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| 缺乏创意的“裸奔” 文/韩晓波 清华美术学院雕塑系的学生付桂衍和亓星光，毕业前夜在操场裸奔。清华园里的人们，要么见多识广，要么心如止水，见怪不怪，所以，这件事如果不是后来上了网，估计在清华园里顶多也就有半天的新闻寿命。但一上网，流传到普罗大众社会当中，就完全不一样了，它成了近期一个不大不小的新闻热点，平面媒体、电视媒体、网络媒体，一窝蜂地前去采访。本报也未能免俗，忍了多日，还是忍不住想对这件事发点感慨。 感慨之一，裸奔之举，虽然号称是为了“给清华增加一点人文气息和激情勇气”，但实在是缺乏创意。近年来，有关各色人等“裸奔”的报道，或男或女，或中或外，或大人物或小人物，或神经正常人士或不正常人士，都已委实不少。远的不说，就说同样是发生在名牌大学校园内的，就有哈佛大学每学期一度的“裸奔节”。所以，清华美院这两个学生的裸奔，只剩下了模仿的痕迹。虽然任何学习都是从模仿开始的，但如今你已经从清华大学学成毕业了，还要模仿到几时啊？更何况艺术这东西最忌讳模仿。如果想为清华园增加些人文气息，最好弄点出人意料的行为艺术来，裸奔实在是太老套。如果有人说“艺术生最有想象力”，那面对裸奔事件，我只能说“没看出来”。 感慨之二，裸奔虽然缺乏创意，但似乎显示出一点“言必信、行必果”的姿态，这还是能够替故事的主人公赢回一些分数的。毕业裸奔的提议在毕业前就有人提出了，只是“没有定具体时间，没有说谁参加，像句玩笑话。”但在吃了散伙饭、喝了散伙酒之后，主人公之一付桂衍突然想起了先前的裸奔提议。“我一直在观察同学们干不干。现在不做，8日就离校了。我和于国光是要好的朋友，平常两个人就喜欢相互较劲。如果谁承诺要做一件事，最后没做，就会被另外一个人唾弃。”由此可见，裸奔事件里边隐含着一种承诺，这使得这件事变得不像哈佛裸奔节一样轻松，反倒有点沉甸甸的味道。但愿故事的主人公们在平时生活中，处理任何事情都能像对待裸奔一样，一诺千金，且互相监督、互相较劲，为增进全社会的诚信之风尽自己的一份力量，并进入一种良性循环。 感慨之三，对于“大学”的概念、“大学”的精神实质，自改革开放以来，已经有无数的人和无数的文章讨论过，但似乎效果不佳。表现在莘莘学子们的所作所为，经常是背离大学概念、大学精神的。“大学精神”当中包含很多方面的内容，有些人只强调其中的一些方面，而对一些更基本的东西视而不见，比如，追求真理、实事求是，这是底线，但不断有学术腐败的事件曝光；兼收并蓄，博采众家之长，是应该的，却有人偏偏收取糟粕，弃精华于不顾。在这样的背景下，一些人以“张扬个性”为旗号，做出一些出位举动，或者发表一些突破人们道德底线的言论，其实恰恰暴露了其精神世界的苍白与荒凉，这与“大学精神”实在是背道而驰。 说实话，笔者也是吃过散伙饭、喝过散伙酒的人，也有过想在毕业时爆发一下、发泄一下的冲动，完全能理解年轻学子们此时此刻的心态。但内心里更期盼如今的八零后、九零后学弟学妹们，能玩出我们所想不出的新花样，展示一下创造力。可惜，这两个裸奔的学生让人失望。 |
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| 韩韩，创意你就别想了。几时有过创意了？能模仿好人家就算高水平了。我做唱片发行的时候就这么一个感觉，模仿西方歌手或乐队模仿越像的就越成功。比如王菲就很成功嘛！波斯市场改成波斯猫也很成功嘛！ 你说的这三点都老掉牙了。我不觉得在点子上。当今中国大学最缺乏的是“独立自由之思想”。什么糟粕，精华，众家之长或短，都没有“独立，自由”有意义。这肯定跟制度有关。如果对思想加以规章制度和限制，自由和独立就不见了。 思想和艺术都要百花齐放。先把种类弄齐全了，积极的消极的，美的丑的香的臭的，穿塑料拖鞋和穿皮靴的。骡子马驴还是比目鱼，先拉出来秀秀。好像是支持潜水员吧，说这叫耍宝。耍宝是件值得提倡的事。CCTV的说法叫“参与精神”，心理学家的分析大概是“给自己看自己的冲动”。鼓励耍宝的意义就在于不要消亡人类的一些本能冲动——性高潮和说话都是。婴孩用哭声说话，成人发明了更高级的形式说话，比如文字，旋律或者线条色彩。如果还承认自己是个人的话，就有必要先满足这些个欲望，例如说话。 我倒不认为应该用“大学精神”去规范所有大学生的思想。背道而驰的也有存在的意义和必要。主流是美的，支流兴许更美。我最近迷上“death metal”了。一位热爱摇滚的台湾男生听了我给他推荐的挪威乐队的演奏后说，我今天才发现摇滚乐在死亡金属面前多么像轻音乐。我俩最后把喜欢的古典乐归类为“羽量级轻音乐”，因为实在太旋律了，我们有时也需要噪音。要是什么都听听，耳朵自然就满足了。要是用“大学精神”或“众家之长”去加以约束，就只能饿着。 我到美国才知道，我们实在是太不自由，太不会耍宝了。饿了这么久，还一直以为饱着。是饥饿感欺骗了我，还是我欺骗了饥饿感？顺便提一下，模仿也是一种冲动，但冲动不能被模仿。如果有一天中国的大学生冲动多于模仿，那就会有意思的多。：） |
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| 说实话，笔者也是吃过散伙饭、喝过散伙酒的人，也有过想在毕业时爆发一下、发泄一下的冲动—————————— 大学毕业，我没吃散伙饭。因为没那个冲动。你总认为我遗憾，可我觉得要是去了才遗憾。看着一大群煞笔在那儿非常合时宜的掉眼泪，或者想方设法的让自己和别人都难受，我怕我笑的肚子不疼牙疼。 大学4年，我只读了两年半就去工作了。两年半里，该发泄的，该算的账早都盘清了。肇事民的课吧，听了一节就发誓再也不去了。还有那个“艺术人生”剧组的，王什么来着，female。她耍宝的时候，听了一半我就决定还是回宿舍睡个下午觉比较实在。 在天音，我没去听的一些恶劣的或者资质平庸的老师的课，以及一年半在外工作实习的时间，都是我赚的。想起这些，就觉得太对得起我父母教的学费了。 |
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| 今天在全纪实频道看了《我牵挂的那个孩子》上中下集，对弓明同学 留学德国的实际境况甚为担心，那么多年在德国学习仍然没有上一个正式的音乐学院，想一想家里要花多少钱，看着孩子在汉堡餐馆里没有足够的 钱吃饭，别人吃他在一旁流泪，我都感到心酸！有些掙昧心钱的人把一些孩子弄到德国，有的连最基本的声音条件和音准都不具备，也跑到德国去学习声乐，简直就是开国际玩笑。我真心奉劝有些父母和想出国学习艺术的同学们，艺术和语言（外语，尤其是小语种）是绝对需要天赋的，而且是60-70%的比例。喜欢唱歌与从事声乐专业的完全是两嘛事！否则，会让那些打着帮你留学的人贩子，那些专吃中国人钞票的中国人在家里偷着乐。今天又有一批送欧元的中国“未来艺术家”到达！哈！哈！哈！天地良心啊！朋友！看一看我们的版主从来没有上过任何音乐学院和外语学院，他的音乐理论知识和语言能力让我们这些搞音乐的都十分佩服，因为他喜欢并且有非常聪明的头脑和记忆力。诚心之言，敬请留意。 |
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| http://vcenter.iis.sinica.edu.tw/watch.php?val=aWQ9T0UzYk1nPT0= 请问哪位能提供鞠秀芳唱的版本？ |
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| 追念呂陽明先生 昨天(2008年7月19日)，到台北參加呂陽明先生的告別式。 淡淡的哀樂聲中，不禁回憶起多年前，與呂先生的幾段情緣。 一 1984年，內子懷了第二胎。不知何故，出血不止。看西醫，吃西葯後，情形更壞。 作曲業師老師盧炎先生知道後，對我們說:「我有位中醫好友呂陽明，醫術高明，趕快找他看看。」 於是，登門拜訪。他為內子把脈後，開了兩服葯。結果，兩服葯一吃，內子出血就停止了。我問呂先生其故。他說:「婦女懷孕，體熱，你們還去吃牛排之類，那是熱上加熱。西醫不知其故，葯不對症，所以無效。那兩副葯，性涼、解熱、對症，所以葯到病除。就這麼簡單。」 追源起來，老二的命，是呂先生救回來的。 二 台北冬天濕而寒。幼稚園階段的小孩子常感冒、發燒、咳嗽。特別是老大，咳嗽起來，像要把心、肺、胃都咳出來，令人心疼、害怕。 理所當然，先去看西醫，吃西葯。結果，症狀越來越嚴重，發病週期越來越短。我更害怕，便去找呂先生。 他說:「吃我的葯，病不會馬上好。但一段時間之後，症狀會越來越輕，發病週期會越來越長。」於是，軟硬兼施，強迫小孩子吃又苦又澀的中葯。結果，真如呂先生所說，小孩子的健康情形越來越好。 筆者與內子多年來堅持感冒不吃西葯，後來連中葯也盡量不吃，保住了尚可之健康，緣由在此。 三 1990年，筆者移居台南。不久後，得了嚴重的坐骨神經痛。看過中、西醫，均無顯效。 其時，我每週一次到台北東吳大學兼課。同在東吳任教的盧炎老師對我說:「呂陽明現在是太極拳高手，是吳國忠的徒弟，鄭曼青的徒孫。說不定他可以幫你。」 為了醫治坐骨神經痛，於是我正式拜師，每週一晚，跟呂先生學氣功、太極拳，同時上他的易經大班課。 每次都是一大群人先上易經課，然後是幾個人到他家裡喝茶、聊天、練氣、學拳，一直到深夜一、兩點鐘才結束。同門師兄弟有吳丁連、薛映東、謝春德等。 一次，我問他為何棄醫從拳。他說:「再高明的醫生，也只能治能治之病。教氣功、太極拳，卻能助人少生病、甚至不生病。」 他堅持氣功與太極拳均不收費。易經班因要租教室，僅像徵式收一點場地費。 如是過了約兩年。後來，因不再跑台北，才告一段落。 現在來回顧那兩年，最大收獲是: 一、學會「金雞獨立」，「氣沉腳低」，「掌心吸氣」，「撞牆通經」等招式，對一生健康受用無窮。 二、把「提腕沉肘」、「落胯」等太極拳功夫，用到小提琴演奏與教學上，創出了「力聚一點」，「借地之力」等小提琴獨門內功。 至於坐骨神經痛，後來發現是寒氣入骨而起。少吹或不吹泠氣，加上屬物理療法的「拉」，後來就慢慢好了。 四 這十幾年來，由於南北相隔，與呂老師見面不多，但仍保持不定期通信、通電話。知道他後來迷上南管，又有志於把氣功與各種表演藝術溶會貫通，欲創一門「陽明表演氣功學」。可惜不知何故，最近兩年，竟得了糖尿病並引發感染而不治，僅得55歲。惜哉! 痛哉! |
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| 请问一下，沈阳音乐学院南校区怎么样 |
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| http://chronicle.com/temp/email2.php?id=cjtGhcnt3vYPDhDdjtvfySgdzkqpzShC Gone, and Being Forgotten Why are some of the greatest thinkers being expelled from their disciplines? By RUSSELL JACOBY How is it that Freud is not taught in psychology departments, Marx is not taught in economics, and Hegel is hardly taught in philosophy? Instead these masters of Western thought are taught in fields far from their own. Nowadays Freud is found in literature departments, Marx in film studies, and Hegel in German. But have they migrated, or have they been expelled? Perhaps the home fields of Freud, Marx, and Hegel have turned arid. Perhaps those disciplines have come to prize a scientistic ethos that drives away unruly thinkers. Or maybe they simply progress by sloughing off the past. A completely unscientific survey of three randomly chosen universities confirms the exodus. A search through the philosophy-course descriptions at the University of Kansas yields a single 19th-century-survey lecture