Every ripple is significant, and I’m glad our community is engaging in discussion on issues that matter.

Diversity and Inclusion are topics not only for art and film, but for every aspect of our society. The fact that film has more reach and longevity than many art forms gives credence to the opportunity it presents to reimagine narratives, and for filmmakers and actors to advocate for their beliefs off-screen.

Thank you, @jaegerlecoultre , @goldenscenecinema , and @tatlerhongkong for this opportunity to engage in meaningful discussion with @tamara.lamuniere , @thebipinkarma , and the amazing people who joined our discourse and reimaginings.

—-
@maxmara / @maxmarahk
@debeersofficial
@jimmychoo
@vanessawmakeup + @gloomykwokmua
@styledbybhisan

@tatlerasia @petercheungasia

#TimelessStoriesofHKCinema #香港電影的永恆故事
#1931Cafe #MichaelMurphy
#JaegerLeCoultre #JaegerLeCoultreHK #ReversoStories
#GoldenSceneCinema #高先電影院 #Tatler #CriselConsunji #姬素孔尚治

My personal takeaway from our discussions on diversity and inclusion (in cinema) is this— Like every endeavour we pursue in life, integrity and authenticity comprise the hidden metrics of success.

When you tell the narratives of people other than you, is it because you believe they deserve to be told? Are you willing to face your own misconceptions? And will you promise to treat who these people are— and what stories they tell— with respect?

Ask yourself what drives you to do what you do.

Choose the values that are timeless, and you can’t go wrong ✨❤️

—-
More on the Jaeger-LeCoultre x Golden Scene Cinema 高先電影院 x Tatler Hong Kong ‘s “Timeless Stories of Hong Kong Cinema” event in the next posts!

Max Mara / @maxmarahk
@debeers
@vanessawmakeup + @gloomykwokmua
@styledbybhisan

—-
#TimelessStoriesofHKCinema #香港電影的永恆故事
#1931Cafe #MichaelMurphy
#JaegerLeCoultre #JaegerLeCoultreHK #ReversoStories
#GoldenSceneCinema #高先電影院 #Tatler #CriselConsunji

淺談「假新聞」

最近上課時學到一個新單字「positionality」，讓我想到當前社群媒體上，不停看到的「fake news」——假新聞。

簡言之，「positionality」(位置性) 被定義為於種族、階級、性別、性取向以及能力等狀態中，創造你身分的社會與政治背景。位置性還描述了你的身分如何影響你對世界的理解與看法，以及潛在的偏見。

positionality 位置性；定位
https://terms.naer.edu.tw/detail/3390885/
https://www.lexico.com/definition/positionality

以下是我對「positionality」與 「fake news」的些許觀點：

“Fake news” has permeated all facets of life, ranging from social media interaction to presidential elections. Fake news can be defined as “fabricated information that mimics news media content in form but not in organizational process or intent” (Lazer et al., 2018, p. 1094). The creators and outlets of fake news do not ensure the accuracy and credibility of information, but rather disseminate misinformation or disinformation for purposes ranging from personal amusement to creating deceptions to achieve political aims. At times, fake news is created and disseminated by state or non-state actors using social media accounts and networks of bots designed to hijack feed algorithms of platforms such as Twitter or Facebook (Prier, 2017, p. 54). In the 2016 U.S. presidential campaign, Facebook estimated that up to 60 million bots were used to post political content. Some of the same bots were then used in an attempt to influence the 2017 French election (Lazer et al., 2018, p. 1095). Such campaigns can be understood as a form of information warfare, a comprehensive attempt to control and influence every facet of the information supply chain, thereby influencing public opinion and behaviors. (Prier, 2017, p. 54). Often, fake news is not directly created by actors that seek to manipulate but by journalists or content creators whose content favors or aligns with the narratives of these actors (Doshi, 2020).

