Li Ao knows the speed, forgets, and knows whether to think about the truth or not, so that he can do a series of actions that are both politically correct and entertaining to the audience in the era of mass culture. The speed of mass culture changes is much faster than that of Baumann’s theory. When evaluating the speed of thought, Baumann pointed out that the accepted concept may occupy a special position in the visual era, but this idea is not completely suitable for the political pattern in Taiwan Province, because in a political ecology that believes in perseverance and does not believe in constancy, it is not known that the accepted concept is battle-hardened and Taiwan Province politicians know that it is too complicated. There are too many differences in ideas in bickering. It is impossible to talk about each other through speeches. They simply concentrate on playing games, depending on the audience’s enjoyment. Art replaces moral preaching. For Li Ao people, if they want to be in the spotlight forever, they must fully realize that everything is aging. This unchangeable modern Logue trick can’t be old, just like chopsticks are disposable.
When vision leads the two existential number equations, the memory intensity is directly proportional to the speed, and the forgetting intensity is directly proportional to the object of life imitation. In reality, people lose their sense of balance. This may be the biggest disease in our time. In life imitation, people gradually lose their ability to distinguish the truth from the truth when they are tempted by vision.
Kundera praised Dostoevsky’s novels in the curtain because the first quarter of the novel was about 250 pages long, and there were no more than four background trains. What happened in Epanchin’s Gagna’s apartment in Nastasia, Kundera concluded that it was only in the drama that the incident happened in this compact time, but with the extreme drama that Gagna slapped Meshkin in the face, and Varia spat in Gagna’s face, and Rogomeshkin showed her love to the same woman at the same time. Everything belonged to daily life disappeared.
This series of events piled up quickly in a very short period of time will produce Kundera’s saying that life suddenly condenses into density beauty. When this density beauty is used in daily life, it will make the human body feel strangely wonderful and happy. It is a powerful break away from trivial conversations and repeating ordinary daily life. In my opinion, this break away is produced by tightening the change clockwork. People can no longer face leisure and face slowness.
The three and a half hours of the Super Girl Finals every weekend fully demonstrate that this kind of life suddenly condenses, and all kinds of people express their beauty. Dramatic changes constantly bombard people’s emotions and senses to be resurrected. PK votes to eliminate ordinary people who may encounter various drastic changes in their lives. Super girls repeat themselves in three and a half hours. When idol dramas replace trivial chats to repeat ordinary daily life and develop meaning, people are in a state that they can no longer stop.
Recently, CCTV has been broadcasting an advertisement for a water heater. The heroine, who looks mediocre but smiles warmly, has a line that people will never forget. My father bought my AO Smith water heater more than five years ago and still washes it for half a century. You have to wash it for half a century.
This is a typical anti-modernity advertisement. According to Bowman’s point of view, the overall effect of modern commercial advertisements is never to allow the desire to weaken and disappear. Here, the desire is to yearn for something that has not been possessed and has not been stimulated. Therefore, commercial advertisements never want to eliminate a specific long-term desire for production and protection, otherwise it means wasting money. This water heater advertisement here is shocking because advertisers are desperate to choose an opposite strategy. This advertising strategy from grandfathers to grandsons is a great rebellion against an era of technological innovation stimulated by desire elimination.
Nietzsche said that only non-historical things can be defined, which means that for those historical things, that is, timeliness, we can confirm their qualitative attributes, so we can give them a general definition. The success of AO Smith’s anti-modern advertising strategy lies in showing that the brand has gone through the test of half a century, so it has gained its own uniqueness and uniqueness in this era of non-qualitative definition.
So in such an era that everything will expire, we are surprised to find that canned pineapples will expire, feelings will expire, and there will be a big fight. The limitation of prosecution in the Legislative Yuan will expire, but the AO Smith water heater will not expire
6 years
Good figure, good citizen shadow
On September 15, Haruki Murakami delivered a speech destined to go down in history when he accepted the literary prize in Jerusalem, always on the side of the egg, in which the inscription was
Let’s say that the strong high wall here hits the wall and breaks the egg. I am always on the side of the egg. I am still on the side of the egg.
