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bizarrequazar · 2 years ago

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GJ and ZZH Updates — March 19-25

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This is part of a weekly series collecting updates from and relating to Gong Jun and Zhang Zhehan.

This post is not wholly comprehensive and is intended as an overview, links provided lead to further details. Dates are in accordance with China Standard Time, the organization is chronological. My own biases on some things are reflected here. Anything I include that is not concretely known is indicated as such, and you’re welcome to do your own research and draw your own conclusions as you see fit. Please let me know if you have any questions, comments, concerns, or additions. :)

[Glossary of names and terms] [Masterlist of my posts about the situation with Zhang Zhehan]

03-19 → BEAST posted a second teaser video for their ad campaign featuring Gong Jun that would release a few days later. (1129 kadian)

→ Gong Jun’s studio posted a video of behind the scenes footage from his recent photoshoots for L’Oreal. Caption: “Come follow the footsteps of boss @ Gong Jun Simon and enter the midsummer early🌴~” BGM is I Just Need Fun by Marlboro and Funk It Up by BCD Studio.

→ Gong Jun posted in his supertopic, “Thank you everyone, stay safe!” then edited the second clause to “go back and pay attention to safety!” Context is that a large number of fans had been waiting for him outside Shenzhen airport, so he used a different exit to leave presumably to avoid an incident.

→ BEAST posted a third teaser video. (23:29, 1129 kadian)

03-20 → BEAST posted a fourth teaser video (1129 kadian) shortly followed by two photo ads [here] and [here].

→ The Weibo Night account posted a promotional video for the event spoken by Gong Jun. This was reposted by Gong Jun’s studio.

→ Gong Jun attended an event for Haixi, the company that manages him. Fans noted that neither of the posts Haixi made of the event that day included him ([here] and [here], he did appear in a pre-recorded video of all Haixi’s artists). Gong Jun’s studio account did not post anything about the event. Fan Observations: Haixi has been... less that stellar with their management for him, especially recently, and fan frustrations over this have been increasing. There are rumors / speculations that Gong Jun is planning to leave their company soon; it’s unfortunately pretty common practice in c-ent for a company to negatively target an artist that has left them due to the threat of competition, so fans are quite worried over this possibility.

03-21 → Gong Jun posted the full commercial for BEAST to his personal Weibo. Caption: “Today is the spring equinox, the day to fly a kite. Let's chase the spring breeze together and find balance together.” This was reposted by BEAST with the added caption: “A new rain breaks in the empty mountain, and the days after that are like the spring breeze.”

→ Gong Jun posted two photo ads for BEAST to his Instagram. Caption: “Smell the fragrance of spring and fly the kite!”

→ Gong Jun’s studio posted one of the same photo ads.

→ Fresh posted a photo ad featuring Gong Jun.

→ BEAST posted another short commercial featuring Gong Jun. (23:29, 1129 kadian)

03-22 → BEAST posted a last short commercial for the ad campaign. (1129 kadian)

→ Haixi posted another video of their event from two days earlier. This one included a few seconds of footage of Gong Jun and a song with vocals done by him.

03-23 → The Golden Shield Cloud Insitute Weibo account run by Peng Lihu, where he has been claiming to have connections to Li Xuezheng (see [1] [2]), made a post saying that they were reporting a government official, Liu Hanjun, for abuse of power, with the post signed by “Li. Xue. Zheng”. The same was also posted twenty minutes later to an associated website, which had an IP address in Hong Kong hosted by a Tencent subsidiary in Singapore. Li Xuezheng’s Baidu page was deleted within half an hour after this; it is believed he had it taken down himself to avoid it being edited to include false information.

→ Shanghai City Living posted three additional clips [1] [2] [3] of the interview with Gong Jun they had released the previous week. Subbed videos: [2] [3]

→ The Chinese Wikipedia page for Liu Hanjun was edited to include the above information as a “controversy” by a user who had never made an edit before, with this then edited to include further details by a volunteer editor. The latter editor also then added the edits to Li Xuezheng’s Wikipedia page. At the time of this post, these additions have not been removed.

Around the same time, an audio recording allegedly of Li Xuezheng was circulated by whalers, in which he said he has “no regrets”.

03-24 → Golden Shield Publisher (legitimate) put out a statement that Golden Shield has been dissolved and no one can make statements on its behalf, following which the aforementioned Weibo account was muted for violaton of laws and regulations, and the aforementioned associated website was taken down. Both the Cloud Insitute and “official” Golden Shield Weibo accounts changed their display names to include “Qingdao”, the branch that Peng Lihu is associated with, and removed the pfps which contained trademarks registered to the real Golden Shield.

An article by the Epoch Times (see also 08-20) was published talking about this whole incident, accrediting it to Li Xuezheng. Other articles by Taiwanese news media companies later followed.

(summary adapted from Flora’s [here] which has more detailed info)

→ Several big whalers on Weibo wiped their accounts. One of these included an account that had been made two weeks prior to 813, who then made a post that the account was for sale; another whaler bought it to “stop it from falling into unknown hands.”

→ Gong Jun posted a commercial for L’Oreal.