that mentions Hegel. Marx receives a passing citation in an economics class on income inequality. Freud scores zero in psychology. At the University of Arizona, Hegel again pops up in a survey course on 19th-century philosophy; Marx is shut out of economics; and, as usual, Freud has disappeared. And at the University of Wisconsin at Madison, Hegel does not appear in philosophy courses, Marx does not turn up in economics, and Freud is bypassed in psychology. The divorce between informed opinion and academic wisdom could not be more pointed. If educated individuals were asked to name leading historical thinkers in psychology, philosophy, and economics, surely Freud, Hegel, and Marx would figure high on the list. Yet they have vanished from their home disciplines. How can this be? A single proposition can hardly explain the fate of several thinkers across several fields. However, general trends can inform separate disciplines. For starters, the ruthlessly anti- or nonhistorical orientation that informs contemporary academe encourages shelving past geniuses. This mind-set evidently affects psychology. The American Psychological Association's own task force on "learning goals" for undergraduate majors makes a nod toward teaching the history of psychology, but it relegates the subject to an optional subfield, equivalent to "group dynamics." "We are not advocating that separate courses in the history of psychology or group dynamics must be included in the undergraduate curriculum," the savants counsel, "but leave it to the ingenuity of departments to determine contexts in which students can learn those relevant skills and perspectives." The ingenious departments apparently have dumped Freud as antiquated. A study by the American Psychoanalytic Association of "teaching about psychoanalytic ideas in the undergraduate curricula of 150 highly ranked colleges and universities" concludes that Freudian ideas thrive outside of psychology departments. The same antihistorical imperatives operate effectively, if with less force, in economics and philosophy. Again, generalizations can be made only with qualifications, but economics departments, like psychology departments, tend to be fiercely present-minded. Their basic fare consists of principles of economics, macroeconomics, microeconomics, finance, game theory, and statistics. To be sure, often the departments offer lecture classes on the history of economic thought, which survey economic thinking from the Greeks to the present. But in this sprint through the past, Marx shows up as little more than a blur. At the University of California at Los Angeles, for instance, students devote less than a week to Marx in a course on the history of economic theories. One scholar of Marx estimates that in more than 2,000 economics departments in the United States, only four offer even one class on the German revolutionary. In 1936, Wassily Leontief, who later won a Nobel in economic science, gave a seminar on Marx in Harvard's economics department. No such seminar is given now. Compared with economics, philosophy prizes the study of its past and generally offers courses on Greek, medieval, and modern thinkers. Frequently, however, those classes close with Kant, in the 18th century, and do not pick up again until the 20th century. The troubling 19th century, featuring Hegel (and Kierkegaard and Nietzsche), is omitted or glossed over. General catalogs sometimes list a Hegel course in philosophy, but it is rarely offered. Very few philosophy departments at major universities teach Hegel or Hegelian thought. Philosophy stands at the opposite pole from psychology in at least one respect. In most colleges and universities, it is one of the smaller majors, while psychology is one of the largest. Yet, much like psychology, philosophy has proved unwelcoming for thinkers paddling against the mainstream. Not only did sharp critics like Richard Rorty, frustrated by its narrowness, quit philosophy for comparative literature, but a whole series of professors have departed for other fields, leaving philosophy itself intellectually parched. That is the argument of John McCumber, a scholar of Hegel and Heidegger who himself decamped from philosophy to German. His book Time in the Ditch: American Philosophy and the McCarthy Era (Northwestern University Press, 2001) savages the contemporary American philosophical profession and its flight from history. He notes, for instance, that 10 years after the 1987 "breakthrough anthology" Feminism as Critique, not one of its contributors, from Seyla Benhabib to Iris Marion Young, still taught in a philosophy department. The pressures that force — or tempt — big names such as Rorty and Martha Nussbaum to quit philosophy, McCumber observes, exert equal force on those outside the public eye. He charges, for instance, that senior editors dispense with peer review and run the major philosophy journals like private fiefdoms, and that a few established professors select papers for the discipline's annual conferences. The authoritarianism and cronyism drive out mavericks. Psychology without Freud, economics without Marx, philosophy without Hegel: For disciplinary cheerleaders, this confirms intellectual progress. The cloudy old thinkers have made way for new scientific researchers. But at what cost? The past innovators shared a fealty to history. "We are what we are through history," stated Hegel; and Freud, for all his biological determinism, believed