source: http://metaatem.net/words

中 :祝你新年快乐!
德 :Frohliches Neues Jahr!
俄 :Поздравляю Вас с Новмы годом!
日: 明けまして おめでとうございます。
英 :Happy new year to you!
法 :Bonne Année!

1、丑闻笔记
2、人间四季（埃里克　侯麦）
3、我是山姆
4、寻找幸福的起点
5、儿童之城（丹麦）
6、青春岁月（丹麦）
7、金枝玉叶2
8、上海红美丽

TECHNIQUES AND TIPS


1. Color rendering

The actual marker strokes used in color rendering interior perspectives should follow the form of an object or be applied with diagonal or curved strokes, indicating highlights and shadows. It is often best to apply marker strokes vertically for walls and floors.

Unsuccessful marker renderings most often suffer from inappropriate use of color and poor marker application. Marker color should not be  overpowering; for the most part, it should be subdued and enriched by colored pencil and color movement. Many colored markers are far too intense to be used on large areas of renderings without blending, manipulation, or "tuning up" with pencil or pastel.

Colored pencil and ink can be used to create profile lines and define edges on marker renderings. White gouache and dry pastels can tone down marker color and create highlights and glints. These are applied over the desired layers of marker.

Highly detailed colored perspectives are not used in every design project, but they are used when the project and client can benefit from them. Highly detailed color renderings are often created by professional illustrators. However, the tools and techniques uses by illustrators and designers can also be employed by students in the creation of in-process design renderings. These renderings can be used throughout the design process as communication tools.


2.Shadows

All rendered orthographic projections require shadows. Shadows should be considered prior to rendering, and a shadow plan should be created with each shadow located. Shadows can then be rendered in colored pencil, ink, or marker.

Because they can remove ink and colored pencil, markers should generally be used for a base coat. This means they should be applied before the use of ink or colored pencil. However, when necessary, light markers and colorless belnders can be used to remove areas of pencil that have become too waxy.

Plans, elevations, and sections require that large areas of marker be applied in deliberate strokes with a straightedge. Large areas of carpet or wood flooring should be applied with the lightest marker color possible, applied with a straightedge.

Additional layers of marker can be applied to tune up marker color and to add nuances where required.  In rendering natural materials such as wood and stone, marker color should vary slightly; this reuqires going ove particular areas with a second application of marker.

Unsuccessufl marker renderings of orthographic projections generally suffer from one or more of the following: strokes not created with a straightedge, marker color that is too intense, lack of value contrast (no highlights or dark values), or a combination of these flaws.

Colored pencil is often applied over gray or colored markers to add highlights, intensify dark areas, and to enrich color. Marker color alonw is often too intense for use in interior renderings and requires the addition of colored pencil to soften and subdue the color.

Unsuccessful colored pencil renderings often suffer from heavy-handed use of a single color, pencil strokes that are all over the place, unsharpened pencil points, or a combination of all three.

1.《图雅的婚事》
2、《天上人间》
3、《我与拿破仑》
4、低俗小说
5、恋爱假期 The Holiday
6、诺桑觉寺

21克
爱情是狗娘 Amores Perros
精子异想世界
别动non ti muovere
追爱总动员
女王
music and lyrics
巴黎我爱你
My big fat Greek wedding
The devil wears Prada

《回归》
《有关莉莉周的一切》
《巴别塔》
《巴黎我爱你》
《阳光小美女》
《三峡好人》
《云水谣》
《他人的生活》
《面纱》
《落叶归根》
《绿帽子》
《爱情呼叫转移》
《伤城》
《别惹蚂蚁》
《我们俩》
Queen
Thank you for smoking
《潘神迷宫》

Not ignoring the anti-urban strategies of a terrorist policy that is at work here and there in these tragic times, it seems to be very urgent for me, dear Thilo Hilpert, that we have a closer look at the problem of the continuity of urban architecture. This is not a question of how to renew the architecture of classicism or academism. But to resist - with all the capacities of our con structive imagination - the destruction of the HABITAT. A habi tat that is our ecological foundation, tectonic system, urban space and environment of everyday life.

So in the very beginning of the third millennium, architects are confronted with a decisive question: the RESISTANCE OF ARCHITECTURE on the one hand to a boom of new materials and on the other to new technologies that concern image and communication, and which are fundamental for the present information revolution.

