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茨维塔耶娃《终结之诗(十一)》
刘文飞 译

一次输得精光,
显而易见!
郊区,城外,
岁月的终结。


幸福(读作石头)的终结,
岁月、房屋和我们的终结。

空闲的别墅!我尊重它们,
像尊重衰老的母亲。
这里的行为就是空闲:
只有不空的空心。


(别墅空闲三分之一,
最好您把它们烧尽!)


只是别发抖,
当伤口被揭开。
郊外,郊外,
接缝崩裂!

因为,爱情就是接缝,
没有多余的漂亮话。


接缝不是绷带,不是盾牌,
“哦,别求我保护!”
接缝让逝者葬入大地,
让我葬入你的身体。


(时间会展示接缝的形状:
是单层还是三层!)


无论如何,朋友,接缝!
刺啦一声,碎片!
它自动裂开是我们的光荣:
是裂开,而非开线!

裂缝下是活的组织,
红色,而非腐物!


啊,他没赌输,
谁崩裂了接缝!
郊区,城外:
分离的两个额头。


如今在郊外行刑,
吹进大脑的穿堂风!


哦,离去的他没赌输,
在霞光现出的时候。
夜间我为你缝制完整的生活,
很工整,没有裂缝。

别责怪我针脚斜歪。
城外:接缝崩裂。

不齐整的灵魂
出现在伤口!……
郊区,城外……
郊外峡谷的摆幅。

听见了吗,命运的靴子
踩踏液体的粘土?
……请留意我匆忙的手,
朋友,这活的线头,

你无论如何也挣不脱!
最后的路灯!


——


这里?目光像阴谋。
低等种族的目光。
“我们上山去?
最后一趟!”

@wenshizhe

白晃晃的空间,太恐怖了……还有作品名,发笑的不是一个实体,是一个洞?

Show thread

La Ribot
𝘓𝘢𝘶𝘨𝘩𝘪𝘯𝘨 𝘏𝘰𝘭𝘦, 2006.
ubu.com/film/ribot_laughing.ht

The floor of the empty room is covered with countless cardboards panels lying in what seem to be indiscriminate piles one on top of the others. Some 900 cardboard signs featuring bizarre handwritten words are affixed to the walls with adhesive tape, one after the other.

Shaken by eccentric laughter often indistinguishable with crying, the three performers continually throw themselves to the floor to then get up again. In between time they raise their arms holding one of the written signs.


时间物质 matterofti.me/

一个中文Writefreely实例。管理员邀请注册,可发邮件申请。

Harry Dodge and Stanya Kahn
𝘊𝘢𝘯'𝘵 𝘚𝘸𝘢𝘭𝘭𝘰𝘸 𝘐𝘵, 𝘊𝘢𝘯'𝘵 𝘚𝘱𝘪𝘵 𝘐𝘵 𝘖𝘶𝘵, 2006.
vimeo.com/182304933

Ms. Kahn is seen with a bloodied nose, a viking helmet and a large wedge of rubber Swiss cheese, rambling around Los Angeles, talking to the camera, Ms. Dodge and us. The one-sided conversation turns variously competitive ('You should have been there for that'), testy ('This was mostly your idea') and weird, as in a bit that begins, 'When I was in hell...' -- Roberta Smith


没注意给英文嘟嘟加了中文tag,开了语言过滤可能也会看到这条,打扰到的话抱歉。不过暂时也想不到更好的标记方式…

Show thread

Stan Douglas
Nu•tka•, 1996.

ubu.com/film/douglas_nutka.htm

Nu•tka• utilizes image bifurcation, this time to explore the history of colonialization on Vancouver Island, where English and Spanish fleets battled over trade routes in the 18th century. Films of the landscape-the only imagery shown-are superimposed on one screen so that the footage appears doubled. This formal effect is echoed by the soundtrack, which includes excerpts from the sea captains' diaries, which become increasingly paranoid and irrational. At key moments in the narrative all visual and verbal elements meld together in exquisite clarity. -- Nancy Spector



准备多看和分享一些ubu.web上的影像。
其实前段时间想搬运一些影像艺术到peertube,但是好像在peertube观看视频容易暴露ip,这边朋友也不是都方便用代理,比较麻烦。不知道我理解得对不对,是否过虑了。