In the context of the conflict between Pakistan and China, the meaning of "egg high wall" can be clear at a glance. Besides, the word "higher wall in the village" implies that "syse" is supposed to protect us from happiness, but when it does, it kills us and makes us kill coldly, efficiently and syseaially, which makes him say that "egg high wall" has extended power beyond all historical contexts.
Haruki Murakami, after all, is a family, a citizen who lives in a modern democratic society, and an individual mental worker who can feed himself without the help of the organization. The village can quickly choose to be on the side of the egg. It doesn’t mean to denigrate the village at all, but wants to create an identity from the self-employed person. When the director says that the external political environment has changed from the democratic society to the prestige society, this resolute gesture may become awkward.
Ms. Cui Weiping tells another story in the article that our only enemy is singleness. The Tao dream does not mean that everyone dreams of the Tao path, and it does not mean that everyone’s path will progress. It cannot be a unilateral dream or knot, but that all kinds of dreams appeal to the interests of each other, and each side’s strength is a component rather than a department.
Cui Weiping is not only a different dream, but also an independent film critic. In an article about distinguishing the main theme from the main shadow, Cui Weiping expressed almost the same view that the main theme plays the role of propaganda film, so the main shadow is not unilaterally awarded by a certain force, but will reach a certain balance consensus through multiple running-in of multiple forces from multiple strata. The main shadow contains the main ideology and can play a leading role precisely because it is the resultant force of several parallelograms.
Cui Weiping, a critic of independent film, is describing a fact that the political system reform is going forward and the China film studio is going wrong, which makes the same sentence have different meanings.
In the eyes of those who always oppose everything, they don’t suddenly emphasize the natural nature of power, but advocate the parallelogram synergy. This argument is somewhat wishful thinking, just like the tiger has come to hit the high wall, where to push it, and where to develop harmoniously. For those directors who are determined to enter the market, it is a choice between the high wall and the egg. It is not a problem at all, because it is difficult for people to either transfer to the film industry or become a full-time channel of the Central Six. It is said that a large number of local governments have funded the preparation of government image publicity films, which are broadcast in non-prime time of the Central Six.
For commercial film directors, the real situation is not complicated at all. In politics and business, Qi Fei has the same strength and capital. A successful commercial film director in contemporary China must have both the perspective of eggs and high walls, be sensitive to all kinds of constraints, and be sensitive to all kinds of dreams, demands and interests. Only in this way can he take part in the prosperous business tide in China and lead the coquettish.
In the face of such a very simple theory and extremely complicated proposition, director China has become more and more familiar with the situation. In recent years, the commercial blockbuster "Yun Shui Ballad" has gone to the great cause of founding the country, and Ye Wen has gone straight to grab 600 million yuan at the box office this summer. The Tangshan earthquake does not show that Xiaogang Feng, on behalf of director China, has gradually explored a way to achieve business efficiency that is in line with political themes. It seems impossible to complete the dangerous wall and still lay eggs.
Although Xiaogang Feng people have always stressed that they are constantly adjusting their cultural attitudes to meet the emotional values of the main audience, no one will be naive enough to think that these major films reflect the main values and can well represent the parallelogram resultant force. This is not because of their lack of ability at first, but because of the parallelogram resultant force. The true meaning of this statement must be that all kinds of forces have really reached the balance of power, which is obviously not true. However, we still hope to ask such a question and voluntarily withdraw from the historical dance in the main melody melody. Today, Taiwanese blockbusters are entering the room. Can we ask Xiaogang Feng for higher requirements? For example, in addition to telling a plain story to cater to the emotional needs of most main audiences and let them feel relaxed and enjoyable or full of tears, can the true feelings be like Hollywood blockbusters to shape a face of China value? China people’s ethical life is the imagination of political life.