Thus, opposed to the .stalks. of structures and the resistance of materials - these constituting the very SUBSTANCE of any architecture - are the excessive dvnamics of technology, which serve only global needs and an ultra-short orientation to the immediate. These are to the detriment of long-standing quality and the permanence of buildings and even permanence of towns.

Along with the architectural resistance against an accelerated renewal of style and a change from "modern" to "post-mod ern" constructions, motivated by the quick changes of taste, there is a more fundamental question: The resistance of archi tecture against precariousness and instability in buildings.

So if the statics of structures and the resistance of materials are in fact the very architectonic ESSENCE of buildings, then any thing that endangers that resistance and that stability must be regarded as a COLLAPSE in the edification that architecture provides, with resulting high risks for the town and the whole urban population.

In this respect, the rise of concrete was not simply a discovery of a new material (regard its anticipation by the Romans) - but was, it seems to me, a clinical symptom of a pathological crisis of construction at the beginning of a fulminate spread in the use of energy. This happened at the eve of the enemv revolution. which was without precedent in history and shook first towns, then the whole world, with petrochemical industries, with elec tricity (nuclear and other ...) and in the end with electronics and the revolution of information technology... not to mention again present wars about oil or the catastrophe of Chernobyl ...

So it seems to me, dear Thilo Hilpert, the extreme acceleration of telecommunications, which is strengthening enormously the GLOBALISATION of the economy, could become a menace for the stability of an urban population by causing real DE LOCAL IZATION; this acceleration is not only contrary to any kind of construction and architectural creation, but it also represents a major ecological risk that anyone rarely seems aware of.

Introduction
by Thilo Hilpert

The projects in this book are conceptual ones. They are experimental works that took shape over a period of years, for the most part in the process of teaching, either alongside my practice in urban planning or my research on the history of modern architecture. In between. In many cases, the ideas originated as class projects or in competitions embarked on with students. Only later did a connection between them all emerge. In the process of putting this publication together, the inner logic linking the projects grew more and more evident. Something akin to a system of classifica tion for conceptual architecture materialized out of the organization of the chapters. From the utopia ("Utopian Zone") to its confrontation with the "human scale," the vision of the city with a new typology of buildings {"Megastructure"} then leads on to an examination of case studies from the real, concrete city ("Transformation").

1
The terms visionary architecture, fantastical architecture, urban utopia and ideal city all refer to different aspects of such conceptual architecture, all of which have enjoyed changing degrees of importance during various periods of architecture. However, their actual role in design and in building remains only vaguely defined. Despite its significance in the 20th century, the entire spectrum of conceptual archi tecture has never been fully characterized. In a field that is otherwise full of classifi cations, no real system has ever developed to differentiate this particular branch of architecture.

Conceptually directed projects are part of "parallel architecture" - a parallel plane of architecture rooted in the idea that conceptual, purely theoretical constructs always intervene in project-making. This parallel architecture is part of architecture itself, as seen in work by Etienne Boulee, Sanf Elia, Bruno Taut, Le Corbusier, Frank Lloyd Wright and Archigram.

This parallel architecture is, however, not merely a superfluous addition; it always has a function. Even the extrapolations of trends by an architect like Rem Koolhaas, which act as hyper-real images in an era of no illusions {e.g., his Shanghai and the

other boomtowns}, are not meant to be reports on existent or actual cities. Instead, they are concepts that herald the approaching future. They are parallel architecture. The artistic consciousness is a part of reality, either as a reflection or as a prefigured idea of architecture. Images belong to the process of building.

Especially in the 1960s, it became common to rush the imaginary models used to conceive and play with ideas of conceptual architecture to the phase of concrete real ization. Their widespread publication, and the fact that they were taken seriously as projects to be put immediately into practice, also meant, however, that they lost their ability to stand alone, their independence as utopian ideas or visions. These models were interpreted as futurological predictions, and were taken literally as representa tions ofthe "City of Tomorrow." In the mid-1960s, visionary models lost their power, and the homo ludens, which emerged at that time as a social type, had no prospec tive motivation but looked back to readopt historicizing forms of architectural expres sion.

