rain,falling in my heart...

变形

2009-05-13T20:27:00.005+08:00

最近忙得很，连轴转，累得快要废掉。竟然梦到自己累得明知道已经迟到很久还是不愿意起床一直赖到中午，好不容易挣扎着起床，发现是梦，再看手机，还好，闹钟还有几分钟才会叫。没有把自己吓到，也好，一点睡意也没有了；也是不敢睡，怕闹钟不响，这个回笼觉过头了。现在倒是不怕迟到扣钱，而是还有一堆的工作。多数时候，我都像是在和自己较劲，把弦上得很紧，不平衡的地方又发泄不出来。

整天泡在技术参数、商务条款里面，项目书做出来一份多到能砸死人，还总是一份接着一份。希望这种活都是扎堆儿的，忙过这一阵儿能调整一下。

这段时间口头禅是“别逼我变形”。源头：某日遛弯儿于东交民巷，突见一车后备箱贴如下标志，当场笑倒——

后来发现还有好多，如“我是出来打酱油的”，笑，原来自己已经OUT有段时间了。

喜欢喜乐的味道，因为是小时候的；想念兰州的烤羊肉串，混合着黄河边夜风的气息。每一段经过的时光，每一处经过的地方，都是和向往的不同的，却也是期待能再回去的。

期予路过，期予交错，期予着期予......

MARTHA GRAHAM

2009-02-01T10:29:00.003+08:00

Biographical Information
Martha Graham is recognized as a primal artistic force of the 20th Century alongside Picasso, Stravinsky, James Joyce, and Frank Lloyd Wright. In 1998 TIME Magazine named Martha Graham as the "Dancer of the Century," and People Magazine named her among the female "Icons of the Century." As a choreographer, she was as prolific as she was complex. She created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. Many of the great modern and ballet choreographers have studied the Martha Graham Technique or have been members of her company.
Martha Graham's extraordinary artistic legacy has often been compared to Stanislavsky's Art Theatre in Moscow and the Grand Kabuki Theatre of Japan, for its diversity and breadth. Her legacy is perpetuated in performance by the members of the Martha Graham Dance Company and the Martha Graham Ensemble, and by the students of the Martha Graham School of Contemporary Dance.
In 1926, Martha Graham founded her dance company and school, living and working out of a tiny Carnegie Hall studio in midtown Manhattan. In developing her technique, Martha Graham experimented endlessly with basic human movement, beginning with the most elemental movements of contraction and release. Using these principles as the foundation for her technique, she built a vocabulary of movement that would "increase the emotional activity of the dancer's body." Martha Graham's dancing and choreography exposed the depths of human emotion through movements that were sharp, angular, jagged, and direct. The dance world was forever altered by Martha Graham's vision, which has been and continues to be a source of inspiration for generations of dance and theatre artists.
Martha Graham's ballets were inspired by a wide variety of sources, including modern painting, the American frontier, religious ceremonies of Native Americans, and Greek mythology. Many of her most important roles portray great women of history and mythology: Clytemnestra, Jocasta, Medea, Phaedra, Joan of Arc, and Emily Dickinson.
As an artist, Martha Graham conceived each new work in its entirety — dance, costumes, and music. During her 70 years of creating dances, Martha Graham collaborated with such artists as sculptor Isamu Noguchi; actor and director John Houseman; fashion designers Halston, Donna Karan and Calvin Klein; and renowned composers including Aaron Copland, Louis Horst (her mentor), Samuel Barber, William Schuman, Carlos Surinach, Norman Dello Joio, and Gian Carlo Menotti. Her company was the training ground for many future modern choreographers, including Merce Cunningham, Paul Taylor, and Twyla Tharp. She created roles for classical ballet stars such as Margot Fonteyn, Rudolf Nureyev, and Mikhail Baryshnikov, welcoming them as guests into her company. In charge of movement and dance at The Neighborhood Playhouse, she taught actors including Bette Davis, Kirk Douglas, Madonna, Liza Minnelli, Gregory Peck, Tony Randall, Anne Jackson, and Joanne Woodward how to use the body as an expressive instrument.
Her uniquely American vision and creative genius earned her numerous honors and awards such as the Laurel Leaf of the American Composers Alliance in 1959 for her service to music. Her colleagues in theater, the members of the International Alliance of Theatrical Stage Employees Local One, voted her the recipient of the 1986 Local One Centennial Award for Dance, not to be awarded for another 100 years. In 1976, President Gerald R. Ford bestowed upon Martha Graham the United States' highest civilian honor, the Medal of Freedom, and declared her a "national treasure," making her the first dancer and choreographer to receive this honor. Another Presidential honor was awarded Martha Graham in 1985 when President Ronald Reagan designated her among the first recipients of the United States National Medal of Arts.

I am a Dancer
By Martha Graham
I am a dancer. I believe that we learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. In each it is the performance of a dedicated precise set of acts, physical or intellectual, from which comes shape of achievement, a sense of one's being, a satisfaction of spirit. One becomes in some area an athlete of God.
To practice means to perform, in the face of all obstacles, some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired.
I think the reason dance has held such an ageless magic for the world is that it has been the symbol of the performance of living. Even as I write, time has begun to make today yesterday-the past. The most brilliant scientific discoveries will in time change and perhaps grow obsolete, as new scientific manifestations emerge. But art is eternal, for it reveals the inner landscape, which is the soul of man.
Many times I hear the phrase "the dance of life." It is an expression that touches me deeply, for the instrument through which the dance speaks is also the instrument through which life is lived-the human body. It is the instrument by which all the primaries of life are made manifest. It holds in its memory all matters of life and death and love. Dancing appears glamorous, easy, delightful. But the path to the paradise of the achievement is not easier than any other. There is fatigue so great that the body cries, even in its sleep. There are times of complete frustration, there are daily small deaths. Then I need all the comfort that practice has stored in my memory, a tenacity of faith.
It takes about ten years to make a mature dancer. The training is twofold. First comes the study and practice of the craft which is the school where you are working in order to strengthen the muscular structure of the body. The body is shaped, disciplined, honored, and in time, trusted. The movement becomes clean, precise, eloquent, truthful. Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it. This might be called the law of the dancer's life-the law which governs its outer aspects.
Then comes the cultivation of the being from which whatever you have to say comes. It doesn't just come out of nowhere, it comes out of a great curiosity. The main thing, of course, always is the fact that there is only one of you in the world, just one, and if that is not fulfilled then something has been lost. Ambition is not enough; necessity is everything. It is through this that the legends of the soul's journey are retold with all their tragedy and their bitterness and sweetness of living. It is at this point that he weep of life catches up with the mere personality of the performer, and while the individual becomes greater, the personal becomes less personal. And there is grace. I mean the grace resulting from faith — faith in life, in love, in people, in the act of dancing. All this is necessary to any performance in life which is magnetic, powerful, rich in meaning.
In a dancer, there is a reverence for such forgotten things as the miracle of the small beautiful bones and their delicate strength. In a thinker, there is a reverence for the beauty of the alert and directed and lucid mind. In all of us who perform there is an awareness of the smile which is part of the equipment, or gift, of the acrobat. We have all walked the high wire of circumstance at times. We recognize the gravity pull of the earth as he does. The smile is there because he is practicing living at that instant of danger. He does not choose to fall.
At times I fear walking that tightrope. I fear the venture into the unknown. But that is part of the act of creating and the act of performing. That is what a dancer does.

from: MARTHA GRAHAM CENTER

Choreography

1926 - Chorale. Music by César Franck.
1926 - Novelette. Music by Robert Schumann.
1927 - Lugubre. Music by Alexander Scriabin.
1927 - Revolt. Music by Arthur Honegger.
1927 - Scherza. Music by Robert Schumann.
1929 - Figure of a Saint. Music by George Frideric Handel.
1929 - Resurrection. Music by Tibor Harsanyi.
1929 - Adolescence. Music by Paul Hindemith.
1929 - Danza. Music by Darius Milhaud.
1929 - Moment Rustica. Music by Francis Poulenc.
1929 - Heretic. Music from folklore (old Breton song--de Sivry).
1930 - Lamentation. Music by Zoltán Kodály.
1930 - Harlequinade. Music by Ernst Toch.
1931 - Primitive Mysteries. Music by Louis Horst.
1931 - Bacchanale. Music by Wallingford Riegger.
1931 - Dolorosa. Music by Heitor Villa-Lobos.
1935 - Praeludium. Music by Paul Nordoff.
1935 - Course. Music by George Antheil.
1936 - Steps in the Street (part of Chronicle).
1936 - Chronicle. Music by Wallingford Riegger and lighting by Jean Rosenthal.
1936 - Horizons. Music by Louis Horst.
1936 - Salutation. Music by Lehman Engel.
1937 - Deep Song. Music by Henry Cowell.
1937 - Opening Dance. Music by Norman Lloyd.
1937 - Immediate Tragedy. Music by Henry Cowell.
1937 - American Lyric. Music by Alex North.
1938 - American Document. Music by Ray Green.
1939 - Columbiad. Music by Louis Horst.
1939 - Every Soul is a Circus. Music by Paul Nordoff.
1940 - El Penitente. Music by Louis Horst.
1940 - Letter to the World. Music by Hunter Johnson.
1941 - Punch and the Judy. Music by Robert McBride.
1942 - Land Be Bright. Music by Arthur Kreutz.
1943 - Deaths and Entrances. Music by Hunter Johnson.
1943 - Salem Shore. Music by Paul Nordoff.
1944 - Appalachian Spring. Music by Aaron Copland.
1944 - Imagined Wing. Music by Darius Milhaud.
1944 - Hérodiade. Music by Paul Hindemith.
1946 - Dark Meadow. Music by Carlos Chávez.
1946 - Cave of the Heart. Music by Samuel Barber.
1947 - Errand into the Maze. Music by Gian Carlo Menotti, sets by Isamu Noguchi and lighting by Jean Rosenthal.
1947 - Night Journey. Music by William Schuman.
1948 - Diversion of Angels. Music by Norman Dello Joio.
1950 - Judith. Music by William Schuman.
1954 - Ardent Song. Music by Alan Hovhaness.
1955 - Seraphic Dialogue. Music by Norman Dello Joio.
1958 - Clytemnestra. Music by Halim El-Dabh.
1958 - Embattled Garden. Music by Carlos Surinach.
1959 - Episodes. Commissioned by New York City Ballet to music by Anton von Weber.
1960 - Acrobats of God. Music by Carlos Surinach.
1960 - Alcestis. Music by Vivian Fine.
1961 - Visionary Recital (revised as Samson Agonistes in 1962). Music by Robert Starer.
1961 - One More Gaudy Night. Music by Halim El-Dabh.
1962 - Phaedra. Music by Robert Starer.
1962 - A Look at Lightning. Music by Halim El-Dabh.
1962 - Secular Games. Music by Robert Starer.
1962 - Legend of Judith. Music by Mordecai Seter.
1963 - Circe. Music by Alan Hovhaness.
1965 - The Witch of Endor. Music by William Schuman.
1967 - Cortege of Eagles. Music by Eugene Lester.
1968 - A Time of Snow. Music by Norman Dello Joio.
1968 - Plain of Prayer. Music by Eugene Lester.
1968 - The Lady of the House of Sleep. Music by Robert Starer.
1969 - The Archaic Hours. Music by Eugene Lester.
1973 - Mendicants of Evening (revised as Chronique in 1974). Music by David Walker.
1973 - Myth of a Voyage. Music by Alan Hovhaness.
1974 - Holy Jungle. Music by Robert Starer.
1974 - Jacob's Dream. Music by Mordecai Seter.
1975 - Lucifer. Music by Halim El-Dabh.
1975 - Adorations. Music by Mateo Albéniz, Domenico Cimarosa, John Dowland and Girolamo Frescobaldi
1975 - Point of Crossing. Music by Mordecai Seter.
1975 - The Scarlet Letter. Music by Hunter Johnson.
1977 - O Thou Desire Who Art About to Sing. Music by Meyer Kupferman.
1977 - Shadows. Music by Gian Carlo Menotti.
1978 - The Owl and the Pussycat. Music by Carlos Surinach.
1978 - Ecuatorial. Music by Edgard Varèse.
1978 - Flute of Pan. Traditional music.
1978 or 1979 - Frescoes. Music by Samuel Barber.
1979 - Episodes (reconstructed and reworked). Music by Anton von Weber.
1980 - Judith. Music by Edgard Varèse.
1981 - Acts of Light. Music by Carl Nielsen.
1982 - Dances of the Golden Hall. Music by Andrzej Panufnik.
1982 - Andromanche's Lament. Music by Samuel Barber.
1983 - Phaedra's Dream. Music by George Crumb.
1984 - The Rite of Spring. Music by Igor Stravinsky.
1985 - Song. Romanian folk music played on the pan flute by Gheorghe Zamfir with Marcel Cellier on the organ.
1986 - Temptations of the Moon. Music by Béla Bartók.
1986 - Tangled Night. Music by Klaus Egge.
1987 - Persephone. Music by Igor Stravinsky.
1988 - Night Chant. Music by R. Carlos Nakai.
1990 - Maple Leaf Rag. Music by Scott Joplin and costumes by Calvin Klein.
1991 - The Eyes of the Goddess (unfinished).

归

2009-01-29T22:46:00.001+08:00

鸿雁天空上
对对排成行
江水长
秋草黄
草原上琴声忧伤
鸿雁向南方
飞过芦苇荡
天苍茫
雁何往
心中是北方家乡
天苍茫
雁何往
心中是北方家乡
鸿雁向苍天
天空有多遥远
酒喝干再斟满
今夜不醉不还
酒喝干再斟满
今夜不醉不还

.............................................................................................

iPod Music

2009-01-26T23:56:00.003+08:00

2001年10月 The Propellerheads Take California 一代
2003年04月 Black Eyed Peas Hey Mama 三代
2003年04月 N.E.R.D. Rock Star (Jason Nevins Remix) 三代
2003年04月 Jet Are You Gonna Be My Girl? 三代
2004年06月 Feature Cast Channel Surfing 四代
2004年06月 Steriogram Walkie Talkie Man 四代
2004年06月 Ozomatli Saturday Night 四代
2004年10月 U2 Vertigo 四代，U2版
2005年01月 The Vines Ride 四代
2005年01月 Caesars Jerk it out Shuffle 一代
2005年06月 Daft Punk Technologic 四代
2005年06月 Gorillaz Feel Good Inc. 四代
2005年09月 The Resource Gimme That Nano 一代
2005年10月 U2 Original of the Species 五代
2005年10月 Eminem Lose Yourself 五代
2005年10月 Wynton Marsalis Sparks 五代
2006年04月 Rinocerose Cubicle Nano 一代
2006年04月 Wolfmother Love Train 五代
2006年08月 Bob Dylan Someday Baby 五代
2006年09月 Cut Chemist The Audience Is Listening Theme Song Nano 二代
2006年09月 Prototypes Who's Gonna Sing? Shuffle 二代
2007年01月 The Fratellis Flathead 五代
2007年02月 Eberg Inside Your Head iPhone
2007年06月 Paul McCartney Dance Tonight Beatles on iPod
2007年06月 Quantic & Nickodemus Mi Swing es Tropical iPod Latino
2007年07月 Orba Squara Perfect Timing iPhone
2007年07月 CSS Music Is My Hot, Hot Sex iPod Touch
2007年09月 Feist 1234 Nano 三代
2007年11月 Mary J Blige Work That iPod Classic
2008年01月 Yael Naïm New Soul MacBook Air
2008年02月 Brendan Benson What I'm Looking For America Idol on iTunes
2008年04月 The Ting Tings Shut Up And Let Me Go ??
2008年05月 Coldplay Viva la Vida Exlusive Album on iTunes
2008年07月 The Submarines You, Me and the Bourgeoisie iPhone 3G
2008年09月 Chairlift Bruises Nano 4G
2008年09月 The Asteroids Galaxy Tour Around the Bend Touch 2G

PS：不断更新中...

Indie 跨界

2009-01-15T12:56:00.003+08:00

Radiohead The Killers Death Cab for Cutie Coldplay Bloc Party Beck Arctic Monkeys Modest Mouse Belle and Sebastian Bright Eyes Muse The White Stripes The Smiths Sufjan Stevens The Strokes Placebo Elliott Smith Franz Ferdinand Oasis Pixies Interpol Snow Patrol Sigur Rós Kings of Leon The Flaming Lips The Shins R.E.M. Weezer The Kooks of Montreal Feist Sonic Youth The Decemberists Cat Power The Cure Keane Tegan and Sara Wilco The Smashing Pumpkins Incubus Eels The Postal Service Morrissey The Arcade Fire Kaiser Chiefs Yeah Yeah Yeahs Red Hot Chili Peppers Blur Iron & Wine Neutral Milk Hotel Nirvana The Libertines Gorillaz MGMT Broken Social Scene Yo La Tengo Travis Animal Collective Fall Out Boy Rilo Kiley Pavement Hot Chip Jack Johnson Spoon Arcade Fire Regina Spektor Babyshambles Björk Kings of Convenience Stereophonics Foo Fighters Ben Folds Final Fantasy The Mountain Goats Joy Division TV on the Radio Editors The Verve The Magnetic Fields Stars Beirut Ryan Adams Brand New The Dandy Warhols Klaxons They Might Be Giants Dashboard Confessional Rufus Wainwright Razorlight Kasabian Andrew Bird The Fratellis Jimmy Eat World Hellogoodbye Tori Amos Nada Surf Gym Class Heroes Cake Architecture in Helsinki The National My Morning Jacket Air Panic! At the Disco M.I.A. LCD Soundsystem Ratatat Mando Diao Calexico Pulp Antony and the Johnsons Minus the Bear Blonde Redhead PJ Harvey The Ting Tings Manic Street Preachers Black Rebel Motorcycle Club The Velvet Underground The Faint Paramore CocoRosie Vampire Weekend James Blunt Imogen Heap Badly Drawn Boy Elbow Phoenix Tom Waits New Order Cut Copy Stereolab Primal Scream Queens of the Stone Age We Are Scientists Mew Katy Perry Band of Horses At the Drive-In Say Anything Kent Okkervil River Patrick Wolf Hot Hot Heat The Stone Roses Portishead The Mars Volta Metric Guided by Voices Built to Spill Foals Jason Mraz Garbage Devendra Banhart Panic at the Disco Maroon 5 Plain White T's The Wombats Le Tigre The New Pornographers Counting Crows Nick Cave and the Bad Seeds Santogold Clap Your Hands Say Yeah The Clash The Rapture CSS Nouvelle Vague Fleet Foxes The Cardigans Ben Folds Five The Bravery Death From Above 1979 The Kills Cursive Taking Back Sunday Cold War Kids Damien Rice The Academy Is... Dave Matthews Band Jet Coheed and Cambria Tocotronic Wolf Parade Ween The Notwist Kate Nash The Subways ...And You Will Know Us by the Trail of Dead The Fray The Cranberries Pinback The Streets OK Go Supergrass José González Saves the Day Feeder Yann Tiersen The Moldy Peaches The Futureheads Doves Maxïmo Park The Go! Team The Polyphonic Spree Frou Frou The Walkmen KT Tunstall Deerhoof The Coral The Kinks Guster Soulwax Hard-Fi The Format Super Furry Animals Phantom Planet Thom Yorke The Sounds 30 Seconds to Mars Suede Ani DiFranco Goldfrapp The Cribs Maximo Park Adam Green Why? The Raconteurs The Vines Lifehouse Ash Ted Leo and The Pharmacists Paolo Nutini The Knife Camera Obscura The Last Shadow Puppets Gomez Ladytron Sia Fiona Apple M83 Peter Bjorn and John The Weakerthans James The Gossip Jens Lekman Dirty Pretty Things Nick Drake Aphex Twin Fugazi Cansei de Ser Sexy Tindersticks

关于Indie ，我把他称作一种态度，一个范畴，更或者......是不需要解释的。
我们常常因为某种东西而踟蹰，而莫名神伤。在北京冬日的午后，在什刹海看滑冰，远处的红墙青瓦，慢慢萧索的风景，不想什么，什么也不想。
我们的生活很荒芜，午餐的横货吃的人有点儿顶，把红烧肉抽象成一个概念。
The Heat Can Melt Your Brain.
某些是否能完整的定义，声音穿越。

下雨天

2008-12-31T22:20:00.002+08:00

下雨天了怎么办
我好想你
不敢打给你
我找不到原因
什么失眠的声音
变得好熟悉
沉默的场景
做你的代替
陪我等雨停

期待让人越来越沉溺
谁和我一样
等不到他的谁
爱上你我总在学会
寂寞的滋味
一个人撑伞
一个人擦泪
一个人好累

怎样的雨怎样的夜
怎样的我能让你更想念
雨要多大天要多黑
才能够有你的体贴

其实没有我你分不清那些
彻别接近还能多一些
别说你会难过
别说你想改变
被爱的人不用道歉

期待让人越来越疲惫
谁和我一样
等不到他的谁
爱上你我总在学会
寂寞的滋味
一个人撑伞
一个人擦泪
一个人好累

怎样的雨怎样的夜
怎样的我能让你更想念
雨要多大天要多黑
才能够有你的体贴

其实没有我你分不清那些
彻别接近还能多一些
别说你会难过
别说你想改变
被爱的人不用道歉

怎样的雨怎样的夜
怎样的我能让你更想念
雨要多大天要多黑
才能够有你的体贴

其实没有我你分不清那些
彻别接近还能多一些
别说你会难过
别说你想改变
被爱的人不用道歉

那一年夏天 Secret Wish by Anna Sui , 2005

2008-12-28T00:29:00.004+08:00

Secret Wish是Anna Sui 2005年夏天推出的魔法学院风格香氛。

漫步森林，微露晨光。湖水粼粼，微笑旖旎。

慵懒，欢愉，会意，企盼......似乎所有的情绪都已融入其中，又似乎都烟消云散。

香调：清新花果

前味：柠檬、金盏花、哈密瓜

中味：黑醋栗、凤梨

后味：白雪松、琥珀、白麝香

那一年夏天第一次送自己，第一次觉得发生的好多事情都像是在做梦，怎么挣扎都醒不过来的梦。

我就像一只迁徙的鸟，却找不到能落脚的地方，只能不停地飞。

又似乎飞翔的目的就是飞翔。

无暇顾及已经渐渐稀落的羽毛，即使已经严寒仍要挺起胸膛、努力扇动翅膀。

因为我不敢停下来，我不能停下来。

与安东尼奥尼一起的时光

2008-12-22T20:55:00.004+08:00

　　我第一次遇见米开朗基罗·安东尼奥尼，是在1982年的戛纳电影节，他带去了他的电影《一个女人的身份证明》，我带去的是《汉密特》。安东尼奥尼的新片令我印象深刻，一如他以前的《放大》、《扎布里斯基角》，或者更早的《奇遇》、《夜》和《蚀》。

　　当时我正拍摄一部探讨电影语言发展的记录片。作为记录片的一部分，我邀请了所有出席戛纳电影节的导演，要他们对着摄影机说说自己对电影未来的看法。许多导演接受了我的邀请，当中包括韦纳·赫尔措格（Werner Herzog）、瑞纳·法斯宾德（Rainer Fassbinder）、史蒂芬·斯皮尔伯格（Steven Spielberg）、让-吕克·戈达尔（Jean-LucGodard），还有安东尼奥尼。每位导演被单独留在一具房间，里边有一台Nagra录音机、一台16毫米摄影机和一份介绍提纲。对我提出的问题，每个人都可以自由“导演”他们的回答，既可以很简要，要是他们愿意，也可以用完长约10分钟的整卷胶片。完成的影片被命名为《666号房》，那是我们拍摄时使用的“马丁内兹”酒店房间。它是当时整个戛纳的最后一间空房。

　　对我而言，那些关于电影未来的看法中感人至深的，是米开朗基罗·安东尼奥尼的陈述，以至于我将它一刀未剪地全部放进影片，包括米开朗基罗说完之后，走到摄影机前把它关掉的片段。

　　他是这么说的：

　　确实，电影处在重大的危险之中。但是我们不该忽视这个问题的其他方面。电视对人们——尤其是儿童——观看习惯和期望的影响是毋庸置疑的。另一方面，我们不能否认形势对我们尤其严峻，因为我们属于老去的一代。我们应该做的，是试着适应正在形成的另一种视觉技术。

　　像磁带这样的新的复制形式或许将取代传统的胶片，后者不再跟得上我们的需要。斯科塞斯指出过，一些老的彩色胶片已经开始褪色了。娱乐更大数量人群的问题，也许将由电子、激光或者其他谁也说不准的、正在发明的技术来解决。

　　当然，我与所有其他人一样为我们所了解的电影之未来担忧。我们对它依依不舍，因为它给了我们那么多途径来讲述我们自己觉得非说不可的事情。但随着新的技术可能性的范围越来越宽，这种依恋感会逐渐消逝。也许当下与不可测的未来之间的矛盾总是存在。谁知道未来的房子会是什么模样——我们望向窗外时看到的房子，明天可能根本不存在了。我们也无须考虑不远的将来，而应该想得更远；我们必须关照那个未来人类将要栖居的世界。

　　我不算是个悲观主义者。任何最好地应付当下世界的表现形式，我总是试图适应它们。我在自己的一部电影里用过录像，我做过色彩实验，我拍过写实风格。那技术是粗糙的，但它代表了某种进步。我想继续实验，因为我相信录像的可能性将令我们对自己有新的认知。

　　谈论电影的未来并非易事。高清晰度录像带不会把电影带进家庭；也许再不需要电影院了。我们当代的所有体系都将消失。不会很快或很直接，但它必将发生，我们无法做任何阻挡。我们只能调整自己去适应它。

　　在《红色沙漠》里，我已经在审视适应的问题——适应新技术，适应我们或许不得不吸入的污染空气。甚至我们的肉体也可能进化——谁知道以何种方式。未来也许将以我们想像不到的冷酷呈现自己。我现在又要回去了；我不是哲学家或演说家。我情愿尝试做事而不是谈论它。我的直觉是：把我们变成新人，更习惯于应付新技术，不会那么难。

　　打动我的不只是这段陈述，也是安东尼奥尼自己——他自信而不摆架子的谈话方式，他的动作，他在摄影机前来回踱叔和在窗前伫立的样子。他像他的作品一样镇定而有派头，他的每一点见解都如同他的电影那样激进与现代。

　　……

　　那时我已经完成了《咫尺天涯》，还没有另一个筹备好的计划。我再次去罗马看望米开朗基罗，他向我表明我就是他的人选，他希望我加入，于是我答应了。与上次的计划相比，这次显然要求一种不同的参与方式，不过这使事情更现实。愿意开始这个非凡的冒险，除了我个人对米开朗基罗的同情和我对他作品的仰慕，还有一个特别有力的原因：我彻底深信像安东尼奥尼这样的导演，尽管年事已高身有残疾，应该得到机会拍摄一部在他心智之眼中清晰可见的电影。一个有着如此才华的人，仅仅因为不能说话就无法拍摄一部电影，在我看来是万万不能接受的。

　　很明显他能明白自己经受的一切事情，在心智上他如以往一样敏捷。他也没有失去幽默感；他只是不能说话，除了十几个意大利语的基本词汇，比如“是”和“不”，“你好”，“再说”，“走开”，“再来一次”，“明天”，“喝一杯”，“葡萄酒”和“吃饭”。我记得最初那些会面中的一次，在罗马的一个饭馆。他的妻子，一直为他传译的恩里卡正好出去一会儿。安东尼奥尼和我无言对坐片刻，好像我用法语对他说了些什么，在拍片的时候，我惯于用法语和我那糟糕的意大利语跟他交流。他耸耸肩，苦笑着就用意大利语说了一个字：“说！”同时五个指尖捏在一起，在面前前后摇着——那独特的手势在我每每回忆起他时必定出现。

