因为记忆衰退�加上决定端正自己的学习�度，我决心�认真地�笔记。我�敢�买新的笔记本，因为旧的一群如��冷�的�宫嫔妃，有的甚至迄今未得宠幸，想起便�有汗颜。

果真是轻而易举地便找到了一本旧的，å?ªå†™äº†ä¸¤é¡µï¼Œç»†ç»†çœ‹æ?¥ï¼Œç«Ÿæ˜¯ä¸‰å¹´å‰?在艰苦的考研å²?月中难得的自在笔墨，想是当时背å?•è¯?和＊＊的三个代表é‡?压下ä¸?å¾—ä¸?生的æ?£æ„?，我刚刚看了一下（看第一é??时没看懂，ä¸?知é?“那个人在说些什么），原æ?¥æ˜¯ä¸€äº›æ?‚感，ä¸?是日记，觉得有个人（你必须点击图片å?Žæ‰?能看到ï¼?ï¼?）会很想看到，尤其是我那看起æ?¥è¿˜ç®—漂亮但大部分è¦?é? çŒœçš„笔迹。这两篇儿纸在别人眼里也许ä¸?过是“锦ç?°å †â€?，或者确是些无用当弃之物，但我看到它时å?ªæœ‰æ™®é²?斯特“ä¸?ç»?æ„?é—´â€?å?©å¼€æ—¶é—´çš„门的欢喜，无知是次è¦?的，真实是主è¦?的。

我想我需è¦?买支笔æ?¥â€œå†™â€?点儿什么，找到一å?ªå?ˆé€‚的笔就åƒ?以一个舒æœ?的姿势进入梦境，载体很é‡?è¦?，“形å¼?â€?两个字需è¦?å¹³å??。

Filed under: Marginalia of Days, Bunch of Contradictions
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When my friend and I stepped out the restaurant, there was a fight between two taxi drivers. While I was concentrated on listening to what they were fighting about and talking to my friend loudly “hey, I like watching the fight!�, I heard a guy shout as he was riding the bike—“the golden cup is getting fired!�

My friend and I didn’t have any idea about golden cup, but when he saw a minibus was fired near the gate of Lotus Market, I got on his bike then he rode it with sprint speed toward the scene of fire. As we got closer to the burning bus, my friend drew an conclusion promptly with his keen sense of observation “Oops, the bus will blow up, let’s go back!� Again, I got on his bike and he rode it with sprint speed to a place 50 meters far. We finally got a safe place then felt like being in the mood for a cigarette (didn’t have beer at that time) and would appreciate the explosion… as time went by, what we saw was more fearless people (someone said the gas tank was in the fire), who were mostly the uncles and aunties, who often danced in front of the gate of shichahai, standing and watching near that bus; and the smoke poured from it was thicker and thicker, “It smells stink and makes me want to throw up� “yes, like in the toilet�, even if we said so, we were standing still and waiting for the blow-up until fire engines arrived, “Hey, why the fire engines haven’t crossed the street (of course they didn’t have to, the firemen came over already but we were short sighted) � “Hey, look at stupid car, it’s moving forward to that minibus�… The fire died out until we found the firemen were around the bus …“That’s it?� “Oh, it’s so boring� �Let’s go!�

Yeah, that’s it, I don’t think we were cold-hearted bastard who really looked forward to the blow-up scene (but liked to see fire…), maybe we preferred something like the process of waiting, who knows.

Filed under: Marginalia of Days
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Snowball is preparing the final paper for submittal. The discussion might be a good way to make the paper better because then you can check if something is really what you think and avoid some mistakes are easy to make. That's why she asked me what I think about "the intrinsic power of pictures" and " how artists use their work to pose questions". This post is my reply to snowball and I'm looking forward to her view. I'm not sure if there’re a number of contradictions in it, maybe it's rubbish only, even if it is, at least it would help snowball to keep away from bullshit. I would like to be such a good friend:)

Many thanks to intellectual Jim for translating the first part of this post:), 掌声鼓励一下:P

雯 - 你能把你对于画�本身的力�和艺术家用作���问的看法写写�？我也写写，我们讨论一下

Wen: Could you write something about the intrinsic power of pictures and how artists use their work to pose questions? I’ll also write about this and we can have a discussion.

