{"title":"Commonplace Picks","description":"","products":[{"product_id":"especes-d-espaces","title":"Space species","description":"\u003cp\u003e The Tongdi team selects and places items, but we care about space. Why?\u003cbr\u003e These obvious, self-evident, and real living spaces are the starting point for our touch and dreams. Everything is the result of our gradual creation, and we can continue to create. Space is not a cage, but a starting point. To begin, consciousness must first enter any \"carrier.\" When we think in this way, objects become space.\u003cbr\u003e We use our whole bodies to experience a space, but we rarely realize that objects can also serve as keys to open new areas, provided we can enter. So, how do we enter the inner world of an object?\u003cbr\u003e \"I will not let you in,\" said the stone.\u003cbr\u003e “You lack a sense of engagement.\u003cbr\u003e No other sense can make up for the loss of participation.\u003cbr\u003e Even if your eyesight is improved to the point where you can see everything,\u003cbr\u003e It's of no use to you if you don't feel involved.\u003cbr\u003e I will not let you in, you only have a glimpse of what this feeling is,\u003cbr\u003e Only the seeds are left, imagination.\" \u003cbr\u003ePolish poet Wislawa Szymborska, through her intellectual depths, sensed that mysterious forces slumber within all things. Narratives reveal their inner being, while dialogue conveys each step of this forward movement. Objects, as carriers of information, become space, and around them, space continues to expand, becoming new spaces, leading us to consider the aesthetic logic of continuity.\u003cbr\u003e Everything is connected, so that we can constantly reach new places through dialogue with one species.\u003c\/p\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":46901400633582,"sku":null,"price":320.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_42.png?v=1758721308"},{"product_id":"形式的起源-萬物形式演變之謎-自然物和人造物的設計美學-科學探索","title":"Origins of Form","description":"\u003cp\u003eWe can capture changes through reading materials to train and reproduce individual language systems and expressions.\u003cbr\u003eFirst and foremost, beauty. The pursuit of beauty, year after year, becomes a contemplation and refinement of aesthetic sense. When faced with something, \"Is it beautiful?\" if we don't find a definitive answer through some method, or if we can't verify it through further questioning, it means that there's still a murky area in our minds, a vast expanse of beauty that needs to be cultivated and sorted out.\u003cbr\u003eIn fact, most of the time, the above process is largely triggered by emotions.\u003cbr\u003eThis book, The Origin of Form, fundamentally organizes the form database.\u003cbr\u003eThe Tongdi team's background in industrial design has guided our focus on the user experience, while our interest in and passion for art has guided our thinking in cutting-edge and avant-garde areas. Graphic design strikes a narrative balance between expressing effective communication and exploring avant-garde aesthetics. Furthermore, our literary background, or rather, our general enjoyment of literature, has enabled us to internalize the logic underlying different types of information into a \"language system\" when considering and arranging information.\u003cbr\u003eAt every moment of our actions, the natural and man-made objects in our surroundings are helping us complete our tasks.\u003cbr\u003eFrom a linguistic perspective, this is a dialogue between people and objects. Sometimes, our goal is to create, and sometimes, to convey—to convey inner feelings, to convey images, and to create external images—when a dialogue triggers objects that resonate with our inner selves. Because this process of adapting to objects and expressing through them is ongoing, from the perspective of a \"language system,\" we can understand it as gradually absorbing information and adjusting vocabulary at the definitional level, aiming to achieve optimal results in expression and communication in the foreseeable future.\u003cbr\u003eThis has led to a near-science fictional tone and self-understanding: encompassing the absorption of science and technology, as well as the capacity for perception and imagination. We believe that \"sensation\" can be honed. By actively strengthening our understanding of form and material, as in the reading experience of this book, we systematically understand the fundamental settings of material vocabulary on this planet, effectively helping us understand why we perceive and see the things around us. It also leads us to begin to explain how we understand the world from the initial information we acquire. Everyone has access to a similar database, but through the objects we acquire, we still develop a distinct sense of ourselves and our differences from others. Finally, we wanted to explore connecting with consumers through the language of objects, interacting and communicating with them.