The most I want to see is that living is simple, just keep the authentic. I can not find any reason not to keep authentic toward your own short life. it is only several decades or even less. Therefore, I hope I must live truly and authenticly. Since I get the chance to live on the earth, I suppose, no matter what reason it is, I should remain the attitude toward to have a real life.
With the developping of the fast-step socity, there are something changing so quick that even you can not catch anything except to live happily and meanig every minutes or even second. After living for more than twenty two years, I would like to see I live happily and also very confprtable. Now, sometimes, I would like to pursuit to somehing material or sipmply say, just money. In fact, I am not covet at all ,but the people around and the whole socity have pushed me to the edge to be the moneygrubber. As a matter a fact ,I have to live tired to study the things I am not favor. In fact ,unfortunately,I have not yet find my favorate thing yet at this moment, I just do the same thing as well as others always do .
Steve jobs said ( at this moment, I can not find anything that deserved me to be believe in for I think the current socity have totally makes me confused about everything,including the evil and kind, of course ,I am obsulutely lost) if you reckon today is the last day in your life ,will you fdo the thing that you most favore? Just the question , in fact ,I have read it before ,but at that moment, there are nonething special for me .this is because , I did not find my favorate thing , so what will I do . now ,after steve jobs had passed away, I consider that the live and death is true, that will be what I believe in forever. Maybe one day, I would be old and can not run or even walk anymore, at that tome , I even do not find my favor, how about that feeling.
2011年10月23日 星期日
2011年8月18日 星期四
Sculptural Surprises Grace the Streets
It is the outdoor art season in New York and therefore a good time to ask what makes for a successful piece of urban public art. When art ventures away from the nurturing shelter of the white-walled gallery, it must contend with all kinds of distractions: huge buildings; noisy vehicular and pedestrian traffic; spectacular, sexy commercial signs with dizzying video imagery; unpredictable weather; the verdant beauty of a park; and the sheer interestingness and variety of so much else that in the artificial and natural fabric of the city.
One way for public art to distinguish itself is to be really big. This year’s prize for size should go to Jaume Plensa’s “Echo,” a gigantic, ghostly, white head of a girl in Madison Square Park. Towering 44 feet, it is made of molded fiberglass resin parts fitted together so the seams show. It looks as if it had been carved from a huge, laminated block of marble, and the girl’s features are rendered smoothly as if they had been eroded by the elements over the years. The head is also oddly distorted — flattened in such a way that it resembles a digitally manipulated three-dimensional photograph or a hologram. Viewed from a distance at night, when it is bathed in the bright light of lamps around its base, it seems to glow, a silently plaintive specter conjured, maybe, by the guilty conscience of a rapacious modernity.
Less spectacular but effectively haunting in its own way — partly because of its grand scale — is one of a number of works commissioned by the High Line: a greatly enlarged black-and-white photograph by Robert Adams mounted on a billboard next to that elevated park. Made in 1978 in rural Nebraska, the photograph shows a narrow, much weathered country road running between fields of tall grass and extending from the foreground to the top of a low, faraway hill. Dried, fallen leaves from small trees have gathered at the side of the road. A melancholy mood is enhanced by blocks of funereal black filling in the oblong expanse of the billboard on either side of the picture. Like Mr. Plensa’s sculpture the photograph evokes something neglected, a soulful road not taken. But there is too an eerie feeling of hopefulness, of a possibility not yet foreclosed. (The billboard will regularly present landscapes by eminent photographers selected by the photographer Joel Sternfeld.)
Mr. Adams’s photograph works not only because of its drive-in-movie scale but also because it is so different from the kind of visual material that normally attracts and assaults the public eye. A few yards farther up the High Line, strollers come upon another billboard: not an artwork but a huge advertisement for Larry Flynt’s Hustler Club. With its blaring purple and gold hues and the come-hither expression of the sultry woman it pictures, it must be an embarrassing thorn in the side of the High Line’s administrators, who clearly favor low-key subtlety over high-impact flash. Another expansive piece on the High Line, for example, is a long wall of windows by Spencer Finch called “The River That Flows Both Ways.” Each of hundreds of panes is the color of a pixel from a photograph of the surface of the Hudson River. Jade, wine, teal and other muted hues produce a lovely, quiet symphony of color.
An elephantine sculpture in front of the Seagram Building on Park Avenue at 53rd Street has much going for it: impressive scale, contrast with the normal environment and popularly appealing imagery. Urs Fischer’s “Untitled (Lamp/Bear)” is a 23-foot-tall representation of a lumpy yellow stuffed bear wedged into the space between the base and the shade of an old desk light. Weighing in at almost 17 tons, it is made of painted cast bronze and has table-top size button eyes sewn on with rope. The light glows at night. (Christie’s, the auction house that recently sold the sculpture, organized its outdoor presentation.)
