The pieces that I submit for exhibitions are not actually small, and I
end up having to place the paper on the floor, then straddle the paper
(like a horse stance in martial arts) and bend my back to write. Day after day of writing on the floor for hours each day can take its toll on my aging body, and my lower back has started to ache a bit. So I decided to give my body a break.
I sat down to write instead. But the table was too small, so all I could do was write single characters as practice.
My back still aches, but the deadlines are approaching, and I better get back to working on those pieces...
Okay, I know this is really not something that I usually write about on my blog, but I do keep tab on GPUs as I (used to) play games and use (old, secondhand) GPUs in my computers/servers.
A quick summary of the pricing controversy. Nvidia announced the RTX 5070 Ti as a GPU with MRSP of US$750, but AIBs are actually pricing their cards at higher prices, averaging US$950, which is US$200 more. Coupled with the low supply and scalpers reselling these cards at higher prices, the average gamer would really need to be earning a lot of money or really really love gaming to pay for one of these cards.
So who is lying here? Is it really a US$750 card like Nvidia said and AIBs are trying to profit by raising prices? Or is Nvidia lying about the price to make it look cheap on paper in order to compete (on paper) with AMD?
Actually, I think no one is lying here.
If Nvidia actually makes and sells the RTX 5070 Ti, it would probably sell at US$750. Realistically, this means it probably costs around US$650 to US$700 to make. However, Nvidia does not make or sell them, relying on AIBs to do so. It just supplies the silicon to the AIBs.
The problem is that selling a GPU is not simply making it and selling it. AIBs incur additional costs in terms of designing their products, testing the designs, marketing, and distribution. Some of these are fixed costs, like design, testing, and marketing, while distribution cost would vary with the quantity. The fixed costs has to be recovered in some way, and if the quantity is large enough, the impact on final selling price would be low. But if quantity is low, each GPU would need to sell at a higher price to make up for the total fixed costs.
Therefore, it could be that the silicon supply from Nvidia for the RTX 5070 Ti is actually quite low, which means AIBs can sell fewer cards, translating to the setting of higher prices to make up for the fixed costs. AIBs are not artificially driving up prices. Nvidia is not artificially suppressing prices. In the end, the high retail price of the RTX 5070 Ti, compared to the announced MRSP by Nvidia, is probably due to low silicon supply from Nvidia. As for the reason behind a low supply, it could be a number of reasons, and it won't be fair for me to speculate.
I have been wanting to write a blog post about it, but things like work and other stuff got in the way and I could only get down to this post today.
The event itself will take place from 1 to 3 August 2025 at Mannheim. Mannheim is a city with several locations used in Violet Evergarden: Eternity and the Auto Memory Doll, so if you are planning to go for the concert and the event, it is also a good opportunity to explore the various places using in the movie.
I am really happy that, following the concert in 2021, the staff has gone on to bring this concert to other places in the world, starting with China, then Thailand, and now Germany. (At the same time, I feel a bit sad that I don't have the time or money to fly overseas for these concerts. But I guess, as a fan, I am more happy that this series is going all over the world, more than I am sad at being not able to attend.)
Ticketing and other information can be found on the AnimagiC website.
My last submission for 2024 was finally being exhibited at the 41st New Year Exhibition of Sankei Sho International Association 第41回産経国際書展 新春展, so I had to find time to go take a look.
I actually made time on 26 January (Sunday) to go see the exhibition... but things did not turn out as expected. First, I made my way to Ueno to Tokyo Metropolitan Art Museum (東京都美術館), only to not see the exhibition being listed. That was when I realised I had gone to the wrong place... the exhibition was being held at The National Art Center, Tokyo (国立新美術館). Then I found that my phone had died (it was a Google Pixel 5a and the screen has gone dead, which I subsequently found out was a motherboard problem common in this model of phones) and I had no way to easily check how to get to the correct place (in Roppongi) from Ueno. In the end, I wandered around looking at some of the other exhibitions at Tokyo Metropolitan Art Museum before heading home.
Good thing my work schedule was empty today, so I made my way again to Tokyo, to the correct place this time.
Yes, the Sankei exhibition is listed.
The iconic restaurants, which also appeared in Shinkai Makoto's Your Name.
It was a weekday, yet there were more people than I expected.
The exhibition is mostly for members of the Sankei Sho International Association, who get to display their works in different sizes, including very big pieces.
But to meet the art museum's criteria for public exhibitions, it also accepted submissions from the general public. These submissions are smaller and cramped together like this.
This is my work, a phrase from Sun-zu's Art of War.
其疾如風、其徐如林、侵掠如火、不動如山
which means "as swift as the wind, as quiet as the forest, as fierce as fire, as unmovable as the mountain."
There were other exhibitions at the art museum too, and I roamed around one of them because it did not charge anything for admission. 😅
The 47th Exhibition of International Calligraphy and Ink Painting 第47回 國際書画展 had both calligraphy and ink paintings on display. The ink paintings were also not the plain black and white ones too. There were all kinds of colourful paintings.
They accept anything created using ink, whether words or paintings, as long as the size of the work is within 178 cm by 87 cm (or up to 238 cm by 56 cm for portrait orientation works).
Back to work on my submissions for 2025!
Update 12 March 2025: The piece that was exhibited has returned to my hands.