that one must master the past to master the present. Yet today we lack the patience to dig too far, or perhaps we lack the patience to unravel the implications of discoveries into the past. We want to find the exact pill or the exact gene that provides an instant solution. Psychology transmutes into biology. To the degree that a chemical imbalance results in depression, or a gene gives rise to obesity, the effort to restore health by drugs or surgery cannot be faulted. Yet an individual's own history may play a decisive role in those disharmonies. We triumphantly treat the effect as the cause. As a practical measure, that approach can be justified, but it avoids a deeper search. The flight from history marks economics and philosophy as well. Economics looks more and more like mathematics, in which the past vanishes. Sometimes it even looks like biopsychology. A recent issue of the American Economic Review includes numerous papers under the rubrics of "Neuroscientific Foundations of Economic Decision-Making" and "Cognitive Neuroscientific Foundations of Economic Behavior." But can we really figure out today's economic problems without considering whence they came? Philosophy nods toward its past, but its devotion to language analysis and logic-chopping pushes aside as murky its great 19th-century thinkers. Polishing philosophical eyeglasses proves futile if they are rarely used to see. No doubt there has been progress in those fields, but is it possible to advance without any idea of where one has been? Without a guide to the past, the scholar, like the traveler, might move in circles. Moreover, should the giants of the past be dispatched so coolly and mechanically? Culture is not like an automobile that should be junked when old and decrepit. I don't see how we can be educated — or consider ourselves educators — if we consign to the dustbin, say, Freud's exchange with Einstein on war, Marx's description of "the cheap price of commodities" that batters down national boundaries, or Hegel's notion of the master/slave relationship. Those ideas should be addressed, not parried; taught, not dismissed. To be sure, other fields adopt the thinkers that psychology, philosophy, and economics have sent packing. Yet that itself is a problem. Instead of confronting recalcitrant thinkers on their own terms, the new disciplines slice them up. Freud turns into an interpreter of texts, Hegel into a philosopher of art, and Marx into a cinema theorist. That saves them from oblivion, but at the price of domestication. Freud no longer excavates civilization and its discontents but merely unpacks words. Hegel no longer tracks the dialectic of freedom but consoles with the beautiful. Marx no longer outlines the movements of capital but only deconstructs the mass spectator. Driven out of their original domains because they are too ungainly or too out of date, Hegel, Marx, and Freud succumb to an academic makeover. In the mall of education, they gain an afterlife as boutique thinkers. Russell Jacoby is a professor in residence in the history department at the University of California at Los Angeles. He is author, most recently, of Picture Imperfect: Utopian Thought for an Anti-Utopian Age (Columbia University Press, 2005). |
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| While Rem Koolhaas's CCTV Tower in Beijing "looks different from every angle", it main function still remain the same- keeping more folks hoodwinked(?). *********************************************** http://www.spiegel.de/international/world/0,1518,566655,00.html 'An Obsessive Compulsion towards the Spectacular' Dutch architect Rem Koolhaas talks about new trends in architecture and urban development, the end of the European city, the rise of Dubai, Russia and China, the obsession with XXXL and the difference between the people who design buildings for a living and "star architects." SPIEGEL: Mr. Koolhaas, you are designing buildings in Europe, the United States, the Persian Gulf and China. From which part of the world do you expect to see the strongest impulses for architecture and urban development emerging in the future? Koolhaas: We have to draw some distinctions here. As far as the experience of building goes, the strongest impulse will undoubtedly come from China and the Middle East, and probably from India, as well. Things get more complex when it comes to thinking. The intellectual force of the West is still dominant, but other cultures are getting stronger. I expect that we will develop a new way of thinking in architecture and urban planning, and that less will be based on our models. There are many young, good architects in China. The unanswered question is whether our cooperation, this internationalization, will result in a common language of architecture, whether we will speak two different languages or whether there will be a mixture of the two. SPIEGEL: At a recent talk in Dubai, you showed two slides. The first image was of a series of iconic skyscrapers that you, Zaha Hadid and other star architects designed. The second was of a collection of high-rise buildings designed by unknown architects. The images were surprisingly similar. Koolhaas: I have a very hard time with the expression "star architect." It gives the impression of referring to people with no heart, egomaniacs who are constantly doing their thing, completely divorced from any context. I believe that this is a grotesque insult to members of a profession