立 - 我觉得画�本身的力�是�存在无需讨论，凡是存在都必有“力��（一根线也�幻化出“大漠孤烟直�）。力�就力度�讲或弱或强，就方��讲或曲或直，就形��讲或�或显，从���义上�讲力�的本身并无褒贬，因为天�和蠢��是寥若晨星（所以我们的讨论与这两者无关），也就是说大多数人并�天具神力或天生无力。那么关于“力��的讨论是�就最终��在力�的产生（起点），力�的承载（过程）和力�的呈现（终点），也就是说关于画�内在力�究竟为何呈现，如何呈现以��实到画�的最终呈现。

Li: My feeling is that there is no need to discuss whether or not pictures have an intrinsic power – all existing things must have a ‘power’ (a single line is enough to evoke the ‘single plume of smoke rising straight above the desert’ [from the classical poem written by Wang Wei]). Power may be strong or weak in terms of its dynamism; warped or straight in terms of its direction; and manifest or hidden in terms of its form. In one sense there is nothing intrinsically to be decried about power, since both great genius and basest idiocy are scarce commodities (and hence our discussion bears no relation to these two); by this I mean the majority of people have neither great natural gifts of power but nor are they by nature entirely powerless. So shouldn’t a discussion of power ultimately concern itself with the production of power (its origins), the transmission of power (its processes), and the manifestations of power (its end point)? This looks at why and how the inner power of a picture is in fact manifested and how it is resolved in the end point of manifestation in a picture or painting.

1.力�的产生（起点）：

1. The production of power (its origins):

对我而言，这是最具趣味性，最接近真实（画�的深入�能扭曲这�真实，除��到柳暗花明的幸�或有翻云覆雨的能�）也是决定画�力�最��的因素。在这里，天生的��与本能的好�无疑是决定起点�置的最佳选择，因为任何的力�都比�得“自然�的力�。好的开始是�功的一�，有时甚至代表了�功的全部，就�你喜爱的�木�椎，我觉得他的作�里�更多是本能而�少“创��，也许他本能地认为被�绑的女性更具张力，然�将他本能的所想�以更本能的方�尽�地呈现，那么�始的元气直到最终也没有散去，�就了他独有的作�。他是幸�的，因为他那么熟悉自己的好�而更多人��能在这两点间迷离的游走。游走的结果�么找到，�么迷路，似是而�者则���画�的进行使其清晰，我想�者情况�大多数，所以也许更多的较��自于“力�的承载或传达�，但这里也存在�这样一�相互作用，�力�在最终抵达终点之�，对于终点的远眺左��力�在传达过程的所有相关因素，其中包括很��的力的表现形�，所以实际上在最�选择了力�的出击点�，也往往伴��对力�最终��点的考虑，也就是力�的终点��大概都是这样，你�我往，相辅相�。

For me this is one of the most interesting things about the power of pictures, and also the closest to reality (the action of depiction will likely distort this reality unless the artist is very lucky or very skilful); it is also the most important determinant of a picture’s power. Here one’s in-born tastes and instinctive likes and dislikes are the best choices for the location of the originating point, since no power can compare with the power of nature. A good start is half the battle; indeed at times success is entirely due to it. For example, with Nobuyoshi Araki who you are so fond of my feeling is that his work relies heavily on instinct and contains very little ‘creativity’. Perhaps he instinctively feels the tensions of the bound female form and then takes this instinctive thought and gives it manifestation in a more instinctive way. The primal energy is sustained right throughout the process allowing the achievement of his unique work. He is lucky because he is very clear about what he likes and dislikes whereas most people tend to just wander about rather aimlessly between these two extremes. The result of these wanderings may be a discovery of what was sought or it may be to get completely lost; aspiring artists who can’t rely on strong instincts must clarify as their picture progresses. This latter case accounts for the situation of the great majority, I feel, so perhaps our efforts would be better spent considering instead the transmission of power, although here there also exists an interdependency – before power finally reaches its end point the movement towards that endpoint determines all the related factors in the transmission process, including importantly the form in which that power is expressed. Hence when choosing how one is going to first invoke power one’s choice is actually also accompanied by considerations of where it will end up, which is the end point of power. Most likely it’s all like this – coming and going, mutually interconnected.

2.力�的承载（过程）

实际上我认为这是最é‡?è¦?的一环，因为这是真正æ“?作的过程，尤其在感觉并ä¸?å??分明晰的时候。这力é‡?的承载除了作为画家对于色彩ã€?构图最基本的å“?ä½?之外，是å?¦è¿˜æœ‰ä»€ä¹ˆæ¯”ç”»é?¢è¯­è¨€æ›´é‡?è¦?而被人忽略或仅仅存在与潜æ„?识之中的?我在想è€?å­?的“曲则直â€?，在想“曲径通幽â€?，这“曲径通幽â€?除了是妙“境â€?是å?¦ä¹Ÿæ˜¯å¦™â€œæ³•â€??我们是å?¦åº”该更直接地利用直觉性的东西?除了红色是最醒目的颜色,曲线是最显著的的跃动之外,是å?¦æ›´ç?€çœ¼äºŽè‡ªèº«çš„直觉,å?ªæ˜¯"万物é?™ä¸­å¾—",考虑得越多则离直觉越远?全是问题,但是这些问题是å?¦ä¸?应该出现在对绘画的实际创作之中，最好在创作之外å?§ï¼Œå?¦åˆ™ä¸?胜扰攘。

1. 力�的呈现（终点）

上述的语无伦次仿佛一次创作的�历,真正到画�的最�,我通常的�度大概就是"爱���",因为最终的考虑对于一幅糟糕的作�实在难挽颓势,除�你打算全盘�定使其�为�一幅作�的起点或是�光一闪地"化�朽为神奇".而这最终的考虑对于一幅好的作�,则有�能画蛇添足,因为实际上我并�相信大多数艺术家是那么得�熟,那么善于控制.

