Saturday, 26 January 2013

Reading Notes: The Five People You Meet in Heaven


The End

It might seem strange to start a story with an ending. But all endings are also beginnings. We just don’t know it at the time. (p.1)

Every life has one true-love snapshot. For Eddie, it came on a warm September night after a thunderstorm, when the boardwalk was spongy with water. (p.10)

No story sits by itself. Sometimes stories meet at corners and sometimes they cover one another completely, like stones beneath a river. (p.11)

How do people choose their final words? Do they realize their gravity? Are they fated to be wise? (p.14)

The First Person Eddie Meets in Heaven

People think of heaven as a paradise garden, a place where they can float on clouds and laze in rivers and mountains. But scenery without solace is meaningless. (p.37)

The First Lesson

That there are no random acts. That we are all connected. That you can no more separate one life from another than you can separate a breeze from the wind. (p.50)

Fairness does not govern life and death. If it did, no good person would ever die young. (p.50)

Why? Did you ever wonder? Why people gather when others die? Why people feel they should? It is because the human spirit knows, deep down, that all lives intersect. That death doesn’t just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed. (p.50)

There is a balance to it all. One withers, another grows. Birth and death are part of a whole. It is why we are drawn to babies and to funerals. (p.51)

Strangers are just family you have yet to come to know. (p.51)

No life is a waste. The only time we waste is the time we spend thinking we are alone. (p.52)

The Second Person Eddie Meets in Heaven

Young men go to war. Sometimes because they have to, sometimes because they want to. Always, they feel they are supposed to. This comes from the sad, layered stories of life, which over the centuries have seen courage confused with picking up arms, and cowardice with laying them down. (p.59)

War is no game. If there’s a shot to be made, you make it, you hear? No guilt. No hesitation. You fire and you fire and you don’t think about who you’re shootin’ or killin’ or why, y’hear me? You want to come home again, you just fire, you don’t think. It’s the thinking that gets you killed. (p.62)

The Second Lesson

Time is not what you think. Dying? Not the end of everything. We think it is. But what happens on earth is only the beginning…The way I see it, that’s what we’re getting here, soldier. That’s what heaven is. You get to make sense of your yesterdays. (p.96)

Sacrifice. You made one. I made one. We all make them. But you were angry over yours. You kept thinking about what you lost. You didn’t get it. Sacrifice is a part of life. It’s supposed to be. It’s not something to regret. It’s something to aspire to. Little sacrifices. Big sacrifices. A mother works so her son can go to school. A daughter movers home to take care of her sick father. (p.97)

Sometimes when you sacrifice something precious, you’re not really losing it. You’re just passing it on to someone else. (p.98)

“My wish was to see what the world looked like without a war. Before we started killing each other.”
“But this is war.”
“To you. But our eyes are different. What you see ain’t what I see.” (p.99)

The Third Person Eddie Meets in Heaven

All parents damage their children. It cannot be helped. Youth, like pristine glass, absorbs the prints of its handlers. Some parents smudge, others crack, a few shatter childhoods completely into jagged little pieces, beyond repair. (p.109)

The damage done by Eddie’s father was, at the beginning, the damage of neglect. (p.109)

This was the second damage done, the one after neglect. The damage of violence. (p.111)

This was the final handprint on Eddie’s glass. Silence. It haunted their remaining years. (p.115)

All parents damage their children. This was their life together. Neglect. Violence. Silence. And now, someplace beyond death, Eddie slumped against a stainless steel wall and dropped into a snowbank, stung again by the denial of a man whose love, almost inexplicably, he still coveted, a man ignoring him, even in heaven. His father. The damage done. (p.115)

Things that happen before you are born still affect you. And people who come before your time affect you as well. We move through places every day that would never have been if not for those who came before us. Our workplaces, where we spend so much time—we often think they began with our arrival. That’s not true. (p.130)

Parents rarely let go of their children, so children let go of them. They move on. They move away. The moments that used to define them—a mother’s approval, a father’s nod—are covered by moments of their on accomplishments. It is not until much later, as the skin sags and the heart weakens, that children understand; their stories, and all their accomplishments, sit atop the stories of their mothers and fathers, stones upon stones, beneath the waters of their lives. (p.134)

The Third Lesson

Holding anger is a poison. It eats you from inside. We think that hating is a weapon that attacks the person who harmed us. But hatred is a curved blade. And the harm we do, we do to ourselves. (p.149)

The Fourth Person Eddie Meets in Heaven

People say they “find” love, as if it were an object hidden by a rock. But love takes many forms, and it is never the same for any man and woman. What people find then is a certain love. And Eddie found a certain love with Marguerite, a grateful love, a deep but quiet love, one that he knew, above all else, was irreplaceable. Once she’d gone, he’d let the days go stale. He put his heart to sleep. (pp. 164-165)