\u003cbr\u003eThere are also some reflections on why we tend to own objects to express ourselves, but may not always have the motivation to transform space.\u003cbr\u003eIn places like art museums, the space and scale remain constant, but the interior constantly changes to accommodate new exhibits, with movement routes and equipment shifting positions. The book also notes that spatial conditions are often more constant than we imagine, such as a place's gravity and climate. However, the living things within it, especially animals, are subject to change through manipulation and manipulation. We can use these natural objects or creations as tools to create scenes, but scenes are not spaces; they are situations created by the interaction between people and objects.\u003cbr\u003eWe will also deeply consider the refinement of tools. As we delve deeper into the vocabulary of materials, we also have a need to create and shape. The most fundamental form of creation is to shape ourselves. Thoughts express themselves not only through words but also through clothing. Therefore, our experiences and sensations have the opportunity to be interconnected and savored, just like exhibits and movement paths.\u003cbr\u003eFinally, this book offers a powerful experience of dimensional scaling: we can observe tiny objects through instruments, or gaze upon the vastness of the universe. Discussions of structure and materials, even clothing sizes, inevitably involve relative size. In between, the relationship between large and small is divided by an undeniable, insurmountable boundary. Within the gaps lie a closed world we cannot reach, a world that encompasses the very fabric of who we are, yet beyond our control. \"Size not only dictates form, but also reveals the entirety of life.\" Ultimately, what we attempt to create and express through our brand is inevitably humanity's understanding of itself at this point in time.\u003c\/p\u003e","brand":"臉譜出版","offers":[{"title":"Default Title","offer_id":47004713517294,"sku":null,"price":420.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame36_d37e8eee-b9d5-4d19-bd71-ddaf8fa82c63.png?v=1758616562"},{"product_id":"物體系","title":"The System of Objects","description":"\u003cp\u003eThe core aspiration of the Commonplace brand remains avant-garde, aspirations that consciously subvert the aesthetic narrative and requirements of \"objects being fixed in their place,\" replacing them with the ever-shifting \"functionality.\" Therefore, like Kuafu chasing the sun, we cannot stop pursuing—behind the organization of things, there is always a purpose for connecting everything.\u003cbr\u003eIt's like the kite string we need to carry as we enter the labyrinth of modern materiality. In \"The System of Objects,\" we discuss the \"character of technological civilization.\" Similarly, by combing through and examining the history of modern objects, we aim to establish the character of Tongdi Distribution as a brand of creation: a focus on the path of movement itself. Furthermore, every object we encounter in the maze is a material language we aim to transform, acquiring more materials within the space. Through limited materials, even through bartering, we expand and create a new level of conscious engagement.\u003cbr\u003eToday I brew, today I bake\u003cbr\u003eTomorrow the Queen's own child I take\u003cbr\u003eThis guessing-game she'll never win\u003cbr\u003eFor my name is Rumpelstiltskin\u003cbr\u003eIn the folktale \"Rumplestilskin,\" a girl is tasked with spinning rice straw into gold to become queen. However, only a dwarf elf can help her accomplish this. The elf's name is \"Rumpelstiltskin,\" which means the creaking sound of a wooden floor in German. Tongdi also seeks to reimagine various non-silk and non-thread materials in new aesthetic forms, imbuing them with new meaning and creating a new foothold. We often forget that the floor space that supports us needs something to make a sound with every step, a reminder of its existence. There's no other way. By using the yarns we've already simulated, you can weave a richer vocabulary of conversation, life, and action, moving step by step to new places.\u003c\/p\u003e","brand":"麥田出版","offers":[{"title":"Default Title","offer_id":47007521669358,"sku":null,"price":460.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_33.png?v=1758721307"},{"product_id":"噢-法蘭克連狗也沒有","title":"Oh! Frank doesn't even have a dog","description":"\u003cp\u003eTo remove the back means using our gaze as a pair of scissors to isolate a silhouette from the entire world. This is an ambiguous cancellation, a loving gaze that cannot be rejected by others, an independence that exists because of the observer. Once out of the sight of love, it loses its shape, becoming a vague, neither living nor dead, as unique as everything else, and therefore without any special state.