For contemporary art followers the obvious comparisons are Jeff Koons sculptures like the giant shiny “Balloon Dog” and the flower-covered “Puppy.” But the Fischer displays little of the fanatical attention to surface and detail seen in Mr. Koons’s work. It also relates to the tradition of the Duchampian found object and the absurdist Pop Art monuments of Claes Oldenburg and Coosje van Bruggen. Leaving aside its presumptive pedigree, however, it is not very different technically and aesthetically from the kitschy, Pop-realist sculptures of J. Seward Johnson, whose enormous representation of Marilyn Monroe in her upward-billowing dress has caused much debate in Chicago since its recent installation there downtown.
One way for public art to distinguish itself is to be really big. This year’s prize for size should go to Jaume Plensa’s “Echo,” a gigantic, ghostly, white head of a girl in Madison Square Park. Towering 44 feet, it is made of molded fiberglass resin parts fitted together so the seams show. It looks as if it had been carved from a huge, laminated block of marble, and the girl’s features are rendered smoothly as if they had been eroded by the elements over the years. The head is also oddly distorted — flattened in such a way that it resembles a digitally manipulated three-dimensional photograph or a hologram. Viewed from a distance at night, when it is bathed in the bright light of lamps around its base, it seems to glow, a silently plaintive specter conjured, maybe, by the guilty conscience of a rapacious modernity.
Less spectacular but effectively haunting in its own way — partly because of its grand scale — is one of a number of works commissioned by the High Line: a greatly enlarged black-and-white photograph by Robert Adams mounted on a billboard next to that elevated park. Made in 1978 in rural Nebraska, the photograph shows a narrow, much weathered country road running between fields of tall grass and extending from the foreground to the top of a low, faraway hill. Dried, fallen leaves from small trees have gathered at the side of the road. A melancholy mood is enhanced by blocks of funereal black filling in the oblong expanse of the billboard on either side of the picture. Like Mr. Plensa’s sculpture the photograph evokes something neglected, a soulful road not taken. But there is too an eerie feeling of hopefulness, of a possibility not yet foreclosed. (The billboard will regularly present landscapes by eminent photographers selected by the photographer Joel Sternfeld.)
Mr. Adams’s photograph works not only because of its drive-in-movie scale but also because it is so different from the kind of visual material that normally attracts and assaults the public eye. A few yards farther up the High Line, strollers come upon another billboard: not an artwork but a huge advertisement for Larry Flynt’s Hustler Club. With its blaring purple and gold hues and the come-hither expression of the sultry woman it pictures, it must be an embarrassing thorn in the side of the High Line’s administrators, who clearly favor low-key subtlety over high-impact flash. Another expansive piece on the High Line, for example, is a long wall of windows by Spencer Finch called “The River That Flows Both Ways.” Each of hundreds of panes is the color of a pixel from a photograph of the surface of the Hudson River. Jade, wine, teal and other muted hues produce a lovely, quiet symphony of color.
An elephantine sculpture in front of the Seagram Building on Park Avenue at 53rd Street has much going for it: impressive scale, contrast with the normal environment and popularly appealing imagery. Urs Fischer’s “Untitled (Lamp/Bear)” is a 23-foot-tall representation of a lumpy yellow stuffed bear wedged into the space between the base and the shade of an old desk light. Weighing in at almost 17 tons, it is made of painted cast bronze and has table-top size button eyes sewn on with rope. The light glows at night. (Christie’s, the auction house that recently sold the sculpture, organized its outdoor presentation.)
For contemporary art followers the obvious comparisons are Jeff Koons sculptures like the giant shiny “Balloon Dog” and the flower-covered “Puppy.” But the Fischer displays little of the fanatical attention to surface and detail seen in Mr. Koons’s work. It also relates to the tradition of the Duchampian found object and the absurdist Pop Art monuments of Claes Oldenburg and Coosje van Bruggen. Leaving aside its presumptive pedigree, however, it is not very different technically and aesthetically from the kitschy, Pop-realist sculptures of J. Seward Johnson, whose enormous representation of Marilyn Monroe in her upward-billowing dress has caused much debate in Chicago since its recent installation there downtown.
2011年6月22日 星期三
I think almost without exception
Held in Germany for ten years, until the relatively much less competitive our problems solved. In addition, a ten year is when both the European and world economic situation was more stable. Greece is almost nothing to export. Some agricultural products and tourism, there are not substantial revenue for the country. I looked at the statistics: in the sixties and seventies, from the beginning of any year was not recorded, when the Greeks - the Greek government and Greek citizens - who would not have been more than they seek. At the same time each year, the year has increased bureaucracy, each year more and more people are looking for, the state tax revenues are steadily decreasing.
