一. 10.27 早上，小葉來電，他是1987- 88年竹科的美商AMP的司機 (主要任務是4位住台北的經理上下班之接送。) 現在，兒子已經快大學畢業。他們還有同事聚會，說希望下次我可參加。我從來當小葉是弟弟，他的發展遠優於我大弟。到1990年我在DuPont，知道他在做雜誌的經銷，我曾以公司名義贊助之。
二. 東海班長小伍的通知："我們北部同學會聚餐是在本週五（10/30）晚七點兄弟飯店台菜廳。目前報名：海偉、海狄、老利、老梁、小伍、青松、漢清。"
三. 晚上約10點1刻，決定快走回溫州街，在新生南路給同學林世堂博士叫住。他們一行數人正在找地方閒聊或共商大計。(約十年前，世堂寫博士論文時，有次到我處對面的"高等教育"書點買中國的論文點數，我們有機會閒聊，而今天該書店正在搬家....) 世堂關心我與彭兄沒參加回母校的聚會；我說閒慣了，想到參加百人聚會有點不自在，更何況不知如何回饋母校.....談的不少，走了之後才想起應該將88號2樓的辦公室借他們開會。
校友的刊物
2013年起訂耶魯大學在FB的刊物，很可喜，經常有校園建築物細部，要大家猜猜這是那兒。
2015年10月14日戴明博士生日，作一場他與Peter Drucker在紐約大學企管學院GSA的友誼。後來，嘗試將該主題寫成一書，繼續找資料，發現GSA校友發行SternBusiness 季刊，Drucker過世後有一期專刊，主題文章由過去3任院長共同寫作。
後來我讀到Stern商學院的電子刊物，是訪問品管大師Joseph Juran (1996年我翻譯出版他的大著【管理三部曲Mnagerial Breakthrough】的孫子，現在在Stern教書。
Stern商學院今年在某評鑑系統是全美MBA學校的第11名。
柯市長/台北市的限制相當多，譬如說，
1."豪言8年超越新加坡"。此城市80~90年代我很熟。看看當時和現在的新加坡幣值，就可以知道這是30年的累積。過去16年，馬郝兩市長有什麼"遺澤"？
2. 我看過首爾此川的新生記，所有的設計者和利害相關人的觀點：從點子到韓國李市長/總統的經營.....。
在網路上讀中國的譯者草櫻過世的消息，說他個人翻譯了托爾斯泰"全集"。我有興趣研究一下日本的翻譯情形：20世紀出就完成了："また最初の全集も大正期に出版されている[38]"，不過現在的Wikipedia項目很少提。中文說："列夫·托爾斯泰著作等身，直到現在，他所有的作品合共有90冊。以下為他的部份作品。"https://en.wikipedia.org/wiki/Leo_Tolstoy_bibliography
吳濁流《談西說東》台北：臺灣文藝雜誌，1969 (吳濁流自稱"詩痴")
這可能是吳濁流1968年8月26起的環球遊記82天日記 (20國家，41地方，當時台灣搞復興中國文化運動，吳先生記英國倫敦只有4所大學，不像台北學店多，到處是大學生....)，頁1-173 (10萬9千多字，156首漢詩)；《東遊雜感》頁174-224 (含120首漢詩)。末2頁是廠商贊助廣告。
很少有的機緣，我從這本47年前的遊記，找到以色列博物館的藝術花園：
- Noguchi in Suburbia Vs. Noguchi in Nature BY ALEXA...
- The Art Garden at the Israel Museum, Jerusalem / T...
今天又讀樂天68-69歲的不能忘情吟： http://chinese-watch.blogspot.tw/2015/10/blog-post_28.html
Learn By Painting
BY LOUIS MENAND
We'll send you a reminder of where you left off.
Anni Albers, “Knot 2” (1947), currently on view in “Leap Before You Look: Black Mountain College, 1933–1957,” at the Institute of Contemporary Art in Boston.
PHOTOGRAPH BY TIM NIGHSWANDER / IMAGING4ART. COURTESY THE JOSEF AND ANNI ALBERS FOUNDATION / ARTISTS RIGHTS SOCIETY NEW YORK
One thing to keep in mind if you visit (and, if you are in Boston, you should visit) the Institute of Contemporary Art’s huge exhibition “Leap Before You Look: Black Mountain College, 1933–1957”—more than two hundred and sixty works by almost a hundred artists, curated by Helen Molesworth, the biggest show the I.C.A. has ever mounted—is that Black Mountain College was not an artists’ community or a writers’ colony, or even an art school. It was a college.
A very small college. Black Mountain was launched in the Depression, and for twenty-four years it led a hand-to-mouth existence in the foothills of the Blue Ridge Mountains, outside Asheville, North Carolina. In a good year, enrollment was sixty. When at last the money dried up, the college shut its doors. But to the extent that finances permitted, and depending on who was available to teach, it offered a full liberal education. Students could take courses in science, mathematics, history, economics, languages, and literature.
What made Black Mountain different from other colleges was that the center of the curriculum was art-making. Students studied pretty much whatever they wanted, but everyone was supposed to take a class in some kind of artistic practice—painting, weaving, sculpture, pottery, poetry, architecture, design, dance, music, photography. The goal was not to produce painters, poets, and architects. It was to produce citizens.
