裝置角度 菲爾·張Installation View by Plil Chang

11月15日至19日，麗水這個(gè)浙西南城市，被攝影點(diǎn)染了風(fēng)物，成為了備受矚目的“話(huà)題中心”——“第二屆國(guó)際攝影研討會(huì)”暨“第26屆全國(guó)攝影藝術(shù)展覽”系列活動(dòng)不僅在攝影界收獲了諸多點(diǎn)贊和良好口碑，在新浪微博的相關(guān)話(huà)題更獲得7.2億次的點(diǎn)擊量。

系列活動(dòng)的主題為“超媒體時(shí)代的影像”，堅(jiān)持學(xué)術(shù)性、國(guó)際性、群眾性和品牌性特色，注重“精品”“特色”“融合”“共享”“開(kāi)放”理念。1050個(gè)不同類(lèi)型的展覽，匯聚了世界50多個(gè)國(guó)家的5000多名業(yè)界精英和攝影群體，以不同的藝術(shù)理念和介入方式，呈現(xiàn)出一場(chǎng)光與影、思與變的影像盛宴。

兼容并蓄，海納百川，攝影展的數(shù)量及規(guī)模創(chuàng)下國(guó)內(nèi)攝影節(jié)慶活動(dòng)之最，在世界同類(lèi)活動(dòng)中規(guī)模也屬罕見(jiàn)。在小巷里、在電影院、在博物館、在美術(shù)館……2017麗水?dāng)z影節(jié)的15個(gè)展場(chǎng)，讓影像無(wú)處不在、無(wú)處不歡。

觀點(diǎn)：學(xué)術(shù)爭(zhēng)鳴，拓展邊界

網(wǎng)格化的幽靈現(xiàn)象 郭靜潔The Gridded Ghost Gamer by Minstrel Kulik

作為第二屆國(guó)際攝影研討會(huì)主題的“超媒體時(shí)代的影像”，昭示著學(xué)術(shù)議題的話(huà)語(yǔ)前瞻性。研討會(huì)邀請(qǐng)來(lái)自不同國(guó)家和地區(qū)的十余位攝影理論家、批評(píng)家、高等學(xué)府教授、博物館和美術(shù)館機(jī)構(gòu)負(fù)責(zé)人、媒體編輯、策展人、攝影藝術(shù)家展開(kāi)探討。

對(duì)于這一學(xué)術(shù)主題，中國(guó)美術(shù)學(xué)院跨媒體學(xué)院實(shí)驗(yàn)藝術(shù)系主任高世強(qiáng)認(rèn)為，隨著媒體科技的加速迭代，媒體關(guān)系也走入不斷革命的通道。媒體的最典型載體——影像，以及它們生產(chǎn)、傳播、接受、消費(fèi)等關(guān)系也被一一顛覆、超越。自媒體時(shí)代，人人都是媒體，人人都是影像的創(chuàng)造者和傳播者，人人也都是消費(fèi)者和觀眾。但是，隨著數(shù)碼時(shí)代而來(lái)的影像生產(chǎn)的泛濫，隨著網(wǎng)絡(luò)時(shí)代而來(lái)的影像傳播與交流的超載，使得人們本能地作出相應(yīng)自我保護(hù)，無(wú)視絕大多數(shù)撲面而來(lái)的資訊，也包括圖像和影像?！俺襟w時(shí)代的影像”的主題，無(wú)異于提出一個(gè)問(wèn)題：在當(dāng)下的時(shí)代境遇和影像現(xiàn)實(shí)中，作為影像的創(chuàng)作者、傳播者和接受者，以何自處？何以與世界相處？

在策展人、藝術(shù)評(píng)論家張海濤看來(lái)，攝影媒介在不同的時(shí)代拓展著載體、技術(shù)和材質(zhì)，傳統(tǒng)媒介和新媒介之間的跨界，超越自身的載體束縛，也會(huì)讓攝影具有新的當(dāng)代性、實(shí)驗(yàn)性和未來(lái)感。“超媒體時(shí)代的影像”主題，探討的是影像藝術(shù)介入現(xiàn)實(shí)的方式和精神怎樣能更加自由，讓藝術(shù)的人文啟示功能最大化發(fā)揮。

