『Greendays』Counting Crows

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假如有人问我哪里是看书的最佳场所，我只能回答是“一九六八年四月那个空荡荡房间的硬床垫”。书页的每一行都能缓缓渗入肺腑的场所——那便是我的“书斋”。

——村上春树《读约翰·厄普代克的最佳场所》

在书最后看到了安西水丸与村上的一段对话，才让我很明了地知道了他们两个是怎么合作到一起去的。村上的好多书都还没有仔细看过，却被他的小短篇们迷得不行。那些字里总是让人感觉到一个很睿智的男子以及他澎湃的猎奇心和谦慎。

罗兰·巴特说“摄影师是在事实上加上刻意的语言”。观察者从照片中读到的多是摄影师建构、改造后的内容。但是对于角色扮演而言，摄影者只需从对象出发，表现角色的精神世界。或许可以这样说，某一句色催眠了扮演者，摄影者和观察着。

——2007年12月《艺术世界》

那个。这算是对一种摄影意识做的注记。

Blood-spurting martyrs, biblical parables, ascendant doves — most church windows feature the same preachy images that have awed parishioners for centuries. But a new stained-glass window in Germany's Cologne Cathedral, to be completed in August, evokes technology and science, not religion and the divine. Contemporary German artist Gerhard Richter designed the 65-foot-tall work to replace the original, destroyed by bombs in World War II. As a starting point, he used his own 1974 painting 4096 Colors. To create that piece — a 64-by-64 grid of squares — Richter devised a mathematical formula to systematically mix permutations of the three primary colors and gray. Funny coincidence: 4,096 is also the number of "Web-smart" colors that display consistently on older computer screens, a limitation some Web designers still take into account. (Today's monitors, of course, can handle pretty much any hue.) The Cologne window is made of 11,500 four-inch " pixels" cut from original antique glass in a total of 72 colors. Why not 4,096? Turns out there are stained glass-smart colors, too. Some hues in Richter's initial design were either historically inaccurate or too pale — they would have outshone the squares around them. So the artist modified his palette to include only colors with a suitably archaic cast. Because it's fine for a church window to look like it's been designed by a computer, as long as it's a computer with a gothic sensibility.

我觉得外国人连写一则艺术小短讯都很幽默。比如最后一句“Because it's fine for a church window to look like it's been designed by a computer, as long as it's a computer with a gothic sensibility." XDDDDDDDD