→ A large number of toxic Weibo accounts, including Master Wu (Gong Jun anti) and HBW (participated in 813), were muted for violation of laws and regulations. The two aforementioned people moved onto side accounts.

→ Shanghai City Living posted their full interview with Gong Jun. [text translation] Caption: “No matter how the environment changes, Gong Jun still maintains the same forward posture as before: he has hope in his heart and stays grounded.”

→ Gong Jun’s studio reposted a post from the Weibo Night account listing rules regarding fan behaviour for the event (ie. don’t crowd in public areas, don’t chase cars, etc.) Added caption: “The event is coming soon, please be civilized and rational, abide order, and at all times, pay attention to protecting the safety of people and property. Let's meet the boss @ Gong Jun Simon at #Weibo Night#.”

→ Madame Tussauds posted a photo of Gong Jun from 03-04. Partial caption: “Weibo Night is about to start, what kind of look will Gong Jun use to make his debut?”

→ Gong Jun appeared in a livestream for L’Oreal. [full recording] During it, he admitted that he keeps a digital calendar for remembering birthdays and anniversaries (as fans have long suspected lmao.) Fan Observation: After the Madame Tussauds unveiling, some solo fans complained under his studio’s posts that he’s been wearing too much white recently. He wore an all white suit again for this. (They also complained about him wearing matching clothing. Matching with whom, hmmm?)

03-25 → Fans of various artists gathered outside the Weibo Night venue in such levels that some joked it looked like the Olympics. Gong Jun reportedly bought drinks for some of his fans that he had delivered to them. [video of CPFs singing Tian Ya Ke]

→ Gong Jun’s studio posted: “In order to ensure the order of the scene, please evacuate in an orderly manner as soon as possible outside the venue, and do not stay. Be sure to protect your personal and property safety, thank you everyone for your cooperation ❤️”

→ Gong Jun posted four photos of his red carpet outfit for Weibo Night. Caption: “Flashing” These were also posted to his Xiao Hong Shu with the same caption, and to his Instagram with the caption: “Be the brightest boy!” @ing the designer Elie Saab.

→ Gong Jun attended the Weibo Night awards, during which he performed the song Neon Sweetheart Honey Darling alongside Liu Yuning and was among four to recieve the award for Artist with the Most Attention. [full program] [subbed red carpet interview part 1 | part 2] [subbed performance] [award acceptance]

→ Gong Jun’s studio posted a video of his red carpet outfit. Caption: “Waiting for the night to fade away, the curtain opened, and boss @ Gong Jun Simon stepped into the bustle.“ BGM was Mozart’s Piano Concerto No.21, Elvira Madigan.

→ Gong Jun’s studio posted fifteen photos of his red carpet outfit. Caption: “In a retro secret place, watching the bright lights. Boss @ Gong Jun Simon walks in the fragrance, enjoying the golden years together.”

→ Vogue posted a vlog of Gong Jun getting ready as well as nine photos. [subbed video]

→ Elie Saab posted nine of the earlier photos of Gong Jun in the custom clothes they designed for him.

→ Hogan posted three of Gong Jun’s earlier photos highlighting their shoes.

→ Gong Jun posted four photos of his performance outfit. Caption: “Bright” These were also posted to his Xiao Hong Shu with the same caption, and to his Instagram with the caption “There’s report of a performance tonight!” and @ing the designer Georges Hobeika.

→ Gong Jun’s studio posted a video of his performance outfit. Caption: “Boss @ Gong Jun Simon engraves a glimpse of the place where the afterglow diffuses, and invites you to come to the surprise stage tonight, see you later!” BGM is the instrumental version of Y Quizas by Demian Ly feat. DemianSax.

→ Gong Jun’s studio posted six photos of his performance outfit. Caption: “Working in the flow, boss @ Gong Jun Simon is addicted to this, meditates on it, and listens to the sound of nature.”

→ Tiffany and Co. posted three of Gong Jun’s earlier photos highlighting their jewelry.

→ Gong Jun posted four photos of his post-performance outfit. Caption: “‘On’ the stage!” (Put together, his Weibo captions are “Shining bright ‘on’ the stage!”) He also posted these to his Xiao Hong Shu, caption: “Finally Done singing! Happy” and to his Instagram, caption: “Successfully done!”

→ Gong Jun’s studio posted a video of his post-performance outfit. Caption: “Full of prosperity and embellishment, the classics are new. Boss @ Gong Jun Simon continues the meaning with elegance.” BGM is Edo by Iwamizu.

→ Charlotte Tilbury posted a photo from that evening of Gong Jun having his makeup done.

→ Gong Jun’s studio posted four photos of his post-performance outfit. Caption: “Mottled, like a dream. Boss @ Gong Jun Simon interprets classics and new ideas, thank you for your attention!”

→ A banner with his award title was posted to Gong Jun’s personal Weibo.

→ The Weibo Night account posted four photos from Gong Jun and Liu Yuning’s performance.

