理想的下午，常常伴有音乐。舒国治说，Erik Satie 的《我要你》（Je te veux）像是对美好下午最雀跃的礼赞。
「理想的下午，要有理想的阵雨。霎时雷电交加，雨点倾落，人竟然措手不及，不知所是。然理想的阵雨，要有理想的遮棚，可在其下避上一阵。最好是茶棚，趁机喝碗热茶，驱一驱浮汗，抹一抹鼻尖浮油。就近有咖啡馆也好，咖啡上撒些肉桂粉，吃一片橘皮丝蛋糕，催宣身上的潮腻。俄顷雨停，一洗天青，人从檐下走出，何其美好的感觉。若这是自三十年代北京中山公园的“来今雨轩”走出来，定然是最潇洒的一刻下午。
理想的下午，常伴随着理想的黄昏；是时晚霞泛天，袭人欲醉，似要替这光亮下午渐次地收拢夜幕；这无疑教人不舍。然下午所以理想，或在于其短暂。
一个世故丰蕴的城市，它的下午定然呈现此一刻或彼一刻悠然怡悦的气氛，即使它原本充塞着急急忙忙的工作者与匆匆促促的车阵。
为了无数个这样的下午，你我一径留在城市。然在随时可见的下午却未必见得着太多正在享用的人。」
祝你有个理想的下午，一个自己可以定义的，松散的，理想的下午。
https://open.spotify.com/track/2LLzfpBmO40TwqM2CwytQF?si=Qx-w23yDQvyjQ2hO473j7w
「理想的下午，要有理想的阵雨。霎时雷电交加，雨点倾落，人竟然措手不及，不知所是。然理想的阵雨，要有理想的遮棚，可在其下避上一阵。最好是茶棚，趁机喝碗热茶，驱一驱浮汗，抹一抹鼻尖浮油。就近有咖啡馆也好，咖啡上撒些肉桂粉，吃一片橘皮丝蛋糕，催宣身上的潮腻。俄顷雨停，一洗天青，人从檐下走出，何其美好的感觉。若这是自三十年代北京中山公园的“来今雨轩”走出来，定然是最潇洒的一刻下午。
理想的下午，常伴随着理想的黄昏；是时晚霞泛天，袭人欲醉，似要替这光亮下午渐次地收拢夜幕；这无疑教人不舍。然下午所以理想，或在于其短暂。
一个世故丰蕴的城市，它的下午定然呈现此一刻或彼一刻悠然怡悦的气氛，即使它原本充塞着急急忙忙的工作者与匆匆促促的车阵。
为了无数个这样的下午，你我一径留在城市。然在随时可见的下午却未必见得着太多正在享用的人。」
祝你有个理想的下午，一个自己可以定义的，松散的，理想的下午。
https://open.spotify.com/track/2LLzfpBmO40TwqM2CwytQF?si=Qx-w23yDQvyjQ2hO473j7w
Spotify
Je te veux
Erik Satie · Song · 2018
Forwarded from Deleted Account
梁啟智：「我看到另一個中國：一個忽然變得相對富裕的中國。中國大陸本身貧窮和富裕的巨大差距：有時前一天還在某一線城市的城中村跟進學生早前籌募的數千元捐款有沒有落實到相關項目，第二天已身在上海高檔餐館的私人包廂內互相敬酒。看著餐桌上滿滿吃不完的菜餚，難免會感到有點超現實。」
https://matters.news/@leungkaichihk/%E6%88%91%E7%9A%84%E5%85%AB%E5%80%8B%E4%B8%AD%E5%9C%8B-bafyreibqpjritjpskbtz5ltbjn4fwi4lf44yairppqmmir2iiwlbuoo7ia
https://matters.news/@leungkaichihk/%E6%88%91%E7%9A%84%E5%85%AB%E5%80%8B%E4%B8%AD%E5%9C%8B-bafyreibqpjritjpskbtz5ltbjn4fwi4lf44yairppqmmir2iiwlbuoo7ia
Matters
我的八個中國 - 梁啟智 (@leungkaichihk)
這是一個邀請，我想邀請大家一起書寫你的每個中國體驗。中國是一個很抽象的故事：文化中國、經濟中國、地理中國、政治中國，各種對中國的理解互相糾纏，而且往往因為一時需要而被挪用錯置。最常見的是把中國作為一個文化虛銜和政治實體作概念偷換，成為情感動員的工具，同時又弄出各種邏輯矛盾和落差。
上周末看了一部公路电影 《The end of the tour 》，讲的是 David Foster Wallace与 滚石记者 David Lipsky 一同踏上新书《Infinit Jest》全国宣传之旅过程中发生的故事，喜欢这部电影开头 Lipsky 在葬礼上悼念 DFW 说的那段话：