Trevor Paglen

Angel (Corpus: Spheres of Heaven) Adversarially Evolved Hallucination, 2017

Highway of Death (Corpus: The Aftermath of the First Smart War) Adversarially Evolved Hallucination, 2017

"Once an AI has been “trained” to see all the objects in a particular corpus, I try to get it to “hallucinate” an image of something it’s been trained to see. This is done by creating a second AI network, whose job it is to draw shapes. The two AIs then play a little game. The “drawing” AI (also called a “Generator”) tries to draw pictures that will fool the AI that’s been trained to “see” or to discriminate between particular objects (this is the AI we trained; we can call it the “Discriminator.”) The two AIs go back and forth thousands or millions of times, until the Generator has learned how to make images that can reliably “fool” the Discriminator. The images that come out of this process are called Hallucinations. Together, the AIs have evolved an image that is entirely synthetic and has no referent in reality, but that the pair of AIs believe are examples of things they’ve been trained to see."

paglen.studio/2020/04/09/hallu

Show thread

谢德庆用16mm相机记录打卡,每小时曝光一帧,作成浓缩一年时间的6分钟的影像:
ubu.com/film/hsieh_clock.html (Vimeo)
bilibili.com/video/av11208569/ (B站,减缩版)

Show thread

谢德庆(謝德慶,Tehching Hsieh)的行为艺术
tehchinghsieh.com/artworks

《一年行为表演:1978-1979》,简称《笼子》(Cage Piece)
谢德庆在其位于 Tribeca 工作室里,建造了一个11.6 × 9× 8 英尺(3.54 × 2.74 × 2.44 米 )的木笼子,并将自己孤独监禁于其中一年。这期间,艺术家不交谈、阅读、写作、听收音机、不看电视。

《一年行为表演:1980-1981》,简称《打卡》(Time Clock Piece)
谢德庆在这件作品中每小时打一次卡,一天打24次,持续一年。结果合计共打了8,760次卡,其中有133次失误。

《一年行为表演:1981-1982》,简称《户外》(Outdoor Piece)
谢德庆居于纽约市的室外一年,其间不进入任何建筑物,地铁,火车,汽车,飞机,轮船,洞穴,或帐篷。

《艺术/生活-一年行为表演:1983-1984》,简称《绳子》(Rope Piece)
谢德庆和艺术家琳达·莫塔诺在腰间用一条8英尺长的绳子绑在一起,却相互不接触一年。

《一年行为表演:1985-1986》,简称《不做艺术》(No Art)
谢德庆不谈、不看、不读艺术、不进入画廊或博物馆,只是生活一年。

《谢德庆:1986-1999》,简称《十三年计划》(Thirteen Year Plan)
在这十三年中,谢德庆做艺术而不发表。这件作品从他36岁生日(1986年12月31日)开始,到1999年12月31日结束。在千禧年的第一天,谢德庆在纽约的约翰逊纪念教堂(Johnson Memorial Church)做公开发布,宣布“我存活了”。

——如何拍摄一棵树的肖像?

Eija-Liisa Ahtila
𝘏𝘰𝘳𝘪𝘻𝘰𝘯𝘵𝘢𝘭 - 𝘝𝘢𝘢𝘬𝘢𝘴𝘶𝘰𝘳𝘢, 6-channel projected high definition installation. 6 min. 2011.

mariangoodman.com/artists/26-e

Le monocle de mon oncle 我叔叔的单片眼镜
Wallace Stevens 沃利斯 斯蒂文斯

艾洛 译

I

1 "Mother of heaven, regina of the clouds,
2 O sceptre of the sun, crown of the moon,
3 There is not nothing, no, no, never nothing,
4 Like the clashed edges of two words that kill."
5 And so I mocked her in magnificent measure.
6 Or was it that I mocked myself alone?
7 I wish that I might be a thinking stone.
8 The sea of spuming thought foists up again
9 The radiant bubble that she was. And then
10 A deep up-pouring from some saltier well
11 Within me, bursts its watery syllable.