\u003cbr\u003e\n Collage means that we need to address not just spatial issues, but perspective. From my perspective, I look towards you, shifting until I see a complete composition, a vision, that includes you. Within that image, there are many objects that appear to be framed with you, seemingly accidentally attached to you. This is all from my perspective. In reality, if you change your position, there's still a lot of distance between you, between you and all the objects. Perhaps you're blocked by certain objects, but behind this obstruction, hidden by the objects and space, lies the object that truly connects you.\u003cbr\u003e \nThe juxtaposition of image and text is about the interweaving of narratives. Interpreting and engaging in dialogue with the collage creates a new path, a three-dimensional shadow separating the reverse side of the collage. Though standing at a designated position, a sharp gaze follows the contours of the edge, cutting out the object of attention once again. The narrative language is both a pair of scissors, yet it also circles around to the reverse side, becoming a smear of glue.\u003cbr\u003e\n The dictionary's definition of pictorial symbols, and the narratives derived from these definitions, creates a new system for all collages. After guiding the viewer through the creation process, the remaining energy can be repurposed for power generation: \"fear\" finds a container, desire finds an outlet, and \"shyness\" becomes a result that can be revealed, frame by frame. As a product, whether in its manufacture or selection, it is inevitably drawn from the past. In this present moment, without evidence, I can take a deep breath in the gap between expression and reception. At the same time, we will also learn that an inorganic, two-dimensional medium can also become an organic, three-dimensional stage for emotion.\u003cbr\u003e\n Then, then we finally felt that we could love each other well.\u003c\/p\u003e","brand":"伊日美學 YIRI ARTS","offers":[{"title":"Default Title","offer_id":47007668207854,"sku":null,"price":1500.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_37_bdc4828e-d865-4a42-8e75-e6ed659a256d.png?v=1758721309"},{"product_id":"浮島博物誌","title":"Floating Island Museum","description":"\u003cp\u003eThe market is a curated space of temporary gathering and dispersal. Within a large area, there are many smaller spaces: stalls. Within each stall, even smaller spaces form the fabric of objects. Sometimes these objects are terrarium, minerals, vintage clothing, wood, pottery, sculptures, embroidery, divination, vinyl records, food... But objects can also be nodes in the stall owner's consciousness: a stall is a slice of interwoven consciousness, a sum of life's experiences. The market, then, is a larger slice, a larger space where all thoughts are suspended and interwoven. We are dewdrops on a spider's leg, sliding along the morning light.\u003cbr\u003e\n People moving through it are both spectators and shapers of the watershed. The dynamics lie in the currents and waves, while the static elements are the islands. However, precisely because life has boundaries, people can become islands. Floating islands imply random movement, which means that the waterway cannot be planned in advance, but can only be recorded. The result expresses a random order and direction, much like a narrative, which can still complete a dialogue in the midst of undirected improvisation:\u003cbr\u003e \nAfter this journey, I've acquired a piece of transparent amber that holds all the fragments together. It's a symbol of my journey. It captures the events of the day, and it sits in the palm of my hand, breathing. Gazing at it, I've never felt so transparent. It reminds me that while I can't change what's already happened, I can tell a new story.\u003c\/p\u003e","brand":"獨立出版","offers":[{"title":"Default Title","offer_id":47007694586094,"sku":null,"price":180.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_34.png?v=1758721309"},{"product_id":"蟲子書","title":"Bug Book (蟲子書)","description":"\u003cp\u003e Stare at a leaf. Pick up a stone. A drop of rain hits the car window. The trash on the roadside might be a cigarette butt.\u003cbr\u003e\n Our attention shifts from the material we're constantly exposed to, and suddenly changes the entire system that surrounds you.\u003cbr\u003e \nThere always comes a serendipitous moment: on a particular material, you discover a different semantic code, a message that seems to be completely different from any previous channel. Then, a near-revelation arrives, a message that serves as a small platform, carrying your imagination to a different world of language. In an instant, you leave behind all cultural codes, commercial vehicles, consumer information, the words and sounds on signs, house numbers, and banners, traffic signs, menus, slogans printed on clothing, graffiti, and stickers on the street... Everything either guides or resists, each one centered around similar core values, unfolding different strategies in all directions.