What do you think?
Rate this book
浮光
大學開始，他的生活費幾乎都花在買鏡頭、洗照片這件事上。二十年下來，他鏡頭下的光影已然成為人生的一段場景，拍的有時是風景，有時是心景。他對攝影術的理解與追尋、對照片表現的執著，無疑都是他觀看人生的角度。這本書和他長期關心的自然書寫、小說創作有關，和攝影有關，和他「視覺人」的思考有關。透過理性與感性思維的交會、宏觀與私密視界的對照，我們得見攝影更豐富的面貌。
書中大量收錄吳明益大學至今拍攝的照片。同時，也特別請求Georgia O'Keeffe Museum、VG Bild-Kunst、Vishniac Archive、Fraenkel Gallery、Magnum Photos等單位授權，取得阿佛瑞德‧史蒂格立茲（Alfred Stieglitz）、阿爾博特‧藍吉爾‧派茲（Albert Renger Patzsch）、羅曼・維希尼克（Roman Vishniac）、理察‧密斯拉契（Richard Misrach）、布列松（Henri Cartier-Bresson）等多位攝影名家珍貴經典的照片，穿插於正、負片中，呈現在讀者面前。
書中大量收錄吳明益大學至今拍攝的照片。同時，也特別請求Georgia O'Keeffe Museum、VG Bild-Kunst、Vishniac Archive、Fraenkel Gallery、Magnum Photos等單位授權，取得阿佛瑞德‧史蒂格立茲（Alfred Stieglitz）、阿爾博特‧藍吉爾‧派茲（Albert Renger Patzsch）、羅曼・維希尼克（Roman Vishniac）、理察‧密斯拉契（Richard Misrach）、布列松（Henri Cartier-Bresson）等多位攝影名家珍貴經典的照片，穿插於正、負片中，呈現在讀者面前。
285 pages, Paperback
First published January 6, 2014
10 people are currently reading
58 people want to read
About the author
Wu Ming-Yi
19 books266 followers Writer, painter, designer, photographer, literary professor, butterfly scholar, environmental activist, traveler and blogger rolled into one, Wu Ming-Yi is very much a modern Renaissance Man. Over the last decade, he has produced an impressive body of work, especially with his fiction and nature writing.
Wu Ming-Yi (b.1971) studied advertising at Fu-Jen Catholic University and has a PhD in Chinese Literature from National Central University. He has been teaching literature and creative writing at Dong Hwa University since 2000 and is now Professor of the Department of Chinese.
Wu’s literary reputation was first established by his nature writing. In THE BOOK OF LOST BUTTERFLIES (2000) and THE WAY OF BUTTERFLIES (2003), he chronicles his lifelong fascination with this beautiful creature and contemplates the invisible bond between man and nature. He wrote, designed, and provided drawings and photographs for the books, as if crafting works of art. Both books made the “Best of the Year” lists, with THE WAY OF BUTTERFLIES winning China Times’ Open Book Award and being chosen as one of the ten most influential books by Kingstore Bookstore.
In 2006, juggling academic life and the need for a period of uninterrupted time for his writing and traveling, Wu decided to resign from his teaching post. This is unheard of in a country where almost no one can make a living writing full-time and many would fight for a stable teaching job. In the end, Dong Hwa University gave Wu a year of sabbatical leave – they didn't want to lose him.
A year later, Wu published two books: his third collection of nature writing, SO MUCH WATER SO CLOSE TO HOME, and his debut novel, ROUTES IN THE DREAM. DREAM re-imagines Taiwan’s complicated history as a Japanese colony and examines the relationship between fathers and sons, memory and dreams. Hailed as a groundbreaking work of literary historical fiction, it was nominated for every major award and was chosen as one of the ten best Chinese-language novels of the year by Asian Weekly magazine (along with Ai Mi’s Hawthorn Tree Forever, Liu Zhenyun’s My Name Is Liu Yuejin, and Dai Sijie’s Once on a Moonless Night) . Wu was the only Taiwanese author on the list.
It is his eco-fantasy novel THE MAN WITH THE COMPOUND EYES (2011), however, that has gained Wu international recognition, with major English and French translations appearing in 2013 and 2014. A “Taiwanese Life of Pi”, it is an ambitious exploration of Taiwan's island identity, the cost of environmental degradation, and how humans make sense of the world around them, at once poetic, philosophical and far-reaching. It has already caught the attention of major writers in the genre such as Ursula K. Le Guin.
Wu Ming-Yi (b.1971) studied advertising at Fu-Jen Catholic University and has a PhD in Chinese Literature from National Central University. He has been teaching literature and creative writing at Dong Hwa University since 2000 and is now Professor of the Department of Chinese.
Wu’s literary reputation was first established by his nature writing. In THE BOOK OF LOST BUTTERFLIES (2000) and THE WAY OF BUTTERFLIES (2003), he chronicles his lifelong fascination with this beautiful creature and contemplates the invisible bond between man and nature. He wrote, designed, and provided drawings and photographs for the books, as if crafting works of art. Both books made the “Best of the Year” lists, with THE WAY OF BUTTERFLIES winning China Times’ Open Book Award and being chosen as one of the ten most influential books by Kingstore Bookstore.
In 2006, juggling academic life and the need for a period of uninterrupted time for his writing and traveling, Wu decided to resign from his teaching post. This is unheard of in a country where almost no one can make a living writing full-time and many would fight for a stable teaching job. In the end, Dong Hwa University gave Wu a year of sabbatical leave – they didn't want to lose him.