　　安东尼奥尼的中风破坏了他大脑的文字组织和拼写中枢，因此他不能写或说。由于中风影响了他的右半身，他只能用左手画。如果恩里卡寻找他想要词语的神奇诀窍一旦失灵，这便是他向我们解释他的意图时的最后手段。恩里卡或者米开朗基罗的私人助手安德利亚·波尼随手备有铅笔和拍纸簿，这样他便可以画草图来阐明他的意图。对一个右撇子而言，他这些左手草图令人惊讶地精确，并成为一个不可或缺的沟通手段，尤其是在电影实拍开始之后。

　　从一开始，我就惊讶于米开朗基罗甘于接受身体残疾的方式，他会一直指点他人，直到他们明白为止。如果我们的猜测和种种联想都没能命中要害，怎么也领会不到他想告诉我们的事情，他并不绝望，而是笑起来，但用手指轻敲前额，仿佛要说：“真是一大群笨蛋！”最终总会有人抓住那躲了我们半天的，一幅图画或一个手势的要点。

　　……

　　我们都以同等程度的耐心与热情开始了我们的冒险。要看到安东尼奥尼的脑子里有着什么样的电影，唯一的办法就是让他去做。因此，必须去做。

凯尔特的薄暮

2008-12-22T20:23:00.009+08:00

这个世界尽管残缺破损、笨拙不堪，却也不乏优美宜人、富有意义之物，我像所有艺术家一样，希望用这些事物创造出一个小天地，通过幻象，向那些愿意顺着我指的方向看去的同胞，展示爱尔兰的一些特点。因此，我忠实、公正地记录下我所听到、看到的东西，除了发些感慨之外，并不妄添自己的想象。我的信仰其实与农人们相差无几，所以我所做的，无非只是容许我的这些男人和女人、鬼魂和仙人们各行其道，既不用我的任何观点挑剔他们，也不为他们辩解。人所听到、看到的事情，均为生命之线，倘能小心将之从混乱的记忆线轴上拉出，谁都可以用它来任意编织自己想要的信仰之袍。我和别人一样，也编织了我的袍子，我要尽力用它来温暖自己，倘若它能合身，我将不胜欣慰。希望和回忆育有一女，名唤艺术，她的居所远离人类用树杈高悬袍衫充当战旗的绝望之地。哦，希望和回忆的可爱女儿，请来到我的身侧，徜徉片刻。

W.B.叶芝

1893年

叶芝在《受蛊的森林》中写道：“我经常相信，自然界充斥着我们看不到的人，其中固然不乏一些丑陋或古怪者、邪恶或愚蠢者，但它们大多数都拥有我们从未领略过的超凡之美。当我们在优美、静逸的地方漫步时，这些美丽的人离我们不过咫尺。我还是个孩子的时候，每次走过树林里，都会觉得，我渴慕已久，却不知其所以然的什么人或者什么事物，随时都翩然出现。这种想象深深影响了我，以至现在我会经常几乎是急切地在哪片不幸的矮树林中，彻底搜寻每个隐蔽角落。你想必也在由你的命运星辰决定的什么地方，体验过类似的想象吧，也许，土星把你驱赶进森林，月亮将你推向海边。我可不能肯定落日中没有什么特别之物，我们的祖先曾想象过，死者就是在落日中，追随他们的牧人太阳而去的；我也不能确定落日中只有一些含糊不明、几乎不会动弹，可以忽略不计的东西。美一定是我们一出生便陷进的大网的出口，否则它便不复为美。而且，倘非如此，我们想必只会宁愿坐在家里的炉火边，令慵懒的身躯日益肥胖，或者宁愿投身于某种愚蠢的举动，狼奔豕突，而不是去欣赏光与影在绿叶之间上演的绝妙演出。当我挣脱杂乱的争辩之丛后，我告诉自己，仙人们确确实实存在，只有我们这些既没有单纯心灵，也缺乏智慧的人才会否认这一点，而从古到今的心地单纯者和古时的智者们都看到过它们，甚至和它们交谈过。就像我认为的那样，它们就在离我们不远的地方，过着它们激情四溢的生活，我们只要能让自己保持单纯本性、不失激情，死后就可以加入它们。但愿死亡把我们与一切传奇相联，但愿将来有一天，我们能在黛绿群山中与群龙作战，或者终于领悟，一切传奇，实乃：揉杂了人类在更加恢宏的日子里，将犯罪孽的图像的预言。”

逃亡

2008-12-22T16:58:00.006+08:00

心情不好，疯狂打扫。
有一些悬而未决的事情放在那里，争夺不到主动权。
不平衡，不公平，不耐烦。
焦躁，烦躁，浮躁，就是燥。

南浔

2008-10-03T19:46:00.004+08:00

同里

2008-10-03T19:23:00.004+08:00

2008-09-04T14:37:00.001+08:00

where will life take you？

2008-08-27T17:02:00.004+08:00

What is a journey?
何为旅行？

A journey is not a trip.
旅行不是一次出行，

It's not a vacation.
也不只是一个假期。

It's a process. A Discovery.
旅行是一个过程，一次发现。

It's a process of self-discovery.
是一个自我发现的过程。

A journey brings us face to face with ourselves.
真正的旅行让我们直面自我。

A journey shows us not only the world,
旅行不仅让我们看到世界，

but how we fit in it.
更让我们看到自己在其中的位置。

Does the person create the journey
究竟，是我们创造了旅行。

or does the journey create the person?
还是旅行造就了我们？

The journey is life itself.
生命本身就是一场旅行。

Where will life take you?
生命将引领你去向何方？

PS：一则广告，似乎又不仅仅是广告。

未来

2008-08-10T20:45:00.004+08:00

读她的字，会有影像浮现。

一点朱砂两方罗帕三五鸿雁乱了四季杨花六玄绿漪七星当挂八九分相思懒了十年琵琶

她的自知，她的自制，在那个城市，在那片星光下，是那么温婉却又让人神殇。

不知道是不是如果一个女子过得太过安逸就不会有那么多的字了，所以世事才不给她那么多的机会。

她一直是个写字给自己看的女子，写了删，删了又写。

城市浮华，她却凛冽其中。对于波折，反倒淡定了。不是坚持什么，而是老早就说过的，我们再也回不去了。

应该安慰那种绝望的怀旧情绪

2008-08-06T15:41:00.008+08:00

比较久以前写下的这个标题，忘记是为了什么事了，再也想不起来，再想也挺费劲的。

或许是看到一段文字，或者是划过眼前的一片街景，或......音乐、聊天、老友。

前三年的工作负荷高、节奏快，很多时候就有种畅快淋漓的感觉，人的生物钟也跟着调整了。

休息了一段时间，换了工作、换了城市，心境明显是慢下来了。操心的事情发觉越来越多，处理不了的东西也越积越多，不在意的也越来越多啦。说的最多的一句话就是“慢慢就习惯了”，其实连自己具体要习惯什么也不知道。

家里从春末腌的一坛子双黄的咸鸡蛋，真的是不远千里给送了来，还有许多入秋新上市的核桃，最里面的白色的瓤是微甜的。

夜，已经开始微凉了。车外的雨也是微微的。真的就希望车就永远这么驶下去，永远到不了终点，就像在浴室里逃避外面的世界一样。

留白

2008-08-06T12:55:00.003+08:00

每天坐公车都会看到“倒计时”牌，提醒自己到这个城市已经有多少个日子了。
不知道是没有记日子的习惯还是压根儿就不想记住，竟然对于一年前的具体日期完全模糊了。应该是七月下旬吧。

一年前，大约是二零零七年七月下旬，我来到这里。
只是这次不同以往，不是旅游，而是工作和生活。
似乎也更不同于其他几个城市，具体我说不清楚。

我不喜欢记日子，尤其是关于自己的日子。
备忘录里都不是自己的日子，这不好，像是在一直坚持拒绝自己变老。

快四年了，淘的一只超大旅行包一直伴在身边。刚开始的时候还能把全部家当都填进去，也不大买什么东西，总感觉说不定哪天就又会迁徙，但是东西还是越来越多。我甚至到了每买一件东西心理压力就加大的地步，只想到以后搬走会很费劲。因为在那段时间里，我流利失所到处游荡惯了。我想我是一个容易有心理阴影的人。从上一个城市离开的时候，很多东西也送人了，还是一个背包。

总是给日子留白，当时会对自己说，等我有记录的感觉了我会记下来的，但绝大多数到现在还是没有记下来。
没有贴相片的本子，也没有贴记忆的本子。

The Lost Generation

2008-07-21T14:04:00.009+08:00

日子慢慢集聚得让人不敢回想，早已背弃了孤独。
愿望渐渐模糊了，欲望慢慢强烈了。沉迷于黑白电影的晦暗色调，感慨于其中缺憾的情感，盲目而茫然的青春，痴狂而乱码的岁月。似乎这就是我们没有信仰的体现。
在那里我们最关注的是自己的精神状态，却又是最把握不住的。游离，依赖，沉默，幻想，远行......还是写不下去了。

姿势&表情

2008-07-11T15:49:00.001+08:00

The call - Regina Spektor

2008-07-11T13:28:00.002+08:00

Disc: 1
1. Fidelity
2. Better
3. Samson
4. On The Radio
5. Field Below
6. Hotel Song
7. Après Moi
8. 20 Years Of Snow
9. That Time
10. Edit
11. Lady
12. Summer In The City

Disc: 2
1. Another Town
2. Uh-merica
3. Baobabs
4. Dusseldorf
5. Music Box

《NARNIA》中的The Call唤起了对这张专辑的重新关注，Regina Spektor乃纽约anti-folk圈中的一分子，但其更具有传统的倾向，冷峻的钢琴和灵动的人声充斥其间，多种情绪都可以找到。

我们是否在迅速地生活

2008-07-11T13:27:00.000+08:00

听说的，太久不更新了，不是没什么可说，是心里有太多东西不可说。也不像以前一样半夜蹲在电脑前烤练自己的眼睛了。貌似现在还会一听歌就感慨万千，也貌似对文字仍具有痴迷的敏感。
我们的生活一如既往的贫瘠，偶尔会有小清新吧，也偶尔会有明亮的早晨吧。
天气已开始了热烈的情绪，在这个有着内蕴的城市里也只能穿街走巷去找寻一檐雨水，有时风从四面八方来，吹散树影下的阳光。

三年三个城市的流转，一个人就是一所房子。
对于归属感的叙述、身份的定位一直在我们这一群人中困扰着，Gu姐姐的引用很是能唤醒。在这个世界中，某些东西对于我们确实是奢侈品，却又是我们一直追逐的，最终又不得不舍弃的。
关于诱惑，关于性，关于爱，关于需求，关于丧失，关于离开......

乱写范晓萱

2008-07-11T13:25:00.002+08:00

这是我二十四岁开始的另一本日记也可以说是笔记　　　　

*狗仔队并不可怕, 　　
可怕的是他们夸张不实的报道还有人相信! 　　　　

*反正我也不care了! 　　
这世界不会因为我的喜怒哀乐　　
或生老病死而改变　　
我不要为任何人而活　　
我要自私的为了我自己　　　　

*想减少自己生气或不满的办法就是～“放下”! 　　
为什么别人一定要照你的思路走呢? 　　
或照你觉得对的去做呢?管好你自己吧! 　　
毕竟每个人都是个体,～“后果自负” 　　
别在乎太多! 　　　　

*动物是最可爱的, 　　
就算他们有残暴的一面, 　　
那也是最原始的天性, 　　
并且没有人能制裁它们, 　　
“适者生存”，那么的直接! 　　　　

*世界本来就没有是非,真假,对错, 　　
我不愿这么认为! 　　
但,是这个世界教我的! 　　　　

*如果人类觉得自己是主宰者, 　　
那就应该连照料流浪狗都不成问题　　
好好的安顿它们　　
而不是擅自决定它们的生死! 　　　　

*看透后你就会觉得自在了, 　　
这场闹剧你们继续演吧! 　　
我追寻的和你们不同, 　　
我所能获得的也和你们不同, 　　
我不求于他人,我就不必改变. 　　　　

*一段时间我在寻找自己, 　　
我一度以为我找到了, 　　
但其实只是越迷失, 　　
因为不认同自己,不肯定自己, 　　
其实当初我根本就不用找,那就是我啊!! 　　　　

*感谢我的信仰帮助我度过每一天及给我坚强, 　　
能领悟的力量,它们永远都在, 　　
他们不用做什么,你已经很安心, 　　
也知道该怎么做了! 　　
这是它们的教育方式～让你自己思考! 　　　　

*天下没有一个人绝对了解一个人,绝对没有!! 　　
当你开始有这个念头希望别人试图了解你时, 　　
你已经展开了痛苦之旅～　　　　

*每个人都需要一些转折点, 　　
像是听音乐的方向,衣着品位,思想... 　　
也许是一个人,一个点,一句话, 　　
让你有了新的视野,另一种选择, 　　
这些的综合,是我们转变或进步的依据, 　　
我要谢谢那些对我造成影响的人,事,物, 　　
使我成为现在的我. 　　　　

*我他妈的就是喜欢说脏话, 　　
不要跟我来那套有没有气质.....等等评价我的话, 　　
那只是一种情绪的抒发或语言上的辅助, 　　
就像"哼","喔","啊".....之类的声音, 　　
只是我是属于比较没创意地照着原创人的字眼罢了! 　　　　

*就算我出门与人接触, 　　
的心与这个世界还是隔离的, 　　
这是"打开心房"的"心房"吗?问题是....... 　　
怎么打开和为什么要打开?打开之后要做什么? 　　
然后呢?.... 　　
为什么我的生命会走到这个地步? 　　
我有点乱了,不知所措我在赖活吗? 　　
为什么生不如死? 　　
怎么会这么痛苦?那么难熬?我傻眼了～　　
我不是都懂了那些道理吗? 　　
为什么还会这样? 　　
为什么谁的话我都不听,就连自己的也不听!! 　　
好失败!But who cares? 　　　　

*Do I think I'm special? 　　
No! I don't think so! 　　
There must be some people just like me, 　　
but I don't know where they are! 　　
I've been searching～　　
but there's no answer to my question! 　　
The point is～　　
is there an answer? 　　　　

*不会有人明白我承受了多少压力, 　　
不会有人能了解我为什么流泪, 　　
事情真的不是那么简单! 　　
就是无法以乐观的角度来看待　　
因为这就是我! 　　
好无奈,好痛苦,好不能接受,helpless～　　
没什么好留恋的～这世界! 　　
我很想家,想回到真正的家　　
我快垮了!崩溃了! 　　
别再问我怎么了! 　　
你们既然不知道为什么, 　　
就算我说了你们也不懂, 　　
要怎么活呀?怎么那么难? 　　　　
我没有恨,也没有爱,更没有怨,我只想闪! 　　　　

*我小众,并不代表我不存在! 　　　　
*我死了,这世界也不会改变, 　　
不如活着奋战到底! 　　
既然要奋战到底,就要做好心理准备, 　　
因为迎面而来的不只是一群人, 　　
而是整个社会!! 　　　　

*我没有别的目的,这一切只是为了我自己, 　　
和让大家认清真实世界而已～　　　　

*这个世界有美好的, 　　
但不至于让你刻骨铭心, 　　
而残忍的, 　　
却让你不敢相信! 　　　　
如果你没穿过舌环　　
就不会知道大舌头的人　　
真的有哪几个音不能发　　
如果你没冲过浪　　
你见到浪花会觉得它只是浪花　　
如果你没画过油画　　
你不会了解那种把抽象的内心世界　　
用具体的方式呈现出来的奇妙　　
生命就是让你去体验的　　
当你触及到任何不同领域时　　
你会发现看世界的角度都不同而更细腻了　　　　
*为什么Lawrence会喜欢我啊? 　　
还有忍受我? 　　
我好佩服他! 　　
他太厉害了! 　　
爱挑战,不怕死,执著的疯子!!! 　　　　

*为什么我讨厌很多事? 　　
为什么我心中有那么多不满和怨恨? 　　
我的爱呢? 　　　　

*不一定要和喜欢的人在一起啊!因为喜欢归喜欢　　
在一起归在一起　　
你不能分开来看吗? 　　
没那么复杂! 　　
观念不同吧! 　　
因为说不定和喜欢的人在一起就不喜欢了　　
又或者是喜欢的不止一个　　
那怎么能和他们通通在一起呢? 　　　　

*我此刻真的很快乐,很满足,不求什么了! 　　
真种感觉很棒!!!! 　　　　

*不要说那是前卫,或任性,或跑的快,或自我....... 　　
等等的形容词, 　　
我只是在长大的路上, 　　
有了自己所喜欢,所不喜欢, 　　
所追求,所放弃的东西, 　　
而这些东西结合起来　　
变成了全世界只有一个的"范晓萱", 　　
没有对错,没有超越或落后, 　　
那只是一个人的喜恶而已, 　　
而我的期许就是舒服而安心地当我的"范晓萱"～　　　　

*你不用去装扮成什么,你已经是什么了!! 　　　　

*God damn it!又掉了几根眼睫毛, 　　
每次卸妆都为它们感到不舍! 　　
原本刷睫毛是希望让它们看起来更多更长, 　　
但事实上, 　　
他们却一直为了营造出来的假象而付出代价! 　　　　

*2002.1.1 　　
在这茫然的城市当中, 　　
虽然我也是参与party的一份子, 　　
但内心却有一种失落感,甚而讨厌节日, 　　
我不懂我们在庆祝什么? 　　
瞎high什么? 　　
只不过是在迎接一个　　
距离世界末日更近的年份而已～　　　　

*身体和药物在比武时, 　　
表面上药物一直击败身体而遥遥领先, 　　
因为它能让你好起来, 　　
最后一局决胜负时,身体赢了! 　　
因为它可以让你死亡! 　　
凡事都要经过它的同意,它是主宰者, 　　
输赢只靠一拳,谁令谁致死,你最大!! 　　　　
2002.1.2我的大脑失灵了! 　　
该发号指令的功能居然不见了!真恐怖!! 　　
我觉得"精神错乱" 　　
是很容易使人去死的一个原因, 　　
有的时候　　
只是一时失控的一股脑栽到"我要死"的声音当中　　
那不是真的想死! 　　
我这几天在戒抗忧郁的药, 　　
精神和神经都有点不行了　　
我无法看东西,好像眼睛会软掉一样, 　　
而我在床上一闭上眼睛　　
就觉得Lawrence要害我, 　　
然后就有画面是在我在精神病院治疗　　
每天的重心就在吃药, 　　
整个人完全没有情绪和思考能力, 　　
而那种生不如死的感觉一直汹涌而来, 　　
我想我就要失去理智,就要疯了! 　　
只差一条线的事而已! 　　
而我的肢体也无法放松地一直纠缠,颤抖, 　　
我想我应该和戒毒的人一样吧!那么痛苦,难熬!! 　　　　

*不要攻击我,因为我总有很多理由去还击! 　　　　

*忧郁症除了是心理病外,还是传染病! 　　　　

*现在已经不像发病那样简单了, 　　
那已经不是一种情绪,而是把你一年来被压抑, 　　
封锁的东西给释放开, 　　
于是你发现, 　　
这一年多来如果不吃药控制, 　　
原来你根本就是一个疯子!!! 　　　　

*情绪失控只是一个key,一个通道, 　　
迎接的是在你清醒的意识下,被恶魔强暴, 　　
他没有问你或不管你愿不愿意,就召唤你,他要你!! 　　
而且在你高呼你有你自己的信仰时, 　　
他已经把你列入他的会员之一了! 　　
他让你觉得:你的神呢? 　　
他怎么没在你痛苦的时候来抢你? 　　
就任由你变成我的!! 　　　　

*心理病根本就是恶魔发明的, 　　
他发明这个来当他的挡箭牌, 　　
让人摸不清你到底是有神经病还是撞邪, 　　
但～这一切都只是撒旦的一个阴谋而已..... 　　　　

*这和卡到脏东西也不像, 　　
不像是个体的灵体,而是一股力量, 　　
一个国度,一个世界,就把你给拉走了!! 　　　　

*我现在正在度过人生最难熬的阶段! 　　　　

*我本身身体和心理难受　　
另一方面　　
别人的不了解也会令我难受! 　　
谁能帮助我? 　　
And～别在叫我自己控制了!! 　　
事情真的没有那么简单～～～　　　　

*我现在只道魔鬼在玩什么把戏了! 　　
他不会使一个东西实质上的改变, 　　
但他会干扰你看待东西的角度, 　　
譬如: 　　
我和熙娣看的是同一个东西, 　　
东西本身没变,但魔鬼可以干扰我的视线, 　　
使我自己认为东西改变了～所以电影说得没错　　
"一切都只是你的幻觉"～～～　　　　

*我觉得我好像快要失去另一个我了, 　　
但我不知道失去的是原本的那个我, 　　
还是吃乐富得的我, 　　
我就要变成另一个人了, 　　
就是感觉要变了...... 　　　　

*我想学好多东西　　
我想当个有智慧及拥有一身好本领的人　　
我内心有一股冲力正在酝酿和爆发..... 　　　　

*情绪和灵感好像被关了一年多, 　　
现在锁一开,就通通跑出来了, 　　
我只好不停地写,不停地写....... 　　　　

*我对你凶一点　　
你就对我好一点　　
谈恋爱为何非要像跳恰恰? 　　　　

*当我哭的时候,代表我真的伤心了, 　　
也代表我无法有fighting的能力了, 　　
就这样无力地接受着被你刺伤我内心的最深处～　　　　

*当我哭的时候,其实你说什么都于事无补了, 　　
因为心已经彻底地碎了, 　　
我只能靠自己的力量抚平. 　　　　

*我只对你掉眼泪, 　　
因为在外面我都是表现坚强的. 　　　　
*我很不希望在我隔天有工作的时候眼睛是肿的, 　　
但运气不好的我总是在前一晚被人伤了我的心～　　　　

*I'm ok if I can write, 　　
But today I can't write anymore, 　　
It means the situation is very bad! 　　
But at least my dogs are so nice, 　　
Cause they're sleeping quietly by my side! 　　
I can't describe my feelings. 　　
It frightens me!I'm going crazy,really! 　　
Actually I've been crazy once! 　　
Lost control and no one can help! 　　
I know those who loved me wanted to help, 　　
but they couldn't! 　　
Sorry,I let you guys worry for me. 　　
I don't really want these things to happen! 　　
I just can't find the reason to live, 　　
So I count everyday till I die, 　　
It's very painful! 　　
And you will never know why～　　　　

*别人不会了解你的状况, 　　
所以你的行为也无法被他们了解, 　　
你是因为疯了才会有这种举止的....... 　　　　

*当我又有爱的时候,一切有都会变得美好～　　　　

*I've got tea&coolies 　　
If you're not leaving 　　
I've got salad&lamb 　　
If you are still hungry 　　
I've got coffee&cigarette 　　
If you want to keep talking 　　
I've got bacon&eggs 　　
Cause now it's morning 　　
Actually I've got a gun 　　
If you still don't want to leave 　　
La la la la la la～　　
I've got 3 bullets in his body 　　
You should leave early! 　　　　　　

是!我有忧郁症, 　　
我想过要治好,要吃药,是啊! 　　
吃药真的会没有那么糟,问题是～　　
为什么要快乐?要那么多快乐干嘛? 　　
我想会得忧郁症的人,不是无法满足, 　　
就是要求太高,人生本就是痛苦, 　　
尤其在这样的环境, 　　
再怎么样都无法达到我的快乐指数, 　　
所以我干嘛要钻在这个死胡同里, 　　
追求根本不存在及不切实际的东西? 　　
我不要任何的治疗及药, 　　
医不好的,我也不要医, 　　
会快乐是很不正常的, 　　
对我! 　　
在这不快乐的世界里, 　　
被弄成很快乐是很奇怪的事, 　　
真的很不合理! 　　　　

*跟不上我的脚步就不要说我不对!! 　　　　
*如果记者可以随心所欲地乱写他们想写的　　
就是言论自由　　
那我也可以说"操你的"!! 　　　　

*恋爱是要一直谈的, 　　
一生不可能只有一个恋爱的对象, 　　
因为人会转变,成长, 　　
而每个人转变的时间,速度,都不一样, 　　
有时不是两人不相爱了, 　　
而是路真的岔的越离越远,走不下去了!! 　　
赞成每个人在人生中, 　　
因自己的转变去寻找适合当时自己的轮替对象, 　　
绝对是要找和改变后的自己最适合的人, 　　
另一半也一定要进行这种轮替, 　　
这样才不会到了两人都貌合神离了, 　　
还硬要在一起却一点也不快乐! 　　
所以有人说～人的一生就是在寻找～　　
一点也没错!! 　　　　

*我看着这样一个好好的男人, 　　
慢慢地褪色消失....... 　　　　
为什么他们都会把问题放错重点地乱回答? 　　　　

*人们总是在不知不觉的状况下改变, 　　
连自己都来不及感觉到! 　　　　

*我预期的事都发生了, 　　
这一天的确是来临了! 　　
我除了更笃定自己的先见外, 　　
也无奈命运真是如此! 　　　　

*我因为太自卑而把你推开. 　　　　

*打从一开始你就不正视我的病, 　　
以致你现在连接不起来　　
我们种种的问题和分手的原因! 　　　　

*我的心早就死了! 　　
我的爱也随着我的心一起失去了生命, 　　
我可以和你就这样在一起生活, 　　
但绝对不会再出现我失去的东西! 　　　　

*爱情就是祸源. 　　　　

*曾经是我人生中最在乎的"爱情" 　　
居然失去了它原有的地位而无法复原, 　　
我也感到很难过～　　　　

*我还是比较适合孤独, 　　
因为这是与生俱来的schedule! 　　　　

*他说:为什么只有我可以发飙, 　　
而他不行? 　　
又说这是他3年来第一次发飙, 　　
而他自己也很不喜欢! 　　
他说:"你能感受到别人发飙的痛苦了吧!" 　　
还跟我说了一堆他的大道理, 　　
然后要我给他一个反应, 　　
又接着问我:"我们以后都不要吵架了好不好?"～～～　　
他已经疯了!! 　　　　

*万物皆是空,就当这一切是还债吧! 　　
还完了互不相欠,这样下辈子我就不必再来了! 　　　　

*每心痛一次, 　　
就看通了一些,成长就是靠这些历练而成的! 　　　　

*保持"无我"的心, 　　
才能在这世上舒适地生存! 　　　　

*现在该做的, 　　
就是不枉此生地发挥自己的才能和留下些作品, 　　
平静而无所求的过完～　　　　
25岁的生日礼物~ 　　
Barbie送了个佳肉棒给我　　
Dee送了好几个实用的防老产品　　
A-ya送了我一个Tiffany手环　　
Aalen送了我一双nice的中性表　　
超人送了我一瓶顶级香槟　　
Jimmy姐送给我好吃的生日蛋糕　　
黑人送了我一双V鞋　　
ason送给我他心爱的小玩意儿　　
Edie送给我下次土耳其之旅　　
Eric&Tom送给我好久没收到的鲜花　　
小P送了我6个彩球　　
小林打了我很多折　　
我的信仰送了我许多智慧　　
家人送给我永远的关爱　　
家送给我真心的祝福　　
我
真得很满足　　
原本不相信许愿的我突然发现　　
其实有一些平常的小心愿都一一成真了　　　　

*我要感谢这些无名的守护神　　
在我不知不觉中帮我的小愿望实现　　
现在我发现了　　
所以要说感谢　　
所以要去惜福　　
所以要去相信　　
美梦它会实现！！　　　　

*一对情侣在一起久了　　
所追求的已不是浪漫、热情，　　
而是“相处之道” 　　
必须细心的去思考如何相处并长久　　
如果在一起不愉快，　　
那不如过一个人的生活还自在些！　　　　

*以前刚在一起的时候,如果争吵, 　　
我会希望你只要过来抱抱我,一切都会没事的! 　　
现在在一起这么久了, 　　
如果遇到问题, 　　
我宁可你不要用任何肢体接触来平抚, 　　
而是好好冷静地用脑思考,去解决, 　　
因为那代表我们之间真的出了"问题". 　　　　