who -- to the extent that I know my colleagues -- go to great lengths to find the right thing, the appropriate thing, for each individual case. At the same time we are, of course, driven by the market -- and by developers who try to pin us down to certain forms. I have spent a lot of time thinking about the best way for us to escape this being pinned down to the purely formal. That's why I decided to simply demonstrate it: There is, in fact, no great difference between the buildings by "star architects" and those designed by others. SPIEGEL: When you work on large projects, how much time do you have to engage with a place, a specific context? In Dubai, you recently designed, in the space of only one year, a city for 1.5 million people, known as Waterfront City. Koolhaas: There is less time available for research, so that a tendency toward imitation develops. One of our theories is that one can offset this excessive compulsion toward the spectacular with a return to simplicity. That's one effect of speed. Another one is the now universal demand for everything to be "sustainable." We have been interested in this idea since the 1960s, so in that respect we feel vindicated. But now sustainability is such a political category that it's getting more and more difficult to think about it in a serious way. Sustainability has become an ornament. Designs are increasingly winning competitions because they are literally green, and because somewhere they feature a small windmill. SPIEGEL: You apparently don't like the concept of sustainability. Koolhaas: Because it's become an empty formula, and because, for that reason, it's getting harder and harder to think about ecology without becoming ironic. On the other hand, there is of course a benefit to the label of sustainability being so popular today. We have long been trying to build in such a way that we can manage without air-conditioning as much as possible, by avoiding unnecessary exposure to direct sunlight and by creating a mass that provides shade. There was hardly any interest in this in the past, whereas today customers pay for it. |
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| SPIEGEL: Your Waterfront City in Dubai is also supposed to be sustainable. What exactly do you want to achieve with this project? Koolhaas: My goal is to establish a section of the city in Dubai that is a true metropolis. That includes, most of all, a true public space -- not the caricature of a public space, meaning shopping malls. I am very grateful to the government in Dubai for the fact that we will have a court there, hospitals and the terminus stations for two subway lines. In other words, this space will have a recognizable identity: ingredients of what characterizes Dubai, but also a real urban life ... SPIEGEL: ... which is still lacking? Koolhaas: It isn't lacking, but it is confused. We have a neighborhood there called Deira, which is completely urban. It's unbelievably dense, mixed, exciting and beautiful -- the type of beauty that will probably need our protection soon. In fact we, as city planners, will have to spend more time in the future thinking about how to plan and preserve at the same time. SPIEGEL: In other words, the organic European city that we know could soon be a historical memory, a world cultural site? Koolhaas: Exactly. Though we don't have to bid farewell to the European city -- it's still there. But it simply happens to have served long enough as a standard, as the only model. This is, in a sense, the tragedy of the last 20 years. Because it is so dominant as a standard, because it is so obsessed with contemporary architecture, everything else comes across as negative. We are against China, and we are against Dubai, because all of this isn't European. Perhaps this also describes one of Europe's problems, in a broader sense: We are so strongly influenced by our model that we have trouble thinking in terms of other worlds. SPIEGEL: Critics of development on the Gulf say it's "all Disneyland." Koolhaas: In truth, the constant return of this Disney fatwa says more about the stagnation of the West's critical imagination than about the cities on the Gulf. What our office is building is the subject of controversy everywhere, but I have noticed that people who actually live in China or on the Gulf are usually open to our ideas. They happen to be out in the field, and when you're in the field you have a different perspective. SPIEGEL: Can the development that is going up in Dubai be compared with the "Science Center" you designed in Hamburg, a spectacular ring of stacked containers? Koolhaas: What is comparable is the fact that, in both cases, we are dealing with large projects driven by real estate developers, that is, with a very abstract substance. As a result, people often fail to recognize the differences between such projects. But the real differences lie in the conditions in Hamburg and Dubai, the political environment, the freedom and the amount of latitude an architect is given. This, in turn, highlights a characteristic of contemporary building: In essence, we are trying to pour the same materials everywhere into molds shaped by local circumstances. SPIEGEL: You complain that modern architecture subjugates itself to the primacy of the iconic, making it arbitrary. On the other hand, you yourself have created a few of the most memorable icons around, especially the building for the Chinese television network CCTV in Beijing. Koolhaas: I am a critical spirit and an architect at the same time, and I do not feel obligated to constantly validate my own theories in my specific work. There are contradictions, and the possibilities we have at our disposal today provoke such contradictions. Nevertheless, we try to build structures with unstable identities -- that is, buildings with depth. Take the CCTV complex, for example. Now that it's almost complete, the way it functions becomes clear. It looks different from every angle, no matter where you stand. Foreground and background are constantly shifting. We didn't create a single identity, but 400 identities. That was what we wanted: To create ambiguity and complexity, so as to escape the constraints of the explicit. |
