Newsletter No. 537

# 5 3 7 | 0 4 . 0 5 . 2 0 1 9 藝 士 匹 靈 / ARTS pirin 球場包青天 Vindication of VAR 4月17日曼城對熱刺的歐聯半準決賽，在最後二十分鐘出現戲劇性發展，兩個爭議性入球由 科技定奪，把熱刺送入歐聯準決賽。 比賽至七十三分鐘，曼城領先4 – 2。在一次角球攻勢中熱刺前鋒略倫特把球撞進曼城網 中。錄像重溫顯示觸到皮球的是他的腰而不是手，入球有效，熱刺追至4 – 3。 曼城繼續狂攻，前鋒史達寧於補時階段再下一城，錄影機再次扮演球證，顯示入球前有隊 友身處越位位置，入球無效，記錄維持4 – 3至完場，熱刺憑兩場總比數（4 – 4）及作客入球優 勢晉級。 足球是進入科技新世紀比較遲的一員，其他職業運動如美式足球和籃球，科技早已分享了 球證的半壁江山。這個最古老的競技則是遲遲不願引入新科技。 去年俄羅斯世界盃才第一次正式採用視頻助理裁判（VAR）技術。這項技術以一組每秒可 拍六百張照片的攝影機，準確及實時地捕捉皮球的速度及軌跡，並以電腦加以分析，然後 傳到場上球證配戴的裝置上。 視頻助理裁判在足球比賽出現爭議時，會被用來判定入球、十二碼及紅牌（驅逐出場）的決 定，及有否錯認球員給予紅牌或黃牌。 有人說球證既然是人，人便難免出錯，但長遠來說受誤判影響的機會是均等的，今天我走 運，明天我的對手則沒有那麼幸運了，畢竟幸運女神的心是無可捉摸的。 但4月17日如果沒有VAR，熱刺勝出的機會只有四分一，即是只在判略倫特入球有效，還有 史達寧入球無效的情況下熱刺才可晉級，在其他三個可能性（兩個入球都有效、兩個入球 都無效、略倫特入球無效而史達寧入球有效）中，笑着離開的是曼城。科技為最古老的競技 加進了客觀公正。 Two decisions assisted by technology in the Champions League quarterfinal between Manchester City and Tottenham Hotspur on 17 April decided in high drama the latter team could take the next step towards the top European trophy in football. In the 73rd minute of the game, when City was leading 4–2, Tottenham’s Llorente bundled the ball into the net of City. Video review showed that the ball bounced off his hip not his hand. The goal was allowed, making it 4–3. City’s Sterling scored in stoppage time but his goal was, after video replay, ruled out because a teammate involved in the goal was found to be offside. The scoreline remained 4–3 but Tottenham advanced on aggregate (4–4) and on away goal advantage. Football or soccer is a relative latecomer to the world of technology. When human referees in other Big Money sports like American football, basketball, tennis, etc., have shared power with technology, the Beautiful Game remains stubborn in admitting the algorithm onto its pitch. VAR, or Video Assisted Referee, was only officially introduced in World Cup Russia last summer. It is based on the Hawkeye Technology consisting of cameras that can take 600 pictures a second and a computer software that analyzes the data and feeds the result to the headset or wrist device worn by the referee. The technology can capture the speed and trajectory of the ball accurately and in real time. VAR in football is currently employed to resolve if there is a goal and on penalty decisions, red card decisions and mistaken identity in a card decision. Apologists for the human referee sometimes argue that, as error-prone as he may be, the odds of his favour or disfavour are the same. This time you’re lucky; next time it may be your opponent’s turn. Fickle as Fortuna, ain’t it? At the Etihad Stadium on 17 April, however, the odds of Tottenham winning is only 1 in 4 without VAR, that is, if only Llorente’s goal is allowed and Sterling’s is not. In all other scenarios (both goals allowed, both goals disallowed, and Llorente’s disallowed while Sterling’s stands), City will sail on. Tech has made the Beautiful Game a fairer game, too. T.C. 