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• 作者：蓝田 发布时间：2019-09-29 12:23:57

  东坡之善于作譬，不滞于物，而与世推移，真得佛家 色空 之妙谛。

• 作者：琴酒 发布时间：2013-01-02 21:24:24

  本来遗憾今年新年第一本书会跟托尔斯泰无关，却读到帕蒂读《战争与和平》的那段，她说觉得娜塔莎本该爱那个笨拙的大好人皮埃尔，我就忽然有种好像在从娜塔莎的角度重读那个故事的微妙错觉。第二个微妙错觉在于，很久没读这样有着传统时空观并且发生在当下的小说，以至于每次看到二00三这样的年份都会心里一惊。第三个微妙的感觉是，这原本是我最讨厌的美国琐事类小说，充满各式各样的平庸困顿挣扎，弗兰曾写的结结实实，传统的写实主义，交错的对话和心理，但是却意外地很喜欢，最后帕蒂和家人以及沃尔特和解的时候甚至控制不住地大哭，我好像明白接受并且认可了这样的生活，作为一个loser也要堂堂正正活下去，而我喜欢弗兰岑的地方在于，他有讽刺的直笔，也有不动声色的体谅和善意。

• 作者：大鱼咬你 发布时间：2022-10-03 20:54:47

  抱抱爸爸，抱抱妈妈

• 作者：， 发布时间：2020-03-05 14:08:19

  作者的这种民族主义感情是值得肯定的，也下了很大的工夫。做了很多资料的收集，还有考证，但似乎也是有一点非史学的味道，有些论证过于情绪化，有些表达不够严谨专业，比如浙闽总督一说，似乎一般称闽浙总督。

• 作者：窦府巷 发布时间：2019-01-03 22:56:19

  人物出场太多，关系不够明朗，删减太多导致前后跳跃太大。

• 作者：十安 发布时间：2019-12-16 21:03:03

  访谈中关于童年的回忆真是不忍看 总有办法让自己幸福一点点是太过人的能力了啊

• 艺术史写作

  作者： 发布时间：2009-01-24 11:07:11

      这本书读完有一段时间了，一直在犹豫要不要写书评。因为想等多看几本雕塑史之后，再写，可以有一个比较。最后还是决定先写一点吧：）

      这本书是根据梁思成先生上课的讲义写成的，因为是讲义，所以很多地方都只是捡精要处提纲挈领式的讲述，并没有铺陈开来。

      虽然如此，这本书还是很值得一读。

      梁思成的文字雅驯,初读之下,可能觉得貌不惊人,过于平淡,然而仔细读来,却是简洁典雅。

      本书很注重文献，许多地方是直接引用原典，因为许多古代作品已不可见，唯一可供参照的就是文献资料。我之前看过别的艺术史，一般是比较注重实物资料，在对实物的分析下，写出美学评价。其实在没有实物的情况下（尤其是历史久远的年代，留下的实物比较少），文献资料是很好的辅助。比如晋朝的雕塑家戴逵在当时和历史上的影响都很大,虽然没有作品留下，却是雕塑史上不可忽略的一环，梁思成就写到了。并且对文献资料的运用和考证是颇见功力的一件事。梁思成的引用是信手拈来，运用自如，可见其对史料之熟，譬如阳陵虎符，罗振玉认为是秦虎符，但是梁思成则认为：“阳陵地名，实景帝改弋阳后始有之，故当是汉景帝时物”。另外一个细节就是文中所使用的时间，有西元的注明，但大多数地方是直接运用年号，这可能是当时著书的习惯，但是也侧面反映了作者的历史修养。另外就是对文献的甄别，比如《古玉图谱》，作者认为：“其图皆欠精确，无以见其精美，更无从辨真伪，兹不赘”，寥寥数语，显示出作者的判定。

      对于各个时代的作品，作者不仅进行了时代特征的分析，还有美学价值的鉴别，意简言赅，切中肯綮。对佛教造像的分析，还联系同时代印度造像的特征进行比较。 在对器型的特征分析上，则兼顾学术上的发展，颇具专业性，如对汉代铜镜的分析，就借鉴了欧洲学者的研究。我一直不喜欢一些艺术史的写作只注重普及学科知识，不兼顾专业性，使人读完之后，仅仅是满足了猎奇和一般信息的获取，而不是建立关于这一学科的发展框架。

      本书还有一个很大的特点是，宋以后几乎没有多少内容，只有寥寥数语，一方面可能是由于当时资料不足，无物可写。另一方面则可能是作者认为没有写的价值。元明清距离作者生活的年代较近，按常理应该会留下更多作品，但是作者只用“四百年间，殆无足述也”一笔带过。所以，后一种推论似乎更为合理。