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| SPIEGEL: Does that mean that the icons of the 20th century, skyscrapers, sheer vertical structures, are on their way out? Koolhaas: There were many typologies of building in the early 20th century. Today we have essentially only two of them: the house and the tower, and nothing in between. I see few indications that this is changing. In fact, we are experiencing a veritable apotheosis of the tower in Russia and China. But perhaps some typologies only experience their mystification when they are in fact already dead. SPIEGEL: How do you feel about the towers that are competing for the title of the world's tallest building? Do you like any of them? Koolhaas: I think it's ridiculous. Objectively speaking, I even like a few of them -- the Burj Dubai, for example, simply because it looks so ludicrous, a building that is much taller than anything else that ever existed. I cannot completely resist this temptation, but from an intellectual standpoint I'm certainly capable of rejecting this race. SPIEGEL: What comes after the skyscraper? Koolhaas: Height is becoming less and less of a factor, while size -- "bigness" -- is getting more important. In the Middle Ages, a large building had about 200 square meters (2,152 square feet) of space, by the Renaissance it might have been 10,000 (107,600 square feet), and in the 19th century it was 40,000 (430,400 square feet). Today we build complexes of 500,000 square meters (5.4 million square feet). The change in quantity has consequences. One of them is that we are dealing with multifunctional buildings, because a building of that size can no longer be filled with a single function. SPIEGEL: So that we have, in the case of the Burj Dubai, 50 floors of offices, 50 floors of hotel rooms and 50 floors of apartments. Koolhaas: Another consequence is that our attention shifts to the interior, because the bigger a building the less contact it has with the outside world. But we are now dealing with different zones in the interior of such complexes, zones that are occupied at completely different speeds, have a completely different metabolism, are constantly in motion, are being renovated, repairs or altered to perform a new purpose. SPIEGEL: A few years ago you were in Lagos, Nigeria's largest city, and you returned with a message of humility: Architects, allow things to take their natural course and adjust to reality! Koolhaas: The first time I went to Lagos, I encountered a completely dysfunctional city that forced its 10 million inhabitants to find ways to survive. To me it seemed like a process of sheer self-organization -- a term that was in vogue at the time. Meanwhile, I have studied the history of that city at length, and it has become clear to me that this self-organization does in fact take place within the framework of a structure created by a series of modern thinkers, architects and urban planners. SPIEGEL: You coined the term "junk space" in Lagos. What does this mean in Europe? Koolhaas: The expression describes the effect commerce has on architecture, how it affects the beauty, authenticity and acceptance of a building. The irony is that in the West, of all places, an overemphasis of the economic forces us into permanent chaos. In the past, an airport could be proud of the fact that its paths, from the airport entrance to the gates, were short and direct. Nowadays the large numbers of shopping areas have turned airports into labyrinths. In other words, starting at the paradigm of clarity, it has taken us only 20 years to end up in a paradigm of chaos. SPIEGEL: Can architecture and urban development do anything to counteract the forces you describe -- the omnipotence of commerce, the atomization of society? Koolhaas: When we were planning the Universal Studios headquarters in Hollywood, a problem we had was that the company's individual components are scattered across a large area -- so we designed the building as a sort of machine, which brings the components together again. And now we have done something similar with the CCTV building. It includes something we call a "Visitors' Loop," a common space where people who would normally work away in disparate offices are likely to run into each other. SPIEGEL: In doing so, are you taking up a concept, in a modern way, that American architect Louis Sullivan defined with the phrase "form follows function?" Koolhaas: Some of our buildings fulfill this basic concept completely. Ironically, this functionalist idea is so forgotten, so unknown today that it seems completely new once again. Modernity is ultimately shaped by the idea of enlightenment, of progress. As unsteady as these concepts may seem to us today, it would be absurd to abandon them, because it hasn't been until today that we, as Europeans, are in a position to share them with the world. This, in turn, is what makes up the credibility of European architecture in an age of globalization: That we are able to execute our formulas in a less formulaic way than others, and that we can pay closer attention to the circumstances under which other people live. Interview conducted by Stephan Burgdorff and Bernhard Zand. |