\u003cbr\u003e\n When we put aside the reading and thinking that are purely human, above that, there are the textures of the leaves, the angle of light projected on any object, and the interactive relationship they produce, telling the relationship between climbing curved surfaces, touching time and temperature.\u003cbr\u003e \nAt this point, our attention returns to the material, and we gradually find that we are fully capable of realizing that beyond life, there is another layer of different life, located on the surface, a layer of coating, which is about texture, about traces of bites, and a shallow path forward.\u003cbr\u003e\n Insects have no concept of home or furniture, only habitat. Their bodies are contained by the dimensions of the room, but our consciousness should also have a place where it can live. Its footsteps are light and slender, able to fall into the gaps that insects can climb, and in the many holes, it searches for a resting moment that is similar to sleep. It gently hooks, turns over, turns into liquid, and temporarily fills the tiny holes until the body moves again.\u003c\/p\u003e","brand":"雄獅美術","offers":[{"title":"Default Title","offer_id":47008978698478,"sku":null,"price":650.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_38.png?v=1758721310"},{"product_id":"彰化一九〇六","title":"Changhua 1906","description":"\u003cp\u003e We don't notice until a particular object gives us a special entry point - we begin to discover the hidden fault lines and the turning points between them that completely changed who we are.\u003cbr\u003e\n Only from then on did we have the opportunity to clarify the relationship between the past and the present and grasp the significance of that fault.\u003cbr\u003e \nEven when these two urban systems tear each other apart, they always seem to be able to recover. The truncation we see at Yuanqingguan is at the intersection of these two urban forms, representing the double trauma that permeates the entire city.\u003cbr\u003e\n The writing and reading of nonfiction always leads us back to moments of real-life exploration, offering inspiration. For example, the \"urban renewal\" that once took place in Changhua, which inevitably affected everything, is like a choice to make a special concession, along with subtle clues that gradually faded through collective life. The occurrence of all of this and the process of adapting to it are like a metaphor: sometimes forced, sometimes of our own initiative, the sudden arrival of new surfaces imposed upon us—perhaps a certain period of fast-fashion style, a new body of knowledge, a new supervisor's revised work procedures, or a new person who intrudes into our lives—all emergencies that defy judgment based on past characteristics.\u003cbr\u003e \nThe center and periphery of the self can refer to the focus of our efforts and resource allocation. Just as analyzing something requires a certain opportunity, when given the chance, we can address and replenish areas once covered by the unconscious, initiating an inner migration from the bustling stronghold to the outskirts of consciousness, where unexpected communities develop. In this way, we gain a method of understanding that leads to the inner elsewhere.\u003c\/p\u003e","brand":"大家出版","offers":[{"title":"Default Title","offer_id":47008983285998,"sku":null,"price":320.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_40_a51a4cc9-fcdc-42e8-a9d4-775a477b022e.png?v=1758721308"},{"product_id":"親愛的圖書館","title":"Dear Library","description":"\u003cp\u003e By constructing a space and recreating it through non-fiction writing, will that space completely disappear even if it is burned down by fire?\u003cbr\u003e \nIf we were faced with the boundless expanse of space, we wouldn't feel embraced, but rather plunged into a zero-gravity gap. However, when we slice through past scenes, the \"heartbeats, surprises, gratitude, dreams\" attached to them, and confront these emotional clues, along with the changes of a certain period, we have the opportunity to trace and reinterpret them, creating a dramatic turn of events. Then, something that once belonged to you reappears, and the moment of transformed carrier and dislocated memory arrives. Suddenly, you understand that the object that has carried so many people, including yourself, and that has led to specific paths of use and the fermentation of culture over time, has become a container for us.