2
"Next" was the theme of the 8th Architecture Biennale in Venice in 2002. The exhi bition was a clear attempt to shake off the paralysis in architectural thinking that had lingered on since the 1st Architecture Biennale in 1980, entitled "The Present of the Past" {La Presenza del Passato}. In 2002, in the different countries' attempts to respond to the question of what the shape of things to come will be, one could clear ly perceive their different traditions and their impact on architecture. The Russians played opera amid their melancholic visions, the Scandinavians showed a spirit of reform, the Americans had woken up from the illusion of uninterrupted growth, the English continued to build Paxton's Crystal Palace, and the French played with risky systems of statics. In their pavilion, the Germans exhibited morally correct architec ture with educational value in the form of a lineup of similar boxes, interpreted dif ferently by students. This would have been a vision of "Next" only if the boxes had suddenly been able to make contact with each other, to communicate, or to coordi nate themselves in unforeseen configurations.

Not even the Chinese wanted anything to do with Rem Koolhaas' vision of China, as they announced in Venice. Hyper-realism or verism are not especially realistic forms of urbanistic thought. Rather, they are a particularly voyeuristic vision of the neo-lib eral city.

Because they bridged the distance between nostalgia and futurism, the architects of classical Modernism were able to develop a wealth of conceptual projects after World War I. Connecting nostalgia and futurism rather than assuming them to be incompatible, Bruno Taut and Le Corbusier projected the loss experienced in pre industrial culture onto the dynamics of technological development.

All of the projects included here have the following premises in common:
-The development of architecture stagnates without the concurrent development of parallel architecture.
-There is no "spatial independence of the information age," and therefore, the devel opment of space remains the primary objective.
-The structuring of the city carries with it a claim to the society-shaping aspect of architecture.

Because the method of design strictly adhered to the practicalities of realization for long periods of time after 1945, the basis for visionary expression, indeed for con ceptual work overall, was stifled. A situation ensued where "time is nailed to space in a reactionary way" (Ernst Bloch).

3
Geographical areas governed by a common language are also cultural areas. The area where German is spoken is currently one characterized by a fear of utopian visions. This fear has various roots, including political ones, that have become entan gled. It starts with the fear of playing around frivolously with images. In Germany today, a line is seen as a document, a construction, not as a free expression of cre ativity. If the sketch that enables the unknown to assume a shape is regarded as neb ulous, the familiar then becomes overpowering as a result. But, conceptual projects are always an artistic end in themselves, as images and texts, without having to serve as a plan for an actual structure to be built.

Elements of contrast between Germany and France, valid up until recently, allowed for the cultivation of different qualities in architecture. Historically, Modernism in Germany found its definition through design theory (for example, the Bauhaus under Walter Gropius). The theory of urbanism, on the other hand, served continuously in France after the turn of the twentieth century as the dominant reference for architec tural conceptions (Tony Garnier, Le Corbusier, and Yona Friedman).

The 1920s in Germany represented a true cultural revolution, for they saw the release of the forces of theory, art and urbanism. There is a freethinking, expressionistic tra dition that stems originally from theater and dance, and that was the true "degener ate art" attacked by the Nazis. This tradition appeared in Bruno Taut's sketches of his architectural visions, and was carried on in the 1960s in the conceptual models ofthe Dutch architect Constant Nieuwenhuys (for instance, his New Babylon). In Germany, when the subject of visions is brought up, rarely is one reminded of Bruno Taut's tra dition. Instead, Hitler's monumental architectural projects are what immediately come to mind (his model-making in an "erased Berlin" that provided no warmth and shed no light). The inability to grasp the pursuit of utopian ideas as a valid method has to do with the shock left in the wake of the megalomania of the Third Reich, and with the way that Germany's ruins were "recycled" in the intellectual field. Over time, the legacy of this shock became translated into a paranoia inherited by a generation of grandchildren. This paranoia now overshadows conceptual works as a whole, and is ultimately just an excuse for today's lack of ideas, and of art.

4
However, aside from the banality of the superficial arguments regarding such suspi cion, an intense debate about the relationship of city concepts and urban planning to totalitarian social models does persist. In addition, there is a significant philosophi cal tradition addressing the span between utopia and its application to reality that remains as yet untapped by architectural theory: Ernst Bloch's "Prinzip Hoffnung," Theodor W. Adorno's "Theorie als Kritik," and Karl Popper's "Methodik des bewussten Stuckwerks." A utopia is a survival strategy. Hope - "Hoffnung"- requires anticipation. Criticism - "Kritik" - leads to vision. Concepts with the potential to insti gate change and to be implemented in real life can only transform limited areas "Stuckwerk" - not an entire city.

