#resource
https://www.bilibili.com/video/BV1Ce411s7mM
最近奥地利驻华使馆文化处也开通了b站账户，上传的第一部作品是Anna & Jan Groos兄妹创作的系列网络剧《末日 The End of Time》。第一季共七集，每集15至20分钟。
剧中的主角丹尼尔是一位年轻的父亲和艺术家，他发现自己陷入了无名艺术家的常见窘境。由于厌倦了艺术业刻意掩盖其商业性质，他做了一个决定，通过向惜命的中产阶级贩卖救生包，把自己从一个波西米亚风格的艺术家转变为一个商人。毕竟，对死亡的恐惧是一个不停成长的消费市场。他的创业很成功，但丹尼尔很快意识到，赚钱并不能满足他对生命意义的追求。
https://www.bilibili.com/video/BV1Ce411s7mM
最近奥地利驻华使馆文化处也开通了b站账户，上传的第一部作品是Anna & Jan Groos兄妹创作的系列网络剧《末日 The End of Time》。第一季共七集，每集15至20分钟。
剧中的主角丹尼尔是一位年轻的父亲和艺术家，他发现自己陷入了无名艺术家的常见窘境。由于厌倦了艺术业刻意掩盖其商业性质，他做了一个决定，通过向惜命的中产阶级贩卖救生包，把自己从一个波西米亚风格的艺术家转变为一个商人。毕竟，对死亡的恐惧是一个不停成长的消费市场。他的创业很成功，但丹尼尔很快意识到，赚钱并不能满足他对生命意义的追求。
Bilibili
德语网剧《末日》-01（中英字幕）_哔哩哔哩 (゜-゜)つロ 干杯~-bilibili
《末日（The End of Time）》是一部由安娜和扬·格罗斯兄妹创作的系列网络剧。第一季共七集，每集15至20分钟。本频道将于每周五十三点更新一集。 丹尼尔是一位年轻的父亲和艺术家，他发现自己陷入了无名艺术家的常见窘境。由于厌倦了艺术业刻意掩盖其商业性质，他做了一个决定，通过向惜命的中产阶级贩卖救生包，把自己从一个波西米亚风格的艺术家转变为一个商人。毕竟，对死亡的恐惧是一个不停成长的消费市场
#report
瘟疫中的保姆与超高净值人士的生活，其中既有人性的闪光时刻，也有令人震惊的“轻松”。
“There’s lots of specific items that they have become accustomed to and that they can’t go without. Just like the people. We are like items to them; they can’t go without us.”
“If you have money, you have no fear. You’re not afraid of anything.”
https://www.thecut.com/amp/2020/04/nannies-working-during-coronavirus.html
瘟疫中的保姆与超高净值人士的生活，其中既有人性的闪光时刻，也有令人震惊的“轻松”。
“There’s lots of specific items that they have become accustomed to and that they can’t go without. Just like the people. We are like items to them; they can’t go without us.”
“If you have money, you have no fear. You’re not afraid of anything.”
https://www.thecut.com/amp/2020/04/nannies-working-during-coronavirus.html
The Cut
Nannies Tell the Truth About Working During the Coronavirus
‘Now that I’m out of isolation, I’m taking care of the whole family unit.’
作者前两篇讲述了自己的性别位置以及她怎样离开父母所欲的。在最后这篇，实现了大翻转，被当作无的女性，怎样被切割了，又怎样自己建立自己的权力。
https://mp.weixin.qq.com/s/8b2c3rypzI6GpyUaSt39Lg
https://mp.weixin.qq.com/s/8b2c3rypzI6GpyUaSt39Lg
Weixin Official Accounts Platform
new gods（下）| 女性不是黑暗大陆，是小宇宙！
new gods 这三篇，跟位置都有关系。我的性别的位置（也是与母亲的关系）、我的父亲的位置和大部分女性的位
#resource
John Margolies Roadside America Photograph Archive
https://www.loc.gov/rr/print/coll/john-margolies-roadside-america-photograph-archive.html
建筑评论人与策展人John Margolies用时40年，拍摄、记录了美国各种街道路边的商业建筑，包括了11710张彩色照片。
推荐。
John Margolies Roadside America Photograph Archive
https://www.loc.gov/rr/print/coll/john-margolies-roadside-america-photograph-archive.html
建筑评论人与策展人John Margolies用时40年，拍摄、记录了美国各种街道路边的商业建筑，包括了11710张彩色照片。
推荐。
www.loc.gov
John Margolies Roadside America Photograph Archive (Prints and Photographs Reading Room, Library of Congress)
Overview of the John Margolies Roadside America Photograph Archive, a documentary study of twentieth-century American roadside and commercial architecture
试比较如下两个句子在表意上的区别：
- He was thinking about the aesthetic of this form.
- He was thinking aesthetically about this form.