「To read David Foster Wallace was to feel your eyelid pulled open. Some writers specialize in the 'away from home' experience. They have safaried, eaten across Italy, covered a war. Wallace offered his alive self, cutting through our sleepy aquarium, our standard TV, stores, political campaigns. Writers who can do this, like Salinger and Fitzgerald forge an unbreakable bond with readers. You didn't slip into the books looking for a story, information, but for a particular experience, the sensation, for a certain number of pages of being David Foster Wallace. 」
「阅读戴维·福斯特华莱士的作品，会让你大开眼界。有些作家擅长描述出门在外的经历，他们或是出外旅行，或是尝遍意大利美食，或是亲临战场，但华莱士则是呈现真实的自我，改变了我们平淡无奇的生活，电视节目，商店和政治活动。能够做到这点的作家，譬如塞林格，譬如菲茨杰拉德，他们的作品深深地吸引着读者，作为读者的你希望从这些书中得到的，并非是一则故事或者信息，而是一段独特的体验...在字里行间中身临其境，与戴维·福斯特·华莱士感同身受。」
一直不知道怎么和人描述读 DFW 作品时的感受，听了 Lipsky 的这段独白后，我整个人是疯狂点头的状态。是的！Reading David Foster Wallace’s is like meeting him personally，絮絮叨叨，但书中时不时就会出现一些击中你的对话。讲到这个，又想再提下这部电影，这种没什么剧情，全是对白的公路电影最最吸引我的一点，应该也是来自于那种突然被某一段主角之间对话击中的感觉。
「To read David Foster Wallace was to feel your eyelid pulled open. Some writers specialize in the 'away from home' experience. They have safaried, eaten across Italy, covered a war. Wallace offered his alive self, cutting through our sleepy aquarium, our standard TV, stores, political campaigns. Writers who can do this, like Salinger and Fitzgerald forge an unbreakable bond with readers. You didn't slip into the books looking for a story, information, but for a particular experience, the sensation, for a certain number of pages of being David Foster Wallace. 」
「阅读戴维·福斯特华莱士的作品，会让你大开眼界。有些作家擅长描述出门在外的经历，他们或是出外旅行，或是尝遍意大利美食，或是亲临战场，但华莱士则是呈现真实的自我，改变了我们平淡无奇的生活，电视节目，商店和政治活动。能够做到这点的作家，譬如塞林格，譬如菲茨杰拉德，他们的作品深深地吸引着读者，作为读者的你希望从这些书中得到的，并非是一则故事或者信息，而是一段独特的体验...在字里行间中身临其境，与戴维·福斯特·华莱士感同身受。」
一直不知道怎么和人描述读 DFW 作品时的感受，听了 Lipsky 的这段独白后，我整个人是疯狂点头的状态。是的！Reading David Foster Wallace’s is like meeting him personally，絮絮叨叨，但书中时不时就会出现一些击中你的对话。讲到这个，又想再提下这部电影，这种没什么剧情，全是对白的公路电影最最吸引我的一点，应该也是来自于那种突然被某一段主角之间对话击中的感觉。
比如这一段：
DAVID:
So if the book’s about anything, （这里指的是 DFW 的成名作《无尽的玩笑》）it’s about the question of: Why am I am watching all this shit? It’s not about the shit, it’s about me. Why am I doing it? And what’s so American about what I’m doing? The minute I start talking about this stuff, it sounds, number one: very vague. And, two: really reductive.