Pure pragmatism does not exactly ensure against the rise of megalomania and total itarianism. On the contrary, it leads to rigidity. What the psychoanalyst Lacan described as individual symptoms can also assume a collective dimension. If utopi an ideas are applied to everyday life, they will have a transformational effect only if they are able to transform themselves in the process as well. If, in the confrontation with reality, they do not change, they become a delusion embraced by the self-pro claimed Pure. However, living only for the sake of everyday life, an equally extreme one-sided perspective, leads only to a loss of motivation and to cynicism. The vision

of the future then vanishes amid images of megalomania and the self-destructive drive. It was this experience of the Second World War that Albert Camus described in his "Homme Revolte" and that became the basis for Lacan's concept of longing, Ie desir, which finds articulation in the arts.

5
It would be naive to assert that architecture has nothing to do with politics. Concepts of the city give form to the consciousness and set it in motion. Today architecture is connected to competing ideas of the future as a whole.

The architectural theory of at least the last decade was synthesized and distributed in New York. At some of the highest-ranking schools in the United States, there are the most determined critics of architectural cynicism (such as Joan Ockman) but also those influential theoreticians who stubbornly seek to discredit every sort of archi tectural vision of the future as totalitarian in character. This is absurd, coming from the country that grew out of many utopian visions (Unbuilt America, New York, 1983, by Alison Sky and Michelle Stone of the group SITE, is still one of the best books on American architecture).

The unique character of conceptual architecture has to be redefined. Perhaps we are standing at the threshold of a new formulation of a conceptual practice. The medium for this is the conceptual project.

In this respect, the organization of the projects in this book is also something like a basic outline for a system by which to classify conceptual architecture. The book is divided into four sections, which deal with the following themes:

Utopian Zone
A collection of utopian designs in which technological and social ideas overlap with architectonic ones. In other words, these ideas are not strictly divided, but spill over into each other. Conceptual architecture emerges here especially clearly in different imagined models.

The Human Scale
Since the Renaissance, the definition of human constants has been a component of conceptual architecture. Today, it is important to fall back on the strong foundation provided by the physical reality of architecture, in opposition to the dominance of fleeting images, and to see buildings as part of a cul turallong-term memory.

Elements of a Megastructure
This section contains visionary designs. Visions, in this sense, represent concrete spatial designs. They formulate a typology of build ings, suitable for the complex structures that make up multifunctional spaces where a particularly intense degree of communication is rendered possible (the megas tructu re).

Berlin Transformations
In architecture, transformation signifies a new interpretation of structures, and of the themes and concepts that have been handed down over time, in service to the development of new structures and connections.

最有用的100个网站 你知道几个？
万维读者网    2006-12-29 16:11:43


两年前，多数英国人都没有安装宽带，Web 2.0也刚刚进入开发人员的视野。2006年，许多事情都已经发生了改变。

卫报报道，2004年，因特网还是另外一个样子：例如，没有YouTube.许多上网的英国人都没有安装。如今这一些都已经发讼肪缧缘谋浠合衷冢?75%的用户已经安装了宽带，Web 2.0的到来已经让访问网站的速度和运行自己的机器一样快了。我们可以重温一下两年前我们给出的名单。其中一些网站有了新的发展，有些还在原地踏步。这里我们以20个分类列出100个网站，与上一次的名单相比，这里有许多新的网站，同时也还有许多那时就存在的网站，当然它们依然非常重要。

一、应用软件

为什么要在浏览器中运行一个应用软件？因为可以与不同位置的人们分享任务，这在进行有密码保护的工作时候非常有效。 backpackit.com因其简单的任务，basecamphq.com因其成熟的项目而当选。Tadalis很简单，类似于DOS.而Google 的Documents & Spreadsheets需要一个Google帐号（免费的），而且它不打算与微软竞争。Wikicalc是一个免费的在线电子表格，发展也非常迅速。