\u003cbr\u003e\n The container is transformed into a long poem by the narrative; we see the space, and then we see all the moving relationships and dynamic connections:\u003cbr\u003e \nAs the doors lingered, the air permeated the building, like a backstage theater performance—the moment before the curtains rose, the audience, though unable to see or hear, could sense the surging sounds and shadows, aware that the actors had taken their positions, the props had been arranged, and the show was about to begin. Los Angeles's first public library opened in 1859, and its doors had been opened countless times since then. Yet, each time the guard shouted, \"Open the Library,\" the air would stir, a sense of something significant about to happen—a show about to begin.\u003cbr\u003e\n Below each chapter number, she would select a few books and create the core meaning of the chapter by slightly moving the book titles.\u003cbr\u003e\n In addition to responding to the chapter names, those books are also like other books that meet each other inexplicably when you are browsing the library shelves.\u003cbr\u003e\n Objects are next to objects, words are next to words, objects are connected, words are dependent on each other, so the road will never end.\u003c\/p\u003e","brand":"時報文化","offers":[{"title":"Default Title","offer_id":47008991412462,"sku":null,"price":480.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_35_5b6e5e27-6abb-4296-932e-c02b10283c6a.png?v=1758721308"},{"product_id":"城市-演化-人","title":"Cities, evolution, and people","description":"\u003cp\u003e How do we get to new places?\u003cbr\u003e\n Initially, there was a specific living area, which served as a base, and the scope gradually expanded, and the ability to move was slowly developed.\u003cbr\u003e \nHow do we decide to go from where we are to where we are? Once upon a time, the destination always seemed clear. Someone had always marked the place before us: a river junction, a particular tree, or a cave. Beyond those specific locations, everything else was just a path. Of course, some people prefer to find their own unique landmarks on seemingly destinationless roads. Strangely, when we finally arrive in an unfamiliar place, we can always gradually understand the entire new area from every little piece of life we ​​encounter.\u003cbr\u003e\n ...Afterwards, the city is a dynamic space. Looking down from a distant lens, in each frame, everyone is going somewhere, and there is a specific connection between their current location and their destination. This means that as long as the reason for one person's path is clarified, there is a chance to connect the relationships of all people.\u003cbr\u003e\n But why do people decide to choose a particular place and live there continuously?\u003cbr\u003e \nArchaeology, through excavation, finds a starting point, traces clues, and explores the origins of human life and development. Archaeology, which we often think is so distant from us, actually reveals this through various methods of excavation and interpretation. In reality, humans are three-dimensional creatures caught in the web of time. Therefore, if we are willing to slightly adjust our conceptual understanding and attitude toward the dimension of time, and not cling to linear time, then, at every moment, while we are shaping the surface, we can also be carving away at the traces of history beneath, altering the past: we can take a pickaxe and pound it down—that pickaxe is our own life—examining and observing each unearthed archaeological object, repeatedly reinterpreting our own imagination of our lives.\u003c\/p\u003e","brand":"臉譜出版","offers":[{"title":"Default Title","offer_id":47008998818030,"sku":null,"price":420.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/Frame_39_a5e3f85e-1833-486a-98fa-5f6d7f1ee202.png?v=1758721309"},{"product_id":"whichaestheticsdoyoumean","title":"On the Meaning of Aesthetics 美學的意義","description":"\u003cp data-start=\"155\" data-end=\"217\"\u003eWe need a shared language to connect ourselves to one another.\u003c\/p\u003e\n\u003cp data-start=\"219\" data-end=\"651\"\u003eHere, “language” refers to both written and spoken forms of communication through which we discuss anything related to the notion of “aesthetics” mentioned earlier. For example, imagine you are driving along a coastal road. The mist ahead begins to clear, just enough for you to see a distant city. You turn to your friend and say, “I have never seen light refract across buildings like this. It reminds me of a painting by Turner…”\u003c\/p\u003e\n\u003cp data-start=\"653\" data-end=\"703\"\u003eIn that moment, you are speaking about aesthetics.\u003c\/p\u003e\n\u003cp data-start=\"705\" data-end=\"827\"\u003eWhen we speak, we deepen our awareness, our perception, and our thinking. We describe the lived experience of that moment.\u003c\/p\u003e\n\u003cp data-start=\"829\" data-end=\"1167\"\u003eThe ordinary things we encounter in daily life can arise either from habit without reflection, or from continuous exploration that leads to deliberate, profound understanding. Often, knowing our own rhythms and patterns provides us with a stable sense of everyday life, anchoring our eating, movement, tasks, and the reduction of entropy.