Additional Reading: → Flora’s daily fan news → It was noticed back at the start of the month, around the same time as him deleting half his Instagram posts, that the follower count on Gong Jun’s Instagram has been rising dramatically (sometimes almost 100k a day) due to new accounts / bots following. The same is also happening with his Weibo follower count. There are worries that this is setting up to create an image of fans mass unfollowing him, please brace yourself in case an attack comes soon. At the time of this post, his Instagram is just shy of one million and his Weibo is just shy of 20 million. [record of activity]

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#The part about Golden Shield took me so long I'm gonna go lie on the floor #Zhang Zhehan #Gong Jun #Word of Honor #woh cast #lld timeline

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mica-dmss · 1 year ago

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The Reader Sources

Bordwell, D., Thompson, K. and Smith, J. (2016) Film art: an introduction. Eleventh; McGraw-Hill international; New York, NY: McGraw-Hill Education.

This text deconstructs various theories behind filmmaking, including the effect of narratology and successful film techniques. Methods examined are the significance of film space using mise-en-scene, the engagement of dramatic shot types, and the clarity of montage sequences. Bordwell and Thompson specifically delve into how modern media derived from Hollywood films by analysing the chronology of film events and its popularised classical narrative. Regarding narrative, the authors explain how it provides clarity in the life of its audience and as result, how such audience are gravitated towards chronological narrative eager for the prospect of life-lessons. That said, the authors do also investigate how other forms of narrative can create more complex plots in film, such as the idea of parallel narrative, which provides even more engagement with how the audience could perceive a life-like situation.

Cook, P. and Bernink, M. (1999) The cinema book. 2nd edn. London: British Film Institute.

In this text, Pam Cook explores the discussions involved within narratology, such as how Tzvetan Todorov's narrative theory helped establish a precedent for future formula of films. From this, Cook explained how narrative cinema and its cinematic codes settled in the development of film, with the help of 'cultural ascendancy'; the Hollywood pictures.

With this, Cook further examined concepts of film theory that were stemmed from this change. One notable example is Noel Burch's (1973) 'insitutional mode of representation' (IMR), the perceived dominant mode of film construction seen in virtually every film produced in our time.

Propp, V., Martin, A.Y., Martin, R.P. and Corporation, E. (1984) Theory and History of Folklore. N - New; 1; Edited by A. Liberman. Minneapolis: University of Minnesota Press.

Translated by Ariadna Y. Martin, Richard P. Martin and edited by Anatoly Liberman, this volume is the last of the original 5 volumes from the text 'Theory and History of literature'. The 5th volume covers the work of Vladimir Propp, including his findings and formulas behind his famous narrative theories, most notably his 31 functions theory. His studies involve close examinations into Russian folklore, which he found similar patterns of the folktale hero's journey throughout many established discourses within the plot. Thus, he was able to form the 31 'narratemes' often associated in folklore context.

Propp, V., Scott, L. and Wagner, L.A. (1968) Morphology of the Folktale. 2nd edn. Austin: University of Texas Press.

This text further explored in depth of the original papers by Vladimir Propp. Throughout his research into Russian narrative, he examines the 'organisation' of Russian folkloristic text and understood that its structure was mainly 'linear', thus explaining why the narratives were presented in a chronological order of events. He discovered that this type of narrative existed throughout centuries of storytelling, which Propp named this form of narrative as 'syntagmatic' structural analysis, based on the term 'syntax' of language from Greimas' rule of narrative grammar (cf Greimas, 1966a : 404). As a text based off of the original source, alternative theories were introduced to counter the lack of 'epistemological value' within Propp's works, such as the argument of structuralism and formulism provided by philosopher Claude Levi-Strauss. Strauss opposed to Vlad's 'syntagmatic' structural analysis, and argued the existence of paradigmatic theory.

Tringham, N.R. (2014) Science Fiction Video Games. 1st edn. Oakville: CRC Press LLC.

Within the topic of narratology, Neal Roger Tringham took a unique approach to analysing the structure of narrative through the study of game narrative. Tringham makes readers aware of the conflict between narratology and ludology in regards to the significance of stories in games, which he acknowledges the past of game stemming from elements of dualism and strategy. His text explores the evolution of narrative in media and how it has branched into different materials aside from traditional folklores and text - with the focus concerning games. Considering how the objective in recent games has been shifted by narrative, the debate between narratology and ludology involves a dilemma of if both concepts could exist together or rather intervene with each other; Tringham answers this with the existence of 'interactive' videogames.

Bronner, S.J. (ed.) (2007) ‘On Game Morphology: A Study of the Structure of Non-Verbal Folklore’, in. Utah State University Press (Meaning of Folklore), pp. 154-163.

Along with Tringham's research into gaming and narrative, Simon J. Bronner further establishes the distinction between the structure in 'types of folklore expression' and 'children's games'. The foundations of ludology is assessed in how children's games are operated; competitive games like first-shooter games are limited to a certain system, with little rules that simplify the essential nature of such games. Bronner identifies a solution to how narrative and game can become compatible through the use of 'motifemes', which introduces the 'story' unit comparable to folktale structure into games while maintaining the competitive aims behind the medium. In short, Bronner discovered how closely game and narrative resembled one-another, describing games possessing the structure of a "two-dimensional folktale" (pg. 156).

Bronner, S.J. (ed.) (2007) ‘On Game Morphology: A Study of the Structure of Non-Verbal Folklore’. Utah State University Press (Meaning of Folklore), p. 154.