backpackit.com

basecamphq.com

tadalist.com

docs.google.com

softwaregarden.com/wkcalpha

Blogs： reading

二、博客：阅读

互联网上有着无数的博客服务网站，用户需要选择最好的。通过RSS和博客搜索引擎就可以简化工作。Technorati虽然有时候比较诡异，但是一般情况下是一个可以值得信赖的博客导航网站。Icerocket很善于粘住用户。网民需要在网上找到能包含自己最感兴趣的事，那么 Newsgator 和 Google Reader就是一个很好的选择。另外，Bloglines也是一个很好的信息获取网站。

technorati.com

icerocket.com

newsgator.com

google.com/reader

bloglines.com

三、博客：写作

网民需要找到一个好工具来写作，而不仅仅是阅读。开源和免费的软件程序Wordpress就突显了出来，它因自己的创造性、管理能力和发布信息的工具，已经将它的竞争对手远远抛在了身后。Wordpress.org是一个免费的软件；wordpress.com提供免费包的付费、管理版。 Blogger 是剩下的里面最好的。Vox灵巧、简单而且免费，同时包含了很多的社交应用功能。Statcounter统计非常棒，能为你的网站提供很好的统计数据。免费的Google Analytics也非常好。

wordpress.org

blogger.com

vox.com

statcounter.com

google.com/analytics

四、电子邮件

Google的Gmail是基于网络的电子邮件系统，缺点就是在英国还是只有受邀请才能使用。但是，Yahoo的免费邮件服务是一个厉害的竞争者，而微软也有Live Mail.与微软以前的Hotmail服务不同，如果你30天中不登陆的话，它不会删除你所有的旧信。在所有这些免费服务商中，Bluebottle因为它对垃圾邮件的过滤功能而深受人们喜爱。免费版本提供250MB的存储空间，并且支持POP3 和SMTP标准，因而网民从中可以获得一个很好的邮件程序和网络通道。另外还有TempInbox，它提供免费、临时的邮件帐号，而且不需要注册。

mail.google.com

mail.yahoo.com

mail.live.com

bluebottle.com

tempinbox.com/english

五、游戏

如今互联网上有许多视频游戏网站，你需要一个像Gametab这样的导航帮你找到最好的。Pocketgamer深入研究了手控游戏， Gamasutra收集得非常全面。Gamesfaqs拥有常见问题解答和预演（另外还有游戏的秘笈、复盘和预览等）。ESRB允许按照年龄段来搜索。

gametab.com

pocketgamer.co.uk

gamasutra.com

gamefaqs.com

esrb.org/ratings/index.jsp

六、地图

在Google地图和人造卫星图像出现以前，每个人都会看Ordnance Survey的数据，这意味着它们之间没有什么区别。Ordnance Survey已经升级了自己的网站，可以告诉你该买一个地区的哪个地图。它的地名搜索非常棒。与此同时，New Popular Edition能够显示地区在上个世纪40年代时的样子，这非常不错。

maps.google.co.uk

streetmap.co.uk

multimap.com

ordnancesurvey.co.uk

npemap.org.uk

七、新闻：主流媒体

BBC继续在自己的道路上行进，它提供了多种媒体形式，同时允许用户添加自己的评论。《纽约时报》网站虽然关闭了一些内容，但是它依然非常强大。这两个网站的RSS feeds在bbcriver.com和nytimesriver.com上可以使用手机来阅读。Google新闻也尽其所能，虽然头条依然是最新的，而不是最为准确的。Nowpublic是OhMyNews来自美国的竞争对手，宣称拥有52，000个配备移动电话的业余记者，而且这些人的位置可以通过 GPS或者手机定位来获得。

news.bbc.co.uk

nytimes.com

news.google.co.uk

english.ohmynews.com

nowpublic.com

八、新闻：推荐

Web 2.0所能做到的一件很好的事情就是，它能够让许多人来投票。虽然可能会被滥用，但是一般情况下还是能够起到很好的作用。那些能让网民投票的网站，以及博客热衷于讲故事的网站（memoerandum）现在越来越多了。最大的就是Digg，今年年初已经超过了Slashdot.Reddi如今被《连线》杂志所收购。Findory有点不同，你越用它学到的就越多。