LIPSKY:
I don’t think you’re being reductive or vague at all.
DAVID:
Because it’s like, I don’t have a diagnosis, a system of prescriptions. You know? Like, why are we - and by “we” I mean people like you and me: mostly white, upper-middle class, obscenely well-educated, doing really interesting jobs, sitting in really expensive chairs, watching the best, most sophisticated electronic equipment money can buy - why do we feel empty and unhappy?
I’m not saying TV is bad or a waste of your time. Any more than, you know,
masturbation is bad or a waste of your time. It's a pleasurable way to spend
a few minutes. But if you're doing it twenty times a day, if your primary
sexual relationship is with your own hand, then there's something wrong.
LIPSKY:
At least with masturbation, some action has been performed, though, right?
DAVID:
All right, you could make me look like a real dick if you print this: Yes, you're performing muscular movements with your hand as you're jerking off. But what you're doing is running a movie in your head, and having a fantasy relationship with somebody who isn't real, in order to stimulate a purely neurological response. Look, as the Internet grows in the next ten, fifteen years, and virtual reality pornography becomes a reality, we're gonna have to develop some machinery, inside our guts, to help us turn off pure, unalloyed pleasure. Otherwise, I don’t know about you, but I’m gonna have to leave the planet.
LIPSKY:
(smiles uncertainly) Why?
DAVID:
Because technology is just gonna get better and better. And it's gonna
get easier and easier, and more and more convenient, and more and more
pleasurable, to be alone with images on a screen, given to us by people who
do not love us but want our money. Which is fine. In low doses. But if
that's the basic main staple of your diet? You're gonna die. In a
meaningful way, you're going to die.
DAVID:
So if the book’s about anything, （这里指的是 DFW 的成名作《无尽的玩笑》）it’s about the question of: Why am I am watching all this shit? It’s not about the shit, it’s about me. Why am I doing it? And what’s so American about what I’m doing? The minute I start talking about this stuff, it sounds, number one: very vague. And, two: really reductive.
LIPSKY:
I don’t think you’re being reductive or vague at all.
DAVID:
Because it’s like, I don’t have a diagnosis, a system of prescriptions. You know? Like, why are we - and by “we” I mean people like you and me: mostly white, upper-middle class, obscenely well-educated, doing really interesting jobs, sitting in really expensive chairs, watching the best, most sophisticated electronic equipment money can buy - why do we feel empty and unhappy?
I’m not saying TV is bad or a waste of your time. Any more than, you know,
masturbation is bad or a waste of your time. It's a pleasurable way to spend
a few minutes. But if you're doing it twenty times a day, if your primary
sexual relationship is with your own hand, then there's something wrong.
LIPSKY:
At least with masturbation, some action has been performed, though, right?
DAVID:
All right, you could make me look like a real dick if you print this: Yes, you're performing muscular movements with your hand as you're jerking off. But what you're doing is running a movie in your head, and having a fantasy relationship with somebody who isn't real, in order to stimulate a purely neurological response. Look, as the Internet grows in the next ten, fifteen years, and virtual reality pornography becomes a reality, we're gonna have to develop some machinery, inside our guts, to help us turn off pure, unalloyed pleasure. Otherwise, I don’t know about you, but I’m gonna have to leave the planet.
LIPSKY:
(smiles uncertainly) Why?
DAVID:
Because technology is just gonna get better and better. And it's gonna
get easier and easier, and more and more convenient, and more and more
pleasurable, to be alone with images on a screen, given to us by people who
do not love us but want our money. Which is fine. In low doses. But if
that's the basic main staple of your diet? You're gonna die. In a
meaningful way, you're going to die.