This intriguing piece of work consists of Alan Dundes' investigation into game structure, and how it correlates to narrative. Dundes examined the similarities between narrative and gaming, by observing relationship between two different sides that pan out within a game, whilst comparing it to two opposing archetypes within narrative structure. He explores the coexistence of narrative 'perspective' within games, as he states that due to the immediacy and practicality of games, especially competitive games, two opposite perspectives are likely to occur, though the key fact is that they both reflect one main 'plot'; this is akin to if folktales were constructed with the involvement of both a hero's and villain's journey as opposed to usually one one execution of story through the hero. Thus, it can be found that both games and narrative involve one main plot regardless of roles, and showed how game and narrative could be compatible together, considering the criticism of games involving narrative.

Tringham, N.R. (2014) Science Fiction Video Games. 1;1st; edn. Oakville: CRC Press LLC.

Tringham's paper carefully considers the relationship between narrative and game, evaluating both criticism and support for the idea of both forms as combined. He delves into the dispute regarding interactive games and claims how such a difficult execution of a product would be impossible, due to the irony of the title; despite the players 'interacting' with a game by manipulating choices to change its ending, these 'endings' are not necessarily caused by the players, has they have already been planned and implemented in the coding of the product, by the developers themselves. Thus, it would prove difficult to mix the improvisation of outcomes that games prove, with a structure that is already pre-determined by narrative. However, Tringham acknowledges that while narrative structure may not be possible in gaming, the illusion of narrative elements within games may allow the prospect of a truly 'interactive game' become possible.

Cristofaro, M. (2020) “I feel and think, therefore I am”: An Affect-Cognitive Theory of management decisions’, European management journal, 38 (2), pp. 344–355.

In the aspect of affect in media, Cristofaro's work highlighting 'cognitive-affective' theory would be plausible in describing why people think and react erratically within a rushed environment, or towards a difficult subject. Cognitive-affective theory describes the mind having two systems that handle a variety of information and manage two types of reactions; 'system 1' consists of involuntary, 'preconscious' thought process that shows more emotion and less experience, as opposed to 'system 2' that operates more logically and executes one's rationality. In terms of their relationship, 'system 2' acts as a 'filter' for 'system 1', which is easier for the dynamic to occur when someone is placed in a situation that they learned from beforehand. Theories like this could explain why players who engage in games, such as horror games, end up 'desensitised' to its elements and are less emotional in making decisions in such games.

Mayher, J. (2016) Understanding Gender & Sexuality In Popular Culture. Indiana University Bloomington: Cognella.

Within this edited book features an entire group of volumes covering many interesting perspectives within society. Male gaze theorist Laura Mulvey explains the social and psychological origins for the often sexual depiction of women in film. Mulvey explains that in the eyes of male spectators, women are the "bearers of meaning", while men are "makers of meaning"; women bear the image of desire that men long for unconsciously, who make this vision come to life on screen. This describes the oppressive relationship emerged from patriarchal culture, with women ending up taking the passive role of 'bearing' meaning in film. Using Sigmund Frued's psychosexual research, Mulvey also elaborates that women's objectified representation corresponds to the sexual attraction of gazing at an object, known as scopophilia - this corresponds to the male gaze.

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therukurals · 3 years ago

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there’s a lot i can say about this erasure of Arivu, but just having read the rollingstones india cover its both completely unsurprising and disappointing that the talent and labor Arivu put into majja has been erased while they greatly profit off his brilliance. Music and entertainment industry and structures are already exploitative in capitalism and even more so with caste hegemony and violence.

People have talked about the greenwashing of Enjoy Enjaami and the erasure of Arivu in the dj snake remix, and I wont be able to speak to exactly what the agreement with arivu and majjaa is but i would not be surprised if he is not compensated the way he should be. this is why ownership structures and transperancy around them is critical, if majjaa is truly trying to do something different they’re going to need to be very honest and open about how they pay their artists and to fundamentally change that. one of the cofounders in a tweet said that no artists are paid upfront but rather have ownership in revenue but what does that mean? when the video is dhee ft arivu when he not only performed but also wrote the lyrics? and the marketing is overly emphasized on dhee, especially with western facing pr and media.

Also link to Article that talks more about this

edit: one of the interviewees quoted in the article talks about dhee’s role and how she shouldnt be solely responsible but i think as savarana women, especially with dhee having familial connections in the industry, has even more of a responsibility to honor her fellow artist being sidelined and speaking explicitly to the meaning of the song. we can’t absolve ourselves from actions we can take, like yes this is a structural issue including many parties and insitutions but that doesnt mean our own power/privilege to call out these discrepancies especially when our positionality as savarna women affords us a certain level of protection

#gtxt #i really hope arivu comes for their necks and is demanding behind the scenes what he's owed #i hope majja takes this criticism and changes if not the dba artists like arivu and i think casteless collective should dip #it reminds me a lot of conversations happening stateside around hiphop too #and was just having a conversation before i saw this with a friend about artists and cultural power and ownership #and how its often exploited

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chakytron · 4 years ago

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Discussion on article of impeachment against Trump; Look at Biden administration

Discussion on article of impeachment against Trump; Look at Biden administration Category Main Description: Rick Mullaney of the Jacksonville University Public Policy Insitute joins this edition of “This Week in Jacksonville” to talk about the article of impeachment against … TopTrengingTV Hunting the most trend video of the moment, every hour every day 24/7. Youtube Video Data Published At:…

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bettydgunter90 · 4 years ago

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The Appraisal Institute Has Missed The Opportunity To Come Clean With Its Members

This post previously appeared in the July 10, 2020 edition of Housing Notes. I've been writing these weekly summaries on housing topics for more than five years. To subscribe for free, you can sign up here. Then you can look forward to each issue every Friday at 2pm New York Time.