*我还是不快乐,又回到了原点, 　　
我想我没有快乐的命, 　　
我内心深处永远是负面的　　
可能是因为我的自卑所造成的! 　　
我都把乱想的当真了! 　　
我空虚,而且快疯了　　
为什么不能控制自己? 　　
为什么不能面对,又一直接受? 　　
为什么明明不喜欢又一直勉强? 　　　　

*连流浪狗的问题,政府都处理不好了, 　　
这个国家还能多好,多伟大? 　　　　

*我在梦里爱上了恶魔(撒旦) 　　
我只知他有测心术, 　　
后他就一直在我心里和我对话, 　　
他的目的是要影响我的正直和善良, 　　
因为他知道我也有邪恶的一面想拉拢过去, 　　
他从不push我,给我空间, 　　
而我愈来愈觉得有趣! 　　
清楚地知道自己不能违背信念, 　　
却又控制不了的爱上了他, 　　
最后我也掉进了矛盾之中　　　　

*我所看到的, 　　
并不只是我个人这次的遭遇,而是整个大环境　　
我听到这事时,非常地生气愤怒, 　　
但我必须冷静下来, 　　
化愤怒为力量, 　　
至少为自己做些什么实际的行动, 　　
而不是默默忍受　　　　

*与阿蟑擦身而过　　
每次与阿蟑擦身而过　　
都庆幸他没来追我　　
他喜欢伪装　　
装成地上口香糖的疤　　
装成树叶,装成墙壁,装成死尸　　
但又掩不住兴奋地直抖那两根须　　
他心机很重,特别爱怕他的朋友　　
他也爱自由,总不时地飞翔游走　　
翅膀没收好的他看来更讨厌　　
翅膀要展开的他看起来大一点　　　　

*大家都觉得八卦杂志能让名人现形　　
但现什么形呢? 　　
还不是现出"人"的行为!! 　　
毕竟艺人也是一般人, 　　
平常人会做的,艺人也会做, 　　
所以这是很正常的事, 　　
最重要的是人们的观念, 　　
因为这是避免不了的, 　　
但希望大家以一般的眼光来看它, 　　
况且, 　　
这个社会及世界有太多更重要的事要去做, 　　
去care,别在那么无聊了吧! 　　　　

*这是我早就料到的, 　　
台湾又再一次让我失望了,一定会跟风的!! 　　
团结抵抗是狗屁!! 　　　　

*我是双面人　　
在别人面前　　
我只想逗大家开心或配和别人令他们舒服　　
而当我独处时　　
我真的很忧郁　　
忧郁到我所有的想法都是负面的　　
而无力,不自在, 　　
难道我就不能配合Mavis 　　
而令她开心吗? 　　　　

*我的家人及爱人真的很辛苦, 　　
我给他们的待遇及标准是不公平的! 　　
我很爱他们　　
也希望他们快乐　　
但同样建立在他们身上的道理　　
我却一点都不给! 　　　　

*我不相信与医生谈心,做心理辅导, 　　
因为我觉得我都知道他会说什么, 　　
或怎么想怎么做是对的, 　　
但我就是情绪失控, 　　
所以我只相信也只需要药物控制! 　　　　

*我觉得台湾的人,多少都有病, 　　
生活中有太多令人不满及不悦的事了! 　　
光看电视我就从头不舒服到尾,很痛苦, 　　
我不知道大家是瞎了还是聋了, 　　
些人,事都可以成立? 　　　　

*有的时候觉得烟极难抽, 　　
还有恶心的感觉, 　　
有的时候一点然, 　　
居然还会一种舍不得ending的感觉, 　　
想抽烟的时候就抽　　
但抽到一半又觉得抽了又怎样, 　　
然后呢? 　　　　

*不是失眠,就是狂作恶梦, 　　
我真的怕了"睡觉"这档事! 　　　　

*我想写文字胜过写歌词, 　　
一写歌词就要有规定的格式, 　　
必要时还得删字, 　　
如果要写的口语化或100%是我要说的, 　　
最后我只能变成在写Rap 　　　　

*我有一种坏习惯,也不只是一种, 　　
只是它是所有坏习惯的其中一个, 　　
就是吃东西最好吃完不要剩! 　　
也许有人觉得:"那是好习惯啊!" 　　
但是最后只会导致我撑死,又嫌自己胖, 　　
而当初又失控的叫太多食物　　　　

*失眠这件事,有一就有二, 　　
你失过一次眠,你就知道失眠的感觉, 　　
而睡觉对你而言就是一股压力,甚至紧绷! 　　　　

*一段周期, 　　
心中的空虚感就会不受欢迎地出现一次, 　　
很多事都提不起劲, 　　
你以前觉得好玩的事不再好玩了, 　　
你以前想去的地方你不再有兴趣了, 　　
总之,灵魂和行动都不见了, 　　
我极讨厌那种感觉, 　　
因为它让你对任何事都失去了感觉　　　　

*我生下来就是一直在折磨人, 　　
我好为他们心疼, 　　
我凭什么让人忍受我这个贱婊子, 　　
可是令我感到舒服的是, 　　
我至少承认我是个婊子, 　　
并不是我觉得很酷, 　　
而是事实上我就是个婊子～　　　　

*你习惯了让我担心害怕, 　　
而我却还不习惯担心害怕后你的不闻不问～　　　　
*我不安于室,不甘寂寞, 　　
这赋予我一直想独立又产生了冲突　　　　
*要批评别人前, 　　
长辈说要先看看自己有几两重～～～　　
嗯!这是对的! 　　　　
我要的也太多了吧！　　
什么都不满，我有什么资格，我自己也做不好啊！　　
这个贱货，臭婊子，神经病！　　
我一点都不想伤害别人，　　
但却一直在这么做，我唯一能给自己的借口是，　　
我只是不断在训练他们又一颗坚强不摧毁的心，　　
还有抑郁能力！　　　　

*居然可以获得众人的肯定？？　　
也许他们真的也尽力，努力了，　　
但...，难道就只有这样子了吗？　　
也许是我要求太高或不满足，　　
总之，呆在这儿令我很不舒服！　　　　

*我是个标准的药罐子，　　
我也不明白我生活的重心为什么就在“痊愈”？　　
每次吃完一种药，　　
就有下一个病的药在排队等我吃它们，　　
我真不想再吃药了，　　
我要健康！！　　
但我就是因为希望健康才吃药的阿！　　　　

*有人说过我很矛盾，我的确是！　　
我常有罪恶感，认为自己一事无成又是个loser！　　
我常不苟同别人称赞我的话！　　
我就不觉得我到底有哪好啊？　　　　
我其实很希望别人注意我，欣赏我，　　
来建立我的自信！　　
因为我某部分太自卑了！　　
所以我需要的事很多很多无理的包容和爱　　
只因为我想考验一个爱我的人，　　
到底
能忍受我多少？　　　　

*我爱你爱到想伤害你看你是否会恨我？　　
我爱你爱到想伤害自己令你来保护我，来心疼我，　　
而最终我只会把事情搞砸，彻底地fucked up！　　　　

*专心的时候比较容易哭~~~ 　　　　

*我不需要长篇大论，　　
也不要做人道理，　　
我只需要沉默的安慰　　　　

*真的！不理智的爱情才美！　　　　
每一个地方的宗教　　
真是跟他们的观念或文化而不同, 　　
像天主教或基督教,是把宗教生活化, 　　
每个星期要去做礼拜, 　　
心中有事可以和神父告解,吐诉, 　　
而教义也劝人多点爱,包容,关怀, 　　
养成西方人的观念和价值观, 　　
圣经的内容又比佛经来的易懂, 　　
而佛教对中国人而言, 　　
信仰的人有一大半不知道佛经里讲的是什么, 　　
就如同中国人五千年历史般深远,神秘, 　　
除非你有对佛教再更深入的研究或上宗教课, 　　
你也很难找到一个如同神父在教会里相同的角色, 　　
使得佛教无法那么生活化或深印人心, 　　
也许传教的方式不同,立场或积极度不同, 　　
使得教益无法很普及, 　　
也或许是人种,民族性, 　　
人们对宗教的需求或理解度,甚至执行度也不同的! 　　　　
别再撒一些无关痛痒的小谎, 　　
只要是谎言,对我都一样, 　　
我怎么知道你成功背后是否会上瘾, 　　
戒不掉这令你有成就感的习惯　　　　

*我早就知道真相了,但我还是要问, 　　
我在给你机会,看你这一次是否还是选择说谎, 　　
其实内容如何都已不重要, 　　
重要的是你又犯了我的大忌, 　　
我不想把你归类成那种人, 　　
但看来你已悄悄加入那一国,成为可耻的公民! 　　　　

*道德观又在那忽高忽低　　
很多话不需要说明　　
有些事也可能没有答案　　
你自己核对吧! 　　
不知道我说什么也好　　
有时只道太多也不见得好　　
不想把你也拖下水　　
我一个人够了　　
看我如何应付我的矛盾　　
看我如何摔死又重生　　
让我来!我可以的! 　　
不要保护我虽然我需要　　
但我享受自食其果的感觉　　
起码自始至终我都是一个人　　
看着自己毁灭又重生　　
我们就是不安于室　　
想把一切搞乱　　
再按照我们的方式　　
弄出一个方向　　
在大范围里你是自由的　　
在自由中又是约束的　　
最后就是有一条路　　
怎么走就看你的造化　　
对的可能是不对的　　
错的可能还是错　　
往往事后才看清真相　　
责怪的只能算委屈　　
被阻止的当然不能发生　　
又如何来证明我是对的　　
但要为了证明而不去阻止　　
你我都赔上了太多　　
就让你误会我吧! 　　
就照你想的那样　　
也许最后还是证明不了　　
但错的可能是对的　　　　
我们就是不安于室　　
想把一切搞乱　　
再按照我们的方式　　
弄出一个方向　　
在大范围里你是自由的　　
在自由中又是约束的　　
最后就是有一条路　　
怎么走就看你的造化　　
对的可能是不对的　　
错的可能还是错　　
往往事后才看清真相　　
责怪的只能算委屈　　
被阻止的当然不能发生　　
又如何来证明我是对的　　
但要为了证明而不去阻止　　
你我都赔上了太多　　
就让你误会我吧! 　　
就照你想的那样　　
也许最后还是证明不了　　
但错的可能是对的　　　　

*第一次这么投入这段关系　　
我也不确定是什么原因　　
你心里会有很多问句　　
要anwer is not that easy 　　　　

*在梦里, 　　
潜意识扮演梦中的导演, 　　
我的脑是摄影师, 　　
而我, 　　
只能算是个"不知情"的演员, 　　
或是个好奇的观众! 　　　　
今天听到一个婆婆被几个在玩球的年轻人打到了　　
但那些年轻人却不说对不起, 　　
还说那是他的球耶, 　　
是不是现在的少年都忘了礼节及道德观念, 　　
只重视自我而忽略别人的感受, 　　
过去的教育是偏向有教条并且比较严谨, 　　
而现在的教育比较偏向追求民主及开放, 　　
但我希望现代人在追求民主及开放式教育的同时, 　　
也别忘了从前的一些尊敬和礼貌, 　　
这才是健康的新时代青年! 　　　　
好奇怪喔! 　　
为什么一男一女走在一起就一定是情侣? 　　
为什么一个女的坐在一个男的后面(在机车上) 　　
他们就一定是男女朋友? 　　
我常会听到人家说: 　　
"喂!我今天看到***骑个机车,后面载着他女朋友!" 　　
我就会问:"谁告诉你那是他女朋友?" 　　
没人能回答得出来!真奇怪, 　　
这就是一般人的观念吗? 　　　　

*在飞机上看云是一件很过瘾的事! 　　
感觉好像到了仙境,看着仙人游行, 　　
甚至可以看到一整个城市,只要想像力丰富, 　　
你可以尽可能地发现许多意想不到的事物喔! 　　

*我喜欢靠自己去找答案, 　　
生命的答案　　　　

*很多事情其实想定了,就去做! 　　
不要管,也不要理别人怎么说! 　　
遇到问题在去解决!! 　　
反正不做会后悔, 　　
做了,起码不对也可以改进汲取经验, 　　
正所谓"不经一事,不长一智" 　　　　

*少说少错!多说多错@不说... 　　
还是会错! 　　　　

*心被伤透后,再热的环境, 　　
还是觉得好冷～～～　　　　
相信我,爱乱吃醋的女人下场很惨! 　　　　

*我说我怎么做才会令你"痛苦"? 　　
你说你一直生活在痛苦中～～～　　　　

*认为折磨自己让别人担心可以找回安全感会上瘾, 　　
不过久了, 　　
别人会麻痹　　　　

*深信命运却不知未来地苦守着, 　　
是不是很可笑? 　　　　

*当男朋友不知道女朋友正在伤心, 　　
当父母不知道自己的小孩块疯的时候, 　　
那是非常惨的! 　　　　

*当拥有一切时, 　　
你会发现什么都没有, 　　
就这样莫名的多了一种"空虚"! 　　
*到底什么才是真的? 　　　　

*即使现在不快乐,总比一辈子快乐的人好, 　　
因为至少你知道什么是更快乐的痛! 　　　　

*幸福是自己争取的,干涉你或影响你的人, 　　
也无法保证能为你带来幸福,对吗? 　　　　

*有些人住在沙漠里, 　　
我觉得我们都住在"尘漠"里　　　　

*如果我说不会生气会让你比较安心, 　　
我可以做到! 　　　　

*当初为了爱而忍受,但现在我们真的需要沟通, 　　
因为我发现我们都变了, 　　
那个吸引你我在一起的特质, 　　
不见了～～　　

*是不是一开始就说自己是坏人, 　　
然后做的一些事就理所当然? 　　
被人认定是个健康乖宝宝其实并不好, 　　
因为你一做了一点小事, 　　
别人就会大惊小怪! 　　
我要的～　　
是不同生活方式的体验,然后, 　　
我在选择我要过哪种生活! 　　　　

*世界上只要有一个除了你父母的人爱你, 　　
这就值得了! 　　　　

*买到一件正点的牛仔裤是很爽的! 　　　　

*我不相信有人是自然的, 　　
厉害的是他如何做得很自然! 　　　　

*只要是有"功能"的音乐,都是好音乐　　　　

*不管我们怎么吵架,只要你不丢下我, 　　
过一会儿我由会想猫咪一样向你撒娇的! 　　　　

*你知道吗? 　　
最无辜的是公众人物的家人! 　　　　

*我是个废人　　
我不能控制睡不睡　　
我不能控制吃不吃　　
我不能控制我自己　　
我不能控制想不想　　
为什么我总是那么多肉　　
为什么我总是不能瘦　　
我的食量还是比不上我家的狗　　
却还是持续长肥肉　　　　

*化学这鬼东西　　
实在是太神奇　　
它可以让你痛苦得要死　　
也可以快乐到不行　　　　

*我只是个人体　　
真摸不清他底细　　
以为我能抗拒　　
但还是陷进去　　　　

*它让你更清醒　　
还是沉溺　　
是你在作决定　　
还是被他控制　　
我觉跟它比　　
我一定不会赢　　　　
*我不想被排挤　　
也不想被唾弃　　
到最后我只会死　　
或是失去理智　　
因为我搞不定　　
那两个自己　　　　
我们国家实在是太民主, 　　
我认为根本就该强制规定一些事情, 　　
人民才会在意, 　　
养狗规定和丢狗受罚等　　
这是个人狗共存的社会, 　　
这个城市除了我们居住外, 　　
还有个最大的群众, 　　
就是狗, 　　
我们如何能不顾这些邻居, 　　
我们如何能决定他们的生死? 　　　　

*我们人类凭什么控制狗狗的生死, 　　
就因为是这个世界的主宰者吗? 　　　　

*当我悲伤的时候, 　　
我不用靠毒品或酒精麻醉, 　　
因为我一想到你就会笑　　
当我愤怒的时候　　
我不用靠暴力或自虐来发泄　　
因为我一想到你就会笑　　　　

*我心中的神啊!你让我不寂寞, 　　
因为你在我心里不会走掉, 　　
我心中的神啊!你让我有依靠, 　　
有你在我心中感觉好实在, 　　
也就不害怕了　　
心中的神啊,它会一直陪着你　　
一直存在你心里,无论到哪里　　　　

*我无法抗拒黑夜的魅力, 　　
在深夜我才能感觉到自己的存在, 　　
因为这段时间里,我是为自己而活,自由地属于! 　　　　

*我无法抗拒他人,也包括自己, 　　
我无法做个决定,我开始讨厌自己, 　　
这不是我要的结局　　　　

*我挑战自己疯到极点, 　　
游走在危险边缘　　　　

*我们之间出了一些问题, 　　
不知道在我还是在你, 　　
应该都有点问题　　
我们彼此都深爱着对方, 　　
但你就是会偶尔和我作对,我愈恨的你愈做, 　　
目的只是让我气, 　　
喔!我明白了! 　　
原来你爱看我被你气的样子, 　　
无助的样子, 　　
伤心失望的样子, 　　
你要我眼神透露出"我看错人"的意思!

未央歌

2008-07-11T13:24:00.000+08:00

他早吻在鬓邊，聽見這話，就說：“沒有人。”便吻在唇上。她就忽然整個癱瘓了。她緊閉了雙眼。漆黑的睫毛覆在如雪的雙頰上，她緊緊地靠在他的胸前，她悠悠地如同魂魄離了軀殼，她身體便顯得虛弱極了，軟綿綿地把臉貼在他的肩窩下。他用力把她壓在雙臂中。過了壹會，他擡起感謝的眼光望了已經澄清了的昆明雨季蔚藍的天，低頭用腮頰來緩緩地揉擦伍寶笙的頭發。　　 ——鹿桥《未央歌》

前言
去年夏天未央歌第五版发行不久，道济兄就写信告诉我准备六版序免得要印书时来不及。那时我刚旅行回来，不但出门多日积下的事务、信件待理；所研究的题目，所采集的资料笔记，都亟须思考及温习，一时实在抽不出时间来。八月间回到康州且溪延陵乙园去避暑也是避世，那时积欠的繁杂事务稍稍已整理出了一点头绪，几篇急需交卷的稿子也寄出去了，才把要着手的新故事，暂定名为“六本木物语”的，推在一边，在慕莲殷殷鼓励之下，赶写了一篇通讯当序，也减轻一下心上对隔了远洋新旧朋友的歉疚。也就是因为被我这麽一拖延，六版序寄到商务印书馆时，六版不但已经出书，并且早已卖光了。为了应秋季开学的需求，七版都早已上市。道济兄来信嘱我准备八版出书事宜，我就决定把原为六版写的再致读者的信依原样在八版中首次印出，只加这一篇短短赘言在前面好取信於读者亦保原真。耽误了六版序不足称为损失，为了等这篇通讯倒把陆国民兄的散民舞曲等到了，现在亦印在八版裹可以算是额外收获。前些时要想藉未央歌新版机会印几支写这书时谱的歌曲，及发表一篇讨论赞美友谊的文章的，现在可不敢再拖延了。都等下次再增印时加入罢。一九七三年二月五日清晨二时半鹿桥於神鹿邑家中

后记
十四年前，未央歌完稿後不久就是战後复原大迁动的时候，原定的出版计划未能实现。但是多亏朋友们的爱护原稿得以保全没有散失，辗转又回到我手中来。我那时觉得没有出版也好，可以等有空时慢慢修改一下再说。十四年来我的生活裹像前奏曲中所说的那种“诗篇”的成分越来越少，而“论文”的成分日益增多，在不同的心境下向了不同的目标年年忙碌，一直未曾稍停下来再从事文艺写作。不但未央歌成了这些年来惟一的长篇，连所想的修改，出版种种都未得积极进行过。一年一年过去，师长，同学，朋友们看过未央歌的人常常鼓励我出版。读过原稿不止一遍的朋友中，特别是顾献梁同学告诉我说，未央歌出版时应该保存本来面貌，我们在许多年後实在无理由也无资格来修改当年作品。他的话一下打通了多少年出版上的一个心理故障，今日未央歌出版不在远了，不觉体会到五年前他那一句话的深意。现在印出的未央歌除却少数笔误之类改过以外可以说保存了原稿面目。从有决心出版到成书中间还有一大段路。这次可以顺利出书完全因为得到了人生社的王道先生及夫人沈醒园女士一片热诚的帮助。我在一九五八年底因为研究工作道经香港得以在那裹和他们两位会见。谈话不及半日，竟似相识半生。校对，编排，有了他们本色当行来偏劳，我已马上觉得肩上轻松了许多。人生社经理陈质仁先生又慨然接过去所有出版印刷事务上的责任，驾轻就熟更不用我这外行来多事了。所以除了旅途中校看一些清样，通信商量些细节外简直没有我的事可作。特别令我心喜的是未央歌这一本从少年友爱得到启示而完成的稿子终於由中年的友情之鼓励和协助将要成书了。动笔写这篇後记时，除了要在这裹向所有赞助我出版这书的师友申谢外，原来还想借机会也点明一些书中埋藏的多少暗比，隐喻的。现在想想这种对於文艺作品分析，探索的态度又是太“论文”式而不“诗篇”性了，所以就此结束这篇後记，放未央歌自去这生、化转变的大干世界裹浮浮沉沉罢。

María Pagés presenta 'Canciones, antes de una guerra'

2008-07-11T13:18:00.002+08:00

María Pagés acerca al Palacio su singular concepción estética de la danza flamenca.La bailaora y coreógrafa, defensora del aperturismo del género, presentará el viernes y el sábado 'Canciones, antes de una guerra' al frente de su compañía.

Premio Nacional de Danza en 2002, la bailaora y coreógrafa sevillana María Pagés se encuentra en la actualidad en la cumbre de su madurez artística y en su mejor momento creativo. Así se podrá comprobar la próxima semana en el Palacio de Festivales, donde al frente de su compañía presentará el viernes 9 y el sábado 10 de febrero la obra 'Canciones, antes de una guerra', obra estrenada en el Teatro de la Maestranza de Sevilla el 28 de septiembre de 2004.
«Buscamos viejas canciones, las escuchamos y las decidimos bailar. Los tonos de esos sonidos evocativos, pacíficos, divertidos, como se divierten los niños; el sentido de esas palabras-versos, tan simples, tan solidarios, nos han provocado la reflexión que origina este experimento coreográfico», explica Pagés al respecto del montaje que abre la temporada de danza del Palacio.La obra en general y en especial 'La nana de la cebolla' está dedicada a su hijo Pancho y a todos los adolescentes «que empiezan a alejarse del maravilloso mundo de la infancia, ya en la frontera de la comprometida jurisdicción de los adultos, para que nunca olviden que la fantasía, los sueños, la sonrisa y la tolerancia son las herramientas más apropiadas en ese taller donde los adultos tenemos que trabajar para la construcción del equilibrio social más justo para todos», explica.En Santander, María Pagés estará acompañada sobre el escenario por las bailaoras María Morales, Sonia Fernández, María del Mar Jurado e Isabel Rodríguez, los bailaores Emilia Herrera, José Barrios, José Antonio Jurado, Alberto Ruiz y Eloy Aguilar y los músicos Ana Ramón, Ismael de la Rosa (cante), Susana Ruiz (voz), José Carrillo, Isaac Muñoz (guitarra), Chema Uriarte y Francisco Alcaide (percusión).Figura internacional'Canciones, antes de una guerra' es una de las obras con las que María Pagés ha conquistado un lugar de gran relieve en el panorama de la danza mundial. Todo gracias a su personal concepción estética del flamenco, porque esta bailaora de brazos 'infinitos' entiende el arte como algo ilimitado.Defensora de que «el flamenco es un claro ejemplo de cómo la unión entre culturas, razas y religiones puede crear un eco común...», nuestra protagonista supera las diferencias culturales convencida de que los intercambios artísticos favorecen una mayor comprensión entre los seres humanos. Así, sus obras confrontan al flamenco con otras artes, ampliando su horizonte y abriendo un nuevo camino para el futuro de la danza flamenca.Los largos y sinuosos brazos de la bailaora encierran los secretos del baile de raza, mientras su vital zapateado irrumpe en el suelo con una elegancia inaudita. Mientras, su alta y recia figura está contenida por un corsé imaginario, trenzado de voluptuosidad y distinción, que le permite bailar de forma contenida y expresiva. Su baile es inteligente y maduro, comprometido con su tiempo, lo que no resta autenticidad a su flamenco, únicamente le inserta, con astucia, en la modernidad.TrayectoriaMaría Pagés comenzó su carrera profesional con la compañía de Antonio Gades, interviniendo en 'Carmen' y 'Bodas de sangre'. Después fue primera bailarina de la Compañía de Mario Maya, del Ballet de Rafael Aguilar y del Ballet de María Rosa.De sus colaboraciones cinematográficas destaca su participación en 'Carmen', 'El Amor Brujo' y 'Flamenco' de Carlos Saura; y 'La Bella Otero' y 'Hemingway, fiesta y muerte', de José María Sánchez.En 1995 María Pagés estrena 'Riverdance. The Show", como artista invitada y coreógrafa, actuando en los teatros más importantes del mundo, entre otros el Radio City Music Hall de Nueva York, Auditorium de Chicago, Pantages Theatre de Los Ángeles, Wang Center de Boston, Hummingbird Theatre de Toronto, Entertainment Center de Sydney, The Point de Dublín, y Labatt's Apolo en Londres.Pagés, actualmente miembro del Consejo de Cultura de la Comunidad de Madrid, creó para el Ballet Nacional de España 'Ilusiones FM', que se estrenó en 2002 en el Teatro de la Zarzuela.Al margen de su trayectoria individual, la artista sevillana creó en 1990 la compañía que lleva su nombre, que ha producido las siguientes obras coreográficas: 'Sol y sombra' (1990), 'De la luna al viento' (1994), 'El Perro andaluz. Burlerías' (1996, 2001), 'La Tirana' (1998), 'Flamenco Republic', 'Canciones, antes de una guerra' (2004) y 'Sevilla' (2006), estrenada recientemente en Tokio. Montajes que ha presentado en los mejores y más prestigiosos escenarios del mundo, obteniendo por ello un gran reconocimiento.