從社群媒體的互動到總統選舉，「假新聞」（fake news）已滲透至生活的各個層面。假新聞可被定義為「在形式上而非組織過程或意圖上，模仿新聞媒體內容所捏造的資訊」（Lazer et al., 2018, p. 1094）。無論是出於個人愛好或為達政治目的而有所欺瞞，假新聞的製造者與傳播管道並不保證資訊的準確性與可信度，反而是為了散播錯誤訊息（misinformation）或扭曲訊息（disinformation）。有時，假新聞是由國家或非國家行為者（state or non-state actors）所製造與傳播，藉由社群媒體帳號及網絡機器人來劫持諸如臉書與推特等平臺的推送演算法（Prier, 2017, p. 54）。在2016年的美國總統大選中，臉書估計有多達６千萬個機器人被用來發布政治貼文。其中，有部分機器人被用於影響隔年的法國大選（Lazer et al., 2018, p. 1095）。此類行動可視為資訊戰（information warfare）的一種形式，一種對控制與影響資訊供應鏈各環節的全面嘗試，從而影響公眾輿論與行為（Prier, 2017, p. 54）。假新聞通常是由記者或內容創造者（content creators）所創造，而非試圖操弄的行為者，前者的內容偏好符合後者的敘事（Doshi, 2020）。

Nevertheless, while the term “fake news” is commonplace, there is no universal, measurable way to quantify the fakeness or truthfulness of news. There are many fact-checking and media-bias detection tools, but they cannot objectively detect and clarify the more subtle and nuanced aims of manipulative actors that play a crucial role in news production. It can also be argued that the veracity of news depends not only on the actors that seek to manipulate it, but also on the positionality of its consumers. Therefore, one’s initial line of defense against misleading news lies not in the plethora of fact-checking devices but more in one’s pre-existing dispositions and skills to think and act in response to misleading information. This ability can be referred to as critical thinking, which can be more concretely expounded as “reasonable and reflective thinking focused on deciding what to believe or do” (Ennis, 2011, p. 15).

然而，即便「假新聞」一詞隨處可見，卻沒有統一、可衡量的方式來量化新聞的虛假性或真實性。目前有許多事實查核與媒體偏見檢測工具，但它們無法客觀地檢測與說明行為操弄者更狡猾、更細緻的目標，而這些操弄者往往在新聞的生產中發揮著重要作用。我們也可以說，新聞的真實性不僅取決於試圖操弄它的行為者，同時還取決於新聞受眾的位置性。因此，一個人對抗誤導性新聞的第一道防線，不在於這些五花八門的事實查核方式，反而在於個人所固有的性格，以及針對誤導性資訊的思考與行動等相關技能。這種能力可稱為批判性思考（critical thinking），意即「專注於決定相信什麼或做什麼的理性思考與反思性思考」（Ennis, 2011, p. 15）。

Taiwan, also known as the Republic of China (ROC), is at the forefront of information warfare. It is wedged between the geopolitical struggles of global and regional hegemonies such as the United States and China, the People's Republic of China (PRC). Compounding the matter are the Taiwan’s own political actors vying for influence and power. This struggle seeps into all aspects of life and practice, mainly manifesting itself on social media, a battleground of information warfare. The Ministry of Education of Taiwan is cognizant of these information campaigns, and efforts have been made to introduce media literacy into all parts of its education system. According to the ministry, the government has tried to promote media literacy education since 2000 (MOE, 2002, p. 1), with one of its primary goals to cultivate its “citizens” abilities for independent learning, critical thinking, and problem solving” (MOE, 2002, p. 2).

臺灣，也被稱為中華民國，正處於資訊戰的最前線。這是全球霸權與地區霸權之間——如美國與中國（中華人民共和國）——的地緣政治對抗。使問題惡化的是臺灣自身的政治行動者對影響力與權力的奪取。這場對抗遍布於現實生活的各個面向，主要於社群媒體中——資訊戰的戰場——展露無遺。臺灣的教育部注意到了這些資訊的煙硝，並已努力將媒體素養引入其教育體系。據該部稱，自2000年以來，政府一直試圖推展媒體素養教育（MOE, 2002, p. 1），其主要目標之一是培養「公民獨立學習、批判性思考以及解決問題的能力。」（MOE, 2002, p. 2）。

★★★★★★★★★★★★

上述段落認為，由於個人的位置性(positionality)，「假新聞」極難定義。此外，有許多人把不符合自身成見與偏好的新聞逕斥為假新聞。這其實相當危險，因為個人觀點將會變得愈發孤立與激進。

閱聽人應意識到，他們在網路上看到的每個資訊都有特定立場。是否真有毫無立場的新聞文章？為了對抗操弄性或強制性資訊（coercive information），我們必須意識到權力於個中的作用，以及我們自身的位置性如何形塑我們的詮釋。這是我們的第一道防線。

★★★★★★★★★★★★

參考文獻

Doshi, R. (2020, January). China steps up its information war in Taiwan. Foreign Affairs. Retrieved March, 21, 2021, from https://www.foreignaffairs.com/articles/china/2020-01-09/china-steps-its-information-war-taiwan

Ennis, R. H. (1985). A logical basis for measuring critical thinking skills. Educational leadership, 43(2), 44-48.