“天空的母亲,云朵的女王,
哦太阳的权杖,月亮的王冠,
没有什么,不,不,永不会有什么,
像两个致死的词语那碰损的锋刃。”
就这样我以恢弘的尺度嘲弄了她。
或者我这只是嘲弄了我自己?
我希望我可以是一块思考的石头。
思潮沫涌的海洋再次把她这个
光辉的气泡偷偷泛起。而之后
我体内某个更咸涩井中深处的
上涌,迸发出它水噗噗的音节。

II

12 A red bird flies across the golden floor.
13 It is a red bird that seeks out his choir
14 Among the choirs of wind and wet and wing.
15 A torrent will fall from him when he finds.
16 Shall I uncrumple this much-crumpled thing?
17 I am a man of fortune greeting heirs;
18 For it has come that thus I greet the spring.
19 These choirs of welcome choir for me farewell.
20 No spring can follow past meridian.
21 Yet you persist with anecdotal bliss
22 To make believe a starry connaissance.

一只红鸟飞过金色的厅堂。
这是一只在风、在雨雾、在羽翼的
合唱团中寻找他的合唱团的红鸟。
当他找到一湍涌流便会从他那里落下。
我该不该展开这皱皱巴巴的东西?
我是个迎向继承人的有钱人;
因为时候到了我便这样迎向春天。
这些欢迎的合唱团为我唱别。
没有春天能在极点后接着到来。
可你坚持用闻所未闻的至福
让人相信有一种星光灿烂的“相识”。

III

23 Is it for nothing, then, that old Chinese
24 Sat tittivating by their mountain pools
25 Or in the Yangtse studied out their beards?
26 I shall not play the flat historic scale.
27 You know how Utamaro's beauties sought
28 The end of love in their all-speaking braids.
29 You know the mountainous coiffures of Bath.
30 Alas! Have all the barbers lived in vain
31 That not one curl in nature has survived?
32 Why, without pity on these studious ghosts,
33 Do you come dripping in your hair from sleep?

中国老者坐在山间池畔修饰仪容
或是对着扬子江整理髭须,
这一切难道都毫无意义?
我就不演奏平淡乏味的历史音阶了。
你知道歌麿的美人如何在她们那
诉说一切的发辫中寻觅爱的端头。
你知道巴斯那里峰峦般的发式。
哎!难道所有的理发师都白活了
自然中的须发竟未存下一缕?
为什么,无感于这些孜孜的幽魂,
你睡醒了便前来,鬓发滴汗?

IV

34 This luscious and impeccable fruit of life
35 Falls, it appears, of its own weight to earth.
36 When you were Eve, its acrid juice was sweet,
37 Untasted, in its heavenly, orchard air.
38 An apple serves as well as any skull
39 To be the book in which to read a round,
40 And is as excellent, in that it is composed
41 Of what, like skulls, comes rotting back to ground.
42 But it excels in this, that as the fruit
43 Of love, it is a book too mad to read
44 Before one merely reads to pass the time.

这香甜无暇的生命之果,
恍若,因它自身的重量坠向大地。
当你还是夏娃,它苦涩的汁水尚还甘甜,
未被品尝,一派天国般果园的风貌。
一个苹果像任何一个脑壳一样,
可以当作在其之中能解读一个圆球的书,
也是一般的妙物,因为它也由
像脑壳那般腐落回地面的东西构成。
但其更为妙绝之处在于,这爱
之果,它是一本读起来太让人癫狂的书
在一个人阅读仅仅是为了消磨时光之前。

V

45 In the high west there burns a furious star.
46 It is for fiery boys that star was set
47 And for sweet-smelling virgins close to them.
48 The measure of the intensity of love
49 Is measure, also, of the verve of earth.
50 For me, the firefly's quick, electric stroke
51 Ticks tediously the time of one more year.
52 And you? Remember how the crickets came
53 Out of their mother grass, like little kin,
54 In the pale nights, when your first imagery
55 Found inklings of your bond to all that dust.

高高的西边天上燃烧着一颗震怒的星。
为了冒火的少年那颗星被放置
也为了他们近旁那些气息芬芳的处女。
爱情强烈的尺度
也是大地活力的尺度。
对于我,萤火虫那迅捷如电的一掠
冗长地滴答掉又一年的光阴。
而你呢?回想一下蟋蟀如何
出于他们的草地母亲,像小小的同类,
在那些暗淡的夜,当你初次的构象
察觉到你与那整个尘土的联系。

VI

56 If men at forty will be painting lakes
57 The ephemeral blues must merge for them in one,
58 The basic slate, the universal hue.
59 There is a substance in us that prevails.
60 But in our amours amorists discern
61 Such fluctuations that their scrivening
62 Is breathless to attend each quirky turn.
63 When amorists grow bald, then amours shrink
64 Into the compass and curriculum
65 Of introspective exiles, lecturing.
66 It is a theme for Hyacinth alone.

