{ option } 純屬偏見

{ option } 好人不等於好領袖

自己很少看報紙，但只要有機會看（比如吃飯的地方有報紙可看...），就會讀一讀中國時報的 南方朔觀點，今天的南方朔觀點很有意思，介紹給大家讀一讀！

＊ 南方朔觀點－我們在打仗，你別只開BB玩具槍！

好人和好領袖有別，有少數好人也可以是好領袖，但也有些好人因為放錯了位置而淪為壞領袖。由卡特這個好人但卻是極糟糕的領袖，它其實已等於提示我們，這兩者之間並無等號關係，卡特這種例子還是少一點比較好！

不過不幸的是，我們有一個好人的總統... 實在是搞不懂，在這樣的年代裡，我們的馬總統還在努力的做好人？

{ option } 純屬偏見

{ option } Always on the side of the egg

「如果要在高大堅實的牆與以卵擊石的雞蛋之間作選擇，我會永遠選擇站在雞蛋的那一邊。」

是的。不管那高牆多麼地正當，那雞蛋又有多麼地錯誤，我總會站在雞蛋的那一邊。就讓其他人來決定是非，或者時間與歷史會下判斷。但若一個小說家選擇書寫出站在高牆那一邊的作品，不論他有任何的理由，這作品的價值在哪呢？

上面的文字，是村上春樹獲頒耶路撒冷文學時的演講辭。我又LAG一陣子，昨天早上在7-11吃早餐時在天下雜誌讀到的。二三年沒讀他的書了，即使台灣現在幾乎出遍了他的書，我還是停留在 世界末日語冷酷異境 裡。他寫的這段文字，確實應該刻在我們自己的心牆裡...

---

Always on the side of the egg By Haruki Murakami

I have come to Jerusalem today as a novelist, which is to say as a professional spinner of lies.

Of course, novelists are not the only ones who tell lies. Politicians do it, too, as we all know. Diplomats and military men tell their own kinds of lies on occasion, as do used car salesmen, butchers and builders. The lies of novelists differ from others, however, in that no one criticizes the novelist as immoral for telling them. Indeed, the bigger and better his lies and the more ingeniously he creates them, the more he is likely to be praised by the public and the critics. Why should that be?

My answer would be this: Namely, that by telling skillful lies - which is to say, by making up fictions that appear to be true - the novelist can bring a truth out to a new location and shine a new light on it. In most cases, it is virtually impossible to grasp a truth in its original form and depict it accurately. This is why we try to grab its tail by luring the truth from its hiding place, transferring it to a fictional location, and replacing it with a fictional form. In order to accomplish this, however, we first have to clarify where the truth lies within us. This is an important qualification for making up good lies.

Today, however, I have no intention of lying. I will try to be as honest as I can. There are a few days in the year when I do not engage in telling lies, and today happens to be one of them.

So let me tell you the truth. A fair number of people advised me not to come here to accept the Jerusalem Prize. Some even warned me they would instigate a boycott of my books if I came.

The reason for this, of course, was the fierce battle that was raging in Gaza. The UN reported that more than a thousand people had lost their lives in the blockaded Gaza City, many of them unarmed citizens - children and old people.

Any number of times after receiving notice of the award, I asked myself whether traveling to Israel at a time like this and accepting a literary prize was the proper thing to do, whether this would create the impression that I supported one side in the conflict, that I endorsed the policies of a nation that chose to unleash its overwhelming military power. This is an impression, of course, that I would not wish to give. I do not approve of any war, and I do not support any nation. Neither, of course, do I wish to see my books subjected to a boycott.

Finally, however, after careful consideration, I made up my mind to come here. One reason for my decision was that all too many people advised me not to do it. Perhaps, like many other novelists, I tend to do the exact opposite of what I am told. If people are telling me - and especially if they are warning me - "don't go there," "don't do that," I tend to want to "go there" and "do that." It's in my nature, you might say, as a novelist. Novelists are a special breed. They cannot genuinely trust anything they have not seen with their own eyes or touched with their own hands.

And that is why I am here. I chose to come here rather than stay away. I chose to see for myself rather than not to see. I chose to speak to you rather than to say nothing.

This is not to say that I am here to deliver a political message. To make judgments about right and wrong is one of the novelist's most important duties, of course.

It is left to each writer, however, to decide upon the form in which he or she will convey those judgments to others. I myself prefer to transform them into stories - stories that tend toward the surreal. Which is why I do not intend to stand before you today delivering a direct political message.

Please do, however, allow me to deliver one very personal message. It is something that I always keep in mind while I am writing fiction. I have never gone so far as to write it on a piece of paper and paste it to the wall: Rather, it is carved into the wall of my mind, and it goes something like this:

"Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg."

Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?