个人会比较不推荐第二种说法，或者说，在一般情况下，我不太推荐把一个本来可以具体说明的对象，改换成一种抽象的状态。
但有些时候，比如engage with the aesthetic of sth与aesthetically engage with sth又有一点微妙的差别。
所以，最重要的还是留心所要表达的真实意思。（特别不要因为长句的结构上的方便而滥用副词）
- He was thinking about the aesthetic of this form.
- He was thinking aesthetically about this form.
个人会比较不推荐第二种说法，或者说，在一般情况下，我不太推荐把一个本来可以具体说明的对象，改换成一种抽象的状态。
但有些时候，比如engage with the aesthetic of sth与aesthetically engage with sth又有一点微妙的差别。
所以，最重要的还是留心所要表达的真实意思。（特别不要因为长句的结构上的方便而滥用副词）
https://www.thecut.com/2020/05/dancers-drive-through-strip-club-coronavirus.html
https://www.reuters.com/article/us-health-coronavirus-usa-dancers/food-2-go-go-oregon-strip-club-brings-burlesque-to-coronavirus-carry-out-idUSKCN22A1EF
美国奥勒冈州的一家脱衣舞俱乐部因为居家令而被迫关门，后来老板把俱乐部的厨房改造成了外卖厨房并加上了自己的老本行：让顾客在取餐同时，观看脱衣舞表演。
The Cut 采访了俱乐部里的4位表演者。而在这些故事的背后，是这些gig workers无法拿到政府救济的现实。他们也是essential workers,但受到的保护却更少。
Lucky Devil的另一位舞者Elle Stanger 也写了另一篇文章，讲述疫情下性产业工作者的境况。（PS. Elle的介绍好厉害：Elle Stanger is a sex worker, parent, certified sex educator and producer of the Strange Bedfellows podcast. ）
https://www.huffpost.com/entry/porn-making-covid-19_n_5ea0731dc5b69150246c4ba3
#report #opinion
https://www.reuters.com/article/us-health-coronavirus-usa-dancers/food-2-go-go-oregon-strip-club-brings-burlesque-to-coronavirus-carry-out-idUSKCN22A1EF
美国奥勒冈州的一家脱衣舞俱乐部因为居家令而被迫关门，后来老板把俱乐部的厨房改造成了外卖厨房并加上了自己的老本行：让顾客在取餐同时，观看脱衣舞表演。
The Cut 采访了俱乐部里的4位表演者。而在这些故事的背后，是这些gig workers无法拿到政府救济的现实。他们也是essential workers,但受到的保护却更少。
Lucky Devil的另一位舞者Elle Stanger 也写了另一篇文章，讲述疫情下性产业工作者的境况。（PS. Elle的介绍好厉害：Elle Stanger is a sex worker, parent, certified sex educator and producer of the Strange Bedfellows podcast. ）
https://www.huffpost.com/entry/porn-making-covid-19_n_5ea0731dc5b69150246c4ba3
#report #opinion
The Cut
Dancing at a Drive-through Strip Club
Lucky Devil Lounge had to shut down due to the coronavirus — then reopened at a safe social distance. Four dancers describe what it’s been like.
Forwarded from 澡堂随笔 (𝚗𝚊𝚑)
原油宝的事情可能更神奇了。对赌的推演，简单讲，就是说中行做了一个虚拟理财产品，投资者的钱并没有直接进入商品交易所的期货市场，而是揣进了中行兜里。投资者在买卖该产品的软件上虽然能看到外盘交易所的商品数据，但都是逗你玩的，让你以为你在交易。投资者的钱则被中行拿去擅自做了对冲交易，这个对冲不是为了保护投资者风险，主要目的是为了保证这套对赌稳定运行。当然，目前这还是个推测的说法。
这种玩法并非头一遭，国内有一阵风靡的现货白银、贵金属、原油、沥青炒作潮，不乏这类非法对赌盘参与，这类公司宣传神乎其神，4天3倍，一个月20倍收益的宣传文案，比壮阳广告还狂野。可实际上他们的商品合约全部落在各种奇奇怪怪的非法期货交易所头上，用户的交易记录、行情信息全部是伪造的，最终被骗的血本无归，但这套成体系的黑盘交易流程并没消失。目前国内合法的期货交易所只有这5家：上海期货交易所、大连商品交易所、郑州商品交易所、中国金融期货交易所(中金所)、上海国际能源交易中心。
相信这件事还会继续发酵，目前芝加哥交易所成了靶子，因为CME在4月15日修改了交易规则：允许负油价。有人说，“现在来看，更像是芝加哥交易所看到竟然有场内未打算交割的纸原油产品还未移仓，临时做出来的‘骚操作’，而中行‘原油宝’就正好成了这部分冤大头之一。在收割完了’原油宝’这类冤大头之后，在之后的交割过程里，WTI5月原油合约很快就回到了正常价值区间，操纵的痕迹非常明显。 ”这一段冤大头不冤大头的，其实没有解释到CME为什么要修改交易规则，对“规则修改”的理解停留在国内市场监管说变就变的的惯性思维里，如同意淫。我这两天会汇总一下关于CME这次决策的时间线方便大家判断。最终事情到底是怎样，相信百年交易所匹配的法律框架和监管程序会给中行一个说法，静待交易信息的披露即可。https://legalref.judiciary.hk/lrs/common/search/search_result_detail_frame.jsp?DIS=61024&QS=%2B&TP=JU
媒体报道中的「不偏不倚」是什么意思？
“Due impartiality also does not require absolute neutrality on every issue of public concern or detachment from such fundamental principles as freedom, human rights, democracy, and the rule of law – principles which are essential to a just and open society. We will be failing in our duty if in the attempt to upset no-one, to disturb no institution, we limit the comprehensiveness and open examination of issues and events.”