A year later, Wu published two books: his third collection of nature writing, SO MUCH WATER SO CLOSE TO HOME, and his debut novel, ROUTES IN THE DREAM. DREAM re-imagines Taiwan’s complicated history as a Japanese colony and examines the relationship between fathers and sons, memory and dreams. Hailed as a groundbreaking work of literary historical fiction, it was nominated for every major award and was chosen as one of the ten best Chinese-language novels of the year by Asian Weekly magazine (along with Ai Mi’s Hawthorn Tree Forever, Liu Zhenyun’s My Name Is Liu Yuejin, and Dai Sijie’s Once on a Moonless Night) . Wu was the only Taiwanese author on the list.
It is his eco-fantasy novel THE MAN WITH THE COMPOUND EYES (2011), however, that has gained Wu international recognition, with major English and French translations appearing in 2013 and 2014. A “Taiwanese Life of Pi”, it is an ambitious exploration of Taiwan's island identity, the cost of environmental degradation, and how humans make sense of the world around them, at once poetic, philosophical and far-reaching. It has already caught the attention of major writers in the genre such as Ursula K. Le Guin.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 5 of 5 reviews
June 15, 2019
wing above wing, flame above flame
「或許我的照片仍撐不上是作品，但它總能讓我找回被現實磨損的感情衝動，就像Miles Davis的小號定義了什麼叫做藍調，它們對我定義了什麼是美...啊！我曾經點燃火柴。直到此刻，我的拇指和食指，都還因火光逼近而著熱燒痛。」
「或許我的照片仍撐不上是作品，但它總能讓我找回被現實磨損的感情衝動，就像Miles Davis的小號定義了什麼叫做藍調，它們對我定義了什麼是美...啊！我曾經點燃火柴。直到此刻，我的拇指和食指，都還因火光逼近而著熱燒痛。」
Read
July 27, 2024Reading 浮光 feels like being treated to a college seminar on a topic I know next to naught about, led by a knowledgeable, passionate and kind professor. Which is one of my favorite things in life.
The book started slow, but I gradually got sucked in. The 正片s are (mostly) an intro to the history, evolution and functions of photography. The 负片s are the author’s personal observations and musings, which I enjoyed more by far. Just look at how he talks about 流浪汉 and sex workers:
Gosh I really like kind, considerate people.
I like hearing from those who think very differently from me, and Wu Ming-yi sure is one. His trains of thought went places that mine would never (again, the joys of a college seminar!)
The book started slow, but I gradually got sucked in. The 正片s are (mostly) an intro to the history, evolution and functions of photography. The 负片s are the author’s personal observations and musings, which I enjoyed more by far. Just look at how he talks about 流浪汉 and sex workers:
《深夜市集》
我[...]像个影子一样在他们的生活范围里来去。我注意他们的食物、抽烟的品牌、走路的速度、与虚空对话的神情，乃至于偶尔在他们的世界里，穿透进去的另一个世界的标志。比方说偶然捡到一件The North Face的外套，活羽绒睡袋。他们就像漂流在城市里的另一座岛屿的子民，微薄的运气对他们而言，比我们重要很多。
我遇过原本站在一旁的性工作者，发现一双二手的高跟鞋兴奋得像东区逛精品店的少女
Gosh I really like kind, considerate people.
I like hearing from those who think very differently from me, and Wu Ming-yi sure is one. His trains of thought went places that mine would never (again, the joys of a college seminar!)
March 11, 2020
和家離水邊那麼近一同分了幾星期看完，邊拍照邊思考對我來說哪些照片可以歸類為"有效的照片"
Read
July 5, 2023不太知道怎麼評論吳明益，文字很平凡，且我沒有辦法記得他寫的任何一個故事。阿城說，會忘記的就是會忘記。
September 4, 2018
「關於照片與死亡的關係， 法國電影評論家克里斯蒂安邁茨 曾提過一個多層次的見解。 他認為，攝影和死亡在三個方面有聯繫，首先，我們總是保留死者的照片以為懷念；其次是，在所有留在影像裡的時刻都已永遠的過去了、死了，我們的一生中總在向所有照片裡的時間告別。而第三點則是，照片是誘使我們進入另一個世界空間的工具。我們重返與死者猷在的氣味、音容、步伐的空間，就靠那張薄薄的平面，彷彿我們離開了活著的時空，進入了死者的世界。」(p58)
這是一本摸過相機跟底片，但現在沒有在拍照的人沒事最好不要讀的書。
裡面所有攝影的感觸、那些栩栩如生的描述、你沒能付出行動踏入的街頭；你也曾經認真看待的攝影評論、攝影師的引用，更多的延伸；原本不知道但Google後果然深深打動你的作品…
明明早就覺得自己不是那塊料，但還是一口氣喚醒對按過快門的畫面的記憶，機械快門聲，黑白顯影的紅房間，以及藥水味跟水聲，那些淡忘的坑突然又變得好吸引人啊( 哭 )。
這是一本摸過相機跟底片，但現在沒有在拍照的人沒事最好不要讀的書。
裡面所有攝影的感觸、那些栩栩如生的描述、你沒能付出行動踏入的街頭；你也曾經認真看待的攝影評論、攝影師的引用，更多的延伸；原本不知道但Google後果然深深打動你的作品…
明明早就覺得自己不是那塊料，但還是一口氣喚醒對按過快門的畫面的記憶，機械快門聲，黑白顯影的紅房間，以及藥水味跟水聲，那些淡忘的坑突然又變得好吸引人啊( 哭 )。
Displaying 1 - 5 of 5 reviews