又或是电影的最后 David 推开房门，在黑暗中对着 Lipsky 说的那段话，对我的触动也很深：
David:
I was just thinking... It wasn't a chemical imbalance, and it wasn't drugs and alcohol. It was much more that I had lived an incredibly American life. That, “If I could just achieve X and Y and Z, everything
would be OK.” （David 在向他解释为什么大学期间有段时间被送院治疗，因为他那时患有严重抑郁）
There's a thing in the book: when people jump out of a burning skyscraper, it's not that they're not afraid of falling anymore, it's that the alternative is so awful. And then you're invited to consider what could be so awful, that leaping to your death seems like an escape from it. I don't know if you've had any experience with this kind of thing. But it's worse than any kind of physical injury. It may be what in the old days was known as a spiritual crisis. Feeling as though every axiom of your life turned out to be false, and there was actually nothing, and you were nothing, and it was all a delusion. And that you were better than everyone else because you saw that it was a delusion, and yet you were worse because you can't fucking function. And it’s really horrible.（the book 指的是 DFW 的成名作 《Infinite Jest》）
I don’t think we ever change. I’m sure there are still those same parts of me. I’ve just got to find a way not to let them drive. Y’know?
Well, anyway... Good night. 」
看到这里的时候，眼泪止不住的流了出来，这部电影涉及到的对空虚与孤独的讨论令人心碎，我似乎开始理解了，为什么 DFW 最后还是选择离开这个世界，这种理解同时又令我心碎，但我又暂时无法表达「为什么」。
David:
I was just thinking... It wasn't a chemical imbalance, and it wasn't drugs and alcohol. It was much more that I had lived an incredibly American life. That, “If I could just achieve X and Y and Z, everything
would be OK.” （David 在向他解释为什么大学期间有段时间被送院治疗，因为他那时患有严重抑郁）
There's a thing in the book: when people jump out of a burning skyscraper, it's not that they're not afraid of falling anymore, it's that the alternative is so awful. And then you're invited to consider what could be so awful, that leaping to your death seems like an escape from it. I don't know if you've had any experience with this kind of thing. But it's worse than any kind of physical injury. It may be what in the old days was known as a spiritual crisis. Feeling as though every axiom of your life turned out to be false, and there was actually nothing, and you were nothing, and it was all a delusion. And that you were better than everyone else because you saw that it was a delusion, and yet you were worse because you can't fucking function. And it’s really horrible.（the book 指的是 DFW 的成名作 《Infinite Jest》）