\u003c\/p\u003e\n\u003cp data-start=\"1169\" data-end=\"1248\"\u003eYet given this, how should we think about the meaning of “changing experience”?\u003c\/p\u003e\n\u003cp data-start=\"1250\" data-end=\"1919\"\u003eLeonard was once struck by this: what artists choose to say, to explain, and to leave unsaid is often an essential part of artistic creation. He once attempted to “fill the mind of domestic aesthetics with philosophical furniture” as a form of defense, responding to the idea that, as independent individuals, artists and non artists are no different in their interpretations of works or in their ability to produce meaningful insights. However, after undergoing certain turning points in life, he shifted toward constructing what he called “aesthetic landscapes,” believing that only in this way could we more accurately reflect how our minds intersect with the world.\u003c\/p\u003e\n\u003cp data-start=\"1921\" data-end=\"1964\"\u003eHow does the mind intersect with the world?\u003c\/p\u003e\n\u003cp data-start=\"1966\" data-end=\"2664\"\u003eLife itself remains the same, much like the way sunlight falls upon objects does not change. Yet as we move within it, constantly shifting the positions of things, chain reactions become possible. This is why Tongdi writes on its website that “materials are especially important.” Here, “materials” refers to writing. In fact, writing here points to an abstract connection that begins with material things and extends into thought. It can almost be imagined as a kind of fiber. Writing, as fiber, weaves together two ends, linking the dialogue between people and objects. Because this woven material allows objects, the world, and thought, the mind, to intersect, it becomes “especially important.”\u003c\/p\u003e\n\u003cp data-start=\"2666\" data-end=\"2761\"\u003eWe cannot step into the same beam of light twice. So how can each moment of change be captured?\u003c\/p\u003e\n\u003cp data-start=\"2763\" data-end=\"2865\"\u003eAnd what can transform these experiences into something conscious, something transmissible as an idea?\u003c\/p\u003e\n\u003cp data-start=\"2867\" data-end=\"3473\"\u003eAll certainty is merely a temporary scaffold. In the future, there will be no enduring totality waiting for us. This means that we can only rely on description to capture fleeting moments of certainty, bound to a specific time and place. Objects eventually enter into life, and description, or copy, the writing that accompanies them, draws our attention to their qualities, characteristics, and meanings. It reshapes how we imagine them. Through language, we gain the possibility to activate imagination, to form the intention to acquire certain things, and to transform others that are already before us.\u003c\/p\u003e\n\u003cp data-start=\"3475\" data-end=\"3575\"\u003eLeonard writes that the language we use profoundly shapes how we perceive and engage with the world.\u003c\/p\u003e\n\u003cp data-start=\"3577\" data-end=\"4162\"\u003eWe listen to objects. Through our connections with them, and through the “systems of language” they generate, we recognize one another’s actions, intentions, and trajectories. In this sense, the objects we choose also shape how we understand the world, as well as how we interact with it and with others, including the limits of those interactions. Writing, as a mediating form of description that creates connection, allows the sensibility of experience and the rationality of aesthetics to come together, temporarily, within the language systems of objects and the actions of people.\u003c\/p\u003e","brand":"行人文化實驗室","offers":[{"title":"Default Title","offer_id":47594396418286,"sku":null,"price":280.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_2-3-1.png?v=1769435443"},{"product_id":"山本耀司-my-dear-bomb","title":"My Dear Bomb 山本耀司","description":"\u003cp data-start=\"123\" data-end=\"210\"\u003e\u003cstrong data-start=\"123\" data-end=\"132\"\u003eBomb:\u003c\/strong\u003e To contribute to society in a rebellious stance—this is the artist’s mission.\u003c\/p\u003e\n\u003cp data-start=\"212\" data-end=\"303\"\u003eThose who have never experienced ruin or degradation can hardly understand his inner world.\u003c\/p\u003e\n\u003cp data-start=\"305\" data-end=\"790\"\u003eYohji Yamamoto believes that creation itself is a form of destruction. To create is to break what already exists, to take something whole and transform it into something entirely different. In this sense, creation is destruction. And so, he set out to dismantle the very idea of “clothing.” His work always leaves us with a reminder: as we rush headlong toward what we call modernity, we must not forget the enduring sorrow and uncertainty that have always accompanied human existence.\u003c\/p\u003e\n\u003cp data-start=\"792\" data-end=\"1128\"\u003eTo carefully read the cards life deals you, and to play the right one at the right moment to achieve the greatest effect—this is essential. Sipping chilled champagne in a hotel suite is certainly pleasurable, but in times of hardship, one should also be able to savor the simple delight of a cheap beer bought with one’s last few coins.