美國(guó)紐約帕森斯設(shè)計(jì)藝術(shù)學(xué)院攝影系主任、策展人吉姆·雷默則認(rèn)為，在過(guò)去的25年里，攝影經(jīng)歷了3次改革浪潮：第一次是圖像的數(shù)字化，第二次是圖像的網(wǎng)絡(luò)化，最后是計(jì)算機(jī)技術(shù)在攝影中的應(yīng)用。后兩個(gè)技術(shù)創(chuàng)新從根本上改變了人類(lèi)與圖像的關(guān)系，并為新的攝影理念奠定了基礎(chǔ)。這是媒介歷史上獨(dú)一無(wú)二的形成發(fā)展時(shí)期。它從歷史中顯現(xiàn)出來(lái)，蘊(yùn)涵獨(dú)特的潛力。圖像文化已經(jīng)達(dá)到了一種“超級(jí)速度”，在高度聯(lián)網(wǎng)的計(jì)算機(jī)環(huán)境下，正出現(xiàn)新型的聯(lián)系、嶄新的理念和戰(zhàn)略。

焦點(diǎn)：動(dòng)靜相宜，“內(nèi)外”兼修

眾人聚焦的學(xué)術(shù)主題展用VR、視頻、裝置、投影等各類(lèi)科技手段和當(dāng)代藝術(shù)手法，以前沿的方式解讀著攝影的發(fā)展可能。就攝影本體而言，定格瞬間的魅力，依然是攝影的根本所在。多媒介融合給攝影這門(mén)歷史不算悠久的藝術(shù)帶來(lái)了無(wú)限的可能，也改變了人們的行為方式和觀展方式。

吉姆·雷默邀請(qǐng)17個(gè)國(guó)家和地區(qū)的28位當(dāng)代藝術(shù)家代表以“未來(lái)何來(lái)”為題，展開(kāi)了一場(chǎng)攝影邊界延伸以及走向哪里的話(huà)題討論。每位藝術(shù)家都在挑戰(zhàn)傳統(tǒng)攝影觀念，意圖通過(guò)藝術(shù)講述新時(shí)代的核心問(wèn)題，包括自身網(wǎng)絡(luò)形象，在計(jì)算環(huán)境中歷史和時(shí)間的延展性，在社交媒體時(shí)代身份認(rèn)同以及技術(shù)本身的影響等問(wèn)題。

數(shù)字德利 馬可·斯科扎洛Digital Deli by Marco Scozzaro

受邀而來(lái)的瑞士愛(ài)麗舍博物館主持的“又一代”這一具有全球影響力的展覽，展出了50名來(lái)自于全球各大攝影專(zhuān)業(yè)學(xué)府的年輕攝影師作品，每位攝影師都從各自國(guó)家不同的文化視角，以影像為載體，呈現(xiàn)出當(dāng)代藝術(shù)語(yǔ)境下樣態(tài)極為豐富的學(xué)術(shù)觀點(diǎn)和國(guó)際視野。

“超媒體”概念在清華大學(xué)美術(shù)學(xué)院教師、藝術(shù)家、策展人鄧巖策劃的“如果藝術(shù)可以重新再來(lái)”中得到最充分的發(fā)揮。巨大的黑色空間，主要被各種視頻投射的圖像占據(jù)，展覽的用心也在于從平面呈現(xiàn)到空間視覺(jué)的轉(zhuǎn)換。展覽由16位國(guó)內(nèi)外知名藝術(shù)家的作品組成，涉及多媒體視頻、裝置、平面影像等表現(xiàn)形式，通過(guò)呈現(xiàn)藝術(shù)家對(duì)于攝影藝術(shù)本體語(yǔ)言的多媒介轉(zhuǎn)化，來(lái)探討攝影作為藝術(shù)在面對(duì)新科技媒介介入后的圖像美學(xué)體系的美學(xué)可能性。展覽對(duì)于攝影從“平面呈現(xiàn)”到“物理空間占據(jù)”的一次新的實(shí)驗(yàn)與探索，雖然很難在短時(shí)間內(nèi)讓觀者讀懂每一個(gè)獨(dú)立視頻的含義，但所有的影像都有一種互動(dòng)感，有觀展者評(píng)價(jià)：“藝術(shù)家是帶著一顆天真的心做一件有趣的事?！?/p>