Today, all (I assume) members of the Appraisal Insitute received a letter from current AI president Jeff Sherman, with whom I've met and spoken with on several occasions during his tenure and liked him and what he represented. MAI members from around the country have forwarded it to me and expressed their profound disappointment in this organization that they used to love.

Here is the consensus feedback by members who received this letter.

It just makes me sad that this is the way it is. I think many of us are a bit dumbstruck by this.

I found the letter mind-boggling and a simply attempt to fog the issue at hand. I have to assume that this was written by AI counsel because it reads like a lawyer's writing with a little softening from other parties. I will also assume this response was directed by the current CEO in an attempt to stop the viral membership backlash of the sham election process that has rattled the organization so he can continue to control who future presidents are. So I am very confused as to why Jeff signed off on this letter since its contents contradict what I have been told by past presidents, past board members, and current members. It hurt to read it.

For now, I am going to chalk this up to "fogging" so that the actual logic gets buried in the debris. This is how lawyers do this. By the way, has anyone ever considering sending the details of this action and the past ten years of self-dealing to federal prosecutors in the Northern District of Illinois? If this is how their executives run the organization, and all the perks I keep hearing about, it makes me wonder about the state of their finances. The handling of the FMC debacle comes to mind.

But I digress.

Here is my running commentary on the letter that is presented below:

This sham election maneuver has not been in place since 1991 - Ask the former president who made this happen (I have the name) under oath to get Sellers on the ladder in the first place and ruin the career of a star female nominee.

An 11 member nominating committee gets to vet candidates recommended by the membership to review and they are charged with picking the best one and then announce it. They vetted 3 this year and picked one. It's literally that simple.

The winning candidate's name was announced by the nominating committee.

And then magically...

The sham maneuver was made to get the CEO's pick inserted which should never happen.

Tell the membership right now why there is a second candidate.

I've been told repeatedly that a board member can vote for themselves in the petition process and as of today, some current board members are fighting like hell to keep any such votes hidden from membership, presumably so potential self-dealing will not be exposed.

To repeat, one person was selected by the nominating committee and two weren't. There is no disagreement on this. Why does the CEO get to pick a candidate that was not selected to run against the person who was selected?

Why are there suddenly two nominees without any transparency? This letter does not address this point at all yet it is the entire point. The rest of the letter is faux transparency. Give the membership the actual reason there are suddenly two candidates, one picked by the nominating committee and one picked by the CEO (and that CEO-blessed candidate should be ashamed of themselves).

As many as 3,000 members will get to watch the 10-minute presentations of two candidates - one vetted by the nominating committee and one hand-picked by Jim Amorin. The act of showing this on video isn't transparency at all. It's a charade. The most deceitful part of the petition process has already occurred before the camera was turned on. There is no explanation of how the second candidate was selected.

The fogging part that is most distasteful in this letter is that it is laden with process gobblygook but contains zero transparency, something the membership is demanding right now.

Here is the closing paragraph of the letter.

I now offer to you, and to each Board member, this is not about style or personality; it must be about the best interests of the Appraisal Institute. I have supreme confidence that the trust you have placed in your elected representatives will be confirmed, regardless of the person chosen.

The problem with this closing statement is this sham election process is not being done in the best interests of the membership, but rather it is being done in the best interests of the operational executives running the show.

This is truly a sad day for the Appraisal Institute. If the board does not fight for the rights of the membership and respect the selection process, then the organization as we know it is just a monarchy, largely like when it began to be a decade ago with the same cast of characters.

from Real Estate Tips https://www.millersamuel.com/the-appraisal-institute-has-missed-the-opportunity-to-come-clean-with-its-members/

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offertebomba · 8 years ago

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Huawei P10, Huawei P10 Plus e Huawei Watch 2

Huawei ha presentato i suoi nuovi top di gamma. Gli attesissimi device della serie P sono un connubio di stile e delle più avanzate tecnologie sotto il profilo software. I nuovi smartphone, disponibili in colori e finiture suggestive, sono dotati di una doppia fotocamera di seconda generazione e di una camera frontale realizzate in collaborazione con Leica, con funzionalità per creare ritratti perfetti e selfie eccezionali.

Oltre a HUAWEI P10, Huawei ha presentato la seconda edizione del suo SmartWatch, HUAWEI WATCH 2, un wearable 4G dal design sportivo ed elegante allo stesso tempo, che coniuga tecnologia innovativa e fattura artigianale.