\u003c\/p\u003e\n\u003cp data-start=\"1130\" data-end=\"1198\"\u003eThe evolution of a brand reflects Yamamoto’s attention to lifestyle.\u003c\/p\u003e\n\u003cp data-start=\"1200\" data-end=\"1597\"\u003eHe observed that people often fail to realize just how long their private time truly is. What seems unreasonable is that fashion is almost always about outward display. Compared to the time people spend living at home, fashion rarely takes a central role in domestic life. He wanted to extend the time in which fashion could be experienced and enjoyed, and so he developed a line of home products.\u003c\/p\u003e\n\u003cp data-start=\"1599\" data-end=\"2001\"\u003eFind the point at the end of the clavicle, then decide whether the shoulder should rise or fall from that point. A good decision gives the shoulder its intended expression. In this sense, it is no exaggeration to call it the foundational point of clothing. Gravity pulls the garment down from the shoulder to the first button, the force of its drape cascading downward like lava flowing from a volcano.\u003c\/p\u003e\n\u003cp data-start=\"2003\" data-end=\"2480\"\u003eYamamoto’s process of cutting resembles painting. It begins from a single point, and the direction of the lines responds to the body’s intuitive use of force. In making garments, simply materializing an abstract concept is not enough. Works that rely solely on artistic ideas, or that attempt to translate a viewpoint directly into form, rarely resonate with consumers. In the end, everything comes back to human hands and perception, which both shape and limit the final form.\u003c\/p\u003e\n\u003cp data-start=\"2482\" data-end=\"2701\"\u003eBecause this process is essential, he does not consider garment making to be purely art. It is through the body and the hands that culture is transmitted. And in order to express the soul, one must discipline the hands.\u003c\/p\u003e","brand":"行人文化實驗室","offers":[{"title":"Default Title","offer_id":47594524770542,"sku":null,"price":580.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_2-2-1.png?v=1769435444"},{"product_id":"archipielago-de-afectos","title":"Archipiélago de Afectos","description":"\u003cp\u003e❝What are you looking for?❞\u003c\/p\u003e\n\u003cp\u003ePerhaps, compared to asking “How did we arrive in an unfamiliar place?”, the question “How do we know where we are?” is even harder to answer. Familiarity can produce a kind of linguistic estrangement—when something is too familiar, we find ourselves with nothing left to say. And yet, there are always clues that reveal our imagination of a place more honestly than language ever could. For instance, in their conversation, they mention Revolico, a popular online marketplace in Cuba. Through this platform—where users freely list and sell items—Cubans project a certain exotic imagination of China. When collective fantasies are naturally inscribed onto a marketplace, it becomes more than a site of exchange. From one perspective, it can be seen as a fictional territory where images of the “other” are unconsciously constructed in everyday life. In this way, it reflects the outline of an imagined virtual nation. Isn’t this precisely what Tongdi seeks to achieve?\u003c\/p\u003e\n\u003cp\u003e❝The way we perceive plants is closely tied to human society, because for a long time, our ways of understanding and classifying other living beings have been fundamentally human-centered. Yet literature and art have never ceased to challenge these systems of division in different ways.❞\u003c\/p\u003e\n\u003cp\u003eIn contrast to the listed items on a shopping platform, objects transformed into elements of a language constructed from material existence, literature confronts its own limits. Writing turns back upon itself in reflection. Can we truly describe a place using only words, suspended between two points of return? Attempting to construct a landscape no one has yet reached resembles a kind of revolutionary ambition, one that seeks to overturn established cultural relations and redefine a new paradigm. Much like when Jorge Luis Borges wrote, hoping that his works might shift the way people perceive literature itself. The artist-in-residence, Yornel J. Martínez Elías, expresses a similar awareness in the book’s dialogue: How do I understand residency? If I can adopt a perspective that sees residency as a mobile, aggregating artistic community, then when we speak of community and collaboration, yet fail within artistic practice to reflect on and propose ways to expand a broader artistic ecosystem, such creation becomes hollow. At best, it remains an interpretation; it does not generate the force needed to provoke challenge or resistance.