若是男人们在四十岁上会画起湖来
诸般转瞬的蓝必为其合而为一,
基本的蓝灰,环宇的色调。
有一种物质在我们之中普遍存在。
但在我们的情事中书写情爱的情人
辨出了这般的波动,他们的书写
气喘吁吁去关照每一次突发的转变。
当情人谢了顶,情事便就此
萎缩进内省放逐的规矩
和教纲,说教起来。
这个主题只为许阿肯托斯。

许阿肯托斯,希腊神话中阿波罗的爱人,在与阿波罗的铁饼游戏中不幸被阿波罗扔出的飞碟击中头部而死,阿波罗不让哈迪斯带走他,把他化作了一株花,这花像他的血一样,而花萼上的点点白斑,是阿波罗滴落的泪水。虽然现代语言中这个词指的是风信子,但是古代往往是和另一些花连在一起的,比如鸢尾花。

VII

67 The mules that angels ride come slowly down
68 The blazing passes, from beyond the sun.
69 Descensions of their tinkling bells arrive.
70 These muleteers are dainty of their way.
71 Meantime, centurions guffaw and beat
72 Their shrilling tankards on the table-boards.
73 This parable, in sense, amounts to this:
74 The honey of heaven may or may not come,
75 But that of earth both comes and goes at once.
76 Suppose these couriers brought amid their train
77 A damsel heightened by eternal bloom.

天使们骑的骡子慢慢沿灼灼的山路
而下,从太阳的那一边过来。
它们叮当作响铃铛的下降一一到来。
这些赶骡子的人对道路很挑剔。
同时,百夫长哄堂大笑
在饭桌上敲他们尖叫的大酒杯。
这个寓言,就其寓意而言,说的是:
天国的蜜可能来也可能不来,
而人间的蜜同时既来又去。
设想这些信使在他们的队伍中带着
一个因永恒的绽放更加美丽的闺女。

VIII

78 Like a dull scholar, I behold, in love,
79 An ancient aspect touching a new mind.
80 It comes, it blooms, it bears its fruit and dies.
81 This trivial trope reveals a way of truth.
82 Our bloom is gone. We are the fruit thereof.
83 Two golden gourds distended on our vines,
84 Into the autumn weather, splashed with frost,
85 Distorted by hale fatness, turned grotesque.
86 We hang like warty squashes, streaked and rayed,
87 The laughing sky will see the two of us
88 Washed into rinds by rotting winter rains.

像个迟钝的学者,我看到,在爱之中,
一种古老的形态触及一个新的心智。
它来,它绽放,它结果并死去。
这个琐屑的修辞格揭示了真理的一种方式。
我们的绽放逝去了。我们是它的果实。
两个金色的葫芦在我们的藤上膨胀,
深入秋天气象,被霜鞭打,
被矍铄的肥硕扭曲,变得奇形怪状。
我们像生疣的西葫芦般吊着,条条斑斑,
笑着的天空会看到我们俩
被腐蚀的冬雨冲刷成空壳。

IX

89 In verses wild with motion, full of din,
90 Loudened by cries, by clashes, quick and sure
91 As the deadly thought of men accomplishing
92 Their curious fates in war, come, celebrate
93 The faith of forty, ward of Cupido.
94 Most venerable heart, the lustiest conceit
95 Is not too lusty for your broadening.
96 I quiz all sounds, all thoughts, all everything
97 For the music and manner of the paladins
98 To make oblation fit. Where shall I find
99 Bravura adequate to this great hymn?

在因运动而狂野、满是喧闹、
被喊叫被碰撞提高了音量、像战场上
完成奇特命运的人们临死的思想一样
迅捷而确定的诗行中,来吧,赞美
四十岁的信仰,受丘比特监护的人。
最可敬的心灵,最活泼的机智词句
对你的广阔来说也不会太过活泼。
我为骑士的音乐和举止单眼审视
所有声音、所有思想、所有的所有,
为的是让奉献更合宜。我在哪儿能找到
够得上这伟大赞歌的炫技唱段呢?