digg.com

reddit.com

memeorandum.com

megite.com

findory.com

九、特色

Snopes披露难以置信的故事、诡计和城市传说，并且揭穿或者证实这些故事。另外，还有100个看上去无用，但是非比寻常的网络博物馆。其中包括虚拟卫生纸博物馆、老计算机网罗博物馆和交通信号标识博物馆。网民可以通过Weird网站上的链接找到许多其他有趣的网站。Onion是网上的讽刺文学杂志，不过它对美国存在偏见。如果要休息5分钟，那么可以浏览B3ta.这个英国网站每周发送一次酷站的直邮，它还有一个信息公告板供人们粘贴有趣的处理图。但是需要注意的是：有人认为，它常常会产生人身攻击，对于工作的人来说并不安全。

snopes.com

ringsurf.com

theweirdsite.com

theonion.com

b3ta.com

十、政治

对Theyworkforyou和 Publicwhip 来说，MySociety依然是不可战胜的，因为它将Hansard纳入旗下。但是，博客已经开始向大众披露一些政治人物上不了台面的事情。Guido Fawkes有来自威斯敏斯特市的许多内部消息，而NO2ID经常会引发有关政治和科技方面的争论。与此同时，NHS 23是一个wiki网站，经常讨论政治、技术和国民健康保险制度等话题。

theyworkforyou.com

publicwhip.org.uk

5thnovember.blogspot.com

no2id.net

editthis.info/nhs_it_info

十一、公众行为

需要揭露一些当权者的弊政了。网络的不同之处在于它的不断成长，政治家如今也上网。而且也有一些请愿的网站。Pledgebank 和HearfromyourMP都是MySociety （mysociety.org）家族下的网站，让市民和决策者之间有个交流，这样才使得人们有所期待。包括The Virtual Activist的Netaction网站，是网民在线提出方案的一个重要工具。那些对发展自己地区有兴趣的人可以上Timebank，可以找到一些用于打发业余时间的组织。

pledgebank.com

petitions.pm.gov.uk

hearfromyourmp.com

netaction.org

timebank.org.uk

十二、广播

广播现在已经传递到千家万户。BBC在这里占据优势地位，但是依然有许多地方站从AOL的短讯中获取即时的新闻，这非常有趣。雷达和无线电设备遍布世界，所以你总能找到可以听的东西。Reciva做的事情也是一样，但是如果你购买了它的网络收音机，你可以在线添加你自己喜欢的节目。

bbc.co.uk/radio

shoutcast.com

radio-locator.com

live-radio.net

reciva.com

十三、推荐：音乐

能够发现与你喜欢的音乐相似的素材，这一点显得越来越重要，无论是收听者还是唱片公司都希望从中获利。Last.fm需要在你的机器上运行一个软件，显示其他人有此音乐的人喜欢的是什么。Pandora称你需要一个美国的邮编，给它一个然后你就可以听到精心挑选的节目了。 Liveplasma能够搜索相关的电影和音乐。 Tuneglue是last.fm与EMI投资的一个新网站，使用Amazon和last.fm的数据。 Goombah需要下载，而且只能在iTunes中播放音乐，但是有时也还是比较重要。

last.fm

pandora.com

liveplasma.com

audiomap.tuneglue.net

goombah.com

十四、索引

Wikipedia占据了索引网站的主导地位，部分原因是因为它的网页与Google高度相关。用户撰写的东西，虽然不是十分可信，但是却是非常有趣的。Wikipedia一直与大英百科全书竞争，而大英百科全书不是免费的。另外一个可选的网站是HighBeam 百科全书，它从哥伦比亚百科全书上搜索了超过57，000篇文章。另外，Jim Martindale索引创建于1994年，提供了大量的索引资源。对于单词来说，最好使用Onelook，它提供了931个词典中的750万单词。而且它还能够根据单词的意思来查找到单词。最后，Teldir与世界上的在线电话簿相联系。

en.wikipedia.org

encyclopedia.com

martindalecenter.com

onelook.com

infobel.com/teldir

十五、科学

Alphagalileo提供了欧洲面对民众的科学信息，是eurekalert的对应网站。Eurekalert是美国的协会，主要是为前沿科学发布宣言的。Space.com依然关注于空间科学。Nasa包含了财富方面的信息。气候变化重要性的突显使得有气候变化学家撰写的 RealClimate博客的地位也越来越高了。