When the village says that a fake novelist writes on the side of a high wall, no matter what kind of home it is, how valuable it is? He is not declaring a political position, but also trying to achieve an art and creating secrets. From the perspective of eggs, it is possible to tell the truth. On the other hand, a high-wall defense can be an ugly education and admonition.
Director China knows this Taoist best: Xiaogang Feng, from the early days when Party A and Party B were there, to the recent Tangshan earthquake. No matter the story background changed, he always stood on the side of the egg. After Xiaogang Feng was not a hero of Zhang Yimou, Zhang Yimou put himself on a high wall. Xiaogang Feng was not a literati in Chen Kaige, so he wanted to smuggle some metaphysical concepts. Feng Xiaogang insisted that the audience establish a communication channel because of his shadow. He said that this is what I can do.
Xiaogang Feng’s other ability is that although he chose the egg side, he didn’t fight against the high wall. In his shadow, the high wall is completely invisible or a blurred background. In his story, he never eulogizes the high wall naked and never denigrates the high wall. In his bones, there are a lot of good people or a lot of bad people’s life history.
The weak perspective of the meaning of life in Florence and the lack of political significance doomed that director Xiaogang Feng, on behalf of China, might take a good picture but could not be a good citizen.
If you are familiar with Aristotle’s political reading, you must know the difference between a good man and a good citizen. However, Aristotle is different in distinguishing between a good figure and a good citizen’s shadow. This is because in modern Chinese, it is said that a person is a good person, and he is not a traitor, a wicked person or a capable person, but a virtuous person with limited ability and a kind heart. In this ancient Greek context, there is nothing about a good person, an outstanding person, an outstanding person and a noble person.
In Aristotle’s literature, the concept of a good citizen is inferior to that of a good person, because a good citizen is always relative to different city-states. For example, Spartan citizens were taught from an early age that the less they say, the better they think, and the less they think, the better they believe that war is the noblest form of human activity, and dying on the battlefield is the greatest honor in this life. In the democratic period of Athens, citizens are completely different. They are used to thinking, observing, dispelling doubts and questioning everything. Because the standards of good citizens vary from city-state to city-state, the standards of good people are universal.
Compared with the article, the meaning of being a good citizen is very simple. He should not have a minimum sense of personal interests. I am as strong as you, so I should get less from you, and I should also have a communist concept of citizenship. The true embodiment of politics is that citizens negotiate and discuss groups and public affairs in the public sphere. As long as the political body in heaven is not completed, it will always be in a state of regret, and it will definitely pose a threat to every finished egg. In this sense, a good citizen’s shadow is an egg hitting the wall. It tells the story of one finished egg. Some fragile eggs questioned the story of mocking and condemning as hitting the high wall. There are countless such good citizens in Hollywood. Dustin Hoffman, a famous graduate, starred in the death poem Juliet Roberts, Oscar sealed, and erin brockovich recently swept the ball. Amanda is not telling the story of hitting the wall with eggs, but what they want most is to give every soul dignity in a village speech and let them bathe in the sun.
Compared with China’s main film, there is no egg position, and there is no doubt about the high wall. In this narrative logic, Chinese good figures tell the story of not finishing the eggs one by one, but breaking them and stirring them together with chopped green onion.
Xiaogang Feng may not be angry with this accusation. In an interview with Sanlian Life Weekly, he said that my shadow never hides my true feelings, but it is not that I don’t observe and criticize the reality. Chicken feather mobile phones are all heart-wrenching films, and they all have criticism of the reality. My criticism is not that I stab my head. I don’t want to see my head fall to the ground. I am a kind person. Kindness doesn’t mean fragility and sentimentality. I believe that kindness is also strength. These statements show that Xiaogang Feng is kind enough and good enough. Lu Xun said that he was brave and angry, but he was afraid of anger, but he was kind and
Also in this interview, Xiaogang Feng said, how can I be higher than the audience? I am higher than the audience. I am more profound about life than the audience. I am smarter than the audience. If you think like this, you are first of all a very stupid person. This kind of low-profile attitude is almost flattering. Xiaogang Feng knows the logic of modern society very well. From the perspective of telling a good story, the weak perspective is naturally superior to the strong perspective today. So it is because modernity is in the body, and the value orientation is to be in line with each other. Don’t challenge the audience’s intelligence or personality, but don’t provoke their emotional lacrimal glands.