En 1999 la Compañía María Pagés se estableció como Compañía Residente en el Teatro Bulevar de Torrelodones (Madrid), iniciando un proyecto pionero en el mundo de la danza a nivel nacional cuyo desarrollo está siendo muy fructífero.
'Canciones, antes de una guerra'.Estreno: Teatro de la Maestranza de Sevilla, el 28 de septiembre de 2004.Coreografía: María Pagés.Dirección: José María Sánchez.Idea, concepto y guión: Sánchez y Pagés.Música: Guzmán Merino, J.Ruiz de Azagra, León, Valerio y Quiroga, Henri Salvador, Rimsky-Korsakov, A. Cortéz, L.Morais, Louis Amstrong y John Lennon, entre otros.Iluminación: José María Sánchez y Dominique You.Escenografía: Dominique You, José María Sánchez y Christian Olivares.Diseño y realización vestuario: Miguel Crespi.Representaciones: viernes 9 y sábado 10 de febrero en la Sala Argenta del Palacio de Festivales

from:www.danzaballet.com

Rosie Thomas

2008-07-11T13:09:00.003+08:00

These Friends of MineRelease Date: March 13, 2007
1.If This City Never Sleeps
2.Why Waste More Time
3.The One I Love
4.Much Farther To Go
5.Paper Doll
6.Kite Song
7.Songbird
8.All The Way To New York City
9.Say Hello
10.These Friends of Mine

If Songs Could Be HeldRelease Date: September 13, 2005
1.Since You've Been Around
2.Pretty Dress
3.Loose Ends
4.It Don't Matter To The Sun
5.Guess It May
6.Let It Be Me
7.Clear As A Bell
8.Say What You Want
9.Time Goes Away
10.Death Came And Got Me
11.Tomorrow

Only With Laughter Can You Release Date: September 23rd, 2003
1.Let Myself Fall
2.I Play Music
3.Red Rover
4.Sell All My Things
5.Crazy
6.One More Day
7.All My Life
8.You And Me
9.Tell Me How
10.Gradually
11.Dialogue

When We Were SmallRelease Date: January 22nd, 2002
1.2 Dollar Shoes
2.Farewell
3.Wedding Day
4.Lorraine
5.Finish Line
6.October
7.I Run
8.Charlotte
9.Have You Seen My Love?
10.Bicycle Tricycle

from:http://www.rosiethomas.com/index.html

shel silverstein

2008-07-11T12:42:00.001+08:00

"And now, children, your Uncle Shelby is going to tell you a story about a very strange lion -- in fact, the strangest lion I have ever met." So begins one of Shel Silverstein's very first children's books, Lafcadio, the Lion Who Shot Back. It's funny and sad and has made readers laugh and think ever since it was published in 1963.
It was followed the next year by two other books. The first, The Giving Tree, is a moving story about the love of a tree for a boy. In an interview published in the Chicago Tribune in 1964, Shel talked about the difficult time he had trying to get the book published. "Everybody loved it, they were touched by it, they would read it and cry and say it was beautiful. But . . . one publisher said it was too short . . . ." Some thought it was too sad. Others felt that the book fell between adult and children's literature and wouldn't be popular. It took Shel four years before Ursula Nordstrom, the legendary editor at Harper Children's books, decided to publish it. She even let him keep the sad ending, Shel remembered, "because life, you know, has pretty sad endings. You don't have to laugh it up even if most of my stuff is humorous." Ultimately both adults and children embraced The Giving Tree.Shel returned to humor that same year with A Giraffe and a Half.
If you had a giraffe . . . and he stretched another half . . . you would have a giraffe and a half . . .
is how it starts and the laughter builds to the most riotous ending possible.
Shel's first collection of poems and drawings, Where the Sidewalk Ends, appeared in 1974. It opens with this invitation:
If you are a dreamer, come in. If you are a dreamer, a wisher, a liar, A hope-er, a pray-er, a magic bean buyer . . . If you're a pretender, come sit by my fire, For we have some flax golden tales to spin. Come in! Come in!
Shel invited children to dream and dare to try the impossible, from making a hippopotamus sandwich to drawing the longest nose in the world, to writing about eighteen flavors of ice cream and Sarah Cynthia Sylvia Stout who wouldn't take the garbage out.
With his second collection of poems and drawings, A Light in the Attic, in 1981, Shel asked his readers to turn the light on in their attics, to put something silly in the world, and not to be discouraged by the Whatifs.
WHATIFLast night, while I lay thinking here,Some whatifs crawled inside my earAnd pranced and partied all night longAnd sang their same old Whatif song: Whatif I'm dumb in school? Whatif they've closed thw swimming pool? Whatif I get beat up? Whatif there's poison in my cup? . . .
Instead he urges readers to catch the moon or invite a dinosaur to dinner -- to have fun! School Library Journal not surprisingly called A Light in the Attic "exuberant, raucous, rollicking, tender, and whimsical." Children everywhere have agreed and Shel's books are now published in 30 different languages.
Yet Shel did not set out to write and draw for children. As he told Publishers Weekly in 1975, "When I was a kid . . . I would much rather have been a good baseball player or a hit with the girls. But I couldn't play ball, I couldn't dance. . . . So I started to draw and write. I was lucky that I didn't have anyone to copy, be impressed by. I had developed my own style."
He grew up in Chicago and created his first cartoons for the adult readers of Pacific Stars and Stripes, when he was a G.I. in Japan and Korea in the 1950s. He also learned to play the guitar and to write songs, including "A Boy Named Sue" for Johnny Cash and "The Cover of the Rolling Stone" sung by Dr. Hook. He performed his own songs on a number of albums and wrote others for friends, including his last in 1998, "Old Dogs," a two-volume set with country stars Waylon Jennings, Mel Tillis, Bobby Bare, and Jerry Reed. In 1984, Silverstein won a Grammy Award for Best Children's Album for Where the Sidewalk Ends -- "recited, sung and shouted" by the author. He was also an accomplished playwright, including the 1981 hit, "The Lady or the Tiger Show." He and David Mamet each wrote a play for Lincoln Center's production of "Oh, Hell," and they later co-wrote the 1988 film, "Things Change," which Mr. Mamet also directed. A frequent showcase for Shel's plays, the Ensemble Studio Theatre of New York produced Shel's "The Trio" in their 1998 Marathon of one-act plays.
Yet Shel Silverstein will perhaps always be best-loved for his extraordinary books. His latest collection, and his last book to be published before he sadly passed away in 1999 ... was Falling Up (1996). Like his other books, it is filled with unforgettable characters such as Screaming Millie who "screamed so loud it made her eyebrows steam." Then there are Danny O'Dare the dancing bear, the Human Balloon and Headphone Harold, and a host of others.
Shel was always a believer in letting his work do the talking for him. So come, wander through the Nose Garden, ride the little Hoarse, and let the magic of Shel Silverstein open your eyes, tickle your mind, and show you a new world.
NEW WORLDUpside-down trees swingin' free, Busses float and buildings dangle: Now and then it's nice to seeThe world -- from a different angle.

'Once there was a tree...and she loved a little boy.'
So begins a story of unforgettable perception, beautifully written and illustrated by the gifted and versatile Shel Silverstein.
Every day the boy would come to the tree to eat her apples, swing from her branches, or slide down her trunk...and the tree was happy. But as the boy grew older he began to want more from the tree, and the tree gave and gave and gave.
This is a tender story, touched with sadness, aglow with consolation. Shel Silverstein has created a moving parable for readers of all ages that offers an affecting interpretation of the gift of giving and a serene acceptance of another's capacity to love in return.
Ages 10+

Runny Babbit lent to wunchAnd heard the saitress way,"We have some lovely stabbit rew --Our Special for today."
From the legendary creator of Where the Sidewalk Ends, A Light in the Attic, Falling Up, and The Giving Tree comes an unforgettable new character in children's literature.
Welcome to the world of Runny Babbit and his friends Toe Jurtle, Skertie Gunk, Rirty Dat, Dungry Hog, Snerry Jake, and many others who speak a topsy-turvy language all their own.
So if you say, "Let's bead a rookThat's billy as can se,"You're talkin' Runny Babbit talk,Just like mim and he.

If you are a dreamer, come in,If you are a dreamer,A wisher, a liar,A hope-er, a pray-er,A magic bean buyer . . .
Come in . . . for where the sidewalk ends, Shel Silverstein's world begins. You'll meet a boy who turns into a TV set, and a girl who eats a whale. The Unicorn and the Bloath live there, and so does Sarah Cynthia Sylvia Stout who will not take the garbage out. It is a place where you wash your shadow and plant diamond gardens, a place where shoes fly, sisters are auctioned off, and crocodiles go to the dentist.
Shel Silverstein's masterful collection of poems and drawings is at once outrageously funny and profound.

"You don't have to shoot me," says the young lion. "I will be your rug and I will lie in front of your fireplace and I won't move a muscle and you can sit on me and toast all the marshmallows you want. I love marshmallows."
But the hunter will not listen to reason, so what is there for a young lion to do? After eating up the hunter, Lafcadio takes the gun home and practices and practices until he becomes the world's greatest sharp-shooter.
Now dressed in starched collars and fancy suits, and enjoying all the marshmallows he wants, Lafcadio is pampered and admired wherever he goes. But is a famous, successful, and admired lion a happy lion? Or is he a lion at all?
Told and drawn with wit and gusto, Shel Silverstein's modern fable speaks not only to children but to us all!

Millie McDeevit screamed a screamSo loud it made her eyebrows steam.She screamed so loudHer jawbone broke,Her tongue caught fire,Her nostrils smoked...
Poor Screamin' Millie is just one of the unforgettable characters in this wondrous new book of poems and drawings by the creator of Where the Sidewalk Ends and A Light in the Attic. Here you will also meet Allison Beals and her twenty-five eels; Danny O'Dare, the dancin' bear; the Human Balloon; and Headphone Harold.
So come, wander through the Nose Garden, ride the Little Hoarse, eat in the Strange Restaurant, and let the magic of Shel Silverstein open your eyes and tickle your mind.

If you had a giraffeand he stretched another half …you would have a giraffe and a half.
And if you glued a roseto the tip of his nose …
And … if he put on a shoeand then stepped in some glue …
And if he used a chairto comb his hair …
And so it goes until … but that would be telling. Children will be kept in stitches until the very end, when the situation is resolved in the most riotous way possible.
Shel Silverstein’s incomparable line drawings add to the hilarity of his wildly funny rhymes.

The missing piece sat alonewaiting for someoneto come alongand take it somewhere....
The different ones it encounters - and what it discovers in its helplessness - are portrayed with simplicity and compassion in the words and drawings of Shel Silverstein.

Last night while I lay thinking here Some Whatifs crawled inside my ear And pranced and partied all night long And sang their same old Whatif song:
Whatif I flunk that test?Whatif green hair grows on my chest?Whatif nobody likes me?Whatif a bolt of lightning strikes me?...
Here in the attic of Shel Silverstein you will find Backward Bill, Sour Face Ann, the Meehoo with an Exactlywatt, and the Polar Bear in the Frigidaire. You will talk with Broiled Face, and find out what happens when Somebody steals your knees, you get caught by the Quick-Digesting Gink, a Mountain snores, and They Put a Brassiere on the Camel.
From the creator of the beloved poetry collections Where the Sidewalk Ends and Falling Up, here is another wondrous book of poems and drawings.

It was missing a piece.And it was not happy.So it set off in searchof its missing piece.And as it rolledit sang this song -
Oh I'm lookin' for my missin' pieceI'm lookin' for my missin' pieceHi-dee-ho, here I go,Lookin' for my missin' piece.
What it finds on its search for the missing piece is simply and touchingly told in this fable that gently probes the nature of quest and fulfillment.

Keep Walking Or I'll Kill You - Agnes Kain

2008-07-11T12:40:00.000+08:00

Digi-pack with eight page booklet!

Indie folk pop duo Agnes Kain (Chanelle Afford and Stefan Simunic) have been creating and playing music together for the past couple of years. Having grown up on the same street in a small town on the outskirts of Sydney, there is an intimacy and comfort to their music that comes from the closeness of being long time friends. A feeling that is projected to the listener, both on their recordings and at their live shows.

They are excited to announce the release of their debut album Keep walking or I’ll kill you, which despite the wicked title was born of love. Amidst the piano, mandolin and guitar lies unassuming, heartfelt and honest tales of loves lost and found, places almost forgotten, and the peculiarities of life. Throughout there is a deepness and substance that may be missed on first listen, and although the album contains many a cheerful moment, concealed within the upbeat and playful melodies of songs such as 'All time High' and 'Puddles & mud' are tales of a more serious and somber nature. Whilst others like, 'My brother told me' and the title track, 'Keep walking or I’ll kill you' are penned from a still and thoughtful place of innocence and bruises.

The album was recorded by the duo in the spare room of their humble abode during early 2007. It was a challenge. There was heavy rain, extreme heat, they live on a flight path and their housemate vacuums incessantly. But it turned out exactly how it was intended, with simple compositions and arrangements weaving perfectly imperfect little embroideries. Both self-taught musicians, Stefan and Chanelle played most of the instruments on the album, including guitar, piano, mandolin, bass, melodica, glockenspiel, and percussion. Their friends, Ben Ellingworth (drums) and Anne Samuels (viola) also lent their talents on several songs.

There is a darkness which underlies the infectious and cleverly constructed songs of Keep walking or I’ll kill you, but also a feeling of sharing tea with old friends. Listening to the album it is easy to fall in love with its whimsical charm and warmth.

Keep walking or I'll kill you being launched at the following shows:
Fri 10th August at Gertrudes, Fitzroy
w/ Jerry Falwell Destroyed Earth & Twin Vickers

Wed 22nd August at The Phoenix Bar (Civic Row, Canberra)
w/ The Ellis Collective & Twin Vickers Cost : Free

Sat 25th 2007 at the Excelsior Hotel, Surry Hills
w/ Sam Shinazzi, John Columbus, Johnny Vance

The Ditty Bops —— Amanda Barrett & Abby Dewald

2008-07-11T12:39:00.000+08:00

待发

Soufffrir II

2008-07-11T12:38:00.002+08:00

痛苦根本不是一种特权，不是贵族的标志，上帝的纪念品。痛苦是兽性的、野蛮的、平凡的，像空气一样免费、自然。它是摸不着的，避开所有接触和所有的斗争；它存在于时间里，是与时间一样的东西；如果它会惊跳、会吼叫，只是为了让受苦的人在接下来的时刻，在重新品味以前的折磨，等待下一个折磨的漫长时刻里变得更加无助。这种惊跳并不是本义上的痛苦，而是神经制作出来到片刻的生命力，以便能感受到真正的痛苦的延续时间，枯燥的、恼人的、无止无尽的痛苦时间的长度。受苦的人总是处于等待的状态——等待着惊跳，等待着新的惊跳。直到人们更倾向于吼叫，而非等待到那一刻的到来。人民毫无必要地吼叫的时刻终于到来，以终止时间的流淌，感觉到发生了什么事情，兽性的痛苦的永恒暂时中断了——哪怕这是为了让痛苦变得更强烈。

有时候，你会怀疑死亡——地狱——依然还是没有惊跳、没有声息、没有时刻的痛苦的流淌，具有全部的时间与永恒，无休无止，就像血流淌着永生的躯体里。

——契撒雷·帕维瑟，《生活的职业》，巴黎

Souffrir I

2008-07-11T12:38:00.001+08:00

不幸，这个可怕的字眼，在青春年少时就听到了，儿思想却没有理解它的含义。悲剧是虚构的作品，把厄运当作展现勇气和美丽的画面呈现在你面前；死亡，或幸福的结局，在片刻间结束了我们体验到忧虑。走出童年后，赋予我们的一切印象以魅力的某种温柔，总与痛的形象形影不离。但是，常常只需满二十五岁就能达到感情生涯里突出的一个厄运年代。

因此不幸如人生一样漫长。它由你的过错和命运组成；它让你受尽侮辱，受尽折磨。漠不关心的人，亲密的熟人，以他们跟你相处的方式，向你展现你厄运的缩影。每一刻，那些最简单的词汇和话语，再一次让你听到你已经知道的事情，但是每一次都会出乎意料地让你惊讶。如果你有什么计划，它们总是落在最痛处。痛苦无处不在，近乎让本该跟它最没关系的解决方法变得无法执行。我们努力去对抗痛苦，采取荒诞的计划去战胜它。但仔细想想，没有一个计划是可行的，不过是内心的又一次失败。我们感到自己被强大的魔爪般的唯一念头抓住了。我们克制思想，却又无法分神。生活中有一件工作不容许休息片刻。夜晚是整个白天唯一的等待，睡醒时痛苦的一击，每天早上都带着惊人的效果向你展现你的不幸。友谊的安慰浮于表面，但是最爱你的那个人，对你关心的东西，却丝毫没有与你分享半点不安念头的意思。这些念头没有足够的真实性，得不到表达，而由此导致的行动却强烈得足够将你吞噬。除了在爱情中，那个爱你的人说到你的时候，考虑到是他自己，除此之外，我实在无法理解，人们如何能够一边想着痛苦，一边下决心继续将痛苦维持下去；况且，这样做有什么好处呢？痛苦根深蒂固，无论述什么大事发生，还是勇气，都不能移开它。于是不幸持续下去，它有某种枯燥的、气馁的东西，在烦扰流别人之后，自己也感到厌烦。我们感到存在的感觉就像毒针扎追逐着我们。我们希望能够呼吸一天，一个小时，养精蓄锐，好重新开始内心的斗争。我们要在重压下重新站起来，斗争是沉重的，我们找不到可以支撑的点以战胜其余的一切。想象力无处不在，痛苦是所有思虑的结束，而新的思虑又蹦出来，去发现新的痛苦。越往前走，地平线就越近。我们试着用思考战胜情感，但思考增加了情感。最后，我们很快相信我们的能力下降了。自我的衰退让灵魂凋零，却丝毫没有祛除痛苦的力量。这根本不是我们可以休息的那种情境，我们想逃避我们所体验到的东西，然而这种努力更令人不安。那些多愁善感、甘愿痛苦、顾影自怜的人，都谈不上不幸。只有厌恶自己，而又感到与自己的存在相连，就好像自己是两个人，彼此厌倦。必须不能再享乐，再消遣，才能只感觉到一种痛苦。最后，需要某种令感情干涸的灰暗的东西，在灵魂里留下焦灼和滚烫的印象。这样，痛苦就成了所有思想的中心，生活中唯一的原则，我们只能通过痛苦认识自己。

——斯达尔夫人，《论激情对个人幸福和民族幸福的影响》，巴黎

CONVERSATIONS WITH KAFKA NOTES AND REMINISCENCES

2008-07-11T12:37:00.000+08:00

BY GUSTAV JANOUCH
WITH AN INTRODUCTION
BY MAX BROD
TRANSLATED BY GORONWY REES
FREDERICK A. PRAEGER
NEW YORK

BOOKS THAT MATTER

Published in the United States of America
in 1953 by Frederick A. Praeger Inc.,
Publishers 105 West 40th Street,
New York 18, NY.

All rights reserved

Library of Congress Catalog Card Number: 53:5323

Printed in Great Britain

PREFACE
MAX BROD'S INTRODUCTION and Gustav Janouch's opening
sentences to this book are in themselves sufficient explanation of its
genesis and of its place in Kafka's life. Indeed, in view of these two
authors' personal friendship with Kafka, and Dr Brod's unrivalled
knowledge of his life and his work, any further comment may seem
unnecessary and even impertinent. Yet to some readers at least the
local setting of these Conversations with Kafka may be unfamiliar,
and some aspects of them surprising, and to such readers an ad
ditional word of introduction may not be unhelpful.

The Conversations, for all their directness and simplicity, are com
piled with such literary skill that they seem to convey not only
Kafka's words, gestures, physical appearance, tone of voice, but al
so the very air of time and place and circumstance in which Kafka
and his young friend took their walks together. This atmosphere
which they breathe is a very special one, perhaps now never to be
recovered; only less vivid than the impression they give of Kafka's
personality is the sense of the city of Prague itself, to which Kafka
was at once so native and so alien. In one of the conversations Kaf
ka says that the distance from the Karpfengasse, in the Jewish quar
ter, to his homeland is immeasurably far, but from the Jewish
quarter to the Teinkirche is much, much farther; and his remark
seems to crystallize everything which both bound him to Prague
and alienated him from it. For it is to a particular part of Prague
that these conversations belong, the Judenstadt or Jewish quarter,
with its medieval synagogue and its ancient Jewish cemetery; and
the Judenstadt is not only a physical but a spiritual locality. Kafka's
walks may begin at the insurance office on the Poṅič, the business
centre of modern Prague; across the river is the Hradschin, the

fortress which today, as for so many centuries, is the seat of an alien
power; from the quay where sometimes he walks springs the great
bridge which carries the statues of the twelve Kings of Bohemia;
the walks end at Hermann Kafka's shop in the baroque palace built
by a German noble. But the city in which he and his friend walk
and talk is not the Prague of the Czechs, nor the Prague of the
Germans, but the Prague of the Jews, the Prague, as Kafka himself
says, of the Ghetto, still alive despite the destruction of all its build
ings except its most ancient monuments. So firmly are the con
versations placed in their setting, that now to the many ghosts
which haunt the wonderful city we must add the tall, stooping fig
ure of the writer and the boy as they pursue their way from the
Poṅič along the Altstädter Ring to the Kinsky Palace.

It is, however, as ghosts that they walk. The world they repre
sent has vanished beyond recovery. Indeed, it may well be that The
Trial and The Castle are its most solid and enduring monuments.
For the association of Kafka and the Judenstadt is no accident of
time and place. Those who care to trace the personal histories of
the many artists and writers mentioned in these pages will find that
they compose one of the most terrible documents in European his
tory. Among them are Milena Jesenská, with whom Kafka was
once in love, dead in a concentration camp; Ernst Lederer, dead in
a concentration camp, with mother, wife, sister, and brother; Josef
Čapek, dead in a concentration camp; Ernst Weiss, dead by his own
hand; Erich Hirt, fate unknown; Otto Pick, dead in exile; Rudolf
Schildkraut, dead in exile; Rudolf Fuchs, dead in exile; Ludwig
Winder, in Palestine; Felix Weltsch, in Palestine; Johannes Urzi
dil, in New York; Johannes R. Becher, in Berlin. Like the Baron
de Charlus' sonorous death roll of his friends, it is a list which recalls
an irrecoverable past, but also commemorates a terrible fatality to
Europe. For this roll of death, suicide, and exile records the de
struction of a complete cultural world, which mediated between
the East and the West of Europe: moreover, and even more tragic,
this destruction was only a part of the annihilation of the 6,000,000

Jews of Central Europe from whom the peculiar culture to which
Kafka belonged drew a large part of its sustenance.

This is not the place to analyse the special virtues and vices of that
world which, open to East and West, was also to a large extent
self-enclosed. It is, however, relevant to note that within it the Jews
played a special part, and that Kafka, himself a Jew and a con
vinced Zionist, was in many ways representative of it. It would in
deed be easy to say that Kafka himself belonged to this world so
completely, and with such self-consciousness, that he foresaw its
end. For what else is the terrible death of Josef K. in The Trial, with
the executioner twisting the knife three times in his heart, dying,
as he says, 'like a dog, as if the shame of it would outlive him', but
the end of Kafka's own people; what else is The Castle but a Zion
ist epic of that people's effort to found a community and a home?

The answer to such questions is, of course, that The Trial and
The Castle are much else besides. In part they are, as Max Brod
points out, autobiography; in part also, and more profoundly, they
are religious exercises, 'a form of prayer'. What seems certain, how
ever, is that in the position of his own race, on the last stage of its
century-old trek towards its ancient home, yet on the eve of the
worst pogrom that has yet been known, Kafka found a myth so
closely related to a universal reality that through it he was able to
express, not only his specifically Zionist beliefs, but his entire re
sponse to the human situation. For Kafka, in a sense, every human
being was a Jew, as he indicates when he says of anti-semitism,
'They beat the Jews and murder humanity'.

One of the merits of these Conversations is that in them Kafka
himself reveals, more directly and explicitly than elsewhere, to
what an extent the Jewish problem absorbed and dominated his
thoughts. It is not so much, however, that the Jewish problem ob
sessed him exclusively but rather that his extreme self-conscious
ness as a Jew coloured his thoughts on every problem and led him
to give his ideas a specifically Jewish formulation. Sometimes, it is
evident, this was carried to extremes which led to complete

misunderstanding and bewilderment on the part of his young com
panion, no greater, however, than the misunderstandings it has in
spired in many of his critics and interpreters. Indeed, one might say
that wherever Kafka seems most obscure one must interpret him,
as he himself puts it, 'in a Jewish sense'. This is perhaps particularly
true when he is concerned, as so often in these conversations, with
what for him were the two fundamental ideas of the Truth and the
Law, ideas which for him were inextricably intertwined, and in
relation to which it would be possible to define all his other ideas.
For if a large part of Kafka's work was devoted to analysing, with
a rabbinical minuteness and complexity, problems of responsi
bility, of guilt, and of sin, yet his statement of these problems can
be understood only in the light of his mystical and religious view
of what constitutes truth and law. For guilt and sin are for him
conceivable only as a negation of truth and a departure from the
law. Again, if the idea of alienation, whether from the father, or
from society, or from God, is everywhere and always dominant
in him, and the root of the sense of isolation and loneliness of which
he so often speaks here, yet it is not merely a negative idea (though
at times he speaks as if it were and then condemns himself for his
pessimism, 'which is a sin'); it is the idea of separation, a fall, from
a state of being which is subject to the law, and being subject to
law can be sought and grasped as truth. For Kafka, in practice, the
effort to end this alienation took the form of Zionism, the belief
that he and his race could only be saved by a return to the prom
ised land; yet this belief had its foundation in a religious, and still
profoundly Jewish, sense that this land was promised only because
there they might create that community under law which was
their historical and their divine mission.

Considered in this light, Kafka's writings are one of the last great
gifts of the Jewish people to the Europe which, failing to assimil
ate them, persecuted them and expelled them. And Kafka's strug
gle to discover, create, accept a state of being which is subject to
law and revealed as truth is equally one of Europe's last great

efforts to master the irrational and accidental. By reason of this
struggle, it is tempting to compare Kafka with another Jewish
writer, Proust, who in this century, with the same almost over
scrupulous awareness of the difficulties which face any attempt to
discover a truth underlying human life and a law which its de
velopment exhibits, nevertheless with equal heroism persisted in
the attempt. It is this quality of heroism in their aims and in their
achievement which makes Kafka and Proust most alike among the
writers of this century and sets them apart from the others. For
while others may compare with Proust or with Kafka in subtlety
and rigour of analysis, there are no others who, with the same
power of observation and penetration, the same mastery of a psy
chological calculus for measuring the smallest, most fatal, of hu
man actions, still persist, in face of the evidence, in believing men
capable of greatness.

In Kafka this belief gives to his heroes a genuine nobility and
grandeur that are otherwise absent from modern European litera
ture. It is a nobility conferred by Kafka's conviction that every
single act of every single minute of every hour of every day is a
moment in a moral struggle which faces men inescapably with the
possibility of terrible defeat or, less probably, indeed almost im
possibly, of victory. The intensity with which Kafka held this con
viction often makes Kafka himself and his heroes absurd; absurd
ity is indeed the very air of their existence; nevertheless, despite or
because of absurdity, they never cease to be noble because, even
in their greatest humiliation and degradation, they still preserve the
quality of being men, which for Kafka is precisely the possibility of
being judged. 'I am a man under judgement', he says, and means
that he is a man with a right to be judged, even though sentence
will certainly be passed.

It is because, at so many points and on so many topics, these
conversations express Kafka's preoccupation with the problems of
moral responsibility that they are of such particular value. And if
at the same time they emphasize that in this preoccupation Kafka

saw himself as a representative of his own people, they will per
haps serve to dissipate many misconceptions not only about Kafka,
who too often has been admired as much for his weakness as his
strength, but about his people, whom Europe owes so immeasur
able a debt and has repaid with such immeasurable cruelty. It may
be that one day they will once again return to play their part in the
tradition they have so enriched. It may be that that tradition will
itself perish and the final expulsion of the Jews be seen to coincide
with its death blow. Until such possibilities have been decided,
Kafka's work will remain as an indestructible monument to the
greatness his people achieved even in the wilderness, a symbol of
the experience, the struggle, and the suffering, not only of himself
but of his nation.