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| 原创 吉他大奏鸣曲 本人十多年前为吉他写的古典奏鸣曲 第一乐章 原本乐谱也丢失，本人也忘了，不会弹了， 毫不容易只找出个MIDI钢琴版的音频: 望有人有时间能扒出谱子来，将不胜感激，且定有酬谢！ http://www.tudou.com/programs/view/DrISc6WaRyM/ |
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| abada，这个活俺来吧，俺最近特别穷，这个月剩下的日子都只有吃方便面了，abada多给俺点酬劳当扶贫行不行啊……俺保证极其专业…… |
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| 谢谢，但超过300元就不做了。我的wav转midi软件过期了，没有正版的，不然会很快整完的。 |
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| OK, deal! 不过，abada你是要五线谱，对吧？你要钢琴谱那种大谱表的还是要吉他那种G谱表的？还有，把你的MIDI发过来啊：hai_denver@hotmail.com |
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| 还有，有什么要求尽管提啊，阿拉绝对可以做到responsible啊. |
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| 有MIDI还找人做什么？没有MIDI文件， 只剩下这音频。 |
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| 把音频发给我啊，你上面那个连接是FLV啊，你发个wav的给俺也好啊 |
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| 以下是阿鏜的書法老師侯吉諒先生的文章。轉貼在此，用意是: 網友之間，與其相輕、相罵，何如相重，相賞? 有一次，寫完字和學生泡茶聊天，阿娟問吳鳴兄，怎麼會想要和我學書法。 吳鳴兄說：「我和侯老師是認識三十年的老朋友了，我們年輕的時候就喜歡這些東西的。」 阿娟又問，那怎麼不年輕的時候就來學？ 我趕快接著回答：「年輕的時候大家會的都差不多，寫字刻印章，功力相仿，那時是大家都差不多的，哪裡能教朋友？」 吳鳴兄哈哈大笑。 是啊，不就是如此嗎？年輕時候都剛剛畢業，就算有點才氣，也不過比別人早個幾年接觸而已，再說，那時文藝界的朋友大都年輕銳氣，真探討起來，搞不好是誰也不服誰的。 不過，聞道有先後，再加上五年十年的努力研究，真正從興趣到專家，大概是25-35歲這個階段，大家各自的專長就逐漸分明。 然而，一般人的心理，總是不會以為自己熟知的人有什麼特別的地方，有點才能、有點專長可以理解，但要了解那是不得了的成就，不太容易。 多年前，成功大學的副校長到我姐姐的辦公室，看到她牆壁上掛著我的作品，說「這個人好像有聽過，侯主任認識他嗎？」 我姐姐說，「認識啊，是我弟弟。」 副校長說，「那太好了，什麼時候請他到我們學校來展覽、演講？」 我姐姐說，「展覽？演講？他『只是』我弟弟耶？」 上述的事情發生數年後，有一次和我姐姐談到展覽，她才突然想起來有這麼一件事。 我著實沒想到會發生這種事，一時之間還不知如何反應，好不容易調整了心情，才嘆了一口氣，說：「畫家需要的是展覽，安排展覽並不容易，現在，有人，而且是大學的副校長親自說的，要請妳弟弟去展覽，妳居然覺得我只是妳弟弟？就這樣把一個很難得的展覽機會推掉了？而且根本就沒放在心上？隔了多年才忽然想起來有這麼一件事？」 經過我的抗議，我姐姐總算態度改過來了，終於學會在別人讚美她弟弟時，覺得與有榮焉。 2002年我和國財兄合作展覽「紙品與畫品」，第一次完整呈現國財兄的造紙功力，許多國財兄的朋友都來參觀，有一位太太是以前國財兄的隔壁鄰居，對國財兄說：「都不知你這麼厲害。」 其實，即使她來看展覽了，也還是不理解國財兄的造紙，更可能不太容易理解我說的「古往今來造紙第一人的境界」是什麼樣的形容詞。 想到最近過世的季野兄，這樣的感覺特別深刻，在許多詩人朋友眼中，季野可能只是一位對茶很有研究的詩人，對茶界人士來說，季野兄可能只是一位懂茶的詩人，我常常在想，如果是在日本，我的這些朋友，都是絕對的「人間國寶」，必定被尊貴的敬重著，可是在台灣，似乎普遍缺乏這種知人的眼光和胸襟。 一個不懂珍惜文化人才的社會，不會有什麼文化的成就，一個不知欣賞同行才能的人，也不會有什麼成就，我常常和學生說的，好的壞的都分不清楚，怎麼可能學好書法？可是，我們的社會，不就普遍缺乏這樣的眼光嗎？ |
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| 既然要分好的坏的，那么就会有意见冲突。每个人都以自己的认知进行好坏判断，只要说出来，那就可能会有不同的意见。尊重别人和欣赏别人的长处的确是社交很重要的一条。但是尊重也分因对方才干而尊重和因礼貌而尊重。如果是后者，就是把不同的意见放在肚子里，面孔上嘻嘻哈哈。对于前者，不可能所有人都会因为才华出众而让你佩服不已，所以有时候，就只有两种选择，说出自己真实的想法，导致意见的冲突。或者嘻嘻哈哈，那也就不用分清楚好坏了。 |
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| 中国，其实是整个亚洲文化，都缺乏赞美。亚洲人更乐于妄自尊大，给予批评。我觉得是因为对“人”认识的不够，自然也就缺乏尊重。 在中国，手工的东西可以随意侃价，我们的逻辑是成本低。但是在美国，手工的物件最值钱，因为是人做的，而不是机器。我昨天在ANN ARBOR的ART FAIR上看到一件特别精美的毛衣，主人要价350美金，朋友还告诉我说不好还价，因为是人家手工做的。这是一种尊重吧？而在中国，对名利的尊重高于对人的，人是最不被尊重的。 |
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| 同意阿镗老师。这个坛子有几个自以为比谁都聪明，什么都要讽刺挖苦一番的高人。现在变得冷冷清清，是他们的功劳。 |
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| 对于别人的批评一定不可情绪化，要善于接受批评，尤其是要接受那些有事实根据的批评。 对别人的具体批评最好要有具体回应，而不是事后用大话空话搪塞。 中国音乐界的批评不是太多而是太少。 一个论坛的价值不在于是否热闹，而在于是否有批评精神。 说本论坛“冷冷清清”缺少依据。 |
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| 刚刚揭晓的第六十届“艾美”奖提名名单上看到，上海音乐学院李秀英在纽约歌剧院主演的《蝴蝶夫人》获得提名： OUTSTANDING SPECIAL CLASS CLASSICAL MUSIC/DANCE PROGRAMS New York City Opera: Madama Butterfly (Live From Lincoln Center) http://buzzsugar.com/1792691 |
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| 名模性爱录像曝光 德国网络累瘫 德国超级名模吉娜·丽萨与前男友的性爱录像惊现网络，立即成为搜索点击量最高的视频，导致整个德国的服务器瘫痪。这段视频正是吉娜·丽萨自己上传到网络的，她这么做是为了赚钱。 德国《图片报》报道，21岁的吉娜·丽萨被称为“德国下一名顶级模特”，她的上百万粉丝正疯狂地下载这位金发美女与男友的性爱视频，导致全国范围内的服务器瘫痪。 在几周之前视频的部分剪切就已经出现在网上，现在视频的完整版可以轻松地搜索下载。似乎是当事人吉娜·丽萨自己主动把视频放到网上进行销售。 在名为“PrivateOnly”的平台上只要花22欧元就可以购买下载这段长达23分钟、包含所有细节的视频。 她的前男友，视频中的男主角解释道：“我和吉娜事先讲好的上传视频赚钱，我们是抱着这个目的拍摄这段录像的。” 吉娜称，“性是最美好的事情，对拍摄性爱视频指指点点的人都是伪君子。” |
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| Unlike exposing a hypocrite, this one if she don't care, why should we care about it? There are plenty forums or bulletins you can post your exhibitionist videos or photos for other perverts to share. Just wondering what does it have to do with this place? Sure, sex may inspire art, but true art is supposed to transcend sex, it's a form of sublimation. If you want to talk about sex in Opera, I am all for it, but if all you have is G spot or vagina, then I think there are better places for you to spread open your crotch, or you may even set up a blog, where if you are lucky, you might find someone who's willing pay for it! :-) |
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| 让人恶心的潜水员,你除了当个狗屁侦察员，就剩悲哀了，而且你悲哀的日子还多着呢。哈! |
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| 看来要跳墙了！ |
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| 是说我么？ 不是的话，就当我路过。 是的话，我只想问一句：至于么？踩着你尾巴了？ |
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| 各位老师和朋友，音乐会已成功举办，今日返程，感谢各位对我的帮助。感兴趣的朋友可从网上搜索新闻和图片，谢谢曾经帮助过我的各位朋友老师。 |
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| 魏铭朋友：您好！听说音乐会已成功举办，太好了！在此，再一次地祝贺您和您的老师韩宝林教授！ |
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| 恭喜魏銘道兄音會成功! 有錄音、錄像嗎? |
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| 我搜索不到有关魏铭的新闻和图片，弱弱问一下，魏铭是谁啊？真名叫什么？ |
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| 搜索魏铭肯定搜不到,呵呵人家在网上不会留真名的。表示祝贺！ |
