Waiting got 29th December

God bless me!
Let me pass!
Let the visa pass!

The only thing I am looking forward is 26 Jan. Rotterdam MR
Hope it will come true!

Praying...(ummmmniimun)

白痴的行经。。。

MD，居然当街晕倒，因为“三文鱼中毒”。。。
TMD的白痴了。。。

Flaneur -- Walter Benjamin

A landscape huants, intense as opium --Mallarmé.

The appearance of superposition, of overpla, which come with hashish may be grasped through the concept of similitude. When we say that one face is similar to another, we mean that certain features of this second face appear to us in the first, without the latter's ceasing to be what is has been. Nevertheless, the possibilities of entering into appearance in this way are not subject to any criterion and are therefore boundless. The category of similarity, which for the waking consciousness has only minimal relevance, attains unlimited relevance in the world of harshish. There, we may say, everything is face: each thing has the degree of bodily presence that allows it to be searched -- as one searches a face -- for such traits as appear. Under theses conditions even a sentence (to say nothing of the single word puts on a face, and this face resembles that of the sentence standing opposed to it. In this way every truth points manifestly to its opposite, and this state of affairs explains the existence of doubt.) Truth becomes something living; it lives solely in the rhythm by which statement and counterstatement dispalce each other in order to think each other.


I find this fits into my perfectly...pathetically...

How to make English a diverse language!

The world is crap, and the 10 pounds more just makes it crapper!

金马奖感

忘记过去就没有现在。

我认同这个说法，当我看见李安站起来为常枫鼓掌的时候。我们研究李安，研究他的艺术和文化，请不要忘记那些孕育他成长的老一代艺术家。

虽然这样说比较通俗，但是这是事实。

swear to God

为了旅行和会面，我耗净了精力，一定要在下周二把所有的doc都弄齐全，定好去伦敦的火车票，然后开始闭门写论文。

我估计是要违背自己throu a spring festival party的承诺了，不过如果他们愿意我也可以提钱举行。26日居然要和M一起过春节，这样我的春节不那么异域，多了一些中国色。

今天看的The Silence of Lorna让我和Mi坐到了字幕放完，我们无话可说，因为如果去试着解析这部电影太残酷了，就如同要用冰来冷冻热情——虽然这样的热情源于悲哀与无奈。我们俩决定以后要看什么电影都应该下请示过Adam，因为他的建议被证明是有效的。

VD: Tout la Memoire du Monde

In the 1956 documentary Tout la Memoire du Monde, Alain Resnais somehow went against the original script, which was written by Remo Forlanis in an attempt to emphasis the function of the library as a symbol of the working of the human mind and intelligence.Instead, the great Bibliotheque becomes a prison that 'man incarcerate the books which threaten to submerge them be sheer weight of numbers.' Alain employed the long tracking shot and always framed/confined camera/audience vision in small cubes, such as the space between iron stairs, and the long narraow corridor between book shelves. In so doing, he managed to create a sense of alineation, mystery and strangeness.

There is one sequence of how one newly-released journal is processed in the library, which without being in the public circulation, is sent straightly to the library, and after a strict and mechanical procedure, is submerged into the vast store of the library. Though this process should have been more clearly present in details with close-ups, Alain mostly used medium shots, and even sometimes presented the bird view of piles of the working staff cleanning and writing and piling this journal. This sequence ends when the journal is classified, stamped with date, and finally squeezed into other books on shelf,namely the millions sleeping books which may never been touched upon by people. This Date, conveyed by the cold narration, become the date when the journal is dead. This whole process of classifying a new journal resembles the prelude of a funeral. And this sense of ceremony is further carried out when the camera goes through the corridor between book shelves.

Camera is set at a low angle in front of the moving librarian, watching him pushing the trolley with books coming forward through as if from the deep unknown dark, walking through the narrow between two fully occupied shelves, thus several layers of the two shelves on both sides actually form the doors. As well, our vision is confined and bounded with this doors of numerous books on shelves, we are simultaneously presented the upcoming fate of the books in the trolley that is ultimately to be immersed in the shelves, unknown and untouched. Thus, they become one smallest part of the world memory.

Not long after this comes one of the most ironic sequences is when it shows how the ancient manuscripts, which have already been gnawed by worms, are cleaned, patched and microfilmed. The plastic shield is used to protect the ancient treasure, in another word to separate the human touch from the text; or to microfilm these treasure, and later on men will only be able to read them on the screen, therefore "The picture will perpetuate the memory of perishable documents ...slow the battle against death." The camera dose not linger on any one particular process, giving equally the same time and keeping the same medium distance from our perspective, which put the viewers in a position to inspect. Actually, our inspection of the scene are in line with a paradox lying in the disparity of the original script which intends to speak for the function of restoring memory for later function but those function has seldom been realized as those memory seldom be retrieved, instead they are buried with dust. However, men wrest so hard in an effort to keep alive those memory, as the more men uses memory, the sooner they are going to perish. As a result, modern technology is used in this battle between books and death, more importantly, between men and their fear to lose history.

有恃无恐

刚刚才发现原来上一次自己在寝室看电影是上上上周一。那时我看的是Ozu，而且持续看Ozu长达一周。后来连朋友都说“I saw you watched them all.” 是的，在图书馆有限的资源下，我看完了所藏Ozu的全部。然后失落，就如Donald Richie所说的，我离开了Ozu的时间。 再然后我就莫名其妙地停止了一切观影活动，说：“我要读书。”
到今天，我还在读书。读Ozu，然后Bresson，但是却停止读一切course有关的书，包括我极其盼望理解的James Fredric 的Globalization Philosophy，和Roland Barthes' Lovers' Discourse. 我还是要读的，这是“圣贤书”。
最后为了要见M一面，LZ apply了世界上最贵的 European Embassy: Netherlands, anyway总的来说我长大了，再烦的事情我都可以平心静气地做下来了。
好吧，Micheala说了Christmas要我去她家，然后她做一个cheesecake。说实话，我期待cheesecake，不过更期待她男朋友的厨艺！
再次很高兴地说：“M，那我们下个月26号鹿特丹见咯！（请带个钱包来见我好吧。）”