Lazer, D. M., Baum, M. A., Benkler, Y., Berinsky, A. J., Greenhill, K. M., Menczer, F., ... & Zittrain, J. L. (2018). The science of fake news. Science, 359(6380), 1094-1096.

MOE (Ministry of Education), Taiwan. (2002). White paper on media literacy educational policy. Retrieved March, 21, 2021, from http://english.moe.gov.tw/public/Attachment/ 2122416591771.pdf

Prier, J. (2017). Commanding the trend: Social media as information warfare. Strategic Studies Quarterly: SSQ, 11(4), 50-85.

★★★★★★★★★★★★

教育時評: http://bit.ly/39ABON9

相關詞彙: https://bit.ly/2UncrfI

TED相關影片: https://bit.ly/3BDsDKl

The National Palace Museum, Taipei holds an extensive collection of the most exquisite snuff bottles from the Qing court. The special exhibition selects snuff bottles from various materials, from the perspective of crafts that include carving, firing, and polishing, to understand the production and the characteristic of an era that delivered from the process. The snuff bottles almost embraced every contemporary crafts technique to celebrate the limited space. From the innovation of techniques to the craftsmanship delivered from varied materials, and along with all narratives shown through its application and appreciation received, we can experience the new realm of art created by snuff bottles from the Qing dynasty.

Website：https://www.npm.gov.tw/Article.aspx?sNo=04011127
Date：2020/7/31~
Location：Galleries 303 at the National Palace Museum (Taipei)

#Snuff_Bottles
#Fashion_of_Qing_Court
#Innovation_Craftsmanship_Narrative

#TheMalaysianSong

Now available on Spotify, Apple Music and all major music platforms.

LINKS TO FOLLOW:

http://www.facebook.com/thesaladshow
http://instagram.com/saladshow

For business enquiries, contact us at: saladshowproduction@gmail.com

STALK THE TEAM:
Jiven Sekar: @jivensekar
Shaianne: @shaiannedelaney
Gabriel: @gabrielnoelpountney
Tamra: @tamra_jaksha
Divya: @divyasekar
--------------------------------------------------------------------------------------------------------------
Credits

Music Produced and Arranged by Darren Ashley
Chorus Vocals by Darren Ashley
Lyrics by Vix Chandra and Jiven Sekar
Performed by Jiven Sekar

Crew
Jiven Sekar
Tamra Jaksha
Shaianne Delaney Sarut
Divya Sekar
Tiara Anchant
Ian Steven Ong
Vishnu

Location By
Kayu Nasi Kandar Taipan
Anwar Maju Usj Heights

Choreography
Kenneth Koshy

Dancers
Kenneth Koshy
Tasha Chitty

Special Appearance
Jinnyboy(JinnyboyTV)
Ryan Matjeraie
Jonathan Toh (CjWorks Production)
Ta Ta (Tata Studios)
Harvinth Skin (SkinTv)
Joshua Micheal
DJPri2 (PrithuVlogs)
Talitha Tan (TaLiThAbE)
Tiara Anchant
Gabriel Noel Pountney
Mathubalan (BawahPokokFilms/Visual Narratives)
Tanesh (Taneshh/Taneshh Vlogs)
Vishnu (Soya n Cincau)

Extras
Sateshraj
Gajen Mahendran
Noor Mohamed
Davina Prabagaran
Haroon Faleel
Anand Raj
Shania Perkins
Jacqueline Ng
Magdalene Faye
Kevan Brian
Sean Jeremiah William
Trisha Savina Devakaran
Phraveen Arikiah
Baven Kumar
Adrianna Silvarajah
Amy Teo
Jonathan Louis
Aghilan
Divyarhuben
Gerald Poo Jian Chen
Angel Wong

Special Thanks
Cheng Wei Lim (FILM WAY)
Vikarworld
3Dots Distribution for Black Magic Camera

Huge thanks to all our friends and fans who appeared in the video!
_______________________________________________________________

Lyrics :
VERSE #1
I dunno where to start la boss, I’m just a macha in the house,
Our mamak super clean,
You won't see no freakin’ mouse.
The real question is, Macha, what do you like?
Lu mau itu roti, or lu mau itu rice?
We are the chef of all chefs, semua pun boleh buat,
Gordon Ramsay punya skill pun tak cukup kuat,
Our food ada kick, everybody know we good,
If food is the cinema, we are Bollywood!