高世強(qiáng)策劃的“移山止水”項(xiàng)目，通過(guò)邀請(qǐng)32位藝術(shù)家關(guān)于山水世界觀的題材作品，在空間內(nèi)呈現(xiàn)“移山”“止水”的概念，構(gòu)建影像的山水世界。其中包括攝影、Video、影像裝置、書(shū)法行為等作品。從參展的名單中可以窺見(jiàn)，這些藝術(shù)家無(wú)論是從年齡跨度還是藝術(shù)領(lǐng)域都非常寬泛，以跨界的學(xué)院派藝術(shù)家群體呈現(xiàn)出一個(gè)多媒體的藝術(shù)展覽。

本次活動(dòng)組委會(huì)辦公室主任王培權(quán)表示，組委會(huì)對(duì)藝術(shù)家抱有開(kāi)放、包容的心態(tài)，力爭(zhēng)讓觀眾看到多樣化的展覽形態(tài)。其中，鄧巖的展覽更先鋒，呈現(xiàn)方式和科技休戚相關(guān)；吉姆·雷默的展覽更豐富；愛(ài)麗舍博物館的展覽以學(xué)院派為導(dǎo)向，體現(xiàn)了當(dāng)代攝影及影像藝術(shù)的發(fā)展動(dòng)向；高世強(qiáng)的展覽回應(yīng)中國(guó)傳統(tǒng)文化。綜合來(lái)看，就是在超媒體時(shí)代東西方文化的碰撞和對(duì)話(huà)。王培權(quán)還透露，邀請(qǐng)吉姆·雷默策展時(shí)，他看到了上一屆攝影節(jié)韓國(guó)策展人宋修庭策劃的展覽，激發(fā)了他想要和宋修庭“PK”的念頭，“她很棒，我要做得更好！”

熱點(diǎn)：全國(guó)影展，中國(guó)故事

作為國(guó)內(nèi)歷史最悠久、規(guī)模最大的全國(guó)性攝影展覽，全國(guó)攝影藝術(shù)展覽的號(hào)召力無(wú)出其右。第26屆全國(guó)影展共征集到212065幅參展作品，這一數(shù)字再次刷新了全國(guó)影展投稿作品數(shù)量的紀(jì)錄，入選的368件作品更是成為眾多攝影人關(guān)注的熱點(diǎn)。

第26屆全國(guó)影展入選作品揭曉后的第一次集體亮相展出，便在麗水。在看展的路上，常會(huì)遇到三五成群的觀展者在打聽(tīng)：“全國(guó)影展在哪里展出？”走進(jìn)麗水博物館，更能感受到全國(guó)影展的“人氣”——看不到一位步履匆匆的觀展者，大家認(rèn)真地聚焦在一幅幅作品前細(xì)聲交流，若是“撞到”了入選攝影師就在現(xiàn)場(chǎng)，勢(shì)必引發(fā)一撥?chē)脒x攝影師“取經(jīng)采訪”的小高潮。

紀(jì)錄類(lèi)攝影作品依然最受關(guān)注。范顯海的《沙場(chǎng)點(diǎn)兵》中動(dòng)若風(fēng)發(fā)的張力表現(xiàn)出三軍大呼陰山動(dòng)的磅礴氣勢(shì)，受閱官兵甲胄在身、使命在胸的昂揚(yáng)精神面貌和戰(zhàn)斗意志呼之欲出；向文祥的《溫暖的小手》中，兒子為母親遮擋風(fēng)雪的一瞬間傳遞的是愛(ài)的溫度；余紅春的《中國(guó)首位殲-10女飛行員的一生》記錄了犧牲的女飛行員余旭戎裝映襯下的稚嫩、日常生活里的俏皮、訓(xùn)練中的專(zhuān)注、短暫生命的榮光，將讀者帶入為這個(gè)年輕生命逝去深深惋惜的共情；潘永強(qiáng)的《老工業(yè)轉(zhuǎn)型的日子》，一幅幅影像定格的則是我國(guó)在節(jié)能減排、企業(yè)升級(jí)轉(zhuǎn)型的過(guò)程中，產(chǎn)業(yè)工人們所經(jīng)歷的必然的陣痛，細(xì)致入微地刻畫(huà)了工人群體對(duì)即將改變的工作、生活的期待及內(nèi)心世界的反應(yīng)……充盈視覺(jué)張力、藝術(shù)活力和生命偉力的好作品，大多反映了基層的火熱生活。