Today, the biggest difference between the audience who bought tickets to enter the cinema and the audience in the ancient Greek amphitheater is that they are either princes or nobles or civilians. They spend full leisure time thinking about the important issue of life. Whether the performance is a play or a tragedy, these audiences all hope to gain spirit from it, raise their souls and cleanse the ancient Greek drama. The function is not to dream, but to let the audience understand the reality more truly. Whether the scenery it presents is magnificent or cruel.
Chen Guofu said that there is no tragedy in China. Strictly speaking, China is a bitter drama, not a tragedy. According to Shuhua’s point of view, in the end, the tragic pleasure is an acceptance problem. The ancient Greek tragedy repeatedly wants to explain a way. Since things can’t be so good, I will fulfill your wishes now. This is a kind of generous acceptance of life. Although it is a fighter’s rebellious spirit, it also acquiesces to submission. In other words, the spirit of ancient Greek tragedy lies in its acceptance of life because it clearly sees that life is inevitable. And it won’t be anything else, so I especially agree with Mr. Luo Jinlin’s statement that you may have to take a handkerchief to see a Greek tragedy when you look at China tragedy. You don’t have to cry, but you will feel a powerful shock after reading it. Because tragedy is an imitation of a serious action for a certain length, the ancient Greek tragedy focuses on seriousness and strong shock rather than crying.
China didn’t have a tragedy because of humiliation, suffering and misfortune in the vision of Aaron’s life. Unfortunately, either he came to a place with a feather and a feather, or he came to a bolt from the blue. The former road was often unclear, and the latter road was nowhere to say. So Chinese good people can finally ask questions about what they can do, that is, they can implicitly point to public power to bring about sexual humiliation. That must also be done by a few black sheep, but they are physically unjust. This way of castration leads to Chinese good people’s failure to accept small wealth and be safe. Small farmers want to be happy after the disaster.
Aristotle said that man is a political animal compared with China, but animal politics in ancient Greek means city-state. In other words, Aristotle’s recognition of hostages may be realized in the political life of the city-state. In political life, the really important virtue is courage, wisdom, generosity, masculinity, kindness, love and tolerance, and some pink emotions. Although kindness is also powerful, kindness and strength can’t get rid of softness and wetness.
To be fair, we can’t blame Xiaogang Feng for not having a good citizen’s shadow. First, the way of China people’s emotional activities never stays in the political field. Secondly, the context of China is completely lacking in a similar rustic atmosphere. When talking about late Greece, Russell, an Englishman, once pointed out that the spirit of Christianity was prepared for the Hellenistic period and was associated with the decline of the city-state. This is because in a world where politics wants to collapse, people who suffer will not be eager to create a good country, but how to get happiness is not difficult to solve.
Usually, political philosophers discuss two issues, one is who gets what, and the other is who has the final say. Translating these two vernacular words into professional terms means the distribution of benefits, that is, the question of righteousness and then the question of the legitimacy of political power. Obviously, in ancient China, no matter whether it is the question of political righteousness or political legitimacy, people have no chance to openly ask the directors of commercial blockbusters, even if they are full of magical realism, we have more abundant materials.
The height of the shadow depends on the height of life. If everyone in reality has not yet come true, citizens want everyone in reality to be satisfied with being a kind and good person rather than a good citizen with a sense of the rule of law. If a good citizen is not a good person with an outstanding soul and independence, then the political imagination of finding ethics cannot be pinned on Xiaogang Feng.