X

100 The fops of fancy in their poems leave
101 Memorabilia of the mystic spouts,
102 Spontaneously watering their gritty soils.
103 I am a yeoman, as such fellows go.
104 I know no magic trees, no balmy boughs,
105 No silver-ruddy, gold-vermilion fruits.
106 But, after all, I know a tree that bears
107 A semblance to the thing I have in mind.
108 It stands gigantic, with a certain tip
109 To which all birds come sometime in their time.
110 But when they go that tip still tips the tree.

奇象的公子哥在其诗中留下
自发浇灌他们多沙石土地的
神秘喷涌的纪念物。
我是个骑士侍从,像这些人一样出发。
我不知道魔法树或者香脂的树枝,
不知道银红、金朱的果实。
但,毕竟,我知道一棵
类似我脑海中东西的树。
它擎天而立,带着某个所有鸟
在其时日中的某一刻都会前去的尖梢。
但它们离去时那尖梢仍然尖在树梢。

XI
111 If sex were all, then every trembling hand
112 Could make us squeak, like dolls, the wished-for words.
113 But note the unconscionable treachery of fate,
114 That makes us weep, laugh, grunt and groan, and shout
115 Doleful heroics, pinching gestures forth
116 From madness or delight, without regard
117 To that first, foremost law. Anguishing hour!
118 Last night, we sat beside a pool of pink,
119 Clippered with lilies scudding the bright chromes,
120 Keen to the point of starlight, while a frog
121 Boomed from his very belly odious chords.

十一

如果性真就是全部,那每只颤抖着的手
就都能让我们像洋娃娃一样尖叫出被期望的词句。
但留神命运那昧着良心的、
让我们不顾那首要的规律哭、笑、
哼唧呻吟、叫出苦楚的呼号、
在疯癫或狂喜中拧出各种姿势
的背叛。痛苦的时辰!
昨夜,我们坐在一个被掠过
明亮铬黄的百合剪了边、敏锐把捉着
星光点的粉红池边,而一只青蛙
从它那肚子里轰隆出可憎的和音。

XII

122 A blue pigeon it is, that circles the blue sky,
123 On sidelong wing, around and round and round.
124 A white pigeon it is, that flutters to the ground,
125 Grown tired of flight. Like a dark rabbi, I
126 Observed, when young, the nature of mankind,
127 In lordly study. Every day, I found
128 Man proved a gobbet in my mincing world.
129 Like a rose rabbi, later, I pursued,
130 And still pursue, the origin and course
131 Of love, but until now I never knew
132 That fluttering things have so distinct a shade.

十二

那是一只用展开的羽翼、一圈一圈
盘旋在蓝色天空的蓝色鸽子。
那是一只飞累了扑打着羽翼落地的
白色鸽子。像个黑暗拉比,我,
当我年轻时,在堂皇的研究中
观察人类的本性。每天,我都发现
人不过是我绞肉世界的一个碎块。
像个玫瑰拉比,之后,我追寻,
并且现在仍在追寻,爱的
起源与过程,但直到今日我才知道
扑打着羽翼的东西有如此与众不同的暗影。

(转载自douban.com/note/196707558/

@wenshizhe

没想到煎大圆茄子这么好吃。切片后裹生粉、面粉各一半,用油煎。不用加调料。吃起来像天妇罗。

柳译的「You and the others who think / you live for truth and, by /extension, love / all that is cold.」声音不一样了。

米绿意的译本:

《宝盖草》

这就是你如何生活当你有一颗寒冷的心。
和我一样:在阴影里,巨大的枫树下
尾随凉爽的岩石。

太阳几乎触不到我。
有时我在早春看到它,从很远的地方升起。
然后长大的叶子盖过它,完全隐藏它。我感到它
在树叶间闪烁,飘忽不定,
像一个人拿着金属勺子躲在杯子的另一边。