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| http://news.yahoo.com/s/ap/20080718/ap_on_re_as/china_olympics_security_2 China urges restrictions on performers 24 minutes ago BEIJING - The government warned foreign performers and entertainers against harming China's sovereignty or ethnic unity, a sign of increasing nervousness over live performances weeks before the Olympic Games. China is ratcheting up security ahead of the Aug. 8-24 games in an all-out attempt to shield the event from disruptions that could tarnish China's carefully cultivated image of order and control. China should strengthen its rules about foreign performers and performers from Hong Kong, Macau and Taiwan, a notice on the Ministry of Culture's Web site said, including checks on their background. "The content of the performance should not violate the country's law, including situations that harm the sovereignty of the country," the notice said. Chinese authorities were alarmed in March after Icelandic singer Bjork shouted "Tibet! Tibet!" at the end of her concert in Shanghai in March. Authorities said Bjork's outburst "broke Chinese law and hurt Chinese people's feelings," and vowed to be stricter on foreign performers. The notice said performances should also not harm China's "national security, or incite racial hatred and ruin ethnic unity." Performers should also not promote pornography and superstition, it said. The rules were first introduced in 2005, but the notice acts as warning and reinforcement during a sensitive time weeks from the opening of the Olympic Games. Agencies that bring foreign performers to China will be banned for two years if they violate the rules, it said. Musicians in Beijing have gone into hibernation this summer as live performances have been stopped in bars, a music festival canceled, and clubs suddenly told they need a live performance license. Personal information about individuals in foreign performance groups should be examined, it said, especiallly groups claiming to represent a country or royal family of a country. Opposition to China's 58-year rule over Tibet is a popular cause among artists and musicians in the West, and also drawn frequent condemnation from foreign governments and activists. The issue was given further international attention after violent protests broke out in Tibet's capital Lhasa in March, leading the Chinese government to shut off the area to foreign media and crack down on alleged offenders. |
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| 奥运本来是一种文明的交流，这次奥运严重地被政治所限制。 喊一声"Tibet! Tibet!" 违反哪个法律了？ 我在这偏偏喊一声"Tibet! Tibet!" 。 |
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| OG近，时间紧，任务急 为什么中国需要行政强制法？ 本文出自楚望台的法律评论（ChuWangtai.cn），转载敬请注明 在凤凰周刊上看到这样一则新闻。奥运期间，北京将有三十万的地下室租客被赶出家门。我记得以前公安部说过，奥运安保要重点防范恐怖组织、反华势力和社会不满分子。那么恭喜党国，北京可能在几天之内多出了三十万个社会不满分子。白岩松、王志、王小丫，你们这些从北京地下室里挣扎出来的CCTV们，为什么你们奋斗的时候没赶上奥运会呢？ 谁都看得出，民防局这种行为违法。违了什么法呢？《行政强制法》。能不能起诉呢？不能，因为这部法律还没出来。什么时候出来呢？快了，已经立了三年了，不急，再等等。 为数庞大的外地人、低收入者居住的地下室将彻底停水停电。成千上万分布于地下室各个角落的租户，简单而悄无声息地迁出。他们有的辗转搬离到四环以外，也有的暂时或永远离开了这个城市。 “你要住多长时间？现在按月绝对不行，你也就能住这两天。”6月13日，朝阳区劲松社区一家地下旅馆老板试图向记者招揽最后的生意。 这些地下房间的大限是6月15日。此前的4、5月份，这一辖区的地下室出租屋及旅馆，陆续接到区民防局和街道下发的关停通告。正式的关停工作从6月初开始，街道每天派人到辖区各处地下室检查执行情况。如今这家地下旅馆的租户已全部清空，多数房间贴上了印有“朝阳区民防局”字样的封条。 旅馆门口白纸黑字的说明上写：“暂停使用。5月31日至10月31日”。这5个月，按照北京平安奥运的文件精神，所有不合规定的在用地下室和大部分合法经营的地下旅馆、招待所都必须关停或暂停，租户全部清出。 北京四环以内的地下室，正在进行着一场规模浩大的搬迁。为数庞大的外地人、低收入者居住的地下室将彻底停水停电。成千上万分布于地下室各个角落的租户，简单而悄无声息地迁出，他们有的辗转搬离到四环以外，也有的暂时或永远离开了这个城市。 逾10万人搬迁 6月15日，北京地下室清空的最后一天。团结湖某小区入口的奥运会倒计时牌上醒目地提示着：“距2008年8月8日奥运会开幕倒计时54天。” 当天清晨，来自重庆梁平的杨正伟，在团结湖一间地下室里，打包一家5口人的行李、衣物和简单的家电、厨具。上午不少租户开始叫三轮车往外拉行李，整个地下室一片忙乱。14时，20多户人家搬走了大半，多数房间已人去房空。 空旷的地下室一角，杨正伟和妻子平静地看着一拨拨租户离去，手头却仍坚守着最后的活计：串麻辣烫。他们有一个麻辣烫铺面，下午的生意还要做。尽管是住在这里的最后一天，他们也要到深夜收摊以后，才会把所有行李装上借来的三轮车，从东三环外一路骑到北四环外的辛店。几天前，杨正伟好不容易在那里租到了一处价格合适的平房。 接下来的生活充满动荡。他们已不能等到奥运后搬回地下室的家。这家人暂时要每天折返数十公里，赶早摸黑穿越半个北京城，以维持团结湖的生意。但这样的日子也不会太久。奥运临近，杨正伟的麻辣烫铺位即将面临下一轮的清理。如果铺面关停，他们将不得不离开北京，到其他城市另谋出路。 同住这层地下室的王女士，在6月15日搬离当天，就带着暑期放学的孩子回江苏老家了，她打算奥运结束再回来。此前王女士已在地下5平方米的狭小房间住了两年，靠在附近餐厅打工每月1000元的收入，维持自己和孩子的开销，其中400元用来支付房租。“现在附近楼房房租随便都在千元以上，吃不消，合适的平房又找不到，我们只能回家。” 据了解，地下室出租屋在北京市十分普遍。几年前政府有关部门的一项调查统计称，全北京地下室租客约有10万人。另一数据称，北京6万多处地下室中，开办旅店、招待所和出租屋的至少有上千家，仅朝阳区就达174家。这些地下室多数经营数年，至少为30万进京务工的低收入人员提供了栖身之地。 地下室租户多数是在京从事餐饮、商场超市、清洁保洁、家政服务人员、物流运输工人、进京求学的学生及小型个体工商户等低收入人员。北京地下室信息网的编辑介绍说，目前北京地下室清理的重点区域丰台区、朝阳区、海淀区已经基本清空，沿南三环一线，西三环到东五环直至北五环，大部分地下室已经关停，至少涉及10万以上低收入者。 史上最大清理行动 关于奥运期间北京四环内地下室不让住人的消息，从年初就开始流传。3月份，一些地下室陆续被勒令结束营业或暂停营业。一些被迁离的人们开始在网上发文称北京在“轰外地人”，更多居住在地下室的人们开始担心自己的住房问题。 4月底，奥运村周边地区地下室租户成为首批被清理的人员。5月底，相关文件公布，全市范围内全面收紧地下室出租。朝阳区、丰台区80%以上的地下室被要求暂停或关停。北京市政府下达了最后的通牒期限，7月1日前，所有责令关停的地下室租户必须全部清空，停水停电。 丰台区建委人员明确表示，由于奥运前全市范围内要进行综合整治，政府要求地下室都关停，凡是相关政策、法律法规不准许使用的情况，租户必须无条件全部清出。 团结湖北三条某地下室6月4日正式接到通知。包租人曹先生介绍，年前他按照北京市政府的相关规范对地下室进行了改造，新装了烟雾喷铃和自动报警系统，设施都符合要求，但是今年元月送交年审的证件却一直办不下来。 北京市政府下达的相关文件称，不符合标准、证件不全的地下室全部关停。曹先生认为大部分地下室都很难达标，“今年地下室的所有证件都不给办了”。 大部分在房管所备案的普通地下室和合法的人防工程地下室，也都被要求暂停营业。朝阳区民防局2008年2月19日向各街道下达的《朝阳区民防、地震局人防工程奥运安全保障工作方案》中提到，按照市、区政府总体工作部署和平安奥运目标任务要求，全区范围内未经许可擅自使用人防工程依法责令停止使用、清空；13个比赛场馆周边200米范围内及奥运中心区9个街道、地区办事处范围内的在用人防工程全部实行关停或暂停使用，实行封闭式管理。 三里屯街道综治办的甄姓科长透露，具体执行中按照区民防局的口头通知。三里屯地下室清理行动的范围，已不限于文件中规定的比赛场馆周边200米，而辐射到整个区域。此前，北京朝阳区所有具有合法经营执照的地下旅店、招待所都收到了相同的关停通告。 5月上旬六里屯街道办事处召开的搬离动员大会上，工作人员称对出租屋经营者关闭5个月，直到奥运结束，并将租用协议延长5个月。目前，除少部分人实在面临租房困境暂未搬出外，朝阳区90%的清理任务已经完成。 丰台区民防局一位人士用“时间紧，任务急”来形容他们的工作。下属6个管理站要在2个月内完成10多个街道近500地下室近2万人的关停清空任务。区民防局全班人马用上还不够，准备再给每个站多配两个保安。 该区民防局第三工作管理站于站长直言工作难度比较大，他说最大的问题是“地下室都封存了，人员往哪里住”。因为这个，有不愿搬的租户对他们颇多抱怨。