對(duì)于全國(guó)影展的關(guān)注和討論從麗水首展生發(fā)，在攝影業(yè)界繼續(xù)發(fā)酵，其中折射出的中國(guó)攝影現(xiàn)實(shí)生態(tài)，更值得引發(fā)關(guān)注者和參與者的深度思考。

支點(diǎn)：攝影文章，融入產(chǎn)業(yè)

隨著信息技術(shù)的發(fā)展，當(dāng)下群眾生活已經(jīng)進(jìn)入大眾攝影時(shí)代，攝影變得人人都能參與，成為人們生活不可或缺的一部分。“超媒體時(shí)代的影像”，看似深?yuàn)W的攝影節(jié)主題，卻早已融入了麗水人和麗水?dāng)z影人的日常生活。除了慕名而來(lái)的攝影界人士前來(lái)取經(jīng)，市民們也利用各種空閑時(shí)間看展。麗水居民舒榮譽(yù)特意陪著老伴看展，他說(shuō)：“要不是這次攝影節(jié)，我們哪能看到這樣的照片，我們麗水人感覺(jué)很幸福。”

麗水因其歷史文化厚重多元、自然景觀得天獨(dú)厚、民族風(fēng)情多姿多彩，而被中國(guó)攝影家協(xié)會(huì)命名為全國(guó)第一個(gè)“中國(guó)攝影之鄉(xiāng)”。深諳生態(tài)文明發(fā)展前景和優(yōu)勢(shì)，麗水市從2011年就編制出臺(tái)了《麗水?dāng)z影發(fā)展規(guī)劃（2011—2020）》，希望攝影既作為滿(mǎn)足人民美好生活需要的重要內(nèi)容，又成為文化產(chǎn)業(yè)的重要增長(zhǎng)點(diǎn)。如今，這里擁有國(guó)家級(jí)攝影創(chuàng)作基地3個(gè)，市級(jí)攝影基地22個(gè)，已建成2個(gè)攝影產(chǎn)業(yè)園、100個(gè)攝影采風(fēng)基地，中國(guó)首個(gè)攝影博物館也落戶(hù)于此。攝影高端論壇、“甌江行”麗水?dāng)z影大展、攝影排行榜等品牌項(xiàng)目已然成型。據(jù)悉，因?yàn)閿z影，每年到麗水的游人凈增數(shù)十萬(wàn)，旅游收入也以每年增長(zhǎng)25%以上的速度遞增，旅游收入在生產(chǎn)總值中的比重已接近10%。麗水?dāng)z影文化與旅游產(chǎn)業(yè)“碰撞”激發(fā)了明顯的文旅融合效應(yīng)。憑借于這股外力及內(nèi)力，從“綠水青山”間出發(fā)的攝影文化，也正讓麗水成為一方攝影名城、山水名城。

無(wú)題 莎拉·帕爾莫Untitled by sarah Palmer

Lii shui, a city to the southwest of Zhejiang Province ndulged in the atmosphere of photography lately,has become the Center of Discussion drawing wide attention on 15-19, November —— a series of events of the 2ndInternational Photography Symposium 2017 Lishui Photography Festival, the 26thNational Exhibition of Photography not only gains much commendation and sound reputation in the circle of photography, but wins 720 million hits on the related topic of Sina micro-blog.

With the theme of Image of Hypermedia Era, the events adhere to the academic, international mass-based and brand-oriented characteristics and focus on the conception of Competitive Products, Features, Integration, Sharing and Openness.Some 1,050 exhibitions of diverse categories, convening over 5,000 industry elite and photography groups from more than 50 countries worldwide, have presented a feast of images combining light and shadow, thought and changes.

Showing comprehensive inclusiveness, the exhibition, making a record high in the domestic photography festival events in terms of amount and scale, is uncommonly seen amongst its counterparts internationally. Alleys, theaters, museums and art galleries… the 15 exhibitions of 2017 Lishui Photography Festival turned the city into a sea of images.

Point of View: Academic Contention, Boundary Expansion

As the theme of the 2ndInternational Photography Symposium,the Image of Hypermedia Era discourses the foresight of academic issues. The symposium has invited tens of photography theorists, critics, higher education professors, curators of museum and art museums, media editors, events organizers and photographers.

