重新拍一部美国版本。虽然最终由于周星驰不满意剧本中把美国快餐描述成比中国菜更好吃的东西而使合作计划泡汤,但是,从这种合作意向可以看出周星驰及他的电影在全球化大趋势的影响下,也尝试着一步步走向更广阔的空间。  周星驰在2001年推出的新片《少林足球》中,对于自己的风格作了一定幅度的修整。之前有人指出周星驰的电影靠语言搞笑,一旦被翻译成其它语言,将大为失色。我们可以看到在《少林足球》中,大量的喜剧动作代替了很多喜剧语言。而且,就是在动作方面,周星驰也逐渐减少以前惯有例如张大嘴巴的夸张表演,这些变动说明,他也在为自己的艺术风格迈向全球化而努力。

  李欧塔[法国](Jean-Francois Lyotard, La condition postmoderne)在《后现代处境:关于知识的报告》(“Rapport sur le savoir”,刘国英翻译)的导言中这样写道:“后现代”所指的,是经历过各种转变后文化的状况;这些转变影响着科学,文学和艺术的游戏规则。  经过了以上的种种论述,我们可以相信,周星驰及他的风格,正是这种不一样的,经历了并且经历着转变的文化,也必然影响到电影的评判及品味标准。  周星驰是后现代的。同时,是我的偶像。所以,我也在一定程度上接受了后现代主义的观点,也都是后现代主义下的产物。

Source: http://www.mtime.com/my/sissilenoir/blog/294749/index-2.html#Comments