Infine, Huawei ha annunciato una serie di collaborazioni che si aggiungono a quella di lungo periodo con Leica Camera. Huawei ha infatti lavorato a livello globale con aziende primarie del mondo lifestyle e fashion, come Pantone Color InsituteTM, che ha creato una selezione di colori unici per i nuovi device dell’azienda, il brand di moda Ricostru, coinvolto nella creazione di accessori esclusivi, e Saatchi Gallery, che lancerà la prima mostra al mondo che esplorerà la storia dell’autoritratto da Velazquez a oggi: From Selfie to Self-Expression.

Di seguito il comunicato stampa.

Huawei P10, un’incredibile combinazione di tecnologia e arte

La serie P debutta in nuovi colori e con una funzionalità per ritratti dall’inconfondibile stile Leica

P10 e P10 Plus disponibili dal 15 marzo in preorder su http://ift.tt/2lR4722

Barcellona, 26 febbraio 2017 – Per dare il via al Mobile World Congress 2017, Huawei Consumer Business Group ha lanciato oggi HUAWEI P10 e HUAWEI P10 Plus. Gli attesissimi device della serie P sono un connubio di stile e delle più avanzate tecnologie sotto il profilo software. I nuovi smartphone, disponibili in colori e finiture suggestive, sono dotati di una doppia fotocamera e di una camera frontale realizzate in collaborazione con Leica, con funzionalità per creare ritratti perfetti per rendere ogni foto uno scatto indimenticabile.

Oltre a HUAWEI P10 e HUAWEI P10 Plus, Huawei ha presentato la seconda edizione del suo SmartWatch, HUAWEI WATCH 2 e Porsche Design Huawei Smartwatch. Il wearable sportivo 4G unisce tecnologia innovativa con artigianalità e un design sportivo ed elegante.

“Dal momento che cultura e tecnologia continuano a intersecarsi in ogni aspetto del nostro modo di vivere, vogliamo offrire nuovi prodotti ed esperienze che in ultima analisi siano in grado di migliorare e potenziare la nostra vita”, ha detto Richard Yu, CEO di Huawei Consumer Business Group. “Il nostri incredibili HUAWEI P10 e HUAWEI P10 Plus uniscono le eccezionali capacità di Leica nel mondo della fotografia e la nostra capacità di innovare a livello hardware con design eccezionali per portare agli utenti una straordinaria esperienza da mobile”.

I nuovi dispositivi della serie P dimostrano il continuo impegno di Huawei per stabilire nuovi standard in termini di performance e di capacità di espressione creativa. Le caratteristiche principali includono:

Doppia fotocamera 2.0, realizzata in partnership con Leica, per il HUAWEI P10 e doppia fotocamera 2.0 Pro Edition, sempre in collaborazione con Leica, per il HUAWEI P10 Plus, oltre a funzionalità per scattare ritratti artistici con rilevamento 3D di precisione del viso, l’illuminazione dinamica, miglioramenti nel ritratto, effetto bokeh naturale e HUAWEI Hybrid Zoom, nonché la prima fotocamera frontale realizzata con Leica con sensore di luminosità e un’apertura maggiore per autoritratti eccezionali;

Colori di tendenza e design, inclusa la finitura Hyper diamond-cut, la prima sul mercato, e varianti di colore create attraverso la partnership cross-industry con Pantone;

Il processore Kirin 960, HUAWEI Ultra Memory e la nuova EMUI 5.1 con il sistema di antenna 4×4 LTE MIMO leader del settore, il sistema di antenna 2×2 Wi-Fi MIMO per prestazioni e ricezioni senza pari.

Uno studio fotografico artistico nelle tue mani

Con la nuova dual-camera 2.0 progettata con Leica di HUAWEI P10 e quella 2.0 Pro Edition di HUAWEI P10 Plus, entrambi con doppia fotocamera posteriore e una camera frontale di nuova generazione sviluppate con Leica, gli utenti avranno la possibilità di esplorare un’intera gamma di modalità per il ritratto fotografico. Con un sensore RGB da 12 megapixel, un sensore in bianco e nero da 20 megapixel e algoritmi di fusione avanzati, la nuova serie P offre funzionalità tecniche e artistiche di livello superiore per la fotografia da smartphone.

Le funzionalità ritratto dei dispositivi includono una tecnologia di riconoscimento facciale 3D che identifica oltre 190 punti di rilevamento del viso, per un più veloce e accurato riconoscimento. Il rilevamento del viso è alla base delle funzionalità di illuminazione dinamica e di valorizzazione del ritratto introdotte da Huawei. Attraverso un algoritmo di elaborazione dell’immagine basato su una vasta ricerca è possibile apportare miglioramenti al ritratto e renderlo più bello, come in uno studio fotografico, per ritratti più luminosi. Utilizzando il nuovo algoritmo di profondità di campo, un effetto bokeh naturale crea colori più nitidi, chiari e vividi in primo piano, lasciando lo sfondo elegantemente sfuocato. L’effetto bokeh naturale è disponibile a colori e in bianco e nero, e può essere modificato dopo aver scattato l’immagine.

La fotocamera anteriore realizzata con Leica include una nuova apertura F/1.9 e un sensore completamente nuovo che cattura più luce. Le funzionalità ritratto sono disponibili anche con la fotocamera frontale da 8 megapixel per selfie eccezionali.