我过两天å†?写关于"艺术家用作å“?æ?¥å?‘é—®"的看法å?§,ç­‰ç?€ä½ å¯¹ä¸Šè¿°çš„“大相径庭â€?,越å??驳,越好玩儿;愈快ä¹?,愈堕è?½.

P.S.我最近�觉��学浅，这�是那�骄傲的谦虚，是实在最近懒于动脑动眼动手，这�冬眠的情况简直是冰冻三尺，�一日之寒�上述所言�属自产自销，如果有�论家或诡辩家以拳脚相加我也�在乎，虽然并�情愿，但还是�摆出武�准备挨沙�棒的姿�，闪躲一棒便�是好汉:)

Thanks for reading the above, please enjoy the song from Cuijian's new album "show you color"红先生Mr. Red:), I like it since I first heard it months ago and still enjoy Liuyuan's performance.

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Heart Sutra in Sanskrit , sounds nice, enjoy it:)

Filed under: Marginalia of Days
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Yes, I'm still awake in damned about 4am! Before I got a friend's email, I either learned English by "remember words by listening" or listened to a course about hypnosis . I don't know how to make it into CD, so I have to sit by my computer to meditate!!

John sent his dog's photo, so I can't help putting it here. "My dog is named Happy Jack.. He is always really happy and always ready to go outside to the point of being a total idiot sometimes." "He is kind of a dope but he is ALWAYS happy no matter what happens. This is not a great picture of him as he is really more handsome. He has one bad leg that did not grow in right because he was hit by a car when he was a puppy. Even with 3 legs he can still pull like crazy". For the description of Jack, I might take part in his fan club.

Jack wouldn't know this is his �气(good fortune?) to be a born happy idiot. I accepted years education and still educate myself now and then, perhaps the only aim is to be a happy idiot...

Filed under: Bunch of Contradictions
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Women can use the same excuse to be lazy monthly. That's why I've been watching detective TV drama today instead of working. And women like to imagine playing a role in their favorite show or film, so it's no surprise if I say I would like to be a murderer in Furuhata Ninzaburo.

I like the story structure of this series. Usually, the first part is about who the murderer is and how committed the murder, then Furuhata Ninzaburo appears on the scene with his beloved bicycle. Like most great detectives, he is good at catching every detail and finding weak point, so the following part is always the conversation between murderer and detective. In the end, the murderer can no longer contradict anything, and goes quietly with Furuhata.

My favorite murderer is Yasuko Sawaguchi, whose religious fanaticism drove her to murder her colleague. When Furuhata realized how devout the girl is, he said: "How stupid I am, in fact, I think I should ask you this as soon as I suspected you –did you murder your colleague? ","Yes, I did, and if you had asked me that earlier, you wouldn't have had to waste your time, you should know I do everything as doctrine, it's impossible for me to lie". And another one is Honami Suzuki (I love this girl so much for her "To Love You More" and"Tokyo Love Story") who met Furuhata on the way to an American city, she told him a murder story as she knew he’s a detective, and at last Furuhata told her how the woman in the story killed her husband, then the girl smiled:"Yes, you're right, but fortunately, American law doesn't allow anyone to be charged twice with the same crime, so the girl is free now... but so what? The girl still has to live by the royalty from her husband's novel about him and his lover..."

I know it's a big challenge to write a perfect detective story, so I'm not fussy about if the plots are 100% reasonable (my favorite detectives include Hercule Poirot, Ms Marple and Kindaichi Kousuke whose stories were shot by Kon Ichikawa many times). Actually I prefer this character’s personality to his brain, weird gentlemen look always charming, he likes to make fun of his stupid assistant, but the only time he was rude (slapped the guy who played Faye Wong's Japanese Lover in 2046, by the way, every murderer is played by a famous Japanese TV star)was just to save his assistant.

It's pretty cool when the murderers are taken by Furuhata in the end of every episode (the background music is great), it's even sexy when the murderer is female, it reminds me of Water of Tenderness which was adapted into the film called East Palace West Palace, though the reason I would like to play the murderer is because I enjoy the tension between murderer and detective. But,"Heaven's net is wide, and nothing escapes", as if it's as difficult to design the perfect crime as it is to judge what is a just crime.

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