I don’t think we ever change. I’m sure there are still those same parts of me. I’ve just got to find a way not to let them drive. Y’know?
Well, anyway... Good night. 」
看到这里的时候，眼泪止不住的流了出来，这部电影涉及到的对空虚与孤独的讨论令人心碎，我似乎开始理解了，为什么 DFW 最后还是选择离开这个世界，这种理解同时又令我心碎，但我又暂时无法表达「为什么」。
一直在犹豫要不要把这么令人心碎的一部电影推荐给大家，但这真是我今年目前看过的最喜欢的一部电影，推荐给对 DFW 生平感兴趣的大家，然后记得不要在深夜这种无意义感会浸入的时候观看，不要问我是怎么知道的。
我的 Mentor 是个地地道道的北京姑娘，说着一口京味十足的普通话，而这股浓重的京腔，也延伸到了她的文字表达上。
比如，Tags 她一般发「泰戈斯」，上周去 Picnic 她说她去搞了个「皮克尼克」，看着她发的这些文字，脑子里会自动想象她说这些话时的语音语调，实在是妙。
我很怕在她身边呆久了，会被她的口音带跑，不过目前来看，我这山寨版台湾腔还依然「坚挺」
比如，Tags 她一般发「泰戈斯」，上周去 Picnic 她说她去搞了个「皮克尼克」，看着她发的这些文字，脑子里会自动想象她说这些话时的语音语调，实在是妙。
我很怕在她身边呆久了，会被她的口音带跑，不过目前来看，我这山寨版台湾腔还依然「坚挺」
Forwarded from 新闻实验室
这个学期，我在香港中文大学讲一门叫做「中国内地的媒介与社会发展」的课程。课程中要完成两篇小作业，分别是选择一个民国以来的内地媒体人写一篇小传，以及「考古」一个已经关闭或者停更的内地网站。
在最后一堂课上，我和同学们说：也许你们在写这两篇essay的时候，看到了几十个失败的故事：中国第一个现代意义上的记者年仅30岁就被暗杀；许多有才华的报人在中共建政之后被批斗、被劳改；中国最著名的记者范长江在文革期间自杀；如今的优秀媒体被关掉；发言者被噤声封号；被流亡国外；被以经济罪名逮捕；被消失在大众视野；乃至被遗忘……
而曾经集结了自由主义声音的牛博网，曾经嘻笑怒骂批评体制的爱枣报，曾经承载大学生公共讨论的一塌糊涂，都已经消失在历史之中。
如果你们看到的是失败的故事，感受到的是痛苦和迷茫，那么很抱歉，这不是我的本意。
其实，我看到的是几十个探索、开拓、实验、创造的故事。他们在战争年代，在血雨腥风的反右、文革之中，在冰河刚刚解冻但政治依然高压的时候，凭借勇气和智慧获得了自己的高光时刻，留下了印记。因为这些探索、开拓、实验、创造，他们被写进了历史，并且会不断地启发后人。
他们的价值与他们的结局无关。重要的是他们努力挥动翅膀，在天空中留下了痕迹；重要的是你们也会挥动自己的翅膀，将探索开拓的精神一代代地传递下去。
（TG互动功能较弱，留言请至刚刚开通的Facebook专页）
#CUHK教书日常#
在最后一堂课上，我和同学们说：也许你们在写这两篇essay的时候，看到了几十个失败的故事：中国第一个现代意义上的记者年仅30岁就被暗杀；许多有才华的报人在中共建政之后被批斗、被劳改；中国最著名的记者范长江在文革期间自杀；如今的优秀媒体被关掉；发言者被噤声封号；被流亡国外；被以经济罪名逮捕；被消失在大众视野；乃至被遗忘……
而曾经集结了自由主义声音的牛博网，曾经嘻笑怒骂批评体制的爱枣报，曾经承载大学生公共讨论的一塌糊涂，都已经消失在历史之中。
如果你们看到的是失败的故事，感受到的是痛苦和迷茫，那么很抱歉，这不是我的本意。
其实，我看到的是几十个探索、开拓、实验、创造的故事。他们在战争年代，在血雨腥风的反右、文革之中，在冰河刚刚解冻但政治依然高压的时候，凭借勇气和智慧获得了自己的高光时刻，留下了印记。因为这些探索、开拓、实验、创造，他们被写进了历史，并且会不断地启发后人。
他们的价值与他们的结局无关。重要的是他们努力挥动翅膀，在天空中留下了痕迹；重要的是你们也会挥动自己的翅膀，将探索开拓的精神一代代地传递下去。
（TG互动功能较弱，留言请至刚刚开通的Facebook专页）
#CUHK教书日常#
COMM 2140 UGEC 2634
媒體人小傳
「媒體人小傳」作業精選，作者均為本課程的學生。作業的主題是民國時期至今的一位中國內地媒體人，從他們的個人經歷折射中國內地的媒介與社會變遷。 隨著本課程在每個學年的不斷開展，我們會加入新的小傳作品。
What does Jesse Eisenberg say:
I’ve never had tastes of people my own age. All of my friends when I was 15 were in their 40s. I’m not actually mature, just very self-conscious around people my own age because I feel like I’m supposed to act the same way they act and I don’t know how.
我从来没法拥有同龄人的品位。我15岁时交的就都是40岁的朋友。我并非真正成熟，只是和同龄人在一起时无所适从，因为我感到那要求我得跟他们保持一致，而我又不知道怎么做。
抱抱 Jesse，我也想和 40 岁的人交朋友，我发现我感兴趣写作者或是演员都差不多在这个年纪，可惜好像目前只能从阅读和看单口中找到这种交流的感觉 。
I’ve never had tastes of people my own age. All of my friends when I was 15 were in their 40s. I’m not actually mature, just very self-conscious around people my own age because I feel like I’m supposed to act the same way they act and I don’t know how.