HUAWEI P10 e HUAWEI P10 Plus rilevano automaticamente se si sta scattando un selfie da soli o di gruppo, passando, in questo caso, automaticamente alla modalità grandangolo. HUAWEI P10 Plus è dotato di dual camera 2.0 Pro Edition, realizzata con Leica che include nuove lenti SUMMILUX-H, con un’apertura più ampia di F/1.8 e capacità ottica superiore. Queste lenti versatili consentono di scattare primi piani nitidi, foto in movimento e più luce anche in condizioni di scarsa illuminazione.

I nuovi device sono inoltre dotati della funzione Highlights, realizzata insieme a GoPro, una tecnologia di editing da mobile che consente di creare video dinamici a partire dalle immagini degli utenti e video completi con transizioni e tracce musicali, che possono essere condivisi con amici e familiari in pochi e semplici passaggi.

Il design dell’iconica Serie P con nuovi tratti di tendenza

HUAWEI P10 e HUAWEI P10 Plus sono la massima espressione di innovazione, design e artigianalità. Non accontentandosi mai dello status quo, il team di progettazione Huawei ha introdotto la prima finitura Hyper Diamond-Cut del settore sugli smartphone HUAWEI P10 e HUAWEI P10 Plus, oltre a raffinate finiture lucide o opache.

HUAWEI P10 e HUAWEI P10 Plus sono disponibili anche in una selezione di colori unici, risultato della prima collaborazione cross-industry con Pantone Color Institute, la principale autorità sul colore a livello mondiale. Combinando l’esperienza nella progettazione di Huawei con la riconosciuta leadership nel campo dello studio sui colori di Pantone, sono state create due nuove colorazioni per rispecchiare le diverse personalità degli utenti di oggi e lanciare una nuova tendenza del colore nel mercato mobile. Dazzling Blue e Greenery, il colore Pantone dell’anno 2017, sono stati creati da Pantone Color Institute e ottimizzati da Huawei per creare una stupenda finitura lucente.

La finitura Hyper diamond-cut sarà disponibile nei colori Dazzling Blue e Dazzling Gold. I colori Greenery, Rose Gold, Mystic Silver, Graphite Black e Prestige Gold saranno invece disponibili in versione opaca, mentre la versione Ceramic white sarà disponibile con la finitura lucida.

Nel solco dello stile iconico della serie P, HUAWEI P10 e HUAWEI P10 Plus sono eleganti e sottili, per una presa confortevole grazie ai 6,98 mm di spessore. Rispetto ai dispositivi concorrenti con fotocamere sporgenti, in HUAWEI P10 e HUAWEI P10 Plus la fotocamera è a filo con la parte posteriore del dispositivo, nel segno della serie P. Sia il modello da 5,1 pollici che quello da 5,5 pollici sono caratterizzati da una protezione Corning Gorilla Glass 5 e bordi stretti e curvi, mentre HUAWEI P10 PLUS ha un display 2k per maggiori dettagli.

Oltre al rivestimento in metallo che garantisce un design pulito e minimalista, il sensore di impronte digitali è posto sulla parte anteriore del telefono e nascosto sotto il vetro dalla finitura senza interruzioni. Il sensore di impronte digitali sostituisce la barra di navigazione rendendo la visualizzazione a schermo più grande e, al contempo, il tocco più veloce e ergonomico.

Eccezionali miglioramenti nelle performance per una maggiore efficienza e connettività

HUAWEI P10 e HUAWEI P10 Plus portano l’efficienza e la personalizzazione degli smartphone a un livello superiore, grazie al potente processore Kirin 960 e la nuova EMUI 5.1. Kirin 960 è l’ultimo chipset ad alte prestazioni di Huawei. La CPU offre le migliori prestazioni multicore tra tutti i SoC, mentre la GPU vanta un miglioramento del 180 per cento in termini di prestazioni e un miglioramento del 40 per cento nell’efficienza energetica.

Partendo dalle basi gettate con la straordinaria EMUI 5.0, EMUI 5.1 riesce ad andare ancora oltre migliorando la user experience, l’ottimizzazione delle prestazioni e introducendo diverse nuove funzionalità. In particolare, l’algoritmo di machine learning impara dai comportamenti degli utenti ed è in grado di anticipare l’utilizzo delle diverse app per allocare e riutilizzare in modo intelligente le risorse di sistema.

In aggiunta all’algoritmo di machine learning, HUAWEI P10 e HUAWEI P10 Plus sono dotati di HUAWEI Ultra Memory. In un primo momento l’algoritmo machine learning registra come l’utente utilizza il proprio telefono. Poi, HUAWEI Ultra Memory anticipa l’utilizzo delle app e gestisce la RAM di conseguenza, in modo che le applicazioni e i servizi utilizzati più spesso si carichino più velocemente, migliorando le prestazioni in modalità multitasking. EMUI 5.1 inoltre migliora anche la risposta del touch, basandosi su un driver di controllo ancora più veloce e migliorando così la fluidità della user experience.