Black Mountain was founded by a renegade classics professor named John Andrew Rice, who had been kicked out of Rollins College, in Florida. Rice believed that making something is a different learning experience from remembering something. A lot of education is reception. You listen to an expert explain a subject to you, and then you repeat back what you heard to show that you learned it. Teachers push students to engage actively with the material, but it’s easy to be passive, to absorb the information and check off the box.
Rice thought that this made for bad social habits. Democracy is about making choices, and people need to take ownership of their choices. We don’t want to vote the way someone else tells us to. We want to vote based on beliefs we have chosen for ourselves. Making art is making choices. Art-making is practice democracy.
Rice did not think of art-making as therapy or self-expression. He thought of it as mental training. As anyone who has tried to write a poem knows, the discipline in art-making is exercised from within rather than without. You quickly realize that it’s your own laziness, ignorance, and sloppiness, not somebody else’s bad advice, that are getting in your way. No one can write your poem for you. You have to figure out a way to write it yourself. You have to make a something where there was a nothing.
A lot of Rice’s ideas came from the educational philosophy of John Dewey (although the idea that true learning has to come from within goes back to Plato), and Rice was lucky to find an art teacher who had read Dewey and who thought the same way. This was Josef Albers. Albers had not been so lucky. He was an original member of the Bauhaus school, but when Hitler came to power, in 1933, the Bauhaus closed down rather than accept Nazi professors. Albers’s wife, Anni, was from a prominent Jewish family, and they were understandably anxious to get out of Germany. Rice heard about them from the architect Philip Johnson, and he sent a telegram to Albers inviting him and his wife to come teach at Black Mountain. The reply read: “I speak not one word English.” (Albers had read his Dewey in translation.) Rice told him to come anyway. Albers eventually did learn English, and he and Anni, an accomplished and creative weaver, established the mode of art instruction at Black Mountain. Everything would be hands-on, collaborative, materials-based, and experimental.
Bauhaus was all about abolishing distinctions between craft, or design, and fine art, and Black Mountain was one of the places where this aesthetic entered the world of American art. (Another was the Carnegie Institute of Technology, in Pittsburgh, where Andy Warhol went to college.) Albers’s most famous (although probably not his favorite) student at Black Mountain was Robert Rauschenberg, and Rauschenberg is the presiding spirit at the I.C.A. exhibition. Although goofier than most Black Mountain art—there is an earnestness about a lot of the work; this was schoolwork, after all—putting an automobile tire around a stuffed goat is the essence of Black Mountain practice.
Black Mountain College was a holistic learning environment. Teachers and students worked together; people who came to teach (and who stayed—not everyone found the work conditions to their liking) sat in on one another’s classes and ended up learning as much as the students. When a new building needed to be constructed, students and teachers built it themselves, just as, at the old Dewey School, at the University of Chicago, the children grew their own food and cooked their own meals.
It seems as though half the midcentury American avant-garde came through Black Mountain in one capacity or the other. The I.C.A. exhibition includes works by (besides Rauschenberg and the Alberses) Ruth Asawa, John Cage, John Chamberlain, Robert Creeley, Merce Cunningham, Elaine and Willem de Kooning, Robert Duncan, Buckminster Fuller, Shoji Hamada, Lou Harrison, Ray Johnson, Franz Kline, Jacob Lawrence, Robert Motherwell, Kenneth Noland, Charles Olson, Ben Shahn, David Tudor, and Cy Twombly. Black Mountain produced art of almost every kind.
Did it also produce good citizens? That’s an educational outcome everyone embraces but that’s hard to measure. In the case of Black Mountain, the sample size is miniscule, and most students left before graduating. There is also the self-selection issue. People who choose to attend progressive colleges are already progressive-minded, just as people who want a liberal education are usually already liberal (meaning interested in knowledge for its own sake), and people who prefer vocational or pre-professional education are already headed down those roads. College choice tends to confirm prior effects of socialization. But why keep those things separate? Knowing and doing are two sides of the same activity, which is adapting to our environment. That was Dewey’s point.
People who teach in the traditional liberal-arts fields today are sometimes aghast at the avidity with which undergraduates flock to courses in tech fields, like computer science. Maybe those students see dollar signs in coding. Why shouldn’t they? Right now, tech is where value is being created, as they say. But maybe students are also excited to take courses in which knowing and making are part of the same learning process. Those tech courses are hands-on, collaborative, materials-based (well, virtual materials), and experimental—a digital Black Mountain curriculum. The other liberal-arts fields might take notice. Arts practice should be part of everyone’s education, not just in preschool.
分享「Standing Desk」的新體驗
2015.10.28
據報導：每天站立3小時辦公，比起整天坐著辦公，對身體健康會有所幫助，對於開會效率的提升、會議時間的縮短，也會有明顯效果；於是，我們克難地嘗試了；確實有些許收穫、異樣、與感動！
在不另外花費很多錢的情況下，普羅大眾應該可以試試看！
謹 以此與各行各業CEO、及「宅‧鄉‧婉‧弱」分享！
高志明 敬筆
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