What is the meaning of this metaphor? In some cases, it is all too simple and clear. Bombers and tanks and rockets and white phosphorus shells are that high, solid wall. The eggs are the unarmed civilians who are crushed and burned and shot by them. This is one meaning of the metaphor.

This is not all, though. It carries a deeper meaning. Think of it this way. Each of us is, more or less, an egg. Each of us is a unique, irreplaceable soul enclosed in a fragile shell. This is true of me, and it is true of each of you. And each of us, to a greater or lesser degree, is confronting a high, solid wall. The wall has a name: It is The System. The System is supposed to protect us, but sometimes it takes on a life of its own, and then it begins to kill us and cause us to kill others - coldly, efficiently, systematically.

I have only one reason to write novels, and that is to bring the dignity of the individual soul to the surface and shine a light upon it. The purpose of a story is to sound an alarm, to keep a light trained on The System in order to prevent it from tangling our souls in its web and demeaning them. I fully believe it is the novelist's job to keep trying to clarify the uniqueness of each individual soul by writing stories - stories of life and death, stories of love, stories that make people cry and quake with fear and shake with laughter. This is why we go on, day after day, concocting fictions with utter seriousness.

My father died last year at the age of 90. He was a retired teacher and a part-time Buddhist priest. When he was in graduate school, he was drafted into the army and sent to fight in China. As a child born after the war, I used to see him every morning before breakfast offering up long, deeply-felt prayers at the Buddhist altar in our house. One time I asked him why he did this, and he told me he was praying for the people who had died in the war.

He was praying for all the people who died, he said, both ally and enemy alike. Staring at his back as he knelt at the altar, I seemed to feel the shadow of death hovering around him.

My father died, and with him he took his memories, memories that I can never know. But the presence of death that lurked about him remains in my own memory. It is one of the few things I carry on from him, and one of the most important.

I have only one thing I hope to convey to you today. We are all human beings, individuals transcending nationality and race and religion, fragile eggs faced with a solid wall called The System. To all appearances, we have no hope of winning. The wall is too high, too strong - and too cold. If we have any hope of victory at all, it will have to come from our believing in the utter uniqueness and irreplaceability of our own and others' souls and from the warmth we gain by joining souls together.

Take a moment to think about this. Each of us possesses a tangible, living soul. The System has no such thing. We must not allow The System to exploit us. We must not allow The System to take on a life of its own. The System did not make us: We made The System.

That is all I have to say to you.

I am grateful to have been awarded the Jerusalem Prize. I am grateful that my books are being read by people in many parts of the world. And I am glad to have had the opportunity to speak to you here today.

---

網路上與天下的譯文個自少了那麼點味道，或許被賴明珠的翻譯影響太大了 :p Google一下很容易找到這篇的翻譯，大家就自行去看看吧！

{ option } 純屬偏見

{ option } iPod Touch作為一台PDA＊0_INTRO

＊iPod Touch作為HTPC的遙控器，透過Remote來遙控HTPC裡的iTunes＊

從大學畢業，偶而讀到一本書 Memo學入門 後，就很熱衷於Memo簿的研究，從自己DIY Memo簿的內頁設計，到Palm的經典Palm V，然後又買了SONY的彩色入門機CLIE PEG-N610C，用到電池衰退退休，而在CLIE完全被人遺忘的前年，同學送了我一台CLIE PEG-TG50，也在去年底螢幕衰退而無法使用...

雖然試著又開始DIY Memo簿的內頁，很彆扭的使用了幾個月，還是覺得要來台PDA比較合用，觀察了Palm Pre的規格，發現和舊的Palm系統完全是不相容的，也就沒有理由一定要再找Palm了，而之前使用Palm也有一個問題，就是與Mac半套的同步，碰上某些中文字還是會亂碼，到後面變成Palm只用到記帳軟體與資料庫軟體，行事曆與通訊錄使用MAC，然後同步通訊錄到iPod Classic上，實在是不太聰明的用法，所以下定決心，下一台隨身機要找iPhone了！

不過，考慮許久，還是覺得iPhone不太合適，一來價格貴得離譜，二來一直不喜歡手機與其他次要功能結合（我幾乎一整天都聽音樂，總不能在聽音樂或使用PDA功能時，還要擔心沒電接不到電話？），最後原因是我喜歡LG KG-320這種小巧輕薄，能塞到牛仔褲後口袋的手機！所以iPod Touch就變成我下一台PDA的選擇。

決定iPod Touch，最主要是因為我離不開MAC這系統，從工作機、隨身機到娛樂機全部用OSX這個系統（雖然都是自行改裝過的...），因此要容易的同步我的桌上型電腦變成第一要務，iPhone/iPod Touch的軟體介紹在網路上已經非常多了，我想在這系列文字介紹比較專注於PDA上的需求，而這軟體必須融入我最近覺得很好用的GTD觀念，然後要與MAC方便的同步！

目前我在PDA需要的主要功能有

1>IN BOX 觀念軟體
這是GTD最核心最基本的要求，在MAC上我用INBOX檔案夾與MAIL軟體的INBOX信箱來使用，MEMO簿我設計了一張INBOX內頁，Palm上我是使用Clie內建的記事簿（可以分類與隨手畫），TOUCH上最大的問題是手繪的線條很粗無法手寫細緻的文字，雖然有看到可以用錄音/繪圖/打字等各種方法記錄的NOTE軟體，但似乎沒法根據自己需求分類（比如我用WORK/PERSONAL/CREATIVE來區分我全部的事件任務）...