alphagalileo.org

eurekalert.org

space.com

nasa.gov/home

realclimate.org

十六、搜索

Google依然是我们获取信息的主要手段（占据所有搜索用户的一半），但是这并不意味着它是最好的。如今的搜索可以包含硬件、博客、图像、点对点甚至是过去的历史记录。Blinkx因其对视频的专著依然是独特的，而Ask也取得了很大的进步，虽然它只吸引了很少的用户。

google.co.uk

search.yahoo.com

search.msn.co.uk

blinkx.com

ask.com

十七、社交

网民可以在网上找到与自己兴趣相同的人，可以创建自己的个人空间与别人分享。社交网络现在越来越多，但是依然没有阻止MySpace成为老大。Bebo也很流行。Habbo吸引了很多年轻人，而Friendster 和LinkedIn则吸引了很多年龄大的网民。

myspace.com

ebo.com

habbo.com

friendster.com

linkedin.com

十八、视频

虽然YouTube上的人非常多，但是它不是唯一能够找到视频的网站。Revver提供了一个收益分享系统，当别人观看你的视频的时候，你就可以获得一定的现金。你也可以在brightcove 和currenttv创建自己的电台。另外，Videojug上演示了怎么去做那些可能有用的工作。

youtube.com

revver.com

brightcove.com

currenttv.com

videojug.com

十九、虚拟世界

与MySpace等社交网站不同的是，虚拟世界给你一个替身，用于代表虚拟世界中的你。宽带的使用加速了计算机运行速度，使得这一切变成可能。BBC在 Second Life上举行一场音乐会，这听起来比较诡异。IBM首席执行官拥有了一个替身，这使得Habbo Hotel上人满为患。World of Warcraft拥有数百万的用户，并且在寻找自己的文化。用户也可以在Sims在线上玩耍。大量新人的涌现是否会让这个世界上的人与人之间变得更加冷漠，这依然是一个未知的问题。

secondlife.com

habbohotel.co.uk

worldofwarcraft.com

thesimsonline.com

eqplayers.station.sony.com/index.vm

二十、时代潮流

这个每个人都在谈论的。这些网站之所以如此引人注目，是因为它们代表了整个世界在思考些什么。看着它们从我们身边经过，不要忘记： YouTube是网络上流动的图像；Flickr是静止的图像；Google的搜索趋势代表者整个世界在寻找的东西；Digg表示我们找到了什么； Technorati表示人们正在写着什么。

youtube.com

flickr.com

google.com/trends

digg.com

technorati.com

(各种译本里面，觉得这个最好）


如果你等着我我一定会回来
但是　要真正地等着我真真正正地
等着我　直到秋雨绵绵秋叶金黄让人伤感
等着我　直到雪花翻飞的那天
等着我　直到夏天主宰了一切
一直等到过去都被遗忘我们也不再是陌路人
一直等到不再有书信来自异乡
一直等到那些曾和你一起等待的人已不在人间

歌词:月光下的凤尾竹
歌手:关牧村

月光下的凤尾竹
月光啊下面的凤尾竹哟
轻柔啊美丽像绿色的雾哟
竹楼里的好姑娘
光彩夺目像夜明珠听啊
多少深情的葫芦笙
对你倾诉着心中的爱慕
哎金孔雀般的好姑娘
为什么不打开哎你的窗户
月光下的凤尾竹
轻柔啊美丽像绿色的雾哟
竹楼里的好姑娘
歌声啊甜润像果子露
痴情的小伙子
野藤莫缠槟榔树
姑娘啊我的心已经属于人
金孔雀要配金马鹿
月光下的凤尾竹
轻柔啊美丽像绿色的雾哟
竹楼里的好姑娘
为谁敞开门又开窗户
哦是农科站的小岩鹏
摘走这颗夜明珠哎
金孔雀跟着金马鹿
一起啊走向那绿色的雾哎

 

 

• Streets in cities serve many purposes besides carrying vehicles, and city sidewalks----the pedestrian parts of the streets---serve many purposes besides carrying pedestrians.

 

• A city sidewalk by itself is nothing. It is an abstraction. It means something only in conjunction with the buildings and other uses that border it, or border other sidewalks very near it.

 

• Streets and their side walks, the main public places of a city, are its most vital organs. Think of a city and what comes to mind? Its streets. If a city's streets look interesting, the city looks interesting; if they look dull, the city looks dull.
  
  
  
  
  
  
  
  Jacobs, J. (1961). The Death and Life of Great American Cities. NY: Random House Inc.