      这促使笔者思考：艺术史是否就是艺术资料的堆积？ 还是，艺术史应该是在艺术历史上有价值事物的历史？如果是后者，一件事件或作品只是产生，是不能进入历史的。

      究竟什么样的作品才能被称为艺术品，艺术的标准是什么，这就是作者的判断了。这本书虽然是写史，其实却暗含了作者的美学判断，比如笔者很喜欢的唐代陶俑，尤其是各种仕女陶俑，作者就一笔带过，没有详述，也没有进行美学分析，我猜想是因为这些作品并没有进入作者的艺术史结构。如果我是作者，必然会给这些仕女陶俑单独一个章节来描述，这就显示出艺术史写作的不同可能性。艺术史，不仅仅是史料的聚集，也是这些资料聚集的方式和它们所形成的结构和脉络，在这些表层的背后，是个人的美学判断，思维的轨迹和思想的样态。

      这本书虽然篇幅不长，却内容紧凑细密，值得细读，所以最最让人遗憾的也是，写作不充分。如果这不是一本讲稿而是一本完成的书稿，想必很多地方都会论述得非常精彩。写作的缺憾是不能弥补了，在排版上则是可以改进的，尤其是书中插图的摆放，与文字非常不默契，有时要向前或是向后翻十几页，才能找到与文字对应的图片，令看书之人不免有些恼火。

• Book Review: The Experience Economy

  作者：何雨Echo 发布时间：2012-12-04 02:51:48

  Text: Echo He

  Pine and Cilmore's article is an introduction to experience economy, a term that is elaborated in their influential book Experience Economy . Pine and Gilmore argues that experiences have emerged as a fourth distinct economic offering, differentiated from commodities, goods, and services. To reach a higher level of competition, companies will have to learn how to design, promote, sell and deliver experiences that customers will readily pay for.

  The transition from selling services to selling experiences will be "no easier for established companies to undertake and weather than the last great economic shift, from the industrial to the service economy," they argue in the beginning. The four stages of business development is summarized in the following formula: "(1) Extract Commodities; (2) Make Goods; (3) Deliver Services; (4) Stage Experiences. As they further discuss, businesses are compelled to upgrade their offerings to the forefront stage of economic value.

  This article begins to answer the question "how to enter the emerging experience economy" by taking a look at the characteristics of experiences and the design principles of pioneering experience stagers. A rich collection of case studies, including Walt Disney Co., Niketown, British Airway and One World Music and among others help companies learn how to compete in the experience economy. British Airway's use of its base service - travel as the stage for a distinctive en route experience reminds me of Hajoe Moderegger and Franzy Lamprecht's artwork International Airport Montello (2006). In January 2004, Moderegger and Lamprecht, who go by the name of eteam, purchased a ten-acre tract of land near Montello, Nevada, on eBay. Working with the residents of nearby Montello, they created an "airport" that includes the entire town. A number of local restaurants and businesses revamped their interior spaces to turn the town into a place. The artists also organise events that would create or revitalize a culture around the airstrip. For instance, in 2005, with grants from Art in General and $30,000 from six collectors, eteam designed a three-day getaway from New York. The chartered plane with passengers (including eteam, AIG constituency, journalists and the six collectors) disembarked in Montello for half of a day before continuing onward to Las Vegas. The project was conceived as an interactive performance in which all "passengers" had a role to play. Such an undertaking constitutes a play on the increasingly commoditized global contemporary art world.

  Another insightful discussion in the article is the division of experiences across two dimensions. The first corresponds to customer participation (passive versus active); the second dimension of experience describes the connection, or environmental relationship the unites customers with the event or performance (absorption versus immersion). Gallery and museum viewing is grouped into the fourth kind - the esthetic, where customers or participants are immersed in an activity or environment but they themselves had little effect on it. The four broad categories that fall along the spectra of the two dimensions are constructive to analyse art that is participatory in nature too. However, to group gallery viewing into a single dimension is too arbitrary. A lot of contemporary art activities can be "active" as well as "immersing", such as those discussed in the opening chapter of Bishop's book Artificial Hells: Participatory Art and the Politics of Spectatorship.

  Finally, five design principles are provided to drive the creation of memorable experiences, including: 1. creating a consistent theme, one that resonates throughout the entire experience; 2. layering the theme with positive cues; 3. eliminating negative cues; 4. offering memorabilia that commemorate the experience for the user, and 5. engaging all five senses to heighten the experience and thus make it more memorable.

  Bibliography:

  Pine, B. Joseph and James H Gilmore. "Welcome to the Experience Economy." Harvard Business Review 76, no. 4 (July/August 1998): 87-105.