GORONWY REES

http://www.questia.com/PM.qst?a=o&d=57446021

跟你的Textwood一样蓝的天

2008-07-11T12:36:00.000+08:00

跟你的Textwood一样蓝的天
　　当你走累了席地而坐
　　在任何一座教堂同样厚度的
　　阴影里
　　思索著
　　做一只轮胎
　　就必须不停的忘掉路面
　　是多么累人的
　　一件事
　　
　　跟你的Textwood一样蓝的天
　　继续以令人憎恶的十行纸
　　写求职的信
　　说很多自己一些些也无法同意的
　　赞美
　　我们是这样两只瘠瘦
　　而又老爱高仰的颈项
　　
　　有种绝衰每天都比你的
　　眼睛先睁开来
　　长命的绝衰
　　而其实你痊愈的速度
　　和草的生长
　　一样快
　　你不容易不太容易死去
　　不太容易
　　
　　死去的
　　和你的Textwood一样蓝的天
　　你不容易
　　死去
　　你只是碎裂
　　只是
　　慢慢
　　碎
　　裂

WARHOLSTARS CHRONOLOGY INDEX

2008-07-11T12:35:00.000+08:00

1928-1962

ANDY WARHOL IS BORN/ST. VITIUS'S DANCE/BRIGID BERLIN (POLK) IS BORN/BIRTHS OF THE SUPERSTARS/BILLY NAME IS BORN/LOU REED IS BORN/BABY JANE HOLZER IS BORN/ANDY WARHOL MOVES TO NY/THE LOFT GALLERY/JOE DALLESANDRO'S MOTHER IS ARRESTED/VALERIE SOLANAS GRADUATES/BILLY NAME MEETS ANDY WARHOL/LOU REED GETS SHOCK TREATMENT/LOU REED GETS AN EDUCATION/THE SAN REMO/JONAS MEKAS FILM-MAKERS' CO-OP/I'll BE YOUR MIRROR/DELMORE SCHWARTZ/HOLLY WOODLAWN HITCHHIKES TO NY/ANDY WARHOL'S FIRST SILKSCREENS/ANDY WARHOL'S FIRST MAJOR EXHIBIT/ANDY WARHOL'S FIRST SOLO NY POP ART SHOW

1963

ANDY WARHOL'S FIRST STUDIO/MARIE MENKEN/LOU REED INJECTS HEROIN/ANDY WARHOL'S FIRST COMMISSION/ANDY WARHOL MEETS BABY JANE HOLZER/ANDY WARHOL HIRES GERARD MALANGA/ANDY WARHOL & 'DE' ANTONIO/JACK SMITH AND OLD LYME/ANDY WARHOL'S FIRST FILM/HOLLY WOODLAWN MEETS CANDY DARLING/POETRY READINGS WITH GERARD MALANGA/ELVIS EXHIBITION/ANDY WARHOL IN LA/ANDY WARHOL TAKES SPEED/THE FIRST (SILVER) FACTORY

1964

BILLY NAME CREATES THE SILVER FACTORY/SECONAL/ANDY WARHOL'S FIRST EUROPEAN SHOW/ANDY WARHOL'S FIRST SUPERSTAR NAOMI LEVINE/EDIE SEDGWICK MOVES TO NY/BABY JANE HOLZER FIRST MOVIE/KISS/LOU REED WRITES HEROIN/ANDY WARHOL'S FIRST SCULPTURE SHOW/LOU REED WRITES POP SONGS/ANDY'S AURICON/JOE DALLESANDRO IS ARRESTED (AGAIN)/ JOE DALLESANDRO MOVES TO MEXICO/NICKY HASLAM'S PARTY/HOLLY WOODLAWN IS CALLED UP FOR THE DRAFT/FREDDY HERKO KILLS HIMSELF/WARHOL'S FLOWERS/FOUR MARILYNS ARE SHOT/HOLLY WOODLAWN AT JC PENNEY'S/CANDY DARLING ON WALL STREET/ANDY'S FILM CULTURE AWARD/ANDY WARHOL'S FIRST SOUND FILM WITH SOUND/ANDY WARHOL HIRES A SCRIPT WRITER

1965

ANDY WARHOL MEETS EDIE SEDGWICK/LOU REED MEETS JOHN CALE/JOE DALLESANDRO HITCHHIKES TO LA/ONDINE OPENS/MARY WORONOV MEETS GERARD MALANGA/ANDY WARHOL MEETS ULTRA VIOLET/EDIE SEDGWICK STARS IN HER FIRST FILM/LESTER PERSKY'S PARTY/ANDY WARHOL RETIRES/CO-OP SCREENINGS/PAUL MORRISSEY JOINS THE FACTORY/FIRE ISLAND/ ANDY WARHOL GETS A VIDEO CAMERA/BABY JANE HOLZER LEAVES THE FACTORY/ANDY WARHOL IS MOBBED IN PHILADELPHIA/THE VELVET UNDERGROUND'S FIRST GIG/CAFE BIZARRE/EDIE SEDGWICK'S LAST FILM (SORT OF)

1966

THE PSYCHIATRISTS' BANQUET/VELVET UNDERGROUND SOUNDTRACKS/ANDY WARHOL UPTIGHT/ANDY WARHOL'S AD/EDIE SEDGWICK LEAVES/HOLLY WOODLAWN MEETS JACKIE CURTIS/COWS & SILVER PILLOWS/THE DOM/RONNIE CUTRONE/ANDY WARHOL MEETS ERIC EMERSON//EDIE SEDGWICK FALLS APART/MARY WORONOV MAKES HER FIRST FILM/VELVET UNDERGROUND FIRST ALBUM/SUSAN BOTTOMLY JOINS THE FACTORY/THE EXPLODING PLASTIC INEVITABLE/SAN FRANCISCO/NICO PLAYS STANLEYS/CHELSEA GIRLS/MAX'S/EDIE SEDGWICK GETS BURNED/JACKIE CURTIS IN DRAG/THE DOORS/ANDY WARHOL'S BOYFRIEND ROD LA ROD/VELVET UNDERGROUND TOUR THE MIDWEST/EDIE'S FINAL (LOST) WARHOL FILM/GERARD MALANGA AND INTERNATIONAL VELVET SPLIT UP/HOLLY WOODLAWN DOESN'T GET A SEX CHANGE

1967

TAYLOR MEAD RETURNS/END OF THE DOM/FRED HUGHES JOINS THE FACTORY/ERIC SUES MGM/ANDY WARHOL IN CANNES/LOU REED FIRES NICO/NICO'S FIRST ALBUM/VIVA/JOE DALLESANDRO MAKES HIS FIRST FILM/GLAMOUR GLORY AND GOLD/ANDY WARHOL MEETS CANDY DARLING AND JACKIE CURTIS/ANDREA FELMAN/GERALDINE SMITH/PATTI D'ARBANVILLE/THE SCUM MANIFESTO/ULTRA VIOLET AND JACKIE CURTIS/ANDY WARHOL HIRES AN IMPOSTER/CHARLES LUDLAM/THE ROLLING STONES & CANDY DARLING/INDEX BOOK/****/ANDY WARHOL BOYFRIEND JED JOHNSON

1968

THE WHITE FACTORY/LONESOME COWBOYS IN ARIZONA/BETSY JOHNSON MARRIES JOHN CALE/VALERIE SOLANAS SHOOTS ANDY WARHOL/MIDNIGHT COWBOY/BILLY NAME & LOU REED HAVE SEX/MISS DONUT 1968/JOE DALLESANDRO MOVES IN WITH PAUL MORRISSEY & GETS MARRIED/EDIE SEDGWICK AND VALERIE SOLANAS/HOLLY WOODLAWN MOVES TO MANHATTAN/JACKIE CURTIS AND CANDY DARLING MOVE IN TOGETHER/HOLLY WOODLAWN SHOOTS UP FOR THE FIRST TIME/ANDY WARHOL MEETS HOLLY WOODLAWN/BILLY NAME RETREATS/VALERIE SOLANAS THREATENS ANDY WARHOL/ONDINE GOES TO AA

1969

VIVA THREATENS ANDY WARHOL/VIVA GETS MARRIED/MYRA BRECKINRIDGE/HOLLY WOODLAWN GETS A LAST NAME/JACKIE CURTIS (ALMOST) MARRIES ERIC EMERSON/HOLLY WOODLAWN (ALMOST) STEALS A CAMERA/JUDY GARLAND DIES/HOLLY WOODLAWN MEETS JOHNNY WITH JAYNE COUNTY/INTERVIEW IS LAUNCHED/WARHOL PAINTINGS BY BRIGID BERLIN (POLK)/VINCENT FREMONT/HOLLY WOODLAWN IN JACKIE CURTIS PLAY/TRASH/HOLLY WOODLAWN IS FIRED/RENT AN ANDY WARHOL SUPERSTAR/VALERIE SOLANAS THREATENS (AGAIN)

1970 - 1974

BILLY NAME LEAVES THE FACTORY/L'AMOUR/JOHNNY LEAVES HOLLY WOODLAWN/GERARD MALANGA LEAVES ANDY WARHOL/LOU REED QUITS/JOE DALLESANDRO HAS A SON/HOLLY WOODLAWN AND THE ACADEMY AWARDS/HOLLY WOODLAWN MEETS ASHA/TAVEL SUES WARHOL/ANDY WARHOL'S VIDEO DEPT/PORTRAIT COMMISSIONS/GERMANY/PORK/ROBBED BY JUNKIES/WOMEN IN REVOLT/STICKY FINGERS/JACKIE CURTIS AND CANDY DARLING AND HOLLY WOODLAWN DO A PLAY/VALERIE SOLANAS IS RELEASED/MONTAUK/EDIE SEDGWICK DIES/GLENN O'BRIEN'S INTERVIEW/CANDY MOVES IN WITH SAM GREEN/SEX AFTER DEATH/HEAT/ANDY WARHOL IN MEXICO/ANDREA FELDMAN JUMPS OUT A WINDOW/ANDY'S MUSICAL WITH LOU REED/HEAT/SUSAN BLOND/WARHOL'S HALSTON FASHION SHOW/HOLLY WOODLAWN IS ARRESTED IN PUERTO RICO/ANDY WARHOL'S MOTHER DIES/XMAS PARTY/HOLLY WOODLAWN DOES CABARET/PAULETTE GODDARD/CANDY DARLING DOES LE JARDIN/JOE DALLESANDRO FINDS HIS MOTHER/JOE DALLESANDRO MOVES TO EUROPE/LOU REED IS ARRESTED/BERLIN, THE MUSICAL/SCULL AUCTION/CANDY DARLING'S LAST PARTY/THE PHILOSOPHY OF ANDY WARHOL/CANDY DARLING DIES/ANDY WARHOL MOVES TO BROADWAY

1975 - 1979

HOLLY WOODLAWN AND JACKIE CURTIS LAST PERFORMANCE TOGETHER/THE PHILOSOPHY OF ANDY WARHOL - THE MUSICAL/ERIC EMERSON DIES/HOLLY WOODLAWN FLOPS & REVIVES/PAUL AMERICA ROBS BILLY NAME/STUDIO 54 OPENS/SEX PARTS/HOLLY WOODLAWN IS ARRESTED (AGAIN)/JOE DALLESANDRO'S BROTHER DIES/HOLLY WOODLAWN MEETS THE (REAL) QUEEN/HOLLY WOODLAWN GETS A JOB (AS A WAITER)/STUDIO 54 BUSTED/

80s +

ANDY & JED SPLIT UP/JAY SHRIVER/HOLLY WOODLAWN RETURNS TO NY/JOE DALLESANDRO DETOXES/GREGORY BATTCOCK IS MURDERED/LOU REED CLEANS UP/THE FINAL FACTORY/ANDY WARHOL'S TV/ANDY WARHOL'S MUSIC VIDEOS/JON JAY GOULD/TOM BAKER DIES/HOLLY WOODLAWN ATTEMPTS SUICIDE/THE COTTON CLUB/MICKEY RUSKIN DIES/LOVE BOAT/JACKIE CURTIS DIES/SAM BOLTON/MARIO AMAYA DIES/15 MINS/JON JAY GOULD DIES/INGRID SUPERSTAR DISAPPEARS/COLLAGEN AND DEMEROL/ANDY DIES/CHARLES LUDLAM DIES/ULTRA & VALERIE HAVE A PHONE CHAT/VALERIE DIES/THE AUCTION/NICO DIES/FRED HUGHES GETS MS/ONDINE DIES/STEVE RUBELL DIES/VELVET UNDERGROUND REFORM/FRED HUGHES DIES/LESTER PERSKY DIES/

渡·红尘

2008-07-11T12:34:00.000+08:00

对不起，是我错了，从决定的那一刻起就错了。
可你我都知道，很多事情是再也回不去了。
我就是觉得自己这样不好，与他人无关。
或许是害怕渐渐连痛感都无法知觉，麻木，只能这样，惩罚自己。
活着就是意义。
可对于我来说远远不够，在生命中，我太过贪婪。

很多事没来的时候，希望还是别来；真的来了，又盼望着别走。
人总是会对某些既定的状态保有些许依恋吧。
坚定的人，在心中的某个位置一定会有自己，迷失只是偶尔。
你会收集回忆吗？会。
你会讲故事吗？不会。

夏末·酽

2008-07-11T12:33:00.001+08:00

旋转的舞步轻柔地滑行起伏随风逐波
不管是什么样的离别
我喜欢这样此刻的安静浮游在城市的上空
不管是什么样的飞行

我不要看上去很美好
我不要有质感的生活
我不要人间世的诱惑

station II

2008-07-11T12:32:00.000+08:00

George Hurrell http://www.hurrellphotography.com/

http://xoomer.virgilio.it/gkouts/web-foto/imagepages/image1.htm

http://www.photo.net/photodb/user?user_id=493973

http://www.naturephotographers.net/index.html

Herb Ritts http://www.mkg-hamburg.de/ausstell/00_ritts/

http://www.faheykleingallery.com/featured_artists/ritts/ritts_frames_3.htm

Greg Gorman http://www.modernbook.com/asiseeit.htm

http://www.ocaiw.com/galleria_fotografi/index.php

城市愿望杂志 http://desires.com/issues.html

http://www.sensual-realm.com/lftsr_gallery_1/g_01.html

http://www.barenakedgallery.com/

新锐摄影 http://jerryavenaim.com/

http://www.jacobsonbest.com/home.htm?

萨尔加多 http://www.terra.com.br/sebastiaosalgado/[/url]

http://www.johnsexton.com/

http://www.photoeye.com/Gallery/index.cfm?P=Portfolio1&G=2&A=Mangiulea

http://www.xitek.com/forum/showthread.php?threadid=266493

Leni Riefenstahl

http://www.photo.gd.cn/overseas/

http://digitaljournalist.org/feature.html

Agency VII
新生代的9名摄影师
http://www.viiphoto.com

James Nachtwey http://www.jamesnachtwey.com/

http://www.gigapxl.org/

Masters of Photography http://www.masters-of-photography.com/

Imogen Cunningham http://thecity.sfsu.edu/pacific.pix/WEBPAGE/imogen2.html

http://wwwlocal.cea.berkeley.edu/~bboyd/phot/Imogen.html

Esther Bubley http://www.estherbubley.com/

http://alphaclp.clpgh.org/CLP/exhibit/photog6.html

Robert Mapplethorpe http://www.ocaiw.com/mapple.htm

http://www.irish-photography.com/mapplethorpe/

Lewis W. Hine http://www.historyplace.com/unitedstates/childlabor/index.html

Andre Kertesz http://swallow.mit.edu/vitaly/KERTESZ.html

http://nimbus.ocis.temple.edu/~nphan001/photographers/apage.htm

Dorothea Lange http://lcweb.loc.gov/exhibits/wcf/wcf0013.html

William Henry Jackson http://www.fit.edu/InfoTechSys/resources/cogsei/whjte.html

http://www.beebop.com/siam/index.htm

Man Ray http://www.artn.com/Early/ManRayII.html

http://www.manray-photo.com/index_us.html

Luigia Modotti http://www.modotti.com/

http://www.chron.com/content/int ... ts/art/modotti.html

Fred Stein http://www.fredstein.com/

Ansel Adams http://www.adamsgallery.com/

http://www.book.uci.edu/AdamsHome.html

Fox Talbot http://www.r-cube.co.uk/fox-talbot/

Walker Evans http://xroads.virginia.edu/~UG97/fsa/welcome.html

John Heartfield http://www.tc.umn.edu/~whit0580/igloo/dada/heartfield.html

http://www.brasscheck.com/heartfield/

Bill Brandt http://www.billbrandt.com/

Diane Arbus http://www.clark.net/pub/cosmic/darbhcpp.html

Berenice Abbott http://www.nypl.org/research/chs ... bbottex/abbott.html

Helmut Newton http://art.dada.it/newton/

http://art.dada.it/newton/home.h ... wton/html/n4en.html

Richard Avedon http://www.richardavedon.com/

Jerry Uelsman http://www.uelsmann.com/

Annie Leibovitz http://kultura.gratex.sk/krajcovicova/leib/annie_a.htm

Howard Schatz http://www.howardschatz.com/

Chris Rainier http://www.chrisrainier.com/textindex.html

Joel-Peter Witkin http://www.sirius.com/~aether/witkin/home.html

William Wegman http://www.segura.com/Wegman.html

Cindy Sherman http://www.moma.org/sherman/index.html

David Hamilton http://www.hamilton-archives.com/html/

Anne Geddes http://www.annegeddes.com/index.htm

http://www.andrea-schroeder.de/AGeddese.html

Frank Horvat http://www.rfassoc.com/hfrank/

Bert Stern http://www.bertstern.com/home.html

Ralph Gibson http://www.ralphgibson.com/main.html

Jan Saudek http://www.acc.umu.se/~argali/saudek/saudek.htm

Nan Goldin http://www.blastfilms.demon.co.uk/nan.htm

Herb Ritts http://www.ocaiw.com/rittsh.htm

Mary Ellen Mark http://www.maryellenmark.com\home\index.html

Herman Leonard http://barbaragillman-gallery.com/

http://www.leonardjazz.com/

Daniel Lee http://www.daniellee.com/

Nancy Burson http://www.imago.univ-paris8.fr/levoyeur/old/lv6/burson.html

David Turnley Peter Turnley http://www.corbis.com/onassignment/turnley/pt/14.asp

Jeanloup Sieff http://www.pk.edu.pl/~marcin/public/sieff/list.html

station I

2008-07-11T12:31:00.000+08:00

法国

Gilles Bensimon http://www.eyestorm.com/artist/Gilles_Bensimon.aspx
Jean-Baptiste Mondino http://mondino-update.net
Thierry Le Gouès http://www.thierrylegoues.com
Eric Traoré http://www.eric-traore.com
Francois Rousseau http://www.francoisrousseau.com
Nicolas Hidiroglou http://www.hidiro.com
Bruno Fabbris http://www.brunofabbris.com
Philippe Salomon http://www.philippesalomon.com
Alexandre Weinberger http://www.alexandreweinberger.com
Gilles-Marie Zimmermann http://www.gmzimmermann.com
Michel Perez http://www.michelperez.com
Jeff Manzetti http://www.jeffmanzetti.com
Matthieu Deluc http://www.matthieudeluc.com
Jean-Fran?ois Lepage http://www.two-eyes.com
Duc Liao http://ducliao.com
Denis Rouvre http://www.rouvre.com
Frédéric Meylan http://www.fredmeylan.com
Marc Neuhoff http://www.marcneuhoff.com
Antoine Verglas http://www.antoineverglas.com
Fred Leveugle http://www.fredleveugle.com/
Christophe Kutner http://www.mfilomeno.com/christophe/christophe.html
Vincent Dixon http://www.vincentdixon.com
Frédéric Imbert http://www.fredericimbert.net
Louis Decamps http://www.andrewerther.com/phtgrph/...s/dcamps1.html
Yann Robert http://www.amgardinier.com
Eric Nehr http://www.jedroot.com/makeup/lp/ful...nfused-03.html
Grégoire Alexandre http://www.gregoirealexandre.com
Laurent Darmon http://www.laurentdarmon.com
Michel Sedan http://www.michel-sedan.com
Bruno Fournier http://www.brunofournier.com
Christian Fournier http://www.prisedevue.com
Philippe Abergel http://www.abergel-photo.com
Francois Ayme http://www.eleonorecharrey.com/franc...e/francois.htm
Kris Gautier http://homepage.mac.com/krisgautier1/PhotoAlbum12.html
Alex Lucka http://www.alexlucka.com
Emmanuel Layani http://www.emmanuel-layani.com
Frédéric Pinet http://www.fredpinet.com
Jean-Yves Lemoigne http://www.jeanyveslemoigne.com/
Stéphane Martinelli http://www.stephanemartinelli.com
Alain Potignon http://www.alainpotignon.com
Raya http://www.studioraya.com
Herve Haddad http://www.hervehaddad.com
Cyril Masson http://www.cyrilmasson.com
Nicolas Buisson http://www.nbuisson.com
Yann Lepape http://www.yannlepape.com
Michel Momy http://winstonwest.com/momy
Bernard Benant http://www.bernardbenant.com
Antonio Spinoza http://www.antoniospinoza.com
Dominique Desrue http://www.dominiquedesrue.com
Tarik http://www.concept-tarik.com
Emma & Jeremy http://www.emmaetjeremy.com
Eric Deniset http://www.ericdeniset.com
Seb & Enzo http://www.sebetenzo.com
Olivier Desarte http://www.olivierdesarte.com/
Olivier Rose http://www.olivierrose.com
Philippe Philtenger http://www.philtenger.com
Olivier Buhagiar http://www.olivierbuhagiar.com
Christian Lartillot http://www.christianlartillot.com
Ivan Rafik http://www.ivan-rafik.com
Bruno Sabastia http://www.sabastia.com
Dominique Amphonesinh http://www.amphonesinh.com
Jacques Beneich http://www.jacquesbeneich.com
Raphael Dallaporta http://www.peach.fr/www.raphaeldallaporta.com
Yan Forhan http://www.yan-forhan.com
Cyril Lagel http://www.cyrillagel.com
Sophie Delaporte http://www.mfilomeno.com/sophie/sophie.html
Stéphanie Solinas http://www.stephaniesolinas.free.fr
Bérangère Valognes http://www.berengere-valognes.com
Florence Grall http://grall.florence.free.fr
Grégoire Mahler http://www.gregoiremahler.com
Jean-Philippe Lacube http://www.jeanphilippelacube.com
Sonia Sieff http://www.soniasieff.com
Annabelle Tiaffay http://www.annabelletiaffay.com
Carlotta Forsberg http://www.carlotta-forsberg.com
Guillaume Reynaud http://www.guillaume-reynaud.com
Jean-Baptiste Huynh http://www.tpw.it/teachers2003/huynh.htm
Sabine Pigalle http://www.sabinepigalle.com
Sabine Villiard http://www.sabinevilliard.com
Jean-Philippe Malaval http://www.jedroot.com/hair/bs/silva....php?story=htt...
Roméo Balancourt http://mapage.noos.fr/book_portraits
Thomas Paquet http://www.thomas-paquet.com
Gerard Giaume http://www.gerardgiaume.com
Olivier Spillebout http://www.spillebout.com
Bruno Ripoche http://www.jedroot.com/fashion/dr/fu.../commons-0205-...
Olivier Chauvignat http://www.olivier-chauvignat.com
Pascal Lebeau http://www.pascallebeau.com
Marc De Giovanni http://photobymarc.com
Zoltan Etedi http://photo.zol.free.fr

比利时

David Vasiljevic http://www.davidvasiljevic.com
Andrea Klarin http://www.andreaklarin.com
Sammy Georges http://www.sammy-georges.com
Bernard Bertrand http://www.bernardbertrand.com

瑞士

Michel Comte http://www.bueroalbers.com
Dominique Derisbourg http://dominiquederisbourg.com
Bruno Bisang http://www.brunobisang.com
Davolo http://www.davolo.com

瑞典

Mikael Jansson http://www.wilsonwenzel.com
Andreas Sj?din http://www.andreassjodin.se
John Scarisbrick http://cameralink.se/john_scarisbrick
Dennis Blomberg http://www.choicestockholm.com
Simon Cederquist http://www.simoncederquist.com
Lennart Sj?berg http://www.lennart.se
Oscar Falk http://www.oscarfalk.com
Carl Bengtsson http://www.carlbengtsson.com
J?rge Nahlstr?m http://www.jorgenahlstrom.com
Per Zennstr?m http://www.lundlund.com/?/name/per_zennstrom
Elisabeth Ohlson http://www.ohlson.se

丹麦

Rasmus Mogensen http://www.rasmusmogensen.com
Torkil Gudnason http://www.torkilgudnason.com
Morten Laursen http://www.mortenlaursen.com

美国

Annie Leibovitz http://www.artandcommerce.com/AAC/C....d_AlbumPages.P...
Steven Meisel http://www.artandcommerce.com/AAC/C....d_AlbumPages.P...
Michael Thompson http://www.jedroot.com/photo-main.php
David Lachapelle http://www.davidlachapelle.com
Walter Chin http://yangabin.club.fr/yangabin/pho...mode/walterchi...
Michael Zepetello http://www.zeppetello.com
Steven Klein http://www.stevenkleinstudio.com
Mark Seliger http://www.markseliger.com
Kenneth Willardt http://www.kwpf.com
Tom Munro http://www.tommunro.com
Barry Elkins http://www.calypsodesigaldi.com
Nicolas Moore http://www.nicolasmoore.com
Warwick Saint http://www.mfilomeno.com/warwick_saint/_warwick.html
Micha?l Woolley http://www.jedroot.com/makeup/nh/ful...ire/marieclair...
Thomas Schenk http://www.hereinmyhead.com/artimp/thomas
Paul Aresu http://www.paularesu.com
Steven Lyon http://www.stevenlyon.com
Andrew Eccles http://www.andreweccles.com
David Ferrua http://www.mfilomeno.com/d_ferrua/ferrua.html
Marcus Mam http://www.jedroot.com/makeup/nh/ful...igaro-jap-1004...
Richard Warren http://www.richardwarrenphotos.com
Greg Kadel http://www.gregkadelstudios.com
Iris Brosch http://www.irisbrosch.com
Kutlu http://www.kutlu.com
Marc Kayne http://www.marckayne.com
Taryn Simon http://www.tarynsimon.com
Cleo Sullivan http://www.cleosullivan.com
Karina Taira http://www.karinataira.com
Isabel Snyder http://www.isabelsnyder.com
Jerry Avenaim http://jerryavenaim.com
Patrick Shaw http://www.jedroot.com/photogr/ps/psframeset.html
David Mignon http://www.davidmignon.com
Ken Browar http://www.kenbrowar.com
Christopher Micaud http://www.christophermicaud.com
Russell James http://www.russelljames.com/
Joe Mc Nally http://www.joemcnally.com

英国

Albert Watson http://www1.kunsthauswien.com/englis...ngen/albert_wa...
Miles Aldridge http://www.milesaldridge.com
Craig Mc Dean http://www.artandcommerce.com/AAC/C....d_AlbumPages.P...
Richard Burbridge http://www.artandcommerce.com/AAC/C....d_AlbumPages.P...
David Sims http://www.artpartner.com/photograph...d_sims/bio.htm
Karl Dickenson http://www.karldickenson.com
Sean Ellis http://www.sean-ellis.com
David Parfitt http://www.davidparfitt.com

意大利

Marino Parisoto Vay http://www.calypsodesigaldi.com
Michelangelo di Battista http://www.managementartists.com
Ricardo Tinelli http://www.julianmeijer.com/photographers/tinelli/bio
Tiziano Magni http://www.jedroot.com/fashion/ttl/l....php?story=htt...
Diego Alborghetti http://www.thierrykauffmann.com/diego.htm
Giam Paolo Vimercati http://www.giampaolo-vimercati.com/

德国

Peter Lindbergh http://www.peterlindbergh.com
Ellen Von Unwerth http://www.artandcommerce.com
Vincent Peters http://www.managementartists.com
André Rau http://www.angeladebona.com/site.htm
Vanessa Von Zizewitz http://www.vanessavonzitzewitz.com/vane.htm
Friedmann Hauss http://nataliavodianova.net/Gallery/.../MarieClaireAU...
Claus Wickrath http://www.clauswickrath.com
Ralph Mecke http://www.ohlsson.de/RALPHMECKE.html
Thomas Nützl http://www.artpartner.com/photograph..._nutzl/thomas_...
Mel Karch http://www.melkarch.com
Tobias Zarius http://www.tobias-zarius.com
Franck Wartenberg http://www.frank-wartenberg.com
Marian Sell http://www.mariansell.com
Thomas Rusch http://www.thomasrusch.com
Esther Haase http://www.estherhaase.de

秘鲁

Mario Testino http://www.mariotestino.com

西班牙

Javier Vallhonrat http://www.mfilomeno.com/javier/javier.html

墨西哥

Enrique Badulescu http://www.artpartner.com/photograph...e_badulescu/bi...