For this academic subject, GAO Shiqang, Director of Experimental Art Department of School of Intermedia Art of China Academy of Art, thinks that the media relationship will enter into a path of continuous evolution with the accelerated iteration of media technology. The image---the most typical carrier of media,and its relationship concerning production, communication,acceptance and consumption and etc. will also be---overthrown and surpassed. In the era of We-media, everybody is media,creator and communicator of images, consumer and audience.However, with the proliferation of image production coming from the digital age, and the overload of image transmission and communication generating from the Internet age, people make corresponding self-production out of instinct, ignoring the overwhelming majority of information, including those images.The theme of Image of Hypermedia Era undoubtedly raises a question: how the image creators, communicators and receivers treat themselves and even communicate with the world in the present situation and reality of images?

However, for ZHANG Haitao, an event organizer and art critic,the media of photography expand the carrier, technology and material in different times. The crossover between traditional media and new media, beyond their own carriers’ bound, will also generate new modernity, experimentation and sense of future. The theme of Image of Hypermedia Era discusses about the means of the image art involved into the reality and how the spirit will enjoy more freedom and maximum the function of humanistic inspiration of art.

In the opinion of James Ramer, an event organizer and director of photography department of Parsons the New School for Design, for the past 25 years, the photography has experienced three waves of reforms, the first was image digitalization,the second image networking and the final application of computer technology in photography. The latter two technology innovation, changing the relationship between people and images in a fundamental manner, has laid foundation for the brand-new conception of photography, an unprecedentedly unique time of creation and development in this media history,containing original potential stemmed from history. The image culture has reached a type of Super Speed, generating new type of connection, and new concept and strategy in a highly network-oriented environment of computer.

Focus: Perfect combination of dynamic and still, internal and external.

The exhibition with academic subject drawing people’s attention has interpreted the development possibility of photography via means of VR, video, device, projection and other scientific means and contemporary art techniques. As far as the photography concerned, freezing the glamour of moment is still the root of photography. The multimedia convergence not only brings up infinite possibility for photography, an art with a short history, but changes people’s behavior and means of exhibition participation as well.

With the theme of How Future Comes, James Ramer has invited 28 representatives of modern artists from 17 countries and regions to discuss about the extension of photographic boundary and its direction. Each artist is challenging traditional photography concepts with the intention of telling the core issues of the new era through art, including issues such as network image of themselves, the scalability of history and time in the computing environment, identity in the age of social media, and the effects of technology itself and etc.

The Another Generation exhibition hosted by the invited Elysee Museum in Switzerland features 50 young photographers from major photographic professions worldwide, each photographer,from the different cultural perspectives of their own countries,presents a very rich academic perspective and international horizon under the contemporary artistic context with images as the carrier.

The concept of "hypermedia" showcases the most comprehensive play in "If Art Can Come Back Again" curated by DENG Yan, a teacher of Tsinghua University's Academy of Fine Arts, artist and event organizer. Huge black space is mainly occupied by a variety of video projection images, the exhibition's intentions lie in the visual transition from the plane to the space.The exhibition, composed of artworks by 16 well-known artists both at home and abroad, involves multimedia videos, device,graphic images and other forms of presentation. By presenting the artist's multi-media transformation of the language of photographic art ontology, the exhibition, upon photography considered an art, explores the aesthetic possibilities of the image aesthetic system in the face of new media of science and technology intervention. The exhibition is a brand-new experiment and exploration of photography from "planar presentation" to "physical space occupancy", though it is most difficult to allow each viewer to acknowledge the meaning of every independent video in a short time, yet all images have an interaction. Some viewers commented: "The artist is doing a funny thing with a naive heart."

The project of "moving mountains and stopping water",planned by GAO Shiqiang, presents the concept of "moving mountains" and "stopping water" in the space, invigorating the landscape world of the images by inviting 32 artists' theme works concerning landscape world view, including photography,video, devices, calligraphy and other works. From the list of exhibitors, it is observed that these artists present a multi-media art exhibition by a cross-disciplinary group of academic artists,both in their age span and the art field.