2>CALENDAR 行事曆
我平常用MAC上的iCal來記錄事件，讓我能查到何時做了什麼事件，然後預定的事件能夠有鬧鐘提醒，這方面TOUCH同步後也蠻好用，但需要加強的是不能在月曆上看到事件的種類顏色，與沒有事件的時間長短圖。找到的免費軟體又只有跟Google Calendar同步，還沒找到免費的iCal加強版軟體...

3>ADRESS BOOK 通訊錄
這是最基本的需求了，MAC上內建的Adress我覺得已經夠用了，同步到TOUCH也好用，所以不需要找更好的軟體。

4>TO DO
我在MAC上試了幾個GTD軟體，最喜歡iGTD，但和TOUCH無法同步，THINGS這個軟體雖然有TOUCH版本，但場合這觀念的運用比較薄弱，TO DO功能比較強，暫時還沒仔細研究，要用哪個軟體才能在MAC與TOUCH同時運用較佳。

5>MONEY 記帳軟體
在MAC上我購買了 MacMoney 這個很好的軟體，也很便宜，他也提供網路記帳，我可以先用TOUCH上他的網站記帳，然後回到電腦上下載與匯入帳本，不過還是要等待他的iPhone版本，這樣才算好用。

5>DATABASE 資料庫
我一直有用資料庫軟體的習慣，在Palm上面我用ThinkDB設計了簡單的案件控制資料庫，沒有用Palm之後，我試著在MAC上的Bento使用，現在的目標是把Bento的資料庫轉成FileMaker Pro格式，然後與FMTouch同步資料庫到TOUCH上使用，這樣就有終極的隨身資料庫可使用了！

e.mail同步短時間好像不太需要，如何同步先不研究。而其他的一些比如密碼記錄、字典等則找網路資料很好解決，有機會就會提一下我使用哪套軟體！

我對於手機沒什麼拜家慾望，只要好看輕薄即可，對PDA則要求很高！
上面是我的MEMO機合照 -

DIY MEMO / SONY CLIE PEG-TG50 / CLIE PEG-N610C
LG KG-320 / iPod Shuffle 512MB / iPod Touch 8G / iPod Classic 80G

>

前言我就先介紹一下買了TOUCH之後賺到的功能 :)

第一張照片是我的低價HTPC組合

＊上層是LG 32吋S-IPS面板的LCD電視

＊上層二邊是雅瑟的S520

＊下層二邊是大學時買的二手擴大機與CD撥放器

＊下層中間白色機殼是我DIY的黑金塔HTPC
都是便宜的零件組的，包含 GA-945GME-DS2 / E4300 / 2G RAM / 矮板的8500GT / HD 640G+40G（裝一個獨立的Windows，只為了玩實況足球，組這台HTPC後，PS2也退休了），加上推薦我用的這款機殼 HEC 76J3，使用一年多，一個月才關一次機，仍然很穩定的在工作。

原本是使用貴貴的蘋果藍芽鍵盤和滑鼠，買入TOUCH之後，使用 Remote 完全不用開電視我就能播放我HTPC裡的音樂了，再加上免費軟體 RemotePad 來當作軌跡板，準備把美美的Apple BT Mighty Mouse給賣了，省了一二千的滑鼠費用，加上不想在TOUCH的超薄美背上加任何的保護，乾脆找了這台六千台幣的二手美品（才用一個月，保養的跟新的一樣），所以扣掉賣滑鼠的錢，根本是四千台幣就入手了，可以放心的磨它的不鏽鋼背部了 :p 不過用Wifi真的很耗電，如果不是像遙控HTPC這種少用滑鼠的電腦，還是乖乖的買滑鼠比較實在...