Con delle potente batterie da, rispettivamente, 3200 e 3750 mAh, HUAWEI P10 e HUAWEI P10 Plus supportano la tecnologia HUAWEI SuperCharge. Questa soluzione per il caricamento veloce a basso voltaggio e bassa temperatura è dotata di un meccanismo di protezione Super Safe a 5 gate, che monitora la tensione, il livello di corrente e la temperatura in tempo reale, in modo da rendere la ricarica non solo veloce ma sicura.

Il processore Kirin 960 e EMUI 5.1 permettono un’esperienza di comunicazione avanzata e una connettività di rete superiore. HUAWEI P10 PLUS dispone di un sistema di antenne MIMO 4×4 (quattro antenne) che supporta la rete 4.5G. Questo sistema consente connessioni più veloci e stabili, anche quando il segnale è debole. Sia HUAWEI P10 che HUAWEI P10 Plus, inoltre, sono dotati di un sistema di antenna Wi-Fi MIMO 2×2 (due antenne) per una copertura Wi-Fi ad altissima velocità. Per chi necessitasse di un sistema di navigazione più preciso e veloce tramite mappe e applicazioni, la tecnologia HUAWEI HiGeo combina un sistema di localizzazione multi-sensore con dati offline, attivando la rilevazione GPS e della rete cellulare e rendendo la navigazione più semplice ed efficace praticamente ovunque.

Un ecosistema di partnership per ispirare l’espressione creativa

Oltre alla sua collaborazione di lungo periodo con Leica Camera e Pantone, Huawei sta lavorando a livello globale con Saatchi Gallery. Saatchi Gallery e Leica Camera hanno commissionato a famosi fotografi di utilizzare HUAWEI P10 per interpretare a loro modo e con il loro stile unico il mondo che li circonda attraverso la doppia fotocamera innovativa dello smartphone.

Huawei ha inoltre collaborato con la prestigiosa Università di Arti di Londra Central Saint Martins, tra i principali centri al mondo per l’arte e il design. Basandosi sul proprio talento nel design, oltre 60 studenti avranno il compito di creare degli accessori per HUAWEI P10 che fondano i mondi della moda e della tecnologia.

Nella creazione di accessori esclusivi è inoltre coinvolta anche Rico Machit Au, il talento che sta dietro al brand di moda Ricostru. La partnership con Ricostru mira a creare una nuova estetica nel design della tecnologia, fondendo l’eccellenza ingegneristica di Huawei con lo spirito futurista del marchio Ricostru. Le linee nette, la manifattura innovativa e i tessuti altamente tecnologici si traducono in accessori per smartphone comodi, dalle linee pulite e lussuosi al tatto, che permettono di elevare ulteriormente la bellezza degli smartphone Huawei.

Infine, Huawei e Vogue hanno unito le proprie forze per ricreare otto iconiche foto di copertina del passato – scattate utilizzando il nuovo smartphone HUAWEI P10 -, che faranno parte di “Coming in Fashion: un secolo di fotografia in Condé Nast”, mostra che si terrà al Ullens Center for Contemporary Art (UCCA) di Pechino. Le dotazioni di HUAWEI P10, simili a quella di uno studio fotografico, hanno consentito al fotografo di moda di fama mondiale Jumbo Tsui di ricreare quelle immagini utilizzando solo un telefono.

Prezzi e disponibilità

HUAWEI P10 sarà disponibile in Italia a partire dal 30 Marzo nei colori Prestige Gold, Graphite Black, Mystic Silver ad un prezzo consigliato al pubblico di € 679,90. La versione Dazzling Blue sarà disponibile successivamente

HUAWEI P10 Plus sarà disponibile in Italia a partire dal 15 Aprile nei colori Graphite Black e Mystic Silver ad un prezzo consigliato al pubblico di € 829,90. Le versisoni Dazzling Blue, Dazzling Gold e Greenery saranno disponibili successivamente.

HUAWEI WATCH 2 sarà disponibile in Italia a partire dal 10 aprile al prezzo consigliato di 329 Euro per la versione Sport Bluetooth.

Preorder

Dal 15 al 29 marzo sarà inoltre possibile effettuare il pre-ordine di P10 e P10 Plus, nei principali punti vendita della grande distribuzione specializzata e nei negozi degli operatori di telefonia.

A tutti coloro che decideranno di ordinare i nuovi dispositivi durante tale periodo e si registreranno sul sito http://ift.tt/2lR4722, verrà riservato un voucher elettronico TicketOne, utilizzabile sull’omonima piattaforma per accedere agli spettacoli che meglio ritraggono la propria passione.

Gold Member VIP Service

Sia P10 che P10 Plus rientrano nel programma Gold Member VIP Service, il più vantaggioso servizio di garanzia commerciale offerto da Huawei. A partire dalla data di acquisto, vengono riservati 3 anni di garanzia: l’estensione di un anno di garanzia del produttore in aggiunta ai due anni della garanzia commerciale; la possibilità di sostituire, entro i primi tre mesi dall’acquisto, gratuitamente il display per qualunque danno accidentale dello schermo del dispositivo e, infine, la sostituzione gratuita del dispositivo, anziché la riparazione, nel caso in cui si presenti sul dispositivo originale un guasto hardware.

from Huawei P10, Huawei P10 Plus e Huawei Watch 2

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