Love, like rain, can nourish from above, drenching couples with a soaking joy. But sometimes, under the angry heat of life, love dries on the surface and must nourish from below, tending to its roots, keeping itself alive. (p.174)

The Fourth Lesson

Lost love is still love, Eddie. It takes a different form, that’s all. You can’t see their smile or bring them food or tousle their hair or more them around a dance floor. But when those senses weaken, another heightens. Memory. Memory becomes your partner. You nurture it. You hold it. You dance with it. (p.184)

Life has to end. Love doesn’t. (p.185)

The Fifth Person Eddie Meets in Heaven

Silence is worse when you know it won't be broken, and Eddie knew. (p.191)

In human accounting, his body was near its end. (p.192)


Thursday, 27 December 2012

Conceptual Model

The phrase "conceptual model" bothered me when I started my PhD in March 2008. I encountered this phrase again today, which prompted me to refresh my understanding.

According to Johnson and Henderson (2002), a conceptual model is a high-level description of how a system is organised and operates. It specifies and describes:
- the major design metaphors and analogies employed in the design, if any.
- the concepts the system exposes to users, including the task-domain data-objects users create and manipulate, their attributes and the operations that can be performed on them.
- the relationships between these concepts.
- the mapping between the concepts and the task-domain the system is designed to support.

Game: What the game is to players?
System: What the system is to users?

What a Conceptual Model Is Not
~ is not the user interface, i.e. how the software looks or how it feels.
~ is not the user mental model of the system.
~ are not the use-cases (aka task-level scenarios), i.e. the stories about the domain tasks that users will have to carry out in their work.
~ is not an implementation architecture.

References:
Johnson, J., & Henderson, A. (2002). Conceptual Models: Begin by Designing What to Design. Interaction, 25-32.  

Saturday, 1 December 2012

Verificationism and Falsificationism

Science is based on verificationism, i.e. demands experiment-based proves.

Before science is proven valid, science must pass the test of falsification.

Interesting and memorable quotes

When I watch movies, I enjoy listening to the dialogue between characters. I even jotted down some of the quotes, and then used them in speaking and writing. Unlike Chinese language, English quotes have no temporal constraint: the divide between modern Chinese and classical Chinese--which requires "translation" and interpretation when using them. 

Herewith some of my collection of interesting and memorable quotes:

Ice Age: Dawn of the Dinosaurs

“So you’re living down here by your wits all you’re alone, no responsibilities.”
“Oh I am. It’s incredible. No dependents, no limits. It’s the greatest life a single guy could now.”
Manny: Guys don't talk to guys about guy problems. They just... punch each other on the shoulder.
Ellie: That's stupid!
Manny: To a girl! To a guy that's, like, six months of therapy!

“No, no, no, you’re taking this the wrong way!”
“Face it Sid. We had a great run, but now it’s time to move on.”
Fortress of solitude

Night at the Museum

Teddy Roosevelt (Robin William): Some men are born great, others have greatness thrust upon them. For you, this is the very moment.
Teddy Roosevelt: The more you know about the past, the better you are prepared for the future.


Gilbert and Sullivan Opera: The Mikado

“Life is a joke that’s just began.”

Saturday, 24 November 2012

Technology Creativity vs Cultural Creativity [translation & adaptation from Han (2012)]


I have read Han’s (2012) Design Thinking. I found is meaningful for the context in Malaysia. Thus I translated some of the texts for my teaching and sharing purposes.

Technology creativity
Cultural creativity
Aims to improve the quality of living through the enhancement of the performance of products.
Aims to improve the quality of living through the enhancement of spiritual fulfillment.
Grounded on technology.
Grounded on feeling.
Need knowledge as the basis, hence the notion of knowledge economy.
Need pleasure feeling as the basis.
The field of technology requires continuous innovation through in-depth R&D of knowledge.
Cultural innovation occurs through imagination.
Reply on relatively young PhD holders who are graduated from world leading universities to lead high-tech industry. Those who reach the age of 40 might have lost their innovative capability in R&D, thus they have to move into managerial positions.
Rely on heart-touching new styles to lead the creative industry, which might be started who one reaches the age of 40.  
Intellectual property (IP) is the substance (本体) of civilization
Cultural creative industry is the appearance (外衣) of civilization
Need to go through vertical, inferential design thinking process within the profession, i.e. a R&D process.
Not limited to a specific boundary or profession, but requires a complete design process to integrate multiple resources, in order to achieve the purpose of commercialization. The commercialization process is alien to literati.  



In the minds of agencies which manage culture-related affairs, particularly when they think about nurturing cultural creative industry, the prime focus is creative talents, i.e. those literati who are creative and innovative. Therefore the agencies thought this could be achieved by organizing some training courses or by inviting several world-renown speakers to talk about creative industry. These efforts are merely depleting budget and yet failing to nurture true creative talents, thus leaving the problem of revitalizing cultural creative industry unsolved. This is due to the fact that the actual dilemma is the absence of a creative environment; while the barrier to having the creative environment is a general lack of design thinking capability and habits in the society.  