RemotePad / ★★★

Remote這個原廠的軟體蘋果網站就有介紹了，RemotePad則有幾個優點

1.上方的滑鼠按鍵可定義1/2/3鍵，支援雙指滾輪功能。

2.軌跡板如果不使用按鍵功能，則可結合點拉的動作模擬方向鍵，在使用MPlayer播放影片時，可以執行快轉退後的動作，另外上bbs就可以瀏覽了（不過這不是很好用就是了）。

3.有模擬鍵盤可用，連內建的中文手寫也可以使用... 可惜不是完整的鍵盤（似乎是直接呼叫iPod Touch的鍵盤功能），沒有Fuction鍵與方向鍵，就無法定義一些快捷鍵功能了（如聲音大小聲，SPACE切換等...）。

4.免費！這軟體免費真是太窩心了，其實賣個.99美金也沒問題，不知為何評價那麼低？可能的問題是TOUCH睡眠後重開機常斷線，不會自動再連線，需要手動重新連結，不過我使用WiFiRemote Lite也是需要重新連結，還不確定是不是軟體問題。

如果能加入WiFiRemote Lite這個可自行定義快捷鍵按鈕功能的話就很完美了，有點想買下WiFiRemote完整版... App Store真是危險的東西，讓你忍不住想要隨便的買軟體 :p

[補記] 使用了Air Mouse這軟體後，TOUCH睡眠開機會直接重新連線，所以修成給三顆星！

>

值得一提的是，在我想購買iPod Touch時碰上一個選擇的難題，就是到底需不需要買到最新的二代呢？尤其現在新的版本官方定價已經漲到9300，拍賣網上可以找到6000的一代新品... 但找了許久的資料，才發現二代有二個重要的功能，一個是接上有麥克風的耳機後，就有麥克風功能，可以變身為Skype手機，或是使用麥克風做語音MEMO；另一個就是有喇叭，這樣行事曆上的提醒功能才能發揮作用，因為你總不會一直都在戴耳機的狀態下吧？另外升級至年中會釋出的OS 3.0，聽說還能打開藍芽與FM收音機功能，考慮到這些，還是二代比較適合作為PDA使用！

>

PS.何謂GTD，網路上的蘋果核寫的一些文章可以幫助大家，不景氣的年代，我們需要的是不斷的提升自己的能力與效率啊！

＊ 蘋果核:開始你的GTD

{ option } 純屬偏見

{ option } 必推薦 ＊ Hiraki SAWA 澤拓

Hiraki Sawa. Views of Hako, 2007

一直以來，都對於錄像這個藝術媒材興趣缺缺，雖然有時會很偶然、很幸福地遇見很棒的作品，但我還從未看過一次以錄像為主的展覽，因為以我個人極不客觀的觀看經驗總結，總覺得錄像是攝影不夠厲害、拍電影又拍不好的人在搞的玩意 :p

然而，這個星期天的午後天氣實在太棒，忍不住想走到台北美術館的大廳去享受撒下的陽光，然後，碰上了一件對我如啟示般的錄像作品，那種感動，正如第一次看到川內倫子的うたたね時的震撼！

想說既然走進了美術館，就順道看一下展覽吧... 我大概是這樣的心態，看了這個讓我非常喜愛的錄像展 - 激情心靈 Mind as Passion。從一進去之後，就喜歡上好幾樣的作品（就對錄像興趣缺缺的我而言，比例算是很高了），這些新世代藝術家，讓我擺脫了自己以往對於錄像，總是內容嚴肅與影像粗造的刻板印象，正如策展人所寫的 - 本展不再費心思考影像創作的類型與脈絡，而是朝著一個探索的渴望，相信影像的「情感力量」，反應出某種清晰或極度的激情。或許有人會說這樣的說法未免猾頭（因為這是沒有概念或是主題的藉口），但對我而言，我想說，我就是想看這種沒有硬凹成一種偉大命題、直接反應藝術家的靈性的展覽啊！（這話是針對日益無趣的台北雙年展說的...）

本想說，回到家我就來特別介紹一下 王雅惠 - 可能的記號 與 石田尚志 - 海之壁，而在我已經接近疲乏的時候（我看一個展覽注意力大概只有一個小時，所以一個大展我總是得分幾次觀看，還有幾件還沒花時間看，比如 辻直之 - 童饜 ），卻碰上了 Hiraki SAWA 澤拓 ...

在觀看他的 Views of Hako 之前，我完全不知道這個人，也沒讀到他的作品描述，我希望自己能盡可能地描述著，當遇見他的作品時所感受到那種心情的悸動與思絮的激盪的種種...

..{ photo } entre_vues

{ photo } entre_vues＊銳利

冰冷的春天氣溫下，
撒下又利又硬的光...

>> camera >> Pentax K10D
>> lens >> smc Pentax-DA 21mm f3.2 LE
>> file >> RAW - ISO 100 use Adobe Lightroom 2

..{ photo } entre_vues

{ photo } entre_vues＊溫柔

搬到經常要路過中山北路上那一整排得婚紗店的房子已經二年，
發現關於這些婚紗店的櫥窗，
自己連一張照片也沒拍過...

今天不經意的發現，
偶而還是會有一些令人驚艷的一撇。

>> camera >> Pentax K10D
>> lens >> smc Pentax-FA 35mm f2 AL
>> file >> RAW - ISO 100 use Adobe Lightroom 2