阿根廷

Diego Uchitel http://www.jedroot.com/photogr/du/du-frameset.html

加拿大

Serge Barbeau http://www.mfilomeno.com/serge/serge.html
Jean-Pierre Domingue http://www.jeanpierredomingue.com
Jill Greenberg http://www.manipulator.com/

波兰

Marek Straszewski http://www.calypsodesigaldi.com

以色列

Guy Aroch http://www.julianmeijer.com/photographers/aroch/bio
Nadav Kander http://www.nadavkander.com

伊朗

Ali Madhavi http://www.alimahdavi.com

黎巴嫩

Thierry Van Biesen http://www.thierryvanbiesen.com

日本

Satoshi Sa?kusa http://www.satoshisaikusa.com
Takay http://www.jedroot.com/photogr/t/takay-bio.php

. . . 跃入水中的一刻，我拥抱自己

2008-07-11T12:30:00.000+08:00

街灯已经弥漫在暮霭中，这个时刻的城市更加川流不息，近街的阳台向下俯瞰，一个个小盒子呼啸而过，都不敢对两旁的建筑有丁点的顾盼，顷刻间便消失在远处。
晚上做好饭，在阳台上看车流，楼不够高，不能跳，进屋倒在沙发上......恍惚听到门响，开门，吃饭，收拾，洗漱......
问自己，是否还有伤怀的权利；
约友畅饮，不见月影，轻笑，是的，就这样吧，是有比自我更唯一的；
还好，这算不上一场战争，所以也就更无谓枉费了时光；
喜剧中出现的悲哀角色，雕刻进最好的时光，不属于任何；
将自负撕裂，我需要一片大些的树叶，来遮蔽刺眼的日光；
好了，一切还是继续。

**********************************************************************
真实和谎言一起去河边洗澡，先上岸的谎言偷偷穿上真实的衣服不肯归还，固执的真实怎么也不肯穿上谎言的衣服，只好一丝不挂光溜溜的回家了，从此人们眼里只有穿着真实外衣的谎言，却怎么也无法接受赤裸裸的真实。

真实无法授受人们的目光，终于穿上了谎言的衣服，还给自己改了名字叫现实，所以，现在我们拥有着真实外衣的谎言和琢磨不透的现实，以及谁也不法证明其存在的真实。

from Victor.Ma

**********************************************************************
“女人就不应该读那么多书。”女子无才便是德，一点都没有错。
如今想来，若可以，倒宁愿没上过学，读过书，出过门，见过世面。命苦不是天生的，是诗书闹的。情多不是天生的，也是诗书闹的。洞悉了，便踉跄着走向幻灭。
只是，一切早已经既定。

想起那段曹禺说繁漪人物原形的话：
“我算不清我亲眼见看见多少蘩漪（当然她们不是蘩漪，她们多半没有她的勇敢）。她们都在阴沟里讨生活，却心偏偏天样高；热情原是一片浇不熄的火，而上帝偏偏罚她们枯干地生长在沙上。这类的女人许多有着美丽的心灵，因为不正常的发展和环境的窒息，她的行为乖戾成为人所不能了解的、受着人的嫉恶、社会的压制，这样抑郁终身，呼吸不着一口自由空气的女人”
还有他笔下的蘩漪：
“她的文弱，她的哀静，她的明慧，她对诗文的爱好。但是她也有更原始的一点野性：在她的心、她的胆量、她的狂热的思想，在她莫明其妙的决断时忽然来的力量……当她见着她所爱的，红晕的颜色快乐地散布在脸上，你才觉得她是能被人爱的，应当被人爱的。你才知道她到底是一个女人，跟一切年轻的女人一样……她觉得她的夏天已经过去，西天的晚霞早暗下来了。”

莫名想起一个朋友，40岁的女人ANNA，多年艺术功底、纯粹不染世情尘埃的女人，总被人批语为“不现实”，好听一点的，也就是“边缘”。走马换的男人们，受伤的总是自己永远真诚的心灵。她比我年长，也比我更能承受，笑着于烟火人间中撑得很漂亮。
8月19日，“七夕”，自己被亲人批判为“不聪明”，别人写满一脸“你活该”的表情。像我这样“阴沟里讨生活”的女人，拒绝了偶尔唾手可来的安稳生活，然后哭着闹着，累着喊着。当然是别人眼里的“活该”，“自找的”。
也想心一横，只剩柴米醋油。
有时候，心死了，肉体才能活。心总是死不了，总会被诱惑。

蘩漪有句最经典的台词：“是你把我引诱到一条母亲不像母亲，情妇不像情妇的路上去的，是你引诱的我！”我不知道我和ANNA属于哪种，被什么引诱着，总是无休止地寻找着某种完满，但永远是失落和泪水。
年代不同了，所谓自由，所谓平等，貌似想干什么就能干什么，但其实大部分的女人不可能，既不够坚定，也不够勇气。这逼仄的城市，无根无蒂背井离乡的女人多数还是终究以家庭的形式成为男人的依附品生存着。也可以独自解决基本生存，却多数是“阴沟里”讨来的生活，无法给予自己安全平稳，更没有群体的认可。
见过太多的女人，在安稳中发几句百无聊赖的牢骚，谈着车子，房子，孩子。很风光，我须得畏缩一边浅笑。她们是聪明的，这种聪明有别于另一种聪慧，类似技能与文化的区分。
也见过ANNA，还有RAIN这般的女人，也赤裸裸地扒开过自己的内心，都是精神洁癖。也许我还不够了解她们，但我足够明白自已。不是要求太高，天生会被颜色、线条文字所俘虏，有能力构起美好然后会被虚幻的美丽所欺哄；不是绝代佳人却有着丰富的内心，被人说“不食人间烟火”，却被人间烟火困扰。

昨天狄和萝卜请吃饭，K歌到凌晨1点，正到点C三十虚岁的生日，看着手机，不打电话。也许是被他那双比一般人都长都温柔的眼睫毛所迷失了。他的延宕，多年朋友我早了解，但我竟还是忘记了，或者故意忘记。别人眼神迷离时说的话，我竟然又当真了。
本质上，很简单，不是爱谁，也不是爱那段文字那首曲子那幅色调，而是爱自己一手造的梦，有些人明知虚幻但无法离开虚幻。
如是，我输了，在名叫徽容的女子的博上看到的，“爱了，就是输”，爱的是人还是梦，已经不重要。

夜空的烟花明灭，女人还是同样会被引诱，“朋友不是朋友，情妇不是情妇”。
注定这一生，要在阴沟里讨生活，心比天高，命若纸薄。

from Vera.Gu

china-arts and crafts

2008-07-11T12:29:00.000+08:00

Embroidery

Chinese 4 famous embroidery (embroider,orphrey,broidery,needlecraft,needlework,crewel work,wool work), In this website, we introduce Beijing-embroidery. Beijing-embroidery has long-standing history. It’s ornament and dress and personal adornment by palace in the successive dynasties, the cloth and silk of the high quality, highly skilled, literary pursuits style, beautiful and expert, possess of characteristic of tradition Chinese beautiful and it must be in yours good graces. it includes 3 types of a general idea. (the palace dress, modeled after an antique embroider-small pieces of cloth, embroider-cushion)
The content of the tradition pattern of modeled after an antique embroider-small pieces of cloth is: supernatural being congratulate on his or her birthday, like the Eight Immortals crossing the sea, the boy prostrate oneself before the image of Kwan-yin Bodhisattva , one hundred children pattern, one hundred the god of longevity pattern, nine dragons in sea, two dragons playing with a pearl and dragons-phoenix present lucky etc.
The pattern of the four-leaf screen is: the figures, the water from a mountain plume and flowers and plants etc.
The pattern of the figures is: ,dream of the red chamber, like the Eight Immortals crossing the sea, traditional Chinese painting of beautiful women.
The pattern of the scenery is: The water from a mountain, the painting of flowers and birds in traditional Chinese style etc.
The embroider-small pieces of cloth has many model and form, which is includes: the round the square the hexagon and the rectangle etc.
The embroider-cushion is the practical products, it’s more than ten pattern.

Shadow Show

Chinese Shadow (shadow ,image), which can also be called "Chinese Shadow Play or Chinese Shadow Puppet play", is one of the most ancient genre of drama in China. It came into being in the Han Dynasty (206B.C.-A.D.220) and has more than two thousand years' history.
Popular among the people of China, Chinese Shadow is a dramatic form which uses lantern to project shadows on the screen. The artistic effect of the play is produced through light, screen, music, singing, and puppet operation. The shadow play is widely stated " a magic, lightning-like art" and win people's high praise in many countrys' visit sho We have troupes who possesses tremendous art expertise and have visited American, France, German, Japan, Netherlands and other countries to give visit shows by invitation. Please contact with us if you are interested.
The puppets in the shadow play are made of transparent leather. Chinese shadow artists first carve out the lines of the design and then dye them in bright colors. These transparent leather puppets become very lively and beautiful under the lantern light. With strong local characteristics, the shadow puppets are folk handiworks and a wisdow crystallization of Chinese shadow play artists through the ages. The exquistite shadow puppets not only can be played by yourself but also are a good choice for house ornament. Many state art museums and Chinese Shadow fans collect elegant Chinese shadow Puppets.
Chinese shadow Puppets size : 10cm×20cm; 20cm×30cm; 30cm×40cm.

Snuff Bottles

The history of snuff bottles in China over 400 years.In the Qing Dynasty snuff bottles used to be regarded as precious gifts in international contacts.Snuff bottles are made of a wide variety of materials. These include coral, ivory, jade, jadeite, mother of pearl, lapis lazuli, quartz, malachite, agate, turquoise as well as gold, silver and many more exotic materials.

Silk Figurines

Beijing silk figurines(figurine,statuette,imagestatue,statuary,glyph,graven image)is a Chinese traditional handicraft. It was originated from the Northern Song Dynasty of China with a Long history of more than 1,000 years.
Beijing silk figurines have their materials from the characters of folk a stories loved by common people in China; such as ancient beauties, dramatic figurines and modern dancers, etc. are being used as the subjects. Through fine handwork of some ten processes in carving, color painting, sewing and straightening out of costume property and head ornaments, etc, done by the artist, a true-to-life shape and lifelike stereoscopic figure is finally finished, From head to feet and from interior to exterior, top quality Chinese silk and spun gauze are being selected for the application, hence it has attained the name of "silk figurine".
Beijing silk figurines are exquisitely made, bearing different expressions, bright and colorful and elegant in style. It is not only a rare specimen of indoor ornament, but is also a stereoscopic picture for understanding Chinese history local conditions and customs, which really has very high admiration value

Peking Glass

The Peking Glass history in China more than 300 years.The Imperial Workshop was built in the Forbidden City within the Palace walls in 1696. It was overseen by a German Priest, who brought many Western techniques of Glass and Enamel work to the Chinese. The first "Peking Glass" items produced were single colored glass that was either carved or faceted. Overlay glass was developed later, which involved dipping a glass item into a vat of molten glass of a contrasting color. After cooling, the second color was carved away to reveal the color underneath. As this technique developed more colors and multiple layers were used. Peking Overlay Glass items are still being produced today. The Imperial Workshop was staffed with the best Craftsmen from all parts of China.

Woodcarving

China has a long history in woodcarving (woodcarving, wood carving,xyloglyphy). Picturesque in contours, concise in intended meanings, exquisite in chiseling skills, Chinese woodcarving embodies harmony, in terms of the relationship between each component and the carving as a whole. Based on customs and myths, its themes in general are classified into the following four categories: auspicious designs, such as “excessive happiness”, “full crops harvest” “peaceful and hearts’ desire” “longevity” “good luck”; figures for enjoyment purpose, such as characters in operas, ancient heroes, historical novels, myths, fables; local people’s life style, such as farming, harvesting, sericulture, weaving, herding, hunting, sewing, commerce, love, etc.; fowls and beasts, plants, vegetables and fruits that people are familiar with. Beasts, such as chicken, duck, goose, rabbit, pig, cow, horse, deer, bat, fish and shrimp.
Woodcarving takes various forms: low relief, deep relief, transparent relief and full relief. Many hollowed-out deep relief are pieced together with full relief. Varied in chiseling techniques according to different materials, strengthened in sense of space, they constitute a kind of multiplayer deep relief similar to full relief, which is very pleasant to see.

Art Insect Model

Art Insect model are made by natural and logical materiel, the target we are looking for is getting into a perfect combine of the nature with the art and the creation of the products filled with a new idea. They are made of clay, metal wire and recycled paper. other materials used are polystyrene, tree barks, feathers and harmless with no-poison. These products are made from the bases of imitation and then utilize the exaggerated methods to create a complete decorative effect. The products possess multi-mode: hang, insert, put in some place as you want, attract by magnet. They are formed really superior handicraft in quality filled with a new idea for decoration, education, and admiration. They are used in hotels, shopping malls, school, offices, meeting rooms and domestic decoration.

Chinese Painting

Chinese painting (drawing,paint,picture)is an important part of Chinese Culture.
Chinese paintings characteristic: harmonious, nature, pithy.
Chinese painting has a long history: it originated in the late Zhou Dynasty, and developed in the Han Dynasty. In Tang Dynasty (618-906), the painting has the first golden age. In Song Dynasty (960-1279), there was the a first royal painting academy. Even the emperor (Huizong) is also a famous painter. The bird-and-flower painting has since been a popular theme.
The Yuan (1279-1368), Ming (1368-1644), and Qing (1644-1912) Dynasties: the painting was developed with poesy and music.
In the 20th Century to now, the painting developed with modernize and adopt Western styles and traditions

Lacquer Ware

China lacquer ware (lacquerware,lacquer,lacquerwork) raw materials of the work are rarefied, and subtle techniques are used in each works' processing. Wooden bodies are made of dried superfine pines and are putted on with hemp or pasted with paper and cloth, then covered with plaster according to designs. Each course is polished in order to be neat, fixed, damp-proof and easy to paint. Paint layers are divided into three courses: bottom lacquer, mid lacquer and face lacquer, and each of them need to be polished.
China lacquer ware including: 3000 varieties of works, including screen, cabinet, table, stand, box and plate made with traditional techniques of inlaying, painting, etching, coromandel, cover-coating, wrapping with jades and stones and breaking veins.

Antique Furniture

The Chinese Classical Furniture (furniture,house furnishings,suite,fitment
)combines the character of the artistic, decorative, practical and collective. The craftsmanship reached a summit at the time of the late Ming and Early Qing Dynasty. The simple design style, fluent lines and reasonable construction show the unique eye of the aesthetics, and also people quite appreciate it today, so it's valuable for investment and collection .

Paper-cut

One of China's most popular folk-arts is paper-cut (paper-cutting,papercut). Its origin should be closely connected with the invention of paper during the Han dynasty (206 B.C.-221 A.D.). Paper-cut are used for religious purposes, for decoration and as patterns. As paper was highly precious in the early days, the art of paper cutting first became popular in the royal palaces and houses of nobility as a favorite pastime among court ladies. Later, during the 7th through 13th centuries, paper cutting was immensely popular during folk festivals and celebrations. By the 14th century, the art had spread to the Middle East and Europe; and by the 15th century onward, paper cut art works had become and integral part of the everyday life of the people. However, the art of paper cutting was on the verge of dying out during the past century as old China experienced successive years of the disaster of war brought on by domestic turmoil and foreign invasion. Amidst a myriad of changes in their lives, most people had no leisure time to engage in the study of the art of paper cutting.
Now paper-cut are chiefly used as decoration. They ornament walls, windows, doors, columns, mirrors, lamps and lanterns in homes and are also used for decoration on presents or are given as presents of themselves.

Yixing Zisha Teapots

Yixing (ee-shing) zisha teapots have been in use since the Song Dynasty (960-1279), became popular in the Ming Dynasty (1368-1644) & Qing Dynasty(1645-1910), Now they are popular all over the world.
Yixing zisha teapots are made from zisha---a purple clay found only in and near the Yixing region in China.
Yixing zisha teapots have a unique ability to improve the flavor of tea. The more yixing zisha teapots are used, the better they become. Yixing zisha teapots make unique gifts and great collectibles!

一段向死而生的旅程

2008-07-11T12:27:00.000+08:00

Summer in Baden-Baden

Summer in Baden-Baden(Englischsprachige Ausgabe)Sommer in Baden-Baden, geschrieben zwischen 1977 und 1981 ist ein verlorenes Meisterwerk, eine der bedeutendsten Leistungen russischer Literatur in der zweiten Hälfte des Zwanzigsten Jahrhunderts, dessen Autor, Leonid Tsypkin (1926-1982), nie erlebte, dass eine einzige Seite seines literarischen Werkes zu seinen Lebzeiten veröffentlicht wurde.Ein komplexer, höchst origineller Roman, der in einer Prosa geschrieben ist, welche sich an die Intensität und Kühnheit eines José Saramago oder Thomas Bernhard (Autoren, die Tsypkin natürlich wahrscheinlich nie hat lesen können) anlehnt, Sommer in Baden-Baden hat zwei Handlungsstränge.Es ist Winter, später Dezember, keine Datumsangabe: eine Art von "jetzt". Ein Erzähler - Tsypkin - fährt im Zug nach Leningrad (dem ehemaligen und künftigen Petersburg). Und es ist Aprilmitte des Jahres 1867.Der jung verheiratete Dostojewskij, Fjodor, der große Geschichtenschreiber, und seine jugendliche Frau, Anna Grigorjewna, sind auf dem Weg nach Deutschland, auf einer Reise, die sie für vier Jahre ins Ausland führen wird. Dies ist keine Dostojewskij- Fantasie wie in J.M: Coetzes "The Master of Petersburg".Es ist auch kein Doku-Roman, obwohl ihr Autor geradezu besessen davon war, alles "richtig" zu machen. Nichts ist erfunden. Alles ist erfunden. Dostojewskijs leichtsinnige Leidenschaften für das Glücksspiel, für seine literarische Berufung, für seine Frau, werden an ihrer alles verzeihenden Liebe, die im Wechsel mit der Liebe zur Unordnung formuliert wird, gemessen. Der Jünger des Geschöpfes, Leonid Tsypkin, für Dostojewskij.In einem bemerkenswerten Einführungsaufsatz erklärt Susan Sontag, warum es sich wie eine Art Wunder darstellt, dass Sommer in Baden-Baden überlebt hat und das glückliche Ereignis seiner Veröffentlichung in Amerika feiern kann, zusammen mit einer Wiedergabe von Tsypkins belagertem Leben und den bedeutsamen Freuden, die seine wunderbaren Romane hervorrufen. (amazon)Summer in Baden-Badenvon Leonid Tsypkin, Susan Sontag (Einleitung), Angela Keys (Übersetzerin)Sprache: EnglischGebundene Ausgabe146 SeitenNew Directions Publishing Corporation

Ein Sommer in Baden-BadenGut vorstellbar ist, dass mancher Russe, der im dritten Jahrtausend nach Baden-Baden zu reisen gedenkt, meint, in Leonid Zypkins Werk "Sommer in Baden-Baden" einen nützlichen Ratgeber zu finden.Seinen Irrtum wird er bald bemerken, denn "Ein Sommer in Baden-Baden" ist die Auseinandersetzung eines sowjetrussischen Literaten des 20. Jahrhunderts mit einer, wie man es nennen könnte, zentralen Persönlichkeit des 19. Jahrhunderts, mit Fjodor Michailowitsch Dostojewskij.Das Tagebuch Annas, der jungen Frau Dostojewskijs, ist in der zweiten Hälfte des 20. Jahrhunderts Begleiter eines von Moskau nach Leningrad Reisenden und dient sozusagen als Beleg für die Rekonstruktionen dieses Zugreisenden. Diesem ist Dostojewskijs Leben und künstlerisches Werk bestens vertraut, gelingt es ihm doch, den Ereignissen der Monate April bis August 1867 Vergangenes und Zukünftiges beizuordnen und damit dem Leser Dostojewskij ebenso nahe zu bringen, wie russische Lebens- und Denkverhältnisse während zweier Jahrhunderte anhand markanter Beispiele zu verdeutlichen.Wäre Dostojewskij nicht nach Baden-Baden gereist, sondern beispielsweise in Dresden, einer seiner Stationen dieser Reise, geblieben, hätte Leonid Zypkin möglicherweise Dresden nicht in den Titel eingebunden. So dokumentiert er mit der Titelwahl jedoch die ihm, dem 1926 Geborenen, der nie einen Fuß auf nichtrussischen Boden setzen konnte, wie vielen anderen seiner Zeitgenossen überlieferte Bedeutung der einstigen "Sommerhauptstadt Europas" für seine Landsleute im 19. Jahrhundert.Anzutreffen sind sie alle in diesem "Sommer in Baden-Baden", die einflussreichen Russen, die Casino, Conversationshaus, Allee und die großen Hotels bevölkern, und gegenüber welchen Dostojewskij eine krasse Außenseiterrolle einnimmt. Kontakte zu ihnen bestehen nicht. Lediglich Iwan Gontscharow, der im dem Casino gegenüber gelegenen "Hotel de l'Europe" logiert, wird von ihm um Geld angegangen, und das Zerwürfnis zwischen Dostojewskij und Iwan Turgenjew wird von Leonid Zypkin beleuchtet.Die Wirtsleute des jungen Paares, das sich in der heutigen Bäderstraße 2 eingemietet hatte, schneiden in Anna Dostojewskajas Tagebuch offenbar nicht sonderlich gut ab und bekräftigen Dostojewskijs Meinung, "es gäbe nirgendwo auf der Welt so viele Halunken wie in Deutschland". Ein gewisser Spott ist auszumachen bei Formulierungen wie: "Nach einigen Minuten machten sie sich auf den Heimweg durch die akkurat gepflasterten Straßen mit den akkurat beschnittenen Bäumen, vorbei an den akkuraten deutschen Häusern…"Wenn dem Leser nicht klar wäre, dass Leonid Zypkin Baden-Baden nie persönlich erlebt hat, könnte er zurückspotten, er habe die Kurstadt sehr frei beschrieben, denn als der Zug, der die Dostojewskijs gen Basel bringen soll, die Stadt verlässt, passiert Folgendes:"An den Fenstern zogen die klassizistischen Häuser mit den ziegel- und schiefergedeckten Dächern vorüber. In der Ferne wurden die grün bewaldeten Berge sichtbar. Auf einem von ihnen standen die beiden Schlösser, das Neue und das Alte. Jetzt, da sie für immer diese Stadt verließen, sah sie erst wieder - wie am Abend ihrer Ankunft - die Schönheit des Städtchens und der Berge ringsum, hinter denen irgendwo der Rhein bläulich schimmerte."Dichterische Freiheit mag Leonid Zypkin bei seinen verschiedenen Beschreibungen der Stadt zugestanden werden, in einem hat er allerdings Recht: "Die Schönheit des Städtchens und der Berge ringsum" war im 19. Jahrhundert Wirklichkeit und ist es auch im dritten Jahrtausend.Insofern kann "Ein Sommer in Baden-Baden" doch als Ratgeber für reisewillige, auf den Spuren ihrer Vorfahren wandeln wollende Russen betrachtet werden, wenn sie ein besonders schönes Fleckchen Erde entdecken wollen.Den Deutsch sprechenden Lesewilligen von "Ein Sommer in Baden-Baden" blieb nur der Gang in die Bibliotheken oder Antiquariate, da die 1983 erschienene deutsche Übersetzung von Heddy Pross-Weerth im Handel nicht mehr erhältlich gewesen ist.Der Berlin Verlag hat im Januar 2006 eine Übersetzung aus dem Russischen von Alfred Frank veröffentlicht, die im Wortlaut zuweilen von der ersten Übersetzung abweicht. So ist zur Abfahrt aus Baden-Baden zu lesen:"...rote Backsteingebäude mit Ziegeldächern glitten an den Fenstern vorbei, in der Ferne waren bewaldete Berge zu sehen, und auf einem von ihnen das Neue und das Alte Schloß mit den darüber aufragenden Felsen - jetzt da sie für immer abfuhren, wurde sie aufs neue, wie beim erstenmal, als sie sich diesem Städtchen genähert hatten, gewahr, wie schön es samt seiner bergigen Umgebung war, in der Ferne glänzte das blaue Wasser des Rheins auf..."Die einfangende Spannung ist beiden Übersetzungen indes gleichermaßen gegeben.Von Rika Wettstein, Baden-BadenEin Sommer in Baden - BadenVon Leonid ZypkinAus dem Russischen von Alfred Frank, mit einem Vorwort von Susan Sonntag240 Seiten, Festeinband mit Schutzumschlag, Berlin Verlag

怎样

2008-07-11T12:26:00.000+08:00

当无法写字的时候，就画画；当无法画画的时候，就写字；

时空总是与我们的意念错位；

恐于表现的尴尬，所以如鸵鸟般掩藏；

惧怕怀念的痛楚，所以将刺猬的外衣反穿；

混浊与世，保有清澄；

仙女的妩媚，妖精的气质；

吟游诗人用妖娆的小嗓门；

找啊找的，最后还是丢了......

The Magic Position

2008-07-11T12:24:00.000+08:00

Artist: Patrick Wolf
Song: The Magic Position

So let the people talk
It's Monday morning walk
Right past the fabulous mess we're in
It's gonna be a beautiful day
So do the bluebirds sing
As I take your hand
And you take my kiss
And I take the world
'Cause out of all the people I've known
The places I've been
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The songs that I have sung
The wonders I've seen
Now that the dreams are all coming true
Who is the one that leads me on through

It's you
Who puts me in the magic position, darling now
You put me in the magic position
To live, to learn, to love in the major key

And I know how you've hurt
And been dragged through the dirt
But c'mon get back up

It's the time to live
So give your love to me
I'm gonna keep it carefully
Deep in the treasure chest below my breast
'Cause out of all the people I've known
The places I've been
The songs that I have sung
The wonders I've seen
Now that the dreams are all coming true
Who is the one that leads me on through

It's you
Who puts me in the magic position, darling now
You put me in the magic position, darling now
Let me put you in the magic position, darling
'Cause I'm singing in the, the major key

Noch mal leben vor dem Tod

2008-07-11T12:23:00.000+08:00

Eindrucksvolle Fotoausstellung über das Sterben im Dresdner Hygiene-Museum

Dresden – "Noch keine Ausstellung in all den Jahren ist so gerade und schnörkellos ins Zentrum unserer Menschlichkeit gestoßen", sagt Klaus Vogel, der Leiter des Dresdner Hygienemuseums, vor der Eröffnung der Fotoausstellung "Noch mal leben". Der Fotograf Walter Schels und die Journalistin Beate Lakotta haben 24 Menschen vor und nach ihrem Tod portraitiert, und sie haben das mit einer atemberaubenden Eindringlichkeit getan.

Das Sterben wird auf den überlebensgroßen Fotos und in den Texten über das, was die Portraitierten in ihren letzten Tagen, Wochen oder Monaten bewegte, weder verbrämt noch beschönigt. Und doch werden die Betrachter nicht ungetröstet entlassen. Aus den Bildern und Texten strahlt die Würde derer, die freiwillig Einblick in ihr Leben gegeben haben. Und obgleich jede Pore und jede Falte zu erkennen ist, sind die Gesichter von einzigartiger Schönheit.