Calligraphy paper is not cheap. So I try to do what I can to find cheaper sources, including auction sites and resellers. Plus using whatever is available, such as this piece of paper which was used to wrap calligraphy paper.
It is the same size as a sheet of 半切 hansetsu paper. Just that it didn't absorb ink as well. But I guess any paper is better than no paper.
I haven't really watched Gundam, except for Mercury Witch, but when it was announced that Studio Khara would be working on the next Gundam series, and the voice actors for Kumiko from Sound! Euphonium and Violet from Violet Evergarden will be voicing the main characters... well, I just had to go see it. The series itself will eventually be aired on TV in Japan, but some of the episodes were re-edited to create a movie version (81 minutes) for an advanced screening.
They were also handing out some mementos.
When the movie started with Char, I thought I must have gotten the story of this series wrong... I thought it was something about piloting mobile suits for clan battles, but I was greeted with a story that seemed to be from the main Gundam universe with Char leading forces that were from a faction trying to gain independence. It kind of felt a bit lore-heavy to me and I felt a bit lost, since I have no idea what the actual main story of Gundam is about. (Note to self: time to watch Gundam, like I have been telling myself to...)
Halfway through the movie, there was a time jump and we finally got into the part about clan battles. Here, the pace of setting the background was more beginner-friendly, and I could get an idea of what was going on. At the same time, this part felt like a very big jump in story, music, and overall feel from the first half. The music reminded me of the Evangelion rebuilds. It manages to introduce the three main characters, Amate (Machu), Nyaan, and Shunji, and ends at a nice point in their story for me to want to watch the series when it starts airing on TV, probably in July (my guess; The Apothecary Diaries is currently airing in the prime anime slot of Nippon TV, and it looks to be a 2-cour season, which means January to June if they are airing back to back, so the next available season for a major series like Gundam would have to be July at the earliest).
Overall, I enjoyed the experience of watching this movie at a cinema. The action, framing/direction, sound, and music made it worth paying for the experience. It is not some "let's just take the anime series and cut and paste something into a movie" type of compilation; rather, looking at the credits, which showed the involvement of several other animation studios, I think they actually did some work on top of what they did for the upcoming TV series to create this movie.
Now to wait for the official announcement of its TV air date.
I think it is a really good way to summarise the important things in learning calligraphy (or any art form, for that matter), the "method" (法), and thought I would try to consolidate my own thoughts based on the video's content.
First, the video talks about what art needs. Art needs two elements: individual uniqueness and universal commonality.
Individual uniqueness sets your work apart from others, but no one will
be able to appreciate your work if there is no universal commonality in
it. How to acquire both of these is what the video is about, as it goes on to talk about the four levels of learning calligraphy, or the four levels of learning individual uniqueness and universal commonality.
取法于上 Learning from the masters (of old)
The obvious reason for learning from the masters is that we improve by learning from those better than us. But that is only one part of the story. There is a reason why the masters of old continue to be revered today: they have some kind of universal commonality in their works that continues to be relevant today. The masters of old have both individual uniqueness and universal commonality, and that is why their works survived the test of time.
取法于众 Learning from the masses
On first look, learning from the masses may seem like trying to find universal commonality, but that is actually the opposite. By looking at the works of many many people, you get to appreciate the individual uniqueness of each person. In turn, this may help you to find your own individual uniqueness that will set you apart from them.
取法于今 Learning from contemporaries
Your works can be unique and have commonality, but it will not be recognised unless it is relevant to your times. This is why learning from contemporaries comes in. Looking at the works of your peers allow you to discern the trend of the times. In a way, I think this means it will help you to determine the field that you will be playing on, the field upon which you will exercise your individual uniqueness while striving to maintain an element of universal commonality.
取法于道 Learning from the Way
What is the Way? This is found from the masses and contemporaries; it is the commonality that is found in the different works by different people stemming from their different backgrounds and different understanding. It manifests in the form of rhythm and layout/composition. This is what brings your work together.
While the video breaks it down to four levels of learning, in a way, they kind of blend into each other with no distinct boundary. I think what is more important is to recognise that there are these aspects to learning, rather than to specifically set out to fulfill each level separately.
When we first start learning calligraphy, we usually end up with learning from the masters of old, copying their works to learn how to write in their styles. This was the same for me. I practised by trying to imitate characters as closely as I can to those written by my teacher as well as those of past masters.
Recently, however, I have been expanding my practice to cover works written by other people. They include other members of the calligraphy society that I belong to, as well as contemporary calligraphy masters who have published books with their works as examples. I visit calligraphy exhibitions to see what others are writing and how they are writing them. For a while, I have also been watching YouTube videos by other calligraphy teachers to see what I can learn from them in terms of style and technique. In this way, I am learning from the masses and my contemporaries, and hopefully, through them, find the Way.
Hopefully, this learning approach bears fruit and I become better. I guess only time will tell.
These are some other calligraphy pieces that I wrote in December 2024.
时穷节乃见
生当作人杰
攻克乃還
苏武在匈奴 十年持汉节
白雁上林飞 空传一书札
此地别燕丹 壮士发冲冠 昔时人已没 今日水犹寒
Different types of wind 風
I also took some of the works done by others in the same calligraphy society as me and tried to write in their styles. That is to say, I used the homework submitted by others, and selected for being well done, as materials for my practice.
Please leave a comment if you are interested in commissioning a piece of calligraphy or want to purchase any of the calligraphy works I have posted on this blog.