And I think almost without exception, all German political-economic think tank also believes that Greece is in the medium term would help if you give up the euro. The euro zone debt for at least the basic conditions for the next twenty years, certainly, can not meet and therefore will be unable to get out of the debt. Even what would become competitive in the Greek economy? Just depends if everybody would reduce the current salary of perhaps a half quarters of the bureaucracy, the state millions of issuing apparátusból and sell the bulk of state assets. There is no politician who can do all this because it was right to hold the Greek uprising of the people.
And I think almost without exception, all German political-economic think tank also believes that Greece is in the medium term would help if you give up the euro. The euro zone debt for at least the basic conditions for the next twenty years, certainly, can not meet and therefore will be unable to get out of the debt. Even what would become competitive in the Greek economy? Just depends if everybody would reduce the current salary of perhaps a half quarters of the bureaucracy, the state millions of issuing apparátusból and sell the bulk of state assets. There is no politician who can do all this because it was right to hold the Greek uprising of the people.
2011年5月22日 星期日
Green Mountain Energy sets up solar leasing program
Green Mountain Energy Company in Texas is betting that people are interested enough in solar to pay more for it than for traditional grid power.
The company launched a solar leasing program this week that will allow people to buy into a 20-year lease of solar panels for their residential roofs. The goal is to provide a lower-cost option, with no upfront investment to people who are keen on getting green power.
There's just one catch. The solar lease will cost more than grid power.
The Dallas Morning News reported that an average-size 4-kilowatt array will cost a customer $100 a month and will produce about 450 kilowatt hours of electricity. At current rates, that power would cost the customer $45 to $50, according to the newspaper.
So are people really willing to pay double for clean energy?
Jason Sears, senior manager of product strategy and marketing for Green Mountain Energy, said people are.
"The folks that are interested in solar aren't just interested in saving money," Sears said. "They're interested because they think solar is the right thing to do, and they want to do the right thing."
Sears said the company has several customers who installed panels on their homes despite a lack of incentives, and they had to pay all the upfront ownership costs.
He said the company has been looking for a way to add a solar panel lease option for quite some time because customers had been asking for it.
"The interest has been great so far," Sears said. "We've had a lot of calls and email from people who want more information and are interested in doing it."
The program can be tailor-made to suite each individual homeowner in that they can pay an even amount throughout the lease or arrange to have it start low and gradually increase, Sears said.
Also, in the event a homeowner leases an array that produces more power than the owner uses, Green Mountain Energy buys it back at the same rate customers pay for power as part of the utility's Renewables Rewards program.
"We have one of the most generous rewards programs out there," Sears said.
While the lease program is double the regular price now, Sears said he believes there is enough momentum behind solar to drive people to the leases.
"We're really excited about the lease program," he said. "We really believe it's the most accessible and affordable way for more people to go solar."
The company launched a solar leasing program this week that will allow people to buy into a 20-year lease of solar panels for their residential roofs. The goal is to provide a lower-cost option, with no upfront investment to people who are keen on getting green power.
There's just one catch. The solar lease will cost more than grid power.
The Dallas Morning News reported that an average-size 4-kilowatt array will cost a customer $100 a month and will produce about 450 kilowatt hours of electricity. At current rates, that power would cost the customer $45 to $50, according to the newspaper.
So are people really willing to pay double for clean energy?
Jason Sears, senior manager of product strategy and marketing for Green Mountain Energy, said people are.
"The folks that are interested in solar aren't just interested in saving money," Sears said. "They're interested because they think solar is the right thing to do, and they want to do the right thing."
Sears said the company has several customers who installed panels on their homes despite a lack of incentives, and they had to pay all the upfront ownership costs.
He said the company has been looking for a way to add a solar panel lease option for quite some time because customers had been asking for it.
"The interest has been great so far," Sears said. "We've had a lot of calls and email from people who want more information and are interested in doing it."
The program can be tailor-made to suite each individual homeowner in that they can pay an even amount throughout the lease or arrange to have it start low and gradually increase, Sears said.
Also, in the event a homeowner leases an array that produces more power than the owner uses, Green Mountain Energy buys it back at the same rate customers pay for power as part of the utility's Renewables Rewards program.
"We have one of the most generous rewards programs out there," Sears said.
While the lease program is double the regular price now, Sears said he believes there is enough momentum behind solar to drive people to the leases.
"We're really excited about the lease program," he said. "We really believe it's the most accessible and affordable way for more people to go solar."
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