Long Yingtai recorded several egg stories in the sea, among which I especially loved this sentence, that is, he took off his military uniform and was a good citizen. He picked a letter called Geng Changchun, a Kuomintang soldier guarding the city. This letter was written on the battlefield at 9: 00 on June 1, 1948.
Fang, life is so oppressive to people. The poor have eaten all the leaves, and the number of street beggars is increasing. I can’t count people’s life and death because of the national disaster and difficulties. But personally, I am driven by the belief of death. I have to send you some photos I have left and give you a permanent memorial. I am very grateful to you for being sincere to my heart, and you are willing to wait for my words. I am so ashamed and moved by your tears. I dare not abandon you casually. You have branded my heart with sincerity forever, and I will die. I won’t forget you. I already feel that I can still meet my country and let me take my last breath. This is my last hope. There is absolutely no harsh requirement in my outlook on life. I am indifferent, calm and straight out of my military uniform. I am a good citizen and do my best to be a citizen.
The sentence "Taking off the military uniform is a good citizen" is fascinating because the good military uniform here sets off the one who should protect us, but when it does, it kills us and lets us kill the human body. In this sense, kindness is not just crying, but also can bring shock.
1 year
Can we move towards true consensus through dialogue?
More than five years ago, American director Sydney Lumante directed a classic old film, 12 Angry Men welveAngryMen. Its plot was quite simple. A juvenile suspected of killing his father was tried. Two witnesses testified against him. An old man, a woman and an exhibit. The father put the knife in his chest, and the teenager said that the knife was exactly the same. The jury composed of twelve jurors must reach an agreement within a limited time, or they will make a verdict on the teenager.
This film was once a political philosopher in the focus of wide discussion at national boundaries. On such a question, can people in a democratic society achieve their understanding of the truth by talking to each other? Professor Ni Liangkang believes that there may be two conditions to be met in talking to each other. One is that there is a need to be demonstrated before talking to each other, and the other is that there is a combination of argumentation activities and intelligent speaking. And this combination is a common thing for everyone. Professor Chen Jiaying and Professor Wang Qingjie have all said this. This debate took place six years ago, when a topic was discussed in detail, and several rounds of exchanges between each other were rare in the field of Chinese philosophy. Today, the writer does not want to comment on the gains and losses of all parties involved in the discussion, but tries to make a detailed case analysis directly from 12 Angry Men’s film to discuss whether it is necessary to set the truth and reach a consensus through dialogue in this typical but not ideal dialogue environment, and whether it is true or not.
From the legal point of view, this trial or public deliberation is two pre-trial.
1 Anglo-American law presumes that a suspect is guilty, that is, unless there is conclusive evidence to prove that a teenager has committed a crime, he can’t be found guilty. Therefore, if he wants to find guilty, he should testify against two witnesses, and an exhibit should be suspected. It is worth noting that this law is designed to set up a table. In this case, it actually involves finding out the facts that jurors have no conclusive evidence, and it is enough to prove that a teenager didn’t kill anyone. We have repeatedly stated that our views agree with each other, and we can never know the truth of nudity. What we can do is to rule out selectivity and reach an
The design of ajriyrule is closer to Rousseau’s yearning for direct democracy or some deliberative democrats’ yearning for deliberative democracy. The majority decision is born for the purpose of making decisions. It is very likely to sacrifice the interests of a few people. Its basic spirit is to reach a political conclusion, even if it is true, it will be at the expense of consensus. Although it does not ensure the truth, it will not make the interests of the participating opinions get the full attention. We know that it is of great value on a large scale. It is almost impossible for multiple strangers to reach a consensus. If it is possible, it is very likely to be achieved through some kind of special or ideological propaganda. It is not difficult to understand the experience of the Soviet Union and the Cultural Revolution. However, in the film, the probability of reaching a consensus through non-pressure means in a small jury composed of one person is much greater. So is it possible? Can it be achieved through sexual debate between equals?
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