我从来没法拥有同龄人的品位。我15岁时交的就都是40岁的朋友。我并非真正成熟，只是和同龄人在一起时无所适从，因为我感到那要求我得跟他们保持一致，而我又不知道怎么做。
抱抱 Jesse，我也想和 40 岁的人交朋友，我发现我感兴趣写作者或是演员都差不多在这个年纪，可惜好像目前只能从阅读和看单口中找到这种交流的感觉 。
What does Jesse Eisenberg say vol.2
The happiest moments for me, creatively, are doing readings of a play around a table where there’s no audience.
对我而言最快乐的时刻，在创作方面，就是在没有观众的情况下围着桌子对台词。
I know what you mean！！！
我真的好像卷卷 😭😭😭😭😭
The happiest moments for me, creatively, are doing readings of a play around a table where there’s no audience.
对我而言最快乐的时刻，在创作方面，就是在没有观众的情况下围着桌子对台词。
I know what you mean！！！
我真的好像卷卷 😭😭😭😭😭
记录下以后想在网站上运营的专栏 （持续更新）：
——「理想的下午」
用来记录午后在城市游荡的所见所闻
——「A supposedly fun thing I'll never do again」
用来记录一些令人尴尬和不适的体验
——「Although of course, you end up becoming yourself」
记录一些自我发现 ＆自我和解
——「理想的下午」
用来记录午后在城市游荡的所见所闻
——「A supposedly fun thing I'll never do again」
用来记录一些令人尴尬和不适的体验
——「Although of course, you end up becoming yourself」
记录一些自我发现 ＆自我和解
Forwarded from 端傳媒 Initium Media
聊点不那么性感的。
「We are more often frightened than hurt, and we suffer more from imagination than from reality. ----Seneca」这句话可以大致总结我最近所经历的一些事。
最近期末加实习所以非常的忙，每天早起复习，到点上班，下班后继续复习，然后重复。
但就算是在这么忙碌的生活里，晚上睡前感觉到的却并不是充实。而是恐惧，焦虑，还有随之而来的，一点一点无意义感的慢慢吞噬。
我开始觉得，越是这样的复杂和忙碌，越是透露着我的迷茫。对未来的迷茫，对找工作的迷茫，peer pressure，还有对他人注视和评判的恐惧。
我也明白，克服焦虑最好的办法，不是不再去想，不再去担心，而是尽我们所能的去理清头绪，去寻找那个 clarity, 然后试着去接受，不确定性本身就是生活的一部分。脑子是明白了，但心还没听进去。
我的未来是什么样子，不太好说。也许回头看就只是一段平凡乏味的人生，但可以肯定的是，我一定会把未来当成未来过，而不再会拿着过去的尺子来测量自己对现状的不满了，因为眼下的人生就是我能拥有的一切。
唉，怎么又是这么简单的道理，绕一大圈才明白呢
「We are more often frightened than hurt, and we suffer more from imagination than from reality. ----Seneca」这句话可以大致总结我最近所经历的一些事。
最近期末加实习所以非常的忙，每天早起复习，到点上班，下班后继续复习，然后重复。
但就算是在这么忙碌的生活里，晚上睡前感觉到的却并不是充实。而是恐惧，焦虑，还有随之而来的，一点一点无意义感的慢慢吞噬。
我开始觉得，越是这样的复杂和忙碌，越是透露着我的迷茫。对未来的迷茫，对找工作的迷茫，peer pressure，还有对他人注视和评判的恐惧。
我也明白，克服焦虑最好的办法，不是不再去想，不再去担心，而是尽我们所能的去理清头绪，去寻找那个 clarity, 然后试着去接受，不确定性本身就是生活的一部分。脑子是明白了，但心还没听进去。
我的未来是什么样子，不太好说。也许回头看就只是一段平凡乏味的人生，但可以肯定的是，我一定会把未来当成未来过，而不再会拿着过去的尺子来测量自己对现状的不满了，因为眼下的人生就是我能拥有的一切。
唉，怎么又是这么简单的道理，绕一大圈才明白呢