The concept of ‘impartiality’ is a broad concept. In my judgment, a code of practice that requires all factual programmes dealing with matters of public policy or controversial public issues to be appropriately impartial may still comply with the constitutional requirement to uphold freedom of speech and expression if the term is given a broad and suitably equitable meaning.
The word ‘impartial’ encompasses, of course, the concept of being balanced, of not favouring one side more than another. In certain circumstances, that may in a television programme demand the putting of both sides of the story. But the word also means ‘unprejudiced, unbiased, fair’ : The Shorter Oxford Dictionary (6th Ed).
Impartiality, therefore, may demand no more than that the subject matter is dealt with fairly; that no prejudice is shown – either for or against – matters that are portrayed. Indeed, it may be said that such treatment is one of the hallmarks of documentary film-making.
In my judgment, in the broad language used, the prevailing code of practice recognises, or at least allows for, a presentation which is impartial simply because it is fair and not prejudiced either for or against the issues raised. That, I believe, is provided for in the prevailing code of practice :
“ Due impartiality requires the licensees to deal even-handedly when opposing points of view are presented in a programme. Balance should be sought through the presentation, as far as possible, of principal relevant viewpoints on matters of public importance. Programmes should not be slanted by the concealment of facts or by misleading emphasis. …
In achieving due impartiality, the term ‘due’ is to be interpreted as meaning adequate or appropriate to the nature of the subject and the type of programme. Due impartiality does not mean that ‘balance’ is required in the sense of equal time or an equal number of lines in the script being devoted to each view, nor does it require absolute neutrality on every controversial issue. Judgement will always be called for by the licensees.”
媒体报道中的「不偏不倚」是什么意思？
“Due impartiality also does not require absolute neutrality on every issue of public concern or detachment from such fundamental principles as freedom, human rights, democracy, and the rule of law – principles which are essential to a just and open society. We will be failing in our duty if in the attempt to upset no-one, to disturb no institution, we limit the comprehensiveness and open examination of issues and events.”
The concept of ‘impartiality’ is a broad concept. In my judgment, a code of practice that requires all factual programmes dealing with matters of public policy or controversial public issues to be appropriately impartial may still comply with the constitutional requirement to uphold freedom of speech and expression if the term is given a broad and suitably equitable meaning.
The word ‘impartial’ encompasses, of course, the concept of being balanced, of not favouring one side more than another. In certain circumstances, that may in a television programme demand the putting of both sides of the story. But the word also means ‘unprejudiced, unbiased, fair’ : The Shorter Oxford Dictionary (6th Ed).
Impartiality, therefore, may demand no more than that the subject matter is dealt with fairly; that no prejudice is shown – either for or against – matters that are portrayed. Indeed, it may be said that such treatment is one of the hallmarks of documentary film-making.
In my judgment, in the broad language used, the prevailing code of practice recognises, or at least allows for, a presentation which is impartial simply because it is fair and not prejudiced either for or against the issues raised. That, I believe, is provided for in the prevailing code of practice :
“ Due impartiality requires the licensees to deal even-handedly when opposing points of view are presented in a programme. Balance should be sought through the presentation, as far as possible, of principal relevant viewpoints on matters of public importance. Programmes should not be slanted by the concealment of facts or by misleading emphasis. …
In achieving due impartiality, the term ‘due’ is to be interpreted as meaning adequate or appropriate to the nature of the subject and the type of programme. Due impartiality does not mean that ‘balance’ is required in the sense of equal time or an equal number of lines in the script being devoted to each view, nor does it require absolute neutrality on every controversial issue. Judgement will always be called for by the licensees.”
突然意识到自己竟然还会时常使用百度搜索，主要是为了查询某个外文信息在中文世界里的表达。原理是百度搜索作为一个局域网搜索引擎，不管输入什么内容都会优先搜索中文内容。不知道算不算烂饭细吃。😅
#whisper
#whisper