#word
屏幕上的受苦者
所以，弱影像就是大众影像——大多数人可以制作和观看的影像。其表达了当代人群中存在的所有矛盾：机会主义，自恋，渴望自主性和创造力，无法集中注意力或下定决心，随时准备反抗却又同时保持顺从。 总之，弱影像抓拍了人群的情感状况：精神衰弱、偏执、恐惧，以及对强度、乐趣和分散注意力的渴求。影像的状态不仅说明了它们经过无数次转载和重新格式化，也说明了无数人对影像足够关心，愿意一遍又一遍地转换这些影像，添加字幕，重新编辑，上传。
屏幕上的受苦者
所以，弱影像就是大众影像——大多数人可以制作和观看的影像。其表达了当代人群中存在的所有矛盾：机会主义，自恋，渴望自主性和创造力，无法集中注意力或下定决心，随时准备反抗却又同时保持顺从。 总之，弱影像抓拍了人群的情感状况：精神衰弱、偏执、恐惧，以及对强度、乐趣和分散注意力的渴求。影像的状态不仅说明了它们经过无数次转载和重新格式化，也说明了无数人对影像足够关心，愿意一遍又一遍地转换这些影像，添加字幕，重新编辑，上传。
#music
Goldberg Variations, BWV 988 版本推荐
1. GG 1955/1981 精准/深邃，都很独特 A/A+
2. CF Decca/ECM 纯催眠用 A-
3. Norton 1942/1954/1957/1978/1985 巴赫女战神，平均律无敌，变奏曲不如MY A~A+
4.🔝 Yudina 巴赫女战神，变奏曲无敌 S
5. Kempff 去装饰音 A
6. 园田高泓 堪比MY A+
7. Demus 1953 音色无敌 A+
8. Friskin 独特、接近古琴的分句 A+
9. 图雷克 企鹅三星带花，但装饰音有点多 A
10. Koroliov 二十一世纪最佳，但齁长，反复太多了 A
Goldberg Variations, BWV 988 版本推荐
1. GG 1955/1981 精准/深邃，都很独特 A/A+
2. CF Decca/ECM 纯催眠用 A-
3. Norton 1942/1954/1957/1978/1985 巴赫女战神，平均律无敌，变奏曲不如MY A~A+
4.
5. Kempff 去装饰音 A
6. 园田高泓 堪比MY A+
7. Demus 1953 音色无敌 A+
8. Friskin 独特、接近古琴的分句 A+
9. 图雷克 企鹅三星带花，但装饰音有点多 A
10. Koroliov 二十一世纪最佳，但齁长，反复太多了 A
#music #classical
音色流氓！Ruth Slenczynska，师从拉赫玛尼诺夫，霍夫曼，至今健在，已逾百岁。在世拉赫玛尼诺夫第一演奏者。入坑于零三年日本现场表演的前奏曲 Op.32 No.5
音色流氓！Ruth Slenczynska，师从拉赫玛尼诺夫，霍夫曼，至今健在，已逾百岁。在世拉赫玛尼诺夫第一演奏者。入坑于零三年日本现场表演的前奏曲 Op.32 No.5
#word
参与到图像之中而非仅仅认同图像，这或许可以消解真实与再现矛盾的关系。其意味着要成为图像的物质材料以及图像所积聚的欲望和力量的一部分。不如承认图像并非某种意识形态上的误解，而是一种兼具情感和可用性的事物，一种由水晶和电力构成的物神，由我们的愿望和恐惧驱动，一种对其自身存在境况的完美体现？用本雅明的另一个表述来说，图像无需表达（without expression）。 图像不再现现实。图像只是现实世界的一块碎片。图像与其他存在相同——是像你我一样的事物（a thing like you and me）。
参与到图像之中而非仅仅认同图像，这或许可以消解真实与再现矛盾的关系。其意味着要成为图像的物质材料以及图像所积聚的欲望和力量的一部分。不如承认图像并非某种意识形态上的误解，而是一种兼具情感和可用性的事物，一种由水晶和电力构成的物神，由我们的愿望和恐惧驱动，一种对其自身存在境况的完美体现？用本雅明的另一个表述来说，图像无需表达（without expression）。 图像不再现现实。图像只是现实世界的一块碎片。图像与其他存在相同——是像你我一样的事物（a thing like you and me）。
#storyteller #trinitarianism
本雅明对长篇小说的深刻洞见：
本雅明对长篇小说的深刻洞见：
The earliest symptom of a process whose end is the decline of storytelling is the rise of the novel at the beginning of modern times. What distinguishes the novel from the story (and from the epic in the narrower sense) is its essential dependence on the book. The dissemination of the novel became possible only with the invention of printing. What can be handed on orally, the wealth of the epic, is of a different kind from what constitutes the stock in trade of the novel. What differentiates the novel from all other forms of prose literature — the fairy tale, the legend, even the novella — is that it neither comes from oral tradition nor goes into it. This distinguishes it from storytelling in particular. The storyteller takes what he tells from experience — his own or that reported by others. And he in turn makes it the experience of those who are listening to his tale. The novelist has isolated himself. The birthplace of the novel is the solitary individual, who is no longer able to express himself by giving examples of his most important concerns, is himself uncounseled, and cannot counsel others. To write a novel means to carry the incommensurable to extremes in the representation of human life. In the midst of life’s fullness, and through the representation of this fullness, the novel gives evidence of the profound perplexity of the living. Even the first great book of the genre, Don Quixote, teaches how the spiritual. greatness, the boldness, the helpfulness of one of the noblest of men, Don Quixote, are completely devoid of counsel and do not contain the slightest scintilla of wisdom. If now and then, in the course of the centuries, efforts have been made — most effectively, perhaps, in Wilhelm Meisters Wanderjahre — to implant instruction in the novel, these attempts have always amounted to a modification of the novel form. The Bildungsroman, on the other hand, does not deviate in any way from the basic structure of the novel. By integrating the social process with the development of a person, it bestows the most frangible justification on the order determining it. The legitimacy it provides stands in direct opposition to reality. Particularly in the Bildungsroman, it is this inadequacy that is actualized.
