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古代时，艺术家担当了巫师或祭师的角色;巴台农神庙绝非后世意义上的“美的艺术”——建筑，而是神明的在场，是人神交往、供奉与馈赠的游戏所在。在中世纪，圣像制作(icon-making)不是“艺术家”的工作，而是由专业的神职人员或由教会专门委托的人员来完成;同理，“圣像”(icon)也绝非后世所谓的“美的艺术”——绘画，而是圣明的在场，是人类向它跪拜与祈祷的对象。在国人根深蒂固的误解中，文艺复兴时期的艺术被理解为人类从宗教教条中摆脱出来成为历史主体的象征。事实上，文艺复兴一方面开始了“艺术”走向审美对象的历程，另一方面却仍然深深地植根于西方基督教传统。应该说，“艺术”的神性与人性维度在此时达到了相对平衡，但是，艺术品仍然不是后世意义上的纯粹的审美对象。直到18世纪中叶，现代意义上的“美的艺术”才真正诞生。

但是，现代意义上的“美的艺术”一诞生，黑格尔就意识到问题的严重性：艺术一旦脱离与真理、精神的关系，岂不是沦为挂上墙上、可有可无的装饰品吗?黑格尔因此提出了在现代社会艺术终结的命运。他的名言是：艺术，已经不再是精神的最高需要了;面对圣母，我们不再下跪了。

然而，18世纪以及紧跟着黑格尔到来的19世纪，艺术并没有见证这位哲学家断言的死亡。相反，它高度繁荣起来。最主要的原因是出现了艺术自主理念。艺术从此脱离教会和宫廷，成为自主的事业。此时，艺术虽然从其宗教意义和政治意义中摆脱出来，却并没有因此而失去其精神支撑。起初，他将意义维系于“美”，美成为一种独立的价值。随后，19世纪时，伴随着艺术家与资产阶级及市民阶层的日益对立，“为艺术而艺术”的口号被提了出来，从而成为艺术家一种自我意识的追求。这是艺术自主思想的激进演变，它要求艺术在脱离宗教和政治这两个旧主子之后，还要与市场这个新主子实行决裂。这一艺术运动的最终结果就是现代主义艺术观念和艺术形式的诞生。
　

人类由信念、激情、习惯、偏见等等编织起来的帷幕，能轻而易举地使人们误认为生活在真实里。不无悖谬的是，只有艺术这种虚构的东西，才能穿透生活的虚幻面纱，到达真理的彼岸。他说：“如果没有艺术，我们就看不见真实，即我们永远存在的直觉，而只能有一堆‘我们错误地称之为生活，而实际上只不过是谋实利的代用语’。”

Klein Bottle著名数学家菲利克斯·克莱因在1882年发现了后来以他的名字命名的著名“瓶子”。克莱因瓶的结构可表述为：一个瓶子底部有一个洞，现在延长瓶子的颈部，并且扭曲地进入瓶子内部，然后和底部的洞相连接。和我们平时用来喝水的杯子不一样，这个物体没有“边”，它的表面不会终结。它和球面不同 ，一只苍蝇可以从瓶子的内部直接飞到外部而不用穿过表面，即它没有内外之分。

或许有解决问题的能力，但没有等待的耐心，没有对自己的宽恕，和没底气的不自信(这来源你国jy制度就是了)。此刻需要默念咒语：把自己像孩子一样对待，照顾，让自己成为作品

崩溃，脱线，喝醉都没昏成这样的人你还没喝啊拜托

Fern Hill

By Dylan Thomas

Now as I was young and easy under the apple boughs

About the lilting house and happy as the grass was green,

The night above the dingle starry,

Time let me hail and climb

Golden in the heydays of his eyes,

And honoured among wagons I was prince of the apple towns

And once below a time I lordly had the trees and leaves

Trail with daisies and barley

Down the rivers of the windfall light.

And as I was green and carefree, famous among the barns

About the happy yard and singing as the farm was home,

In the sun that is young once only,

Time let me play and be

Golden in the mercy of his means,

And green and golden I was huntsman and herdsman, the calves

Sang to my horn, the foxes on the hills barked clear and cold,

And the sabbath rang slowly

In the pebbles of the holy streams.

All the sun long it was running, it was lovely, the hay

Fields high as the house, the tunes from the chimneys, it was air

And playing, lovely and watery

And fire green as grass.

And nightly under the simple stars

As I rode to sleep the owls were bearing the farm away,

All the moon long I heard, blessed among stables, the nightjars

Flying with the ricks, and the horses

Flashing into the dark.

And then to awake, and the farm, like a wanderer white

With the dew, come back, the cock on his shoulder: it was all

Shining, it was Adam and maiden,

The sky gathered again

And the sun grew round that very day.

So it must have been after the birth of the simple light

In the first, spinning place, the spellbound horses walking warm

Out of the whinnying green stable

On to the fields of praise.

And honoured among foxes and pheasants by the gay house

Under the new made clouds and happy as the heart was long,

In the sun born over and over,

I ran my heedless ways,

My wishes raced through the house high hay

And nothing I cared, at my sky blue trades, that time allows

In all his tuneful turning so few and such morning songs

Before the children green and golden

Follow him out of grace,

Nothing I cared, in the lamb white days, that time would take me

Up to the swallow thronged loft by the shadow of my hand,

In the moon that is always rising,

Nor that riding to sleep

I should hear him fly with the high fields

And wake to the farm forever fled from the childless land.

Oh as I was young and easy in the mercy of his means,

Time held me green and dying

Though I sang in my chains like the sea.

在夏天洗车的我多少有点大冤种

做饭一时爽 吃饭火葬场

钴蓝 浅灰蓝 群青 普蓝 土黄 无海南旅居史 没有滞留海南(倒想死)

我是一个一不小心喝猛了的人，脑子里只有两个念头，一个是做爱，另一个是西红柿汁

色彩斑斓 羡慕

周日开始，每天怀着享受的心情喝点，x得想死

“如果尖锐的声音完全消失，温和的声音将会变得刺耳。如果温和的声音也不被允许，沉默将被认为居心叵测。如果沉默也不再允许，赞扬不够卖力将是一种罪行。如果只允许一种声音存在，那么，唯一存在的那个声音就是谎言。”——柏拉图

“我们优雅的享用我们的正餐，血腥的屠宰场被精心的隐藏起来。”——爱默生。

她在写给伍尔芙的信中说：“女人们想要以个人经历创作故事，但她们的创作总被自己的父亲和丈夫压制、阻挠。”
伍尔芙十分赞成这一观点：“错误的束缚将阻挠人们自我价值的实现，世界也会因此而贫瘠。”