\u003c\/p\u003e\n\u003cp\u003eThis kind of intellectual flexibility does not necessarily depend on shifting perspectives or crossing disciplinary boundaries. It can also emerge from recognizing the distinctiveness of a place itself. What determines whether a place is or is not, whether it exists or does not exist? When we identify elements of a place, extract them, and rearrange them, we begin to see what relationships are truly fixed, and what can be moved. Contexts are rewritten. All living beings alter their destinations, and with them, every path is transformed.\u003c\/p\u003e\n\u003cp\u003eHow do we realize that this is not Taiwan? This reveals how we translate and interpret other cultures. In the book, Li Xinjie quotes Cuban writer Antonio Benítez-Rojo’s The Repeating Island, describing the Caribbean as a state of “disorder”: fragmented lands, diverse colonial histories, and differences in race, language, tradition, and politics. These conditions produce an internally contradictory, endlessly self-replicating “island” image, ultimately giving rise to a complex and divergent cultural archipelago.\u003c\/p\u003e\n\u003cp\u003eDo we see ourselves in this description? To understand the spirit of the Caribbean is not to seek definitive answers, but to recognize ourselves as marginal, discontinuous, and heterogeneous beings—and to perceive the unpredictable processes, forces, and rhythms that coexist with us in everyday life.\u003c\/p\u003e\n\u003cp\u003eIn the appendix of Archipelagic Empathy, Huang Chong-kai contributes a short story, “What Are You Looking For?”, set within the same universe as The New Formosa. To some extent, it draws upon a specific, temporary experience of diaspora to shape how the protagonist approaches the act of searching. Within the story, he becomes a tunnel within a tunnel, moving through the future. In that moment, we no longer ask, “What are you looking for?” unlike in our real lives as islanders, where we seem destined to search endlessly. Why is it that once the people around us change, even disorientation is no longer escape, nor something that needs to be justified as temporary? Why does an imposed reality give rise to a form of freedom?\u003c\/p\u003e\n\u003cp\u003eThis leads us to wonder: before arriving somewhere, what do you already know? How does your own shape determine what you are able to see? In real life, if we do not wish to remain where we are, we must leave alone, heading toward some distant place. But how often do we encounter the opposite situation, where everyone else must leave, and only you are allowed to stay? When there is nothing left to search for, yet you feel that you are truly somewhere, somewhere that belongs to you.\u003c\/p\u003e\n\u003cp\u003eThe question Huang Chong-kai poses is not answered in his dialogue with the artists. Instead, the short story asks us once more:\u003c\/p\u003e\n\u003cp\u003e❝Is there anything you would like to say to someone who has not yet arrived at this place?❞\u003c\/p\u003e","brand":"Framer Framed","offers":[{"title":"Default Title","offer_id":47846566658286,"sku":null,"price":400.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book2-6-2.png?v=1775140373"},{"product_id":"radical-museology","title":"激進美術館學：當代美術館的當代性","description":"\u003cp\u003e❝放眼全球各地的當代美術館，將它們連結在一起的，並非對館藏、歷史、立場或使命的關懷，而是因為他們認為當代性已成為他們的形象。❞\u003c\/p\u003e\n\u003cp\u003e我們似乎不需要博物館，就明白展示和排列，因為那是我們透過發展背景、有限資源、凝視並擁有，陳述生活的方式——只要看向我們的居家擺設就不言而喻。那麼，博物館、美術館從本質上就會關於進一步協助我們「作為集體」去感知與理解的意義。這也是為什麼，一旦深究「集體」的意涵，就不得不理解政治與權力的關係。如果我們期待個人力量，在集體中仍保持獨立性，不要讓觀看削弱我們的表現力，反而讓歧異的張力，創造出一段可供對話來回的距離，那麼，觀者需要錨定生活體驗，策展也必須對展示保持反思，不能交由統計數據發揮，也不能交由利益導向，這就是「激進」教育（radical education）。\u003c\/p\u003e\n\u003cp\u003e當城市出現新的藝術場域，我們對它的期待，以及生活與之結合的理想狀態會是什麼樣子？這些生活狀態，能夠說明我們的藝術涵養、文化素養被均勻地塗抹、厚敷於當代生活嗎？如果一座城市能夠擁有自己專屬的美術館，群眾與之互動，必然就是讓它保持生命力的方法。如果開始辯證，這時，也會需要牽涉並釐清該美術館的身份是受私人的組織支持，或者是公共需求的推動。\u003c\/p\u003e\n\u003cp\u003e我們難以要求所有人都深思藝術的由來、探究創作的原始衝動，但生活路徑的影響，卻會讓人被動地參與並想像自己應該要擁有對某些空間具有基礎接觸，以及保持一個廣泛的認知。更強大的拖曳力量則是時代，讓我們浸泡於共時性的認知和隨之而來的焦慮，那一份理所當然，埋藏在所有生活的細節裡面，像是商業汰舊換新的邏輯，以及飛速變化並且具有時效性的時尚發展。在這樣的前提下，美術館典藏品成為某種秘密武器，但如今武力的力量不在於可以為我們指認已逝去的時間、成為某個斷代存在過的證據，而是為了在未來現身和所有未來的物件對話。在這本小書裡面，畢莎普挑選了三間、三種不同的博物館轉化「當代性成為適用於所有歷史時期的方法或實踐」的做法，包含運用高概念重新打散展品的時間性，消弱以年表作為展示原則，期待展品自證時代元素的保守性；透過不同類型的展品，以路展示徑創造觀眾參與展物和檔案彼此對話的脈絡；以及「重複」展示——主張重複解讀的價值，建構回應的歷史。\u003c\/p\u003e\n\u003cp\u003e面對博物館，我們看見世界的某個剖面被悉心取出的收藏模式與集體凝視規劃，收納我們愛而不得的尺度——我們生活在人造的意識隔間之中，如果將時間用於選擇這樣的生活，就勢必失去其他所有可能性，但博物館彌補這點，它創造虛擬的、暫時的時間共識，用以聯結隔間之外，歧異無邊的世界。\u003c\/p\u003e\n\u003cp\u003e\u003c!-- notionvc: 475efa91-d2a9-4478-9db2-8964f379c971 --\u003e\u003c\/p\u003e","brand":"一行出版","offers":[{"title":"Default Title","offer_id":48103797358830,"sku":null,"price":260.0,"currency_code":"TWD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0768\/4951\/2686\/files\/book_2-14-1.png?v=1780496065"}],"url":"https:\/\/commonplace.tw\/en\/collections\/%e9%80%9a%e5%9c%b0%e9%81%b8-commonplace-picks.oembed","provider":"通地 Commonplace","version":"1.0","type":"link"}