Manche wirken bereits vor dem Sterben friedlich und entspannt, aus anderen spricht Auflehnung oder Anspannung, die sich im Tod auflöst. Die Texte sind eine Brücke zu den Fotos. "Wenn man sie liest, öffnet sich das Gesicht", sagt Walter Schels, Jahrgang ‘36, der mit fotografischen Charakter-Studien bekannt wurde.

Da ist zum Beispiel die 30-jährige Silke Boehmfeld, die fast gleichzeitig mit ihrem sechsjährigen Sohn Jannick an Krebs erkrankt ist. Ihr großes Ziel war es, Jannick zu überleben, und das hat sie mit großer Anstrengung geschafft. Mancher haderte in seinen letzten Tagen mit Gott, anderen geht es erstmals richtig gut. Der 57-jährigen Ursula Appeldorn zum Beispiel, die psychisch krank ist. "Jetzt bin ich vollkommen gesund", hat sie gesagt, und ihr warmer, wacher Blick scheint genau das zu bestätigen.

Dass Walter Schels und Beate Lakotta die Sterbenskranken in Hospizen suchten und fanden, hatte nicht nur organisatorische Gründe. In Krankenhäusern habe sie sehr häufig erlebt, dass der Tod weit weggeschoben werde, erläutert die 39-jährige Beate Lakotta, Wissenschaftsredakteurin bei der Zeitschrift "Spiegel". Todgeweihte würden oftmals in falschen Illusionen gelassen und bis zum Schluss vertröstet nach dem Motto "Das wird schon wieder!"

Wer in ein Hospiz gehe, der entscheide sich dafür hingegen bewusst im Blick auf sein bevorstehendes Sterben. Beate Lakotta hat festgehalten, wie intensiv viele Menschen, die sich auf die Begrenztheit ihrer Lebenszeit einstellen dürfen, die verbleibenden Augenblicke erleben.

"Jeder Moment wird kostbar", sagte Wolfgang Kotzaln beispielsweise einige Wochen vor seinem Tod. "Jetzt sehe ich alles anders: jede Wolke am Fenster, jede Blume in der Vase. Auf einmal ist alles wichtig."

In einem Pressegespräch vor der Ausstellungseröffnung erzählten die beiden Autoren auch von ihren Ängsten, von ihrer Scheu etwa, Menschen zu fragen, ob sie über ihr eigenes Sterben sprechen möchten und ob sie damit einverstanden sind, nach ihrem Tod fotografiert zu werden. Die meisten, die sie ansprachen, waren zu ihrer anfänglichen Überraschung jedoch sehr bereitwillig. Das Redebedürfnis und die Erleichterung, sich nicht verstellen zu müssen, waren groß, gerade bei denen, die im Freundes- und Familienkreis niemanden hatten, der bereit war, mit ihnen über ihr bevorstehendes Sterben zu sprechen.

"Ich bin sehr dankbar, diese Arbeit gemacht zu haben", sagt Walter Schels. Vorher habe er große Angst vor dem Tod gehabt, und es kostete ihn große Anstrengung, sich der Begegnung mit den Sterbenden zu stellen. Das Portrait mit dem ersten Sterbenden bleibt für ihn unvergesslich: "Ich war noch nie einer Leiche so nahe gewesen, und diesen Menschen hatte ich sehr gut kennen gelernt. Ich fühlte ihn noch, doch er war tot. Ich glaube, dass ich meine Angst vor dem Tod jetzt überwunden habe."

Für ihre 2003 im "Spiegel" veröffentlichte Reportage "Noch mal leben vor dem Tod" haben Schels und Lakotta den Hansel-Mieth-Preis für engagierte Reportagen und den Deutschen Sozialpreis gewonnen. Die Porträtfotos wurden beim Wettbewerb World Press Photo 2004 mit einem zweiten Preis ausgezeichnet und erhielten einen Lead Award 2004 und eine Goldmedaille des Art Directors Club. Die Ausstellung "Noch mal leben" ist bis zum 7. November dienstags bis sonntags von 10 bis 18 Uhr im Dresdner Hygienemuseum am Lingnerplatz 1 zu sehen. Weitere Ausstellungsorte sind geplant.

Dorothee Wanzek

Begleitend zur Ausstellung findet im Hygienemuseum eine Ringvorlesung in Kooperation mit der Akademie für Palliativmedizin und Hospizarbeit und der TU Dresden statt. Eröffnet wird die Vorlesungsreihe am 13. Oktober. 15 Uhr Besichtigung der Ausstellung "Noch mal leben" mit Beate Lakotta. 16.45 Einführung in die Vorlesungsreihe 17.15 Uhr Gespräch zur Ausstellung mit Beate Lakotta. Das Buch zur Ausstellung enthält umfangreichere Texte: Beate Lakotta und Walter Schels, Noch mal leben vor dem Tod - Wenn Menschen sterben, DVA München 2004, 39,90 Euro.

MARIA CALLAS

2008-07-11T12:19:00.000+08:00

1923
Cecilia Sofia Anna Maria Kalogeropoulos was born in New York from George ed Evangelia, her Greek parents.
1937
She leaves America with her mother and sister to return to Greece.
1938
She debuts in Athens as Santuzza in Mascagni's Cavalleria Rusticana, in a performance for Conservatory students. She meets Elvira de Hidalgo, the teacher who did understand Maria's temper and voice more than any other teacher.
1940
In a radio broadcast Maria interprets the whole part of Suor Angelica in Puccini's "Trittico".
1942
Official debut at Athens Opera on August 27th, as Tosca.
1944
Maria embarks on the "Stockholm" to return to America, longing to reencounter her father, whom she hadn't met since 1937.
1945-1947
In New York, Maria desperately tries to obtain a part. She meets a greedy "impresario", named Bagarozy, who promits her to be Turandot in a good number of performances, but everything vanishes into nothing. She meets Nicola Rossi Lemeni, who introduces her to an old tenor, Giovanni Zenatello, who is looking for sopranos able to be Gioconda at Verona's "Arena".
1947
On June 27th she embarks to Italy. On August 2nd she debuts as Gioconda at Verona's Arena; the conductor is Tullio Serafin. She meets Giovanni Battista Meneghini, an old entrepreneur who falls in love with her.
1948
The schedule becames more and more busy. She sings as Isotta (Tristan und Isolde - Wagner), Turandot, Leonora (Forza del destino - Verdi), in Venezia, Genoa, in Rome at Caracalla's Baths. At the end of the year she debuts as Aida and Norma.
1949
In January she interprets Brunhilde in Wagner's "Die Walk&uumlre", and only three days later she is Elvira in Bellini's "Puritani". It's an incredible vocal shift, which will be recorded forever in Opera history. She marries G.B. Meneghini, ending a situation that saw her as a concubine.
1950
In march she accepts to substitute Renata Tebaldi at Milan's La Scala as Aida.
1951
It's the 50th anniversary of Verdi's death. To celebrate it, Maria sings La Traviata at Florence's "Comunale", Il Trovatore in Naples, Aida at Reggio Calabria, I Vespri Siciliani at Florence's "Maggio Musicale". La Scala finally opens the gates to her, and the superintendant Ghiringhelli proposes her to sing I Vespri, Norma, Mozart's The Rape.
1951-1953
The conquest of La Scala. Hundreds of performances all around the world.
1953
Maria sings Medea for the first time, and her "interpretative fire" is at last recognized by everyone. At Chicago's Lyric Theatre she sings Norma, Lucia di Lammermoor and Traviata. She is defined "the greatest soprano in the world".
1954
She starts the important work with Luchino Visconti, with Spontini's La Vestale, which opens the 1954-55 season at La Scala.
1955
La Traviata Callas-Visconti, a real "must". If you are still reading you can't avoid buying it.
1956
Il Barbiere di Siviglia at La Scala must be recorded. Fiercely criticized, even defining Rosina as "rude". By our opinion, that Rosina is still unequalled. During fall Maria sings Norma at the Metropolitan, the theatre wich refused her when she was younger.
1957-1958
Glory and problems. In April 57 Maria, Gavazzeni and Visconti produce Donizetti's Anna Bolena after 80 years of oblivion. The critics were enthusiastic. At a party held for her at Elsa Maxwell's she meets the greek tycoon Aristotele Onassis. On January 2nd, 1958 she sings Norma at "Opera di Roma" in front of Italy's President Gronchi, but she feels bad and took lots of pills to be able to sing. Maria has to quit before the end. The audience is angry and shouts against her. Shortly after, a violent quarrel with Rudolph Bing, Met's chief, causes the end of her presence in that theatre.
1959
Maria leaves her husband and starts a love affair with Aristotele Onassis. She is frequently aboard the "Christina", Onassis' yacht.
1961-1962
Nothing of musically relevant, lots of buzzing. Medea at La Scala was the only important exhibition.
1963
Maria in Paris. On June 5th she sings at the Champes Elys&eacutees Theatre with Georges Pr&ecirctre as conductor. It's a triumph. During that year Maria moves forever to Paris, at first in 44 Avenue Foch.
1964
The most relevant fact was Tosca at Covent Garden with Zeffirelli. We could also remember Norma and Tosca at Paris "Op&eacutera". Each performance is a success, but Maria starts to feel her voice's decay.
1966
The journalists are no more so interested in her. She lives in Paris and moves to her new flat at 36 Avenue Georges Mandel. She spent the summer on the "Christina", but she was often alone aboard the immense yacht.
1968
Onassis marries Kennedy's widow. Maria starts to slip towards the end.
1971-1972
Maria teaches her precious secrets at Juilliard School students. She obtains divorce from Commendator Meneghini, exploiting the new italian law. She reinforces the old friendship with Giuseppe di Stefano, preparing a triumphal "rentr&eacutee" with him in the more important theatres.
1973
She directs I Vespri Siciliani inaugurating Turin's Teatro Regio.
1977
Maria dies, alone in her home at Avenue Georges Mandel, officially by a heart attack. The only witnesses of her last moments of life were the midwife and the butler. Her ashes were scattered in the Aegeus Sea during a storm.

Vincenzo Bellini
Norma Melodram 260181950 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Giulietta Simionato, Kurt Baum and Nicola Moscona
Norma Legato 130, Melodram 260251952 Royal Opera, Covent Garden, Vittorio Guiwith Ebe Stignani and Joan Sutherland
Norma Melodram 260311953 Teatro Giuseppe Verdi, Antonino Vottowith Franco Corelli and Boris Christoff
Norma EMI mono CDS7 47304-81954 La Scala, Milan, Tullio Serafinwith Ebe Stignani and Mario Filippeschi
Norma HRE 1007, GALA GL 100.511, Hunt 517 1955 La Scala, Milan, Antonino Vottowith Giulietta Simionato and Mario del Monaco
Norma Cetra CDAR 2018 (Fonit Cetra 4)1955 RAI, Rome, Tullio Serafinwith Ebe Stignani and Mario del Monaco
Norma EMI CMS7 63000-21960 La Scala, Milan, Tullio Serafinwith Christa Ludwig and Franco Corelli
Il Pirata EMI CMS7 64940(or 64938?)-2, Melodram 260131959 American Opera Society, Nicola Rescigno
I Puritani Melodram 260271952 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Giuseppe di Stefano
I Puritani EMI mono CDS7 47308-81953 La Scala, Milan, Tullio Serafinwith Giuseppe di Stefano and Rolando Panerai
La Sonnambula Myto 890.06, Great Opera Performances GOP 121955 La Scala, Milan, Leonard Bernstein
La Sonnambula EMI mono CDS7 47378-81957 La Scala, Milan, Antonino Vottowith Nicola Monti and Fiorenza Cossotto
La Sonnambula Virtuoso 2697252, Legendary Recordings 207-31957 La Piccola Scala, Edinburgh, Antonino Vottowith Nicola Monti and Fiorenza Cossotto
La Sonnambula Melodram 26003, Hunt 5031957 Cologne, Antonino Vottowith Nicola Monti and Fiorenza Cossotto

Georges Bizet
Carmen EMI CDS7 54368-81964 Paris National Opera, Georges Pretrewith Nicolai Gedda, Andrea Guiot and Robert Massard
Luigi Cherubini
Medea Hunt 5161953 Maggio Musicale Fiorentino, Vittorio Guiwith Fedora Barbieri
Medea Fonit Cetra 10191953 La Scala, Milan, Leonard Bernsteinwith Fedora Barbieri
Medea EMI CMS7 63625-2, Ricordi ACDOCL 2011957 La Scala, Milan, Tullio Serafinwith Miriam Pirazzini
Medea Melodram 260161958 Dallas Symphony, Nicola Rescignowith Jon Vickers and Teresa Berganza
Medea Melodram 260051959 Royal Opera, Covent Garden, Nicola Rescignowith Jon Vickers and Fiorenza Cossotto
Medea Hunt 340281961 La Scala, Milan, Thomas Schipperswith Jon Vickers and Giuletta Simionato

Gaetano Donizetti
Anna Bolena EMI CMS7 64941-2 (64942?), Melodram 261101957 La Scala, Milan, Gianandrea Gavazzeniwith Giulietta Simionato and Gianni Raimondi
Lucia di Lammermoor Myto 913.401952 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Giuseppe di Stefano
Lucia di Lammermoor EMI mono CMS7 69980-21953 Maggio Musicale Fiorentino, Tullio Serafinwith Giuseppe di Stefano, Tito Gobbi and Raffaele Arie
Lucia di Lammermoor Standing Room Only 8311954 La Scala, Milan, Herbert von Karajanwith Giuseppe di Stefano and Rolando Panerai
Lucia di Lammermoor EMI mono CMS7 63631-21955 La Scala, Milan, Herbert von Karajanwith Giuseppe di Stefano, Rolando Panerai and Nicola Zaccaria
Lucia di Lammermoor Myto 90.3191956 Teatro San Carlo, Naples, Francisco Molinari-Pradelliwith Gianni Raimondi and Rolando Panerai
Lucia di Lammermoor Melodram 260341956 Metropolitan Opera, Fausto Clevawith Giuseppe Campora and Enzo Sordello
Lucia di Lammermoor Melodram 26014, Hunt 340221957 RAI, Rome, Tullio Serafinwith Eugenio Fernandi and Rolando Panerai
Lucia di Lammermoor EMI CDS7 47440-81959 Philharmonia, Tullio Serafinwith Ferruccio Tagliavini, Piero Cappuccilli and Bernard Ladysz
Poliuto Melodram 260061960 La Scala, Milan, Antonino Vottowith Franco Corelli and Ettore Bastianini

Umberto Giordano
Andrea Chenier Melodram 260021955 La Scala, Milan, Antonino Vottowith Mario del Monaco

Christoph Willibald von Gluck
Alceste Melodram 260261954 La Scala, Milan, Carlo Maria Giuliniwith Rolando Panerai
Iphigenie en Tauride Melodram 260121957 La Scala, Milan, Nino Sozognowith Fiorenza Cossotto

Ruggero Leoncavallo
I Pagliacci EMI CDS7 47981-81954 La Scala, Milan, Tullio Serafinwith Giuseppe di Stefano, Tito Gobbi and Rolando Panerai

Pietro Mascagni
Cavalleria rusticana EMI mono CDS7 47981-8 (49781?)1953 La Scala, Milan, Tullio Serafinwith Giuseppe di Stefano, and Rolando Panerai

Amilcare Ponchielli
La Gioconda Fonit Cetra 91952 RAI, Turin, Antonino Vottowith Fedora Barbieri
La Gioconda EMI CDS7 49518-21959 La Scala, Milan, Antonino Vottowith Fiorenza Cossotto and Piero Cappuccilli

Giacomo Puccini
La Boheme EMI mono CDS7 47475-81956 La Scala, Milan, Antonino Vottowith Giuseppe di Stefano, Anna Moffo and Rolando Panerai
Madama Butterfly EMI mono CDS7 47959-81955 La Scala, Milan, Herbert von Karajanwith Nicolai Gedda
Manon Lescaut EMI mono CDS7 47393-81957 La Scala, Milan, Tullio Serafinwith Giuseppe di Stefano
Tosca Melodram 360321950 Palacio de las Bellas Artes, Mexico City, Umberto Mugnai
Tosca Melodram 26028, Great Opera Performances 7141952 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Giuseppe di Stefano
Tosca EMI CDS7 47175-81953 La Scala, Milan, Victor De Sabatawith Giuseppe di Stefano and Tito Gobbi
Tosca EMI CMS7 69974-21964 Paris Opera Conservatoire Orchestra, Georges Pretrewith Carlo Bergonzi and Tito Gobbi
Tosca Melodram 260111964 Royal Opera, Covent Garden, Carlo Felice Cillariowith Renato Cioni and Tito Gobbi
Tosca Melodram 260331965 Paris Opera, Nicola Rescignowith Renato Cioni and Tito Gobbi
Tosca Melodram 260301965 Metropolitan Opera, Fausto Clevawith Franco Corelli and Tito Gobbi
Tosca Melodram 260351965 Metropolitan Opera, Fausto Clevawith Richard Tucker and Tito Gobbi
Turandot EMI CDS7 47971-81957 La Scala, Milan, Tullio Serafinwith Eugenio Fernandi, Elisabeth Schwarzkopf and Nicola Zaccaria

Gioachino Rossini
Armida Melodram 260241952 Teatro Comunale, Florence, Tullio Serafin
Il barbiere di Siviglia Melodram 260201956 La Scala, Milan, Carlo Maria Giuliniwith Tito Gobbi and Luigi Alva
Il barbiere di Siviglia EMI CDS7 47634-81957 Philharmonia, Alceo Gallierawith Tito Gobbi and Luigi Alva
Il Turco in Italia EMI CDS7 47634-8 (49344?)1954 La Scala, Milan, Gianandrea Gavazzeniwith Nicolai Gedda

Gaspare Spontini
La vestale Melodram 260081954 La Scala, Milan, Antonino Vottowith Franco Corelli, Enzo Sordello and Ebe Stignani

Giuseppe Verdi
Aida Melodram 260091950 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Giuletta Simionato
Aida Melodram 26015, Cetra CDE 10261951 Palacio de las Bellas Artes, Mexico City, Oliviero de Fabritiiswith Mario del Monaco and Giuseppe Taddei
Aida Legato Classics LCD 187-21953 Royal Opera, Covent Garden, John Barbirolliwith Giuletta Simionato and Joan Sutherland (Priestess)
Aida EMI mono CDS7 49030-81955 La Scala, Milan, Tullio Serafinwith Fedora Barbieri, Richard Tucker and Tito Gobbi
Un ballo in maschera EMI mono CDS7 47498-81956 La Scala, Milan, Tullio Serafinwith Giuseppe di Stefano and Tito Gobbi
Un ballo in maschera Hunt 5191957 La Scala, Milan, Gianandrea Gavazzeniwith Giuseppe di Stefano, Giuletta Simionata and Ettore Bastianini
La forza del destino EMI mono CDS7 47581-81954 La Scala, Milan, Tullio Serafinwith Richard Tucker
Macbeth EMI CMS7 64944-2 (64946?), Movimento Musica 051-0221952 La Scala, Milan, Victor de Sabata
Nabucco Legendary Recordings 1005, Melodram 260291949 Teatro San Carlo, Naples, Vittorio Gui
Rigoletto Melodram 260231952 Palacio de las Bellas Artes, Mexico City, Umberto Mugnaiwith Giuseppe di Stefano
Rigoletto EMI mono CDS7 47469-81955 La Scala, Milan, Tullio Serafinwith Tito Gobbi and Giuseppe di Stefano
La traviata Melodram 260191951 Palacio de las Bellas Artes, Mexico City, Oliviero de Fabritiiswith Cesare Valletti and Giuseppe Taddei
La traviata Melodram 260211952 Palacio de las Bellas Artes, Mexico City, Umberto Mugnaiwith Giuseppe di Stefano
La traviata Fonit Cetra 2 (Fonit Cetra Classic Collection mono CD09)1953 RAI, Turin, Gabriele Santini
La traviata EMI mono CMS7 63628-21955 La Scala, Milan, Carlo Maria Giuliniwith Giuseppe di Stefano and Ettore Bastianini
La traviata Myto 89.0031956 La Scala, Milan, Carlo Maria Giuliniwith Gianni Raimondi and Ettore Bastianini
La traviata EMI mono CDS7 49187-8 (CDS 7 49578-8?)1958 San Carlos Opera, Lisbon, Franco Ghionewith Alfredo Kraus and Mario Sereni
La traviata Melodram 26007; Verona 270541958 Royal Opera, Covent Garden, Nicola Rescignowith Cesare Valletti
Il Trovatore Melodram 260171950 Palacio de las Bellas Artes, Mexico City, Guido Piccowith Kurt Baum, Giulietta Simionato and Leonard Warren
Il Trovatore Melodram 260011951 Teatro San Carlo, Tullio Serafinwith Giacomo Lauri-Volpi
Il Trovatore Myto 90213, Legendary Recordings 1007-21953 La Scala, Milan, Antonino Vottowith Ebe Stignani
Il Trovatore EMI CDS7 49347-21956 La Scala, Milan, Herbert von Karajanwith Giuseppe di Stefano and Rolando Panerai
I vespri siciliani Legendary Recordings 1008, Melodram 360201951 Teatro Comunale, Florence, Erich Kleiberwith Boris Christoff

Richard Wagner
Parsifal Melodram 360411950 RAI, Rome, Vittorio Guiwith Boris Christoff and Rolando Panerai
http://www.emiclassics.com/

Celtic Heartland

2008-07-11T12:18:00.001+08:00

主要作者
Korb, Ron.
書刊名/資料類型
Celtic heartland=/心靈秘境 //[sound recording]
其他書刊名
心靈秘境
作者
Ron Korb.
出版項
Taiwan :Jingo,2001.
音樂作品號
JCD030004Jingo
稽核項
1 sound disc (laser) (53 min.) :
內容註
Cuchulainn -- Green eyed maiden -- The noble land -- Castle moon -- Molly's heart -- The day I lost my love -- Harvest Jig -- Medieval east -- Steafan's theme -- Oracle -- Sligo song -- Tribal lament -- Night of the long shadows.
表演者
Ron Korb, penny whistle, low whistle ... [et al.] ; Donald Quan, piano ; Timy Edey, button accordion ... [et al.]
附註項
Compact disc.
標題
Flute music.
標題
Wind instrument music.
書目索書號
CD/M60.K67/C45

Night Of The Long Shadows 4'39

Tribal Lament 3'28

Sligo Song 3'25

Oracle 5'38

Steáfán's Theme 3'50

Medieval East 5'39

Harvest Jig 3'50

The Day I Lost My Love 4'45

Molly's Heart (remix) 3'30

Castle Moon 3'42

The Nobel Land 4'10

Green Eyed Maiden 4'37

Cuchulainn 2'55

any man's death diminishes me

2008-07-11T12:16:00.000+08:00

No man is an island. entire of itself; every man is a piece of the continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were; any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee. ——John Donne

2006.10.14笔记(部分）

2008-07-11T12:15:00.000+08:00

清冽的白描线条，趴在吊灯上的猫的视角，习惯拉着窗帘可以忽略时间的流逝——昨天翻了翻妹尾河童的《窥视工作间》，记起和朋友聊过一些是否适合人居住的城市。讨论的焦点不外乎城建设施、文化意象之类。后来有时候会想，其实我们并没有多少选择的权利，而且在一个城市工作与在一个城市生活甚至是分立的、无法融合的，多数似乎又回到了Office——Home两点一线的二维空间，连途中都在“挤相片”，怎么能充实起来。黑色系带平底芭蕾便鞋还在穿，松绿镶蕾丝棉麻衬衫也找到了，牛仔裤的边已经踩烂了没剪卷了上去，整个人感觉还是懒懒的肿着的乏味的漠然的。将要变幻的时候就会忍不住怀念，已是一种思维定式了罢。可碎片怎么也拼不出一小爿儿景，只有捡了些笔记粘在这里。
************************************************************************************

把真和善作为美的内核，对普通人的同情和对阴暗面的敏感。从西方现代艺术和思潮中获得了观察角度和语言形式，以形而上的姿态关注人的生存意义。以平视的角度看待人生，用泼皮的方式去描绘自己及自己周围的熟视、无聊、偶然乃至荒唐的生活片断。无聊感即在心灵和感觉中对现实世界意义的消解。玩世 Cynical 黑色幽默现世写实主义中国历来的政治迫害已经使中国民众练就了一身如何应付权力话语的本事，到了海外也自然会顺理成章地去迎合西方的权力话语。这种西方的权力话语表面上是出于对东方文化的尊重，其实是对付中国的一种具体政策，其目的是将中国的文化发展限制在中国固有的范围内，而用西方文化优于东方文化这样一种文化帝国主义模式让中国文化成为一种依附的文化，这就是西方为了殖民而使用的方法论，这种方法论同时又是西方“东方学”的宗旨。徐冰《析世鉴》

Kurt Cobain 无视生命但珍惜痛苦，更懂得尊严与自由的不可能，更彻底地涉及毁坏与热爱。 Ian Curtis 《The Idiot》 Joy Division 《Heart and Soul》 Procession moves on, the shouting is over. With children my time is wastefully spent. Watching them pass like clouds in the sky. Jim Morrison 《The Door》一半调笑，一半怂恿的天启：明白什么，就应忘记什么，忘记什么，就应皈依什么。 Van Ronk 《你走了我会孤独》 Patti Smith 《灵光集》《第七天堂》 like my fire 如果没有了阳光，我也会在有烛光月光或无光时写作，如果没有了纸和墨水，我会用血在被遗忘的墙上写作，我总会写。——Henry Rollins Laibach 《NATO》《Rekapitulacija 1980-1984》《Let it Be》《Sympathy for the Devil》《Jesus Christ Supersmtar》
若我不原谅这个世界，我也将永远得不到原谅。憎恨恰是爱固执的一面。我爱你，但请不要因此而认为可以随意伤害我。我们是那样的孤独，我们会消失得如此之快，我们如此相像。在爱被抑制时，学着去恨。

打碎你的镜子，将碎片撒到不同的国家；出外旅行并收集碎片，再把它们粘为一体；若不用镜子，你还可以撕碎日记或信；你还可以扯碎洋娃娃或把位于沙漠上空一万米的飞机轰成一块块。——No.3

我认为那个年代的纽约先锋艺术最令人兴奋的地方在于无体系和无界限。而它渐渐却变成了一所立足于其风格本身的公共机构，以看不见的方式列出各种规章制度——正是“流派”、“运动”、“团体”这样的概念遏制了它的活力。我从不认为自己属于任何团体，当有人想让我加入某场运动中去时，我第一个念头就是逃离。我确信在那些日子里我所结识的大部分艺术家都有着同样的想法。——小野洋子

统治世界的是想象力。——拿破仑不通过虚构，我们永远无法接近真实。——阿巴斯身体被历史所雕刻，也被历史所毁灭。——福柯性不是一种消遣，这是一种力量，一种动机，它会改变你思考的方式。——罗曼•波兰斯基 Fuck不是个坏字眼，Fuck是个好字眼，Fuck也是为什么我在这的原因。如果你父亲和母亲不Fuck的话，你今晚也不会在这，所以我想说Fuck You。——Madonna 性爱充满着谎言，身体试图表达真相，可由于被所谓规矩束缚往往无法让人听见，骨子里的骄傲让人无法移动。我们在谎言中削弱着自己。——Jim Morrison 我可不想把自己出卖，成为那些愚蠢男人的甜点。——Janis Joplin 让我们注视自己的面庞。我们是居于极北的人——我们十分清楚彼此相隔多远。“不论在陆地还是海洋，你都无法找到通往极北的道路。”品达已知晓我们的情况。超越北方，超越冰封，超越死亡——我们的生命，我们的快乐。…..我们已然发现快乐，我们知道路径，我们业已找到脱离整个千年迷宫的出口。——尼采《权力意志•敌基督》如今只有病态的音乐能赚钱。——尼采《悲剧的诞生•瓦格纳事件》艺术是一切要否定生命意志的企图的唯一最佳对抗力，是反基督的，反佛教的，尤其是反虚无主义的。艺术是对认识者的拯救——即拯救那个见到、想到生命的恐怖和可疑性格的人，那个悲剧式的认识者。艺术是对受苦人的拯救——是通向痛苦和被希望、被神化、被圣化状态之路，痛苦变成伟大兴奋剂的一种形式。——尼采《权力意志•重估一切价值的尝试》
1. 全神贯注地将音乐线条完整地弹出来，没有丝毫间断。 2. 决定乐句的气氛，而后将乐句中每一个音符与细节都在这个气氛的引导下被弹奏。 3. 找出乐句或段落中的最高点，使音乐在进行时有一个移动的方向。