For example, in recent years, for the sake of enhancing the quality of architecture, public and private sectors are keen to hire foreign renowned architects to design, mainly through organizing international competitions. Does it mean there is no creativity in the field of Taiwanese architecture? Of course, judging from the existing buildings in Taiwan, there is hardly any recommended designed by Taiwan masterpiece, but is this solely caused by the tack of architectural skills or talents? No. We all know that the performance of architecture standards can only be achieved through mutual cooperation between architects and property owners. What are the owners? They are the combination of the socio-cultural environment. If there is no vision that can uncover architectural talents in this society; if there is no tolerance that can indulge architects to show off their creativity; if there is no sufficient resources to support architects, we should not blame Taiwan for not having creative talents. In contrast, the required vision, tolerance and resources have been allocated to satisfy the sense of worshiping foreign renowned masters—how would such attitude establish the competitiveness of cultural creative industry in Taiwan?  

Therefore for the future of creative industry, we must first recognize and comprehend the barriers in our cultural environment, particularly those irrational factors, in order to identify the thinking method that can generalize all requirements for development. If everyone in the country is geared towards enhancing the attainment of the sense of aesthetics, while recognizing the importance of systematic thinking, then we can truly move forward to a highly developed society, where everybody takes the initiative to be a sensible person.

IP Issue: Who should own the copyright upon the design of the products?

I came across "Different point of view on the copyright of artwork between artist and engineer". This prompted me to reflect the scenario depicted in Steve Jobs' biography, where engineers were struggling to work with designers led by Steve. In a private company, the copyright would not be an issue as the company holds all the rights since both the engineers and the designers are the employees of the company. However, in R&D projects or creative production, the conflict of copyright ownership between designers and engineers could be a dispute that leads to zero-sum ending.

Tuesday, 24 July 2012

We must let people know we can do X first


Some may question or even challenge me for revealing my capability explicitly in getting something done, even though I have not and probably nobody has done it before. 

I argue that we must let people know we can do the thing (X) first, earning their trust and empowerment, before actually starting to get it done.

If we, who really know how to get X done, do not actually get X done, and worse, let those who do not know how to do X to finish doing X and produce negative outcomes, then we may lost the opportunity to get X done in the future.

So we must first let people know that we can get X done, and then seize the opportunity to do X. The positive outcomes would eventually make people believe that X is doable and practical. 

Thursday, 29 March 2012

Visit to Silver Ant—the maker of See Food

Along with students and colleagues of Creative Multimedia Department, I visited Silver Ant Studio in Petaling Jaya (PJ). When I was told last week by my boss Dr Zam about this visit officially, I began to feel happy as I have quite a number of ex-course mates and ex-colleagues working there: Keen Hong, Sing Yee, QChee, Yee Hau, etc. Being a former 3D animator, I always feel good to visit animation studio—it reminds me the good old day before I became an academic in 2004.

The person who guided the tour was really friendly and professional, in which he explained the history of the company, mainly through the nature of production it involved since its formation a decade ago. The highlight was on its first featured film—See Food. Prior the visit, I squeezed time to watch the film in KLCC last week. As usual, I became the last person who left the cinema, mainly to read the names appeared in the credit. I felt so proud when I saw familiar names, as if I involved in the production myself.

After studying and working in oversea countries, I began to see the whole Malaysia as one, rather than seeing each studio individually. So, when I saw Malaysian animation shines in global arena, I can feel to joy with them. I hope very soon, my students in UPSI can join the creative and production force, wherever they are going to work, and continue to make me feel proud.

I asked several questions during the ending Q&A session. One of them was 'what advice would professionals in Silver Ant give to the lecturers in UPSI who are out of touch with the development in animation industry'. With hesitation, Keen Hong, the Assistant Animation Director (my Uni buddy!) pointed out that lecturers should keep abreast with the changes and development of 3D software. The tour guide added that university should offer degree programme with specialization, i.e. modeling, texturing, rigging, character animation, lighting and visual effects (VFX). In practice, spending one semester of time to complete a short animation Individually might not be practical for showing off the best skills of a particular student. Each student should specialize in their final year project, e.g. if he or she is talented in creating models, he or she should focus doing modeling and make the best of it. However, in the context of Malaysia, VFX specialists are highly sought after. Universities are advised to nurture students that could produce industry quality works, this would really support the studios who are recruiting talents, in which they need not spend much time and effort to retraining upon their completion of study.

As for students who are applying for a job, the capability to complete their degree or diploma on time is essential because it would make no sense to hire someone who can do wonderful jobs but always misses deadline. Proof of capability to work in team is also important when applying for a job.