樂人絮語 The Musicians’ Discourse Source: EAS Music Limited 邵逸夫堂座無虛席，觀眾看畢紀錄片《L.O.V.E. in F.R.A.M.E.S.》，皆引頸冀盼與 陳奕迅 和DUO樂隊互動，了解他們在2010至12年世界巡演並其後六年到英國、廣州等地灌錄 《L.O.V.E.》唱片的心路歷程。 和音成員 張傑邦 擔任導演和剪接，把六千二百個片段剪輯為兩小時的紀錄片，呈現大家如 何藉音樂結緣，記錄每首歌背後的笑與淚。他們性格迥異，但彼此的默契令我印象猶深， 唱片監製 王雙駿 認為大家時而嬉戲，時而鑽研編曲和彈奏技巧，感情逐漸建立。陳奕迅 說：「我寧願遲點出唱片，也要多點時間與團隊培養默契，創作好音樂。」 博群全人發展中心主任 伍慧明 主持映後座談環節，她問嘉賓如何走崎嶇的音樂路，填詞人 陳詠謙 的回答贏得全場掌聲：「有工作時，我會全力以赴；賦閒時，我會努力自學，時刻保持熱 忱。我只會有Plan A，那怕面對奚落，我都要盡力發揮，後備的Plan B只會令人留在安舒區。」 每位DUO成員都為《L.O.V.E.》譜曲，把自己的個性和巡演時的感受注入唱片。《海裏睡 人》由結他手盧凱彤和鋼琴師 孫偉明 共同作曲，在一次演出前，盧凱彤隨意彈孫偉明的琴， 琴師便把幾個率性的音符化為搖曳夢幻的曲調。她後來填詞，寫嗜睡症患者珍惜片刻的清 醒，以此比喻跟DUO樂隊合作的日子有限，相處的每一刻都彌足珍貴。 在唱片市場萎縮的年代，DUO樂隊為何如此精心製作《L.O.V.E.》？我相信是他們對音樂 的誠與愛，正如陳奕迅所言：「最好的音樂源於真情流露。這八年我們都投入創作，互相珍 惜，值得用一張唱片承載這段回憶。」 Sir Run Run Shaw Hall drew a full audience to watch the music documentary L.O.V.E. in F.R.A.M.E.S. , featuring Eason Chan . The film recounts DUO Band’s 2010–12 world tour and their journey producing the music album L.O.V.E. in places such as the UK and Guangzhou in the subsequent six years. L.O.V.E. in F.R.A.M.E.S. was directed and edited by the band’s backing vocalist Cheung Kit- bong who had crystalized their memories from 6,200 clips into a two-hour documentary. It depicts how music bonds the team and features behind-the-scene stories of the music album. Each DUO member has a distinctive personality, but they work seamlessly as a team. The music director Carl Wong mentioned they were playful at times but also serious in compositions and performance. That’s the way they nurtured rapport. Eason said, ‘I’d rather spend time on team building and quality music production, even at the expense of postponed album release.’ Irene Ng , director of I  • CARE Centre for Whole-person Development, moderated the post- screening sharing. She asked the guests how they overcame their rugged music journey. The lyricist Chan Wing-him ’s reply received a rounding applause. ‘I try my best at work. In my idle time, I strive to enhance myself and preserve my passion. There’s only Plan A. Even if the going gets tough, I’d only do my best. A Plan B would only hold us back in the comfort zone.’ All the DUOmembers composed songs for the music album, which reflect their personalities and encapsulate their feelings. To Be Together is jointly composed by the late guitarist Ellen Loo and the pianist Anthony Sun . Ellen randomly tapped a few notes on Anthony’s piano right before a performance, which inspired him to compose a dreamy melody. The lyrics Ellen wrote describe how a narcoleptic treasures every moment of staying awake. It is like working with the DUO team: every moment counts. In the shrinking music album market, why did the DUO Band insist on the quality of L.O.V.E. ? To reveal their sincerity and love for music. As Eason said, ‘The best music comes from the heart. We have been head over heels in making music for the past eight years. Such a relishing experience is worth recording in an album.’ J. Lau 字 裏 科 技 / T ech T alks