You don’t want pedas also got, you want pedas also got,
You want to makan sikit-sikit, kenyang-kenyang also got,
You want goreng also got, you want soup also got,
You want sayur, takmau sayur, vegetarian also got,
You want manis also got, kurang manis also got,
Makan pagi tea time, makan petang also got,
You want dinner also got, you want supper also got,
Ini mee, itu mee, apa mee also got.

Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How, Mamak So Susah,
Mamak Say, Mamak How

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #1
I got ikan kari, koli kari, mutton kari, campur kari,
Go with puri, go with thosai,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, bihun goreng also can,
Indo mee, maggi soup, kari soup, what’s the plan?
Nasi goreng macam macam macam macam got macha,
Goreng kampung, goreng Cina, nasi goreng Pattaya,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
If you want a custom burger,
Ramli can also do, takmau daging, only telur?
Dei, that’s egg benjo!
Want to thani? I got thani – all kinds very nice,
Teh tarik, teh halia, teh o panas, teh o ais,
Ada Cola, ada Milo, ada sirap, limau suam,
Anything you order, confirm all very ngam!

CHORUS
Saya suka my Mamak, suka my Mamak,
Love for your mee, roti, and nasi lemak,
Suka my mamak, suka my mamak,
College days, broke days, he’s your macha.
Suka your Mamak,
Suka your Mamak,
Love for your mee, roti, and nasi lemak,
Suka your Mamak,
Suka your Mamak,
College days, broke days, he’s your macha

BRIDGE #2
Ikan kari, koli kari, mutton kari, campur kari,
Go with thosai, go with puri,
All kinds of different roti,
Roti canai, roti sardine, roti bom, roti planta,
Roti garing, roti stim, roti telur, roti bakar,
Maggi goreng, mee goreng, ayam goreng, Indo mee,
Burger ayam, burger daging, burger special double cheese,
Ada bawang, ada mayo, ada sauce, ada ghee,
Mamak raps with the flow,
Yeah, we make it banjir!

讓～
嘻哈潮男目眩神迷、
少女心冒粉紅泡泡、
雅痞紳士品味再三、
時尚女子流連忘返、
森林系女孩徜徉憧憬的…
是哪些絕美小物？

來【士拿乎—清宮鼻煙壺的時尚風潮】發現你的真命天物，
感受鼻煙壺的新．藝．境。

特展網頁：https://theme.npm.edu.tw/exh109/SnuffBottles
展期：2020/07/31開展
地點：國立故宮博物院北部院區第一展覽區303陳列室

【Snuff: The Trend of Snuff Bottles from the Qing Court】Special Exhibition
On View from 2020/07/31
National Palace Museum, Taipei, Gallery 303

The National Palace Museum, Taipei holds an extensive collection of the most exquisite snuff bottles from the Qing court. The special exhibition selects snuff bottles from various materials, from the perspective of crafts that include carving, firing, and polishing, to understand the production and the characteristic of an era that delivered from the process. The snuff bottles almost embraced every contemporary crafts technique to celebrate the limited space. From the innovation of techniques to the craftsmanship delivered from varied materials, and along with all narratives shown through its application and appreciation received, we can experience the new realm of art created by snuff bottles from the Qing dynasty.


出品：國立故宮博物院
製作公司：蝦米智慧媒體股份有限公司
監製：朱哲毅
導演：楊棟樑
編劇：朱哲毅
攝影師：林振聲
燈光：黃雲彬
製作經理：許欽賢
攝影大助：張兆畇
攝影二助 : 林哲霆、彭世杰
燈光助理：張智發、陳進龍
執行製片：陳盛偉、 卓峻彥
執行美術：陳盛偉、 卓峻彥、謝慕真
演員：名媛-楊童華、雅痞-于樂誠、潮男-黃學宏、蘿莉-陳詩媛、文青女-鄭存妤
妝髮造型：謝慕真
造型助理 : 郭怡麟
剪接：呂祐嘉
攝影器材：諦觀文化事業有限公司
後期： 王純良