音乐，你抚慰了我痛苦的灵魂；音乐，你恢复了我的安静、坚定、欢乐，恢复了我的爱，恢复了我的财富。——罗曼•罗兰

音乐是比一切智慧、一切哲学更高的启示……谁能参透我音乐的意义，便能超脱寻常人无法自拔的苦难。——贝多芬
音乐欣赏的困难总的说是人们被教导要尊敬的音乐；其实倒不如教导人们热爱音乐。——斯特拉文斯基
如果你要更好地理解音乐，再也没有比倾听音乐更重要的了。什么也代替不了倾听音乐。——科普兰

生命是一团欲望，欲望不满足便痛苦，满足便无聊，人生就在痛苦和无聊之间摇摆。——叔本华
你可以把它当作一部小说读，你也可以把它当作一部历史文献读，……，这一切都显得异常的可笑、愚昧、恐怖！但它确实发生过。——[俄]绥青《为书籍的一生》译文一定要传神达意，理想的译文仿佛是原作者的中文写作。那么原文的意义与精神，译文的流畅与完整，都可以兼筹并顾，不至于再有以辞害意，或以意害辞的弊病了。——傅雷谈翻译我得感谢这些年的漂泊，使我远离中心，脱离浮躁，让生命真正沉潜下来。在北欧的漫漫长夜，我一次次陷入绝望，默默祈祷为了此刻也为了来生，为了战胜内心的软弱。我在一次采访中说过：“漂泊是穿越虚无的没有终点的旅行。”经历无边的虚无才知道存在有限的意义。——北岛《失败之书》历史的内容不仅是服装和行话，一个时代的人们不是担起属于他们时代的变革的重负，便是在它的压力之下死于荒野。——《伊甸园之门》文献是“纪录有知识的一切载体。”文献学的核心内容，是研究知识与信息的科学组织和有效利用。当人类正面临知识经济的挑战时，文献学从来没有像今天这样受到高度重视。因为，全球经济的增长方式，比以往任何一个时期都更加依赖于知识的获得和创造性的利用，而文献学的根本任务，正是促进知识的获取手段和利用方式的科学化与高效化。——《文献学纲要》学术并非都是绷着脸讲大道理，研究也不限于泡图书馆。有这样一种学术研究，研究者对一个地方、一群人感兴趣，怀着浪漫的想象跑到那里生活，在与人亲密接触的过程中获得他们生活的故事，最后又回到自己原先的日常生活，开始有条有理地叙述那里的所见所闻。——《写文化》在那计算全部年数的黑夜，在那细数岁月的黑夜，请将我的名字归还于我。——the book of the dead [美]E•A•华理士•布奇把这一切奉献给他，装饰我的祭坛，他携带我一同从死亡中上升。——the book of the living and dying [美]法克伦•雷蒙德
日子一天天地过去，书信成为他们平静流淌的生活中无时不在的旁白。一切看来都那么正常，正常到两人相识二十年却缘悭一面，正常到两人通信数百封而未涉一个“爱”字。 “全体人类就是一本书。当一个人死亡，这并非有一章被从书中撕去，而是翻译成了一种更好的语言。上帝派来的那几个译者，名叫机缘，名叫责任，名叫蕴藉，名叫沉默。还有一位，名叫怀恋。——84，Charing Cross Road , by Helene Hanff
赫伯特•乔治•威尔斯在1896年发表的科幻小说《莫罗博士岛》中所讲述的故事——科学家莫罗采用“活体改造术”造出“兽人”并奴役之，后来反被造反的“兽人”杀死——则折射出了人性与动物本能，理性与命运之间微妙的平衡关系。一般而言，一个机体拥有两种不同物种（包括动物与植物，人与植物，动物与动物等）的细胞组织，便叫做“嵌合体”（chimera）。此词源于希腊神话，原指狮子头、山羊身和蛇尾的雌性怪物。现代科学技术的发展，已能打破物种之间的界限，使得人与动物可以进行遗传物质的交换，生成某一类“杂种”。过去的幻想，渐渐地变成了活生生的现实，但同时也抛出了一些道德和伦理上难题；生物体是否可以具有双重本性？对拥有人脑组织或意识的拟人化动物该如何归类？他（它）们是否应受到特别的法律保护？两个嵌合体之间可不可以进行繁殖？更重要的是，人在其自然本质遭到“践踏”和“亵渎”之后，还有没有尊严和价值可言？
但凡大规模的群众活动或暴力革命，总是泥沙俱下的。做到理性有时候很难，尤其是在群情激昂和兽性狂暴之时，惟其如此，理性才显得异常珍贵，才可以作为人和其他动物的区分标志。——拉瓦锡（1743-1794）《人性的复杂》

Morte a Venezia

Luchino ViscontiDirk Bogarde / Björn Andresen / Mark Burns / Nora Ricci
If you have read Thomas Mann's novel then you must watch this film too!! Main figure Aschenbach becomes a Mahler-Wagnerian composer struggling between cliche and ascetic ideal, the smell of decadence is stronger in the film...as is the homosexual touch...

Minimalism

2008-07-11T12:14:00.000+08:00

礼物化设计会给设计带来琐碎化和平凡化，而真正的礼物，是来源于生活中的真实的需要的。
Artists by Movement:MinimalismEmerged in the 1960'sMinimalism is a form of art in which objects are stripped down to their elemental, geometric form, and presented in an impersonal manner. It is an Abstract style of art which came about as a reaction against the subjective elements of Abstract Expressionism.Minimalist art frequently takes the form of installation or sculpture, for example with Donald Judd, Carl Andre Dan Flavin and Sol LeWitt. However, there are also a number of minimalist painters, such as Ellsworth Kelly, and Frank Stella.

MINIMALISM
KEY DATES: 1962
Minimal Art emerged as a movement in the 1950s and continued through the Sixties and Seventies. It is a term used to describe paintings and sculpture that thrive on simplicity in both content and form, and seek to remove any sign of personal expressivity. The aim of Minimalism is to allow the viewer to experience the work more intensely without the distractions of composition, theme and so on.
There are examples of the Minimalist theory being exercised as early as the 18th century when Goethe constructed an Altar of Good Fortune made simply of a stone sphere and cube. But the 20th century sees the movement come into its own. From the 1920s artists such as Malevich and Duchamp produced works in the Minimalist vein but the movement is known chiefly by its American exponents such as Dan Flavin, Carl Andre, Ellsworth Kelly and Donald Judd who reacted against Abstract Expressionism in their stark canvases, sculptures and installations.
Minimal Art is related to a number of other movements such as Conceptual Art in the way the finished work exists merely to convey a theory, Pop Art in their shared fascination with the impersonal and Land Art in the construction of simple shapes. Minimal Art proved highly successful and has been enormously influential on the development of art in the 20th century.
REPRESENTATIVE ARTISTS:
Frank Stella
Ellsworth Kelly

Brassai, fotógrafo de la noche

2008-07-11T11:38:00.002+08:00

夜晚给人以联想，它不是在表现。夜晚让我们心绪不宁，我惊讶于它的奇特，我喜欢夜晚的光线，它把我们身上白天被理智驾驭的力量释放出来。

************************************************************************************

Gyula Halàz nació en 1899 en Brasso, Hungría (Tansilvania) Fotógrafo húngaro. Hijo de un profesor de literatura francesa, se siente influenciado por él hacia París.

Llega a la fotografía como autodidacta, comienza estudiando bellas artes en Budapest (1918-1919) y Berlín (1920-1922) y muy temprano frecuenta los círculos formados en torno a Lázló Moholy-Nagy, Vasili Kandinski y Oscar Kokoschka.

En 1924 se trasladó a París como periodista y en 1925 entabló relaciones con Eugène Atget, quien se convertiría más tarde en una referencia constante. Primeramente trabaja como periodista, solicitando fotografías para acompañar sus artículos a fotógrafos como André Kertész. Hasta 1930 no se decide a realizar sus propias fotografías.

Fue íntimo amigo de Picasso, del que publicó numerosas fotografías suyas mientras trabajaba. Su obra fue publicada en la revista MINOTAURE.

Se hizo famoso por sus imágenes de París. En sus inicios su carrera era la de un modesto reportero gráfico que se hizo más conocido al publicar escenas de la vida nocturna parisina, "Paris de nuit", en 1933.

Algunos de sus trabajos más populares retrataban los cafés multitudinarios en París. Entre 1936 y 1963, Brassai ejerció como fotógrafo en el Harpers Bazaar. Fue íntimo amigo de Picasso, del que publicó numerosas fotografías suyas mientras trabajaba. Su obra fue publicada en la revista MINOTAURE.

algunas de sus fotografias:

阴郁中细微滋长着温情 Maximilian Hecker

2008-07-11T11:27:00.003+08:00

Lady Sleep

Exclusive Asian pressing is packaged in a deluxe digipack and featues two bonus tracks, The Days are Long Filled with Pain' (sung by Niina Susanna Rinne) and 'Sleepy Lad'. Third full length CD from the critically acclaimed 27 year old singer / songwriter from Berlin. His moody atmospheric pop will appeal to fans of Nick Drake, Damien Rice & Nicolai Dunger. Has Been Produced by Gareth Jones who has worked with Depeche Mode, Moby, Goldfrapp, Wire, Erasure amongst others. Kitty-Yo. 2005.

Anaesthesia
Birch
Daze Of Nothing
Dying
Everything Inside Me Is Ill
Full Of Voices
Help Me
Lady Sleep
Snow
Summer Days In Bloom
Yeah Eventually She Goes

I'll Be A Virgin, I'll Be A Mountain

" I'll Be A Virgin, I'll Be A Mountain " will be released on V2 Records this fall. Formats are CD, LP, and a limited edition CD (digipak) that comes with an added bonus CD.
　　 01 04:08 Snow White
　　 02 02:41 No More Lies To Reach You
　　 03 04:04 Your Stammering Kisses
　　 04 03:33 Velvet Son
　　 05 04:11 Silly Lily, Funny Bunny
　　 06 03:59 I'll Be A Virgin, I'll Be A Mountain
　　 07 03:11 Wilted Flower
　　 08 03:08 Messed-up Girl
　　 09 02:41 The Saviour
　　 10 03:13 You Came To Me When I Was Born
　　 11 06:26 Feel Like Children
　　 12 04:31 Grey
　　
　　 Bonus CD
　　 A limited edition of this release contains a bonus CD with the following previously unpublished tracks:
　　 01 04:27 Long Ago I Knew Someone
　　 02 01:17 She Came To Be Easy
　　 03 03:17 Fade Out
　　 04 03:07 Messed-up Girl (Band Version)
　　 05 01:38 Johanna, Du Bist Rein
　　 06 11:07 Sad Eyed Lady Of The Lowlands
　　
　　Produced by Guy Sternberg. Orchestral arranging and conducting by Doron Burstein.

Rose

Sophomore album for the German pop Casanova. 'Rose' is completely free of the 'classic Brit-Pop influences' as one could still hear them on the first album. Looking for comparisons you´d be tending more towards tracks by Sigur Ros, maybe also Simon and Garfunkel or even Suede. Maximilian has become more daring especially with his lyrics, very personal, exposed and denuding they´ve become, poetic and sensual. Produced by Gareth Jones who has worked with Depeche Mode, Moby, Goldfrapp, Wire, Erasure amongst others. Kitty-Yo. 2003.

Kate Moss
　　I Am Falling Now
　　That's What You Do
　　Fool
　　My Story
　　Daylight
　　My Love for You Is Insane
　　Powderblue
　　Never-Ending Days
　　My Friends
　　Rose

Infinite Love Songs

　　2001 debut album for German artist compared to pop Casanovas like Air & Momus. 12 gentle piano-driven lullabies of longing & depressing beauty. Highlights include, 'The Days Are Long & Filled With Pain' & 'Cold Wind Blowing'. Digipak.

　　Polyester
　　Sunburnt Days
　　Green Night
　　The Days Are Long And Filled With Pain
　　White
　　Cold Wind Blowing
　　Over
　　Flower Four
　　Like Them
　　Infinite Love Song
　　Let Me Out
　　Today

I am Falling Now

1.Polyester
　　2.Sunburnt Days
　　3.The Days Are Long And Filled With Pain
　　4.Let Me Out
　　5.Kate Moss
　　6.I am Falling Now
　　7.My Story
　　8.Rose
　　9.Anaesthesia
　　10.Summer Days In Bloom
　　11.Lady Sleep
　　12.Snow White
　　13.Feel Like Children
　　14.I'll Be A Virgin, I'll Be A Mountain

Infinite Love Songs

Polyester

Days Are Long and Filled With Pain

Once I Was (Remakes + Best collections)

　　1CD (Remakes)
　　01. Always On My Mind (Elvis Presley, Pet Shop Boys)
　　02. Once I was (Tim Buckley)
　　03. I want You (Bob Dylan)
　　04. Homesick (Kings of Convenience)
　　05. Be Good or Be Gone (Fionn Regan)
　　06. Creep (Radiohead
　　2CD (Best collections)
　　01. Polyester
　　02. Silly Lily, Funny Bunny
　　03. I am Falling Now
　　04. Flower Four
　　05. Dying
　　06. Wilted Flower
　　07. My Story
　　08. White
　　09. I´ll Be A Virgin, I´ll Be A Mountain
　　10. Cold Wind Blowing
　　11. Full Of Voices
　　12. Rose
　　13. Everything Inside Me Is ill
　　14. Snow White
　　15. Lady Sleep

《退步集续编》

2008-07-11T11:27:00.001+08:00

　　年轻人要寻师，要听讲，当然理解的，但不要夸张一个人的作用，更不可看太高。如今一些社会“名流”给弄得不成人样子，包括我，便是这样子给弄坏掉的。我每讲演，年轻人就上来要签名，要拍照，我只好三陪小姐似的陪着耍，不然伤了年轻人的自尊心。现在容我说句重话：真有出息的青年，不做这类事。
　　
　　下乡，是一反差：脱下鞋子，脚踩进烂泥猪屎，农民犁地脱谷跟汉代画像砖刻的情形一模一样……出国，是一反差：进了美术馆，发现我们庞大的美术界闹那点名堂，算什么呀……
　　
　　文章的张力，是人格的张力，写作的维度，是人格的维度——激愤，同时好玩；深刻，然而精通游戏；挑衅，却随时自嘲；批判，忽而话又说回来……
　　
　　那些小娘子袒胸露臂好不容易唱完了，聚光灯下站站好，俏脸蛋给逼得抽筋扭曲，汗水晶莹，生怕答错了，一副死到临头的表情，答对了，那份侥幸啊！好比判处死缓，延期执行——于是电子屏幕显示，譬如：九十三点零七分。造孽！这就是我们的所谓素质教育。这就是知识分子那点鸟知识。知识给用到这步田地，便是反知识。郭兰英懂什么唐诗宋词？迈克尔•杰克逊参加过哪场考试？还没考够么？还嫌糟蹋得不够狠？活活一条性命：九十三点零七分！
　　
　　摄影并不是拍照，也不一定是艺术，摄影是什么呢？摄影是言论，是政治，是立场，最后，摄影是一种顽固的难以磨灭的本能，就像观看一样。
　　
　　胡同没有了。即便胡同在，没有自主活泼的市民生态，也不过是居住区，不产生文化。
　　
　　北京更土了，因为北京洋起来，就像一个农民，他穿农民的衣服你不会觉得他土，他一打扮，换上西装领带，那土劲儿就出来了，但失去了质朴，也不再生猛，只是乱糟糟。
　　
　　王朔对九十年代太重要了，他颠覆了整个1949年后的文艺腔。
　　
　　中国的一切都没有充分现代化，就忽然进入后现代了。
　　
　　城市是欲望的渊薮。新的欲望、旧的习俗，必定冲突。
　　
　　我们当代文艺是前工业文化和后现代讯息的杂货铺和跑马场。
　　
　　海归派私人聚会的圈子，骨子里还是老知青的无产阶级话语，只不过夹几句英文。
　　
　　多少年来，鲁迅这张脸是一简约的符号、明快的象征，如他大量的警句，格外宜于被观看、被引用、被铭记。这张脸给刻成木刻，做成浮雕，画成漫画、宣传画，或以随便什么精陋的方式翻印了再翻印，出现在随便什么媒介、场合、时代，均属独一无二，都有他那股风神在，经得起变形、经得起看。
　　
　　延安时期粗糙的鲁迅木刻肖像，老先生出殡时游行队伍捧扶的大肖像，“文革”时期被百般夸张的鲁迅像，都并不像他，然而鲁迅的形质与神采总能穿透笔墨的歪曲，扑面而来，宣称这是他自己的容颜，不曾遗失，不曾贬损，不曾消淡。
　　
　　鲁迅的相貌先就长得不一样。这张脸非常不买账，又非常无所谓，非常酷，又非常慈悲，看上去一脸的清苦、刚直、坦然，骨子里却透着风流与俏皮……可是他拍照片似乎不做什么表情，就那么对着镜头，意思是说：怎么样！我就是这样！
　　
　　“不会外语学什么西方艺术”，是对“外语”、“西方”和“艺术”的三重无知。
　　
　　每年我留心当今大学“新鲜人”，他（她）们好学，但是茫然；可爱，但缺礼数；清纯，但和我这一代一样，先天熟谙人前一套，人后一套，考试一套，生活又是一套。
　　
　　今日美术界小青年，个个专科本科，动不动硕士博士，然而全都自认卑微，抬眼仰看密密麻麻的教授、名流、史论家、策划人，还有一级管一级、一层压一层的美术官员——整个七十年代，情形反过来：我们这群官方美术界外围的草狗个个腰背挺直，目光自信，径直闯进油雕室或各种官方美术机构，寻到要想寻到的人，自报名姓，坦然开口，讨教、结交、做朋友，只要画得不赖，先后便给借调专业机构画创作，堂而皇之参加省市美展或全国美展。
　　
　　今天的女孩，很幸福，很幸运，遇上改革开放二十多年，先天大好，衣食丰，敢打扮，恋爱自由，打胎自便，别小看这些事，我生长的时代没这些，多少美女断送了。

&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&

摘自《退步集续编》，正在读。

Annie Leibovitz’s Life in Pictures

2008-07-11T11:23:00.001+08:00

Annie Leibovitz. Photo: Susan Sontag
Legendary photographer Annie Leibovitz is famed for her innovative and revealing celebrity portraits, but her new book weaves in intimate portraits from her private life. Newsweek‘s got the exclusive preview, and we’ll have Leibovitz herself here October 8 for a conversation with her editor, Sharon Delano.

幽游小记

2008-07-11T11:22:00.002+08:00

这家小书店隐匿在几条“秀水街”中，每回来淘东西，都会转得晕头转向，路痴嘛，从一个小店出来肯定会改变进去前决定要走的方向。但每次，脚有些痛了，一抬眼，这家小书店就会冒出来。

今天店里是小野丽莎在哼哼，和我脑子里现在响的调调不大合拍，累了，进去歇歇脚。长条板凳似乎是店主人自己钉的，八十年代的电影里或许还能找到影子，原木实材刷了清漆，纹理可见。

翻了翻三联书店新出的《创意市集2》、伍迪·艾伦《门萨的娼妓》，看到了人民文学版的《单行道》，塑封着的不让拆，看不到版权页，算了吧。不管是《洛丽塔》、《在路上》，我这样的水平，也仅仅是觉得把CHARLIE PARKER意译为“非凡人物”没味，绰号BIRD，直译“大鸟”多爽；DUKE ELLINGTON就是艾尔顿·约翰，前不久和他男朋友喜结良缘，94年唱过“Can You Feel My Love Tonight”，被英国王室比较喜欢的那个。

有一面墙插满了简装的原版CD，有几个目录集子，从上面找不到的，可以在店员那里预定。我还是找不到脑子里的调调，不知道是什么地方卡了。和书店连在一起的是一家银饰手工作坊，捡了一枚开口指环，没花纹，怎么看怎么像把饺子皮裹在食指上。不过还是像模像样地烦那女孩子用天平称了称，得有好几克拉吧，要我119个毛币。听到这个数，我忍不住噗地笑出来，谢了那女孩子，出了店，倒是和现在的天气挺合拍的。

拐了弯，一块土家锦上缀满了瑶银耳环，线条不似藏银般粗砺，倒有一丝温婉，从山上跳跃而下的泉水穿越郁郁的树林流经山寨，还有女孩子的笑声……

Chanel纯手工的珍珠缎带乳霜，Anna Sui雕刻的许愿精灵，Tod’s的精致舒适，Calvin Klein的简约性感……只恨自己皮肤不够透明，骨骼不够秀丽，口袋里银子不够重量，心肠又不够坚硬……诸多的不够，女人，你怎么能不既媚俗又恶俗，哈哈。

......

当感到无法呼吸的时候，就会在城市中暴走，找寻平衡。

破小孩儿的形容词III

2008-07-11T11:22:00.001+08:00

她做什么事都像是在和谁较劲儿，铆足了气力往前冲。也不是怕来不及，按她自己的话说就是这么个急性子人。和她去Shopping过一次，巨累，那真是货比N家。哪里是Shopping，简直是分析员在作市场调查，而且只一种——二至三岁孩子的衣服，她有一个小女儿不在身边。挑挑这个捡捡那个，嘴里说着没一件入眼的，可要回的时候，差不多能把商场的童装部搬回家。给我讲起她家宝贝儿，不由自主就眉飞色舞起来。这几个月来她只感叹过一回“人活着太假了”，那是她得知一个多年的朋友猝死那天。她是我的一个下属，负责产线生产，十几年的老工人了。和她比起来，对于现在这种状态下的生活，我是没资格厌倦的。是这样吧，要想不对明天恐惧，就把当下活好。
在Toronto初试职场的Eva对其女Boss尊称量词“只”，正应了那句“动物凶猛”，唯有祝好。
生活通常是要有长时间一定的积累，才有选择的机会，在那之前，都只有沿着既定的轨道前行。所以我还是挺庆幸自己在学校里学的是顶不感冒的东西。工科理论使思维缜密，抽象的机器语言拓充了想象力，经济管理课程引发了对历史、社会的思考。说的有些大了，但至少那些东西平衡了我血液里过于激越的元素，很多时候，在外界喧闹灿烂的时候，自己却不自觉地越来越冷，整个人慢慢地淡了下去。

破小孩儿的形容词II

2008-07-11T11:21:00.000+08:00

对于同类的言辞攻击，始终就没停止过，是一场旷日持久的战争。口诛笔伐，怎么热闹怎么来。而且在传播的方式方法上极有讲究，眼观六路耳听八方远远不够，还要深谙社会学、人类学、心理学、行为学，熟练掌握运筹学、统计学……能玩转此业务的乃货真价实的“大家”。要遵循的规则很简单——神秘地告诉第二个人，并一再重点强调“这只有你我知道”“我只告诉了你”，转脸再传给第二个“第二个人”。兜兜转转，大家都心知肚明了，见面不免莞尔一笑。最终剩下“第三个人”，这个当事人还云里雾里，那才是真正的公德圆满啦。生活的充实美好就此体现。呜呼~

一针见血那早就是小儿科了，现在的功力等级以见血封喉为合格，可见世界发展真是瞬息万变啊。

现在人们无非就两种生活状态——没吃饱饿的；吃饱了撑的。没吃饱饿着的，要靠这来填肚子；吃饱了的，闲着也是闲着，总不能虚度光阴吧。

整容是美丽不美丽的女人既向往又不敢以身试刀的痛。对人工操作木然的鄙夷，对他国领土上人间全换酸涩的羡慕，对即获成果其可持续性的胆颤心惊，对失败作品维权道路上的艰难攀爬……不易。围城内外，愤懑绝望，幸灾乐祸，劫后余生，洋洋得意。

出挑的花瓶要么是水晶要么是陶瓷，脆弱易碎，腹中空空，经不起推敲。这是哪辈子的老黄历了，现在的可瓷实着那。EQ、IQ几乎丝毫不逊，懂得花瓶美的那是早就把百炼刚化成绕指柔啦。而且，现在大众审美正在朝着多元化多领域拓展。活着已是个辛苦差事，在整体水平还没上升到只认智慧的高度前，何不将自己滋润如水妖冶如花，悦人也悦己，何乐不为。

每个女人都喜欢桃花灿烂的感觉，尤其花心的感觉那叫一过瘾，可任谁也不希望桃花变成咸菜干。所以大多数也仅仅只是处于意淫阶段。再所以，态度严肃、身行正直的女性朋友就很有必要在缺少确凿证据时把拉链拉紧。声色犬马、云裳锦衣、风萧萧、浪滔滔，一场色彩缤纷、跌宕起伏的免费电影，娱人娱己吧。

还有深谙寄生之道、活色生香的现代版王琦瑶，对于自身价值的准确评估以换取等值或超值的薪酬。你怎么知道人家就一定是被贱卖了的，一切为己悦，与他人何干，践不践踏是自己选的。

灵魂高尚得让我们这些凡夫俗子钦佩不已的女人必得要有极强的耐水性，世俗的高压已使她们呼吸困难，举步维艰，更何况还有周围一面面猥琐的放大镜，不是谁都可以成为潜水高手的。

还有，还有……我也好好好好好唠叨，呵呵。

破小孩儿的形容词I

2008-07-11T11:20:00.000+08:00

从国贸乘地铁到大剧院再到市民中心一路返回驻地，其实地面上更能感受这个城市的浓郁或清澈。
微微翘起的玫瑰花瓣样的嘴唇是为亲吻随时准备的。
细小洁白的脚趾上涂着孔雀蓝的油料，而不是动物血液的颜色。
指尖宛若一片片精致粉嫩的贝壳。
无法给昨天定义，因为早已痛失。
深夜，外面是天空一次次破碎的声音，快要将皮肤震裂，伴随他的血液砸落在身边。
你能嗅到那一张张图片呼吸的声音。
既然是娱乐，又何必认真，嘴角不管是向哪个方向牵动，已足够。
每个面上流淌着的线条转瞬就射出凌厉的光来，穿越你的视网膜直达神经的末端。
天快亮的时候在喧闹的电视机声音中蒙蒙睡去，三个多小时后，一大盒冰淇淋开始发挥作用，肚子里叽里咕噜沸腾起来，只好爬起来，用一杯温水平复。
无缘无故却又准确无误。
就算我拼尽了全身的力气，他依然是我今生无法靠近的温暖。

隐喻

2008-07-11T11:19:00.002+08:00

不知从何时起，那些笃信书本的人，把他们认为理解的东西一点一滴的积累起来，并不考虑这一点一滴的知识是否积累得正确；及至最后发现错误十分明显，而又仍不怀疑它们最初的根源，于是终日埋头书卷，东找西翻，却不知道怎样理清自己。就好比鸟儿从烟囱里掉进来，忽然发现被关在一间屋子里，但为窗外的光亮所感，徒劳地在玻璃窗上东碰西撞，它们缺少一种智慧：考虑一下它们是怎么进来的。
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现在充斥着我们生活的所谓关键词的逐渐被我们所认知的