WANG Peiquan, director of the Organizing Committee of the event, said that the committee holds an open and inclusive attitude to the artists and seeks to make the audience observe a variety of exhibition forms. Among them, DENG Yan's exhibition is avant-garde, showing the close relationship between the way and science and technology; exhibition of James Ramer presents more abundance; Elysee Museum's exhibition, however, is academic-oriented, reflecting the contemporary photography and video art trends; meanwhile, that of GAO Shiqiang echoes the Chinese traditional culture. It is a collision and dialogue, in general, between Eastern and Western cultures in the era of hypermedia. WANG Peiquan also revealed that at the invitation of James Ramer’s organizing the exhibition, he found that the exhibition curated by SONG Cuiting, the organizer of the last photography festival in South Korea, inspired his intention of"PK" with her: "She is so great. I want to Make better! "

Hot Spots: National Exhibition of Photography, Story of China

As the country’s oldest and largest national photographic exhibition, the appeal of national photographic art exhibition is unprecedented. The 26thNational Film Festival has solicited 216,065 entries, a figure that once again set a record for the number of submitted works for the event. Meanwhile,the selected 368 works became the Heated Focus of many photographers.

The first collective debut of the selected works after the official announcement from the 26thNational Film Festival is in Lishui. On the way to the exhibition, groups of viewers often encountered asked: where is the national photo exhibition? Entering into the Lishui Museum, one can experience the event popularity --- there was no such a fast walking viewer and people were drawn before pieces of work, whispering thoughts. If a selected photographer was HIT on the scene, it would undoubtedly lead to a small upsurge of INTERVIEW.

Documentary photography remains the most watched. The moving tension of FAN Xianhai’sField Troops Paradeshows the majestic momentum of Chinese army, navy and air force,the high spirit and battle will of soldiers in parade were vividly portrayed; In XIANG Wenxiang'swarm hands, the moment passed by the son covering the snow for his mother showed the temperature of love; YU Hongchun'sLife of China's First J-10 Female Pilotrecorded the immaturity of the sacrificed female pilot YU Xu in uniform, the playfulness in daily life, the concentration in training, and the glory of her short life, bringing the viewers into the deep sympathy to the lost of this young life;PAN Yongqiang'sDays of Old Industrial Restructuring, all the images framed the inevitable pains experienced by the industrial workers in the process of energy conservation and emission reduction and enterprise upgrading and transformation. They nurtured the workers' reactions to the upcoming job changing,life expectations and their inner world... Great works, filled with visual tension, artistic vitality and life strength, mostly reflect the grass-roots life.

Concerns and discussions on the National Photography Exhibition have taken root in the first exhibition of Lishui and continue to be fermented in the photographic industry. The realistic ecology of Chinese photography, which is reflected in the event, deserves further thinking by followers and participants.

Pivot: Articles of Photography, lntegration into lndustry

With the development of information technology, mass life has now entered the era of mass photography, accessible to participation by all, it becomes an integral part of people's lives. Image of Hypermedia Era, a seemingly esoteric photography exhibition theme has long been incorporated into the daily life of Lishui people and the city photographers. In addition to those figures of photography bearing the heart of learning in the event, citizens also take their free time to take part in the exhibitions. Lishui residents SHU Rongyu specifically accompanied his wife to see the exhibition, he said: "If it were not for this exhibition, we don’t have the opportunity to see such photos, we Lishui people are most happy about it."

Due to its rich history and culture, Lishui has a unique natural landscape and a colorful ethnic custom. It is named the first "hometown of photography in China" by the China Photographers Association. With a good knowledge of the development prospects and advantages of ecological civilization, Lishui City has compiledLishui Photography Development Plan (2011-2020)since 2011, hoping that photography would not only serve as an important part of meeting the needs of the people's good life, but also become a crucial growth point of the cultural industry. Today, there are three state-level photographic creation bases,22 municipal-level bases, two photographic industrial parks and 100 photographic collecting bases and the first Chinese photographic museum is also located in Lishui, already generating high-end photography forum, Walking in Oujiang Lishui Photography Exhibition, photography ranking and other branded projects.It is reported that the annual net increase of tourist arrivals to Lishui, due to photography, will be in the hundreds of thousands. Tourism revenue will also increase at an annual rate of over 25%. The proportion of tourism revenue in the GDP has reached nearly 10%. The collision between Lishui’s photographic culture and tourism industry inspires a clear fusion effect. With these external and internal forces, the photography culture stemming from the "Green Environment" turns Lishui into a renowned city of photography and beautiful landscape.

四種失敗 馬特·波特Four Failures by Matt Porter