生物并不都需要
相同程度的光。我们中的一些
自己产生光:一片银叶
像一条无人能使用的路径,高大
枫树下黑暗中一片银色的浅湖。

但你已知道这些。
你以及其他人认为
你为真理而活,作为一种延伸,爱
所有寒冷的事物。

Show thread

路易丝·格吕克《晨祷》
米绿意 译

我看到它与你一起如同与桦树:
我不是以个人方式
与你说话。许多东西
自我们之间流逝。还是
它总是只存在
其中一方?是我
错了,错了,我要求你
是人类———我没有更贫困
相比其他人。但是对所有感情
的缺失,对我来说
是最担心的——我可能还会继续
致函桦树,
如同我的前生:让他们
做最糟糕的,让他们
以浪漫主义埋葬我,
他们尖尖的黄叶
落下,覆盖我。

Matins

I see it is with you as with the birches:
I am not to speak to you
in the personal way. Much
has passed between us. Or
was it always only
on the one side? I am
at fault, at fault, I asked you
to be human — I am no needier
than other people. But the absence
of all feeling, of the least
concern for me–I might as well go on
addressing the birches,
as in my former life: let them
do their worst, let them
bury me with the Romantics,
their pointed yellow leaves
falling and covering me.

路易丝·格吕克

柳向阳 译
野芝麻

当你有了一颗冷酷的心,你就这样生活。
像我:在树荫里,在凉爽的石上蔓延,
在那些大枫树下。

太阳几乎触不到我。
早春,有时我看到它,正在非常遥远的地方升起。
那时树叶在它上方生长,整个地遮住它。我感到它
透过树叶闪闪烁烁,飘忽不定,
像某个人用金属汤匙敲打着一只玻璃杯的侧面。

生命之物并非同等地
需要光。我们中有些人
制造我们自己的光:一片银箔
像无人能走的小径,一片浅浅的
银的湖泊,在那些大枫树下的黑暗里。

但你已经知道这些。
你和其他那些人,他们认为
你为真实活着,甚至还爱着
一切冰冷之物。

Lamium

This is how you live when you have a cold heart.
As I do: in shadows, trailing over cool rock,
under the great maple trees.

The sun hardly touches me.
Sometimes I see it in early spring, rising very far away.
Then leaves grow over it, completely hiding it. I feel it
glinting through the leaves, erratic,
like someone hitting the side of a glass with a metal spoon.

Living things don’t all require
light in the same degree. Some of us
make our own light: a silver leaf
like a path no one can use, a shallow
lake of silver in the darkness under the great maples.

But you know this already.
You and the others who think
you live for truth and, by extension, love
all that is cold.

花园

我再不愿做这事了,
我再看下去要受不了——

在花园里,明亮的雨中
那对年轻夫妇正在种下
一排豌豆,仿佛
以前从没有人做过这件事,
这巨大的困难还从来没有人
面对、解决——

他们看不见他们自己,
在新泥里,开始,
没有前景,
他们后面,浅山淡绿,花团锦簇——

她想停下来;
他想继续做这件事,
直到结束——

看她,正抚着他的脸颊
表示停战,她的手指
带着春雨的凉;
在细草里,紫色番红花迸发——

甚至在此,甚至在爱的初始,
每次她的手离开他的脸
都成为分别的意象

而他们认为
他们可以随意忽略
这种悲哀。

The Garden

I couldn’t do it again,
I can hardly bear to look at it—

in the garden, in light rain
the young couple planting
a row of peas, as though
no one has ever done this before,
the great difficulties have never as yet
been faced and solved—

They cannot see themselves,
in fresh dirt, starting up
without perspective,
the hills behind them pale green,
clouded with flowers—

She wants to stop;
he wants to get to the end,
to stay with the thing—

Look at her, touching his cheek
to make a truce, her fingers
cool with spring rain;
in thin grass, bursts of purple crocus—

even here, even at the beginning of love,
her hand leaving his face makes
an image of departure

and they think
they are free to overlook
this sadness.

史蒂文斯写给诗人理查德·埃伯哈特的信:「…就我本人而言,我从来没有感到曾经受到过任何人的影响;何况我总是有意识地不去阅读被人们拱若泰斗者如艾略特和庞德的作品——目的就是不想从他们的作品里吸收任何东西,哪怕是无意中的吸收。可是,总是有那么一些批评家,闲了没事干就千方百计地把读到的作品进行解剖分析,一定要找到其中对他人作品的呼应、摹仿和受他人影响的地方。似乎世界上就找不到一个独立存在的人,似乎每一个人都是别的许多人的化合物。」

《影响的焦虑》引了这段。

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黑曜岩

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