即便如此，他表示6月30日前肯定能完成90%人防地下室的关停任务。 全面消除隐患 短时间内庞大的地下室群体搬迁找房，迅速提升了地面楼房和普通平房的租价。北京很多房屋中介已经开始找合租房源，或把大间改成小间以应对需求。北京两居室租价也从3个月前的2500元左右，涨到3000元以上，整体租房价格上涨30%以上。 地下室租户的成本支出也大大提高，一些租户向记者表示：“原来花300元住地下室，现在必须花800元住小间甚至是床位，以前是收入的1/41/3租房，现在就得一半了。” 记者从北京市民防局了解到，全市人防地下室整治清理工作还在进行中，要到7月中旬才能告一段落。尽管市民防局表示，清理行动跟往年没有不同，都是按照 2005年的规定来执行，目前关停、暂停的也只占30%，但具体执行的各办事部门，多把这次清理行动与奥运挂钩，不少租户更认为这是在清理驱散外地人，要把他们赶到四环外。 民防局内部人士否认了租户这种说法，在奥运前清理肯定是有特殊性，但这些工作并非一刀切，“不是今年执行标准特别严，而是往年太松了”。 2007年9月，北京市建委对全市普通地下室抽查时发现，七成地下室存在无消防证明、拆改结构和居住人员超标等问题，造成安全隐患。 据知情人介绍，往年地下室治理以处罚为主，问题严重的才会责令停业整顿或限期整改，但在今年奥运大形势下，地下室处罚是小，主要方式还是关停。即便是合格的地下室出租屋，也要配合奥运暂停。 作为2008平安奥运行动的组成部分，此次地下室整治行动的直接目标是清人。日前 “奥运治安保卫攻坚战”进入最关键阶段，公安部官员接受媒体采访时指出，奥运安保要重点防范三类人群：恐怖组织、反华势力和社会不满分子。 地下室则是隐蔽性强、难以监管的治安死角，容易成为社会不满群体的容身之地。北京市此次重点关停的几个区域，似乎暗合了这种安保需要。地下出租屋作为外来人员大本营，大面积关停并遣散这个群体，能够大大缓解奥运期间北京的治安压力。 相关人士透露，此次治理行动政府部门是“只能做，不能说”，因为如此大规模的关停遣散牵涉面众多，有一些地方有关部门也无权关停，须由人大出台相关法律或者授权才可以。但奥运安全第一，关停给产权单位、承租者、租户带来的损失，只能留待奥运后解决。 6月中旬，北京大部分建筑工程都将停工，届时预计有100万民工将被劝返归乡。此外，不足1000平方米的餐厅、歌厅舞厅、茶楼、洗浴等娱乐场所和各类小摊点也将面临关停，伴随关停的将是更多外地从业者离京返乡。 “奥运百年一回，个人有点损失只能克服一下，现在要以国家利益为重。”平安奥运专项整治行动的一位工作人员遇到“钉子户”，通常这样做工作劝其尽快搬离，但遇到租户反问“那这5个月我上哪儿吃饭”时，他也无言以对。最终还是引用通告上的话：“希望您能够从讲政治、讲大局的高度充分认识奥运安全保障的重要性、必要性和严肃性，积极配合专项整治行动。” |
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| 现在北京的气氛可谓草木皆兵。报纸上说，奥委会开幕那天，还要实行空中封锁，导弹也都布署在体育厂馆四周了。海陆空严阵以待。 我有个建议，不如实行军事管制，再把那些进过局子的人都轰回大狱去。然后，实行宵禁，让那些试图给我们伟大祖国添乱的人，实行市场经济下的无产阶级专政。这个事情，要从那些自由主义者们开刀，他们最不老实。当年老毛就是如此那般的。。。 我是个贴牌的自由主义者，一辈子信奉“不自由，毋宁死”。既不爱祖国，也不爱人民，还常常把普适价值观挂在嘴边。国事当前，还老拿自由说事儿，想想，真对不起生养我的祖国。要是再实行无产阶级专政，我申请先从我开始吧！ |
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| 其实当初就不应该是北京申奥，应该是大西北，在塔克拉玛干，想混个特务进去也不容易，也好开发大西北。 |
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| 既然国际奥委认可了北京，就不要随意去改变它。 |
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| http://news.yahoo.com/s/ap/20080718/ap_on_re_as/china_online_dissent_1 Group says Chinese Internet dissident is arrested 2 hours, 52 minutes ago BEIJING - A Chinese dissident who wrote politically sensitive articles including some criticizing the government's handling of a devastating earthquake was formally arrested Friday on charges of allegedly possessing state secrets, a human rights group said. Prosecutors in the southwestern city of Chengdu approved the arrest and charges against Huang Qi, founder of the human rights Web site 64Tianwang, said Nicholas Bequelin, a Hong Kong-based researcher for Human Rights Watch. The move comes as the government is tightening a clampdown on potentially embarrassing protests or complaints before the Beijing Olympics, which begin in less than a month. There's been "no let up in the repression of rights activists on the eve of the games' opening," Bequelin said. Possession of state secrets is an ill-defined term often used to clamp down on dissent, and authorities have not released any details on Huang's case. A man who answered the telephone Friday at the Chengdu prosecutor's office said all the officials had gone home. Huang has long been one of China's most outspoken activists. Earlier this decade, he served a five-year prison sentence on subversion charges linked to politically sensitive articles posted on his site. Since his release in 2005, Huang, who is in his mid-40s, has supported a wide range of causes from aiding families of those killed in the 1989 military crackdown on pro-democracy protests in Beijing, to publicizing the complaints of farmers involved in land disputes with authorities. Rights groups have said Huang was detained June 10 after visiting areas affected by a powerful May 12 earthquake centered in Sichuan and writing about parents who lost their children. They linked his disappearance to articles he posted criticizing the government's response to the magnitude-7.9 quake that killed almost 70,000 people. |
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| 我是北京人,看了清理地下出租房那贴子,我几乎哭了,啥时候中国公民能有最起码的尊严啊? |
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| 2000年奥运申办没成功,我欢呼了一下,因为我经历过亚运,我知道办奥运意味着什么,奥运只能更甚!后来08年奥运申办成功了,我一点都没兴奋! |
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| 北京居然有这样的大标语“减少出行，为外国友人让出畅通大道” |
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| 北京居然有这样的大标语“减少出行，为外国友人让出畅通大道”---------- 哈哈哈哈哈！这个说法真傻逼！不好意思，实在找不出比这俩字儿更合适的了。顺便问一句，是北京便秘了还是“外国有人”便秘了？ |
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| Another new round of PR push for Lang Lang. Again? First, there is the 9 feet bloody red colored Steinway on the auction block to raise money for China quake relief: http://www.iht.com/articles/ap/2008/07/16/arts/NA-US-The-Red-Piano.php Then, a long bio heavy preview for his upcoming Chicago concert and book tour: http://www.suntimes.com/entertainment/music/classical/1057685,CST-FTR-lang16.article On Radio, there's an interview from NPR's All Things Considered (this one however, does worth a listen, including an elbow (sort of) on winning the competitions): http://www.npr.org/templates/story/story.php?storyId=92585171 http://www.npr.org/templates/player/mediaPlayer.html?action=1&t=1&islist=false&id=92585171&m=92602949 Wow, even NYT's chief Lang Lang basher ANTHONY TOMMASINI has a few nice words on his play now: http://www.nytimes.com/2008/07/17/arts/music/17gilb.html Things do seem turn around in favor of him, don't they? Just wondering how can someone from RMCR be still wondering the rivalry between Lang and Li? What rivalry? Do you mean this one? :-) http://www.artsbj.com/Html/news/zhzxzx/yy/80141804608500.html |
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