It's still beautiful outside, with 7 millimeters of rainfall. All the lives I've seen are just passed, not completed.
Kurosawa Hikaru and I talked about world culture and spirit in a roundabout way. At that time, I thought of some meanings of gradual loss, and thought of a note written by Merleau-ponty in May 1960: Regarding Merleau's aesthetics, the body is lent to the world.
.
I looked at a beautiful girl in colorful clothes opposite,
I suddenly felt that therefore, my body was a world of things. They were not somewhere else. It was as if I did not let it stay where it was. My sight was on it, not so much that I saw it.
It can be said that I am looking according to it, or that I am looking with it.
Being placed in the middle of some things makes me feel that they are similar, and self-reflection is not anything about it, similar to the gradual smell they mean. Just like ripples, depth, and color are all seen in others
, almost all of them are already there.
I told him that I had a crush on two girls, Li Wen and Kondo Mei. I said to Kurosawa Hikaru:
Every bright and cool day, they sit in the cafe, where there is a wide wooden dark red table. Or two people, carrying their bags, walk on the road in Mudanjiang, nostalgic. Then, they disappear. Covered.
It was snowing, very thin, and they got up very early. Li Wen took me to the Russian border. The scenery there was actually very monotonous, leaving only shadows and the outline of the city in the distance. So Li Wen
I started painting, first using light germanium to outline the shallow veins of the woods, and then using a green gray that was close to blue to express the snow. However, in that city, I met another girl. I still remember that we met in the art training studio. She
Sitting in front of the window after the rain, reading a novel on the computer screen. Her long hair hung softly on her shoulders, leaving the last touch of color.
I just stared blankly at Kondo Mei. The oil paintings she painted were full of texture, shining like stars, and the tones of Duchamp could be found in every stroke. I don’t remember how long I liked her, but I vaguely remember that one night,
I was sitting alone on the tram leading to Shimbashi and sent a text message to Kondo Mei, just one sentence: Maybe I like you. She simply said: Thank you.
A few days later I moved near them and rarely went downstairs. The south-facing window was so big that it almost took up a whole wall. Sometimes I would look out the window and see a row of cherry blossom trees, blocking my distant view.
As long as you walk to the front of the building and look up at the door, you can see their pretty figures, and there will always be a warm face behind them. That day, Kondo Mei told me that even if she faces things, she almost has them.
Therefore, she also felt her own cruelty. So, a few months later, they went to the other side of Canada alone, without saying goodbye, not starting yet, but the two of them quietly disappeared.
Excessive calm is the shadow. But stepping out of the shadow or all
Like her city, hidden and open, like the faint sound of bells
Sadness: The snow fell heavily before, I was silent, I don’t know how much
After loneliness, at least there is loss, then seeing again, or the news
I looked at the metal butterfly that Kondo Mei gave me: it was like being covered by a shadow. After the pink scale color of the metal butterfly on the wall was scraped away, what was left was transparent, not ugly, and a formal structure without any residue;
I suddenly found that this piece of steel is depressing and will not last forever; there is a slight backlash in it: and, changes, or, like some small details. So we have been following the same path, and it has been overturned from the beginning.
There is almost nothing left, through the immediate position of the body in the present, being put into a situation where various desires are blocked, the subject is created, and the split occurs.
Just like I said to Kondo Mei: I never know what will be in the end,
We have sought in uncertain reflections,
This is the beginning of the bifurcation, and the path begins from here.
I also said to Kurosawa Hikaru: She is exhausting it, as if it has always been somewhere, making me the world I placed in them, and no longer taking the impression of what I saw, or what is left can only be
It is a trance event. We cannot touch anything closer to it than seeing it; not just in a clear way, like the two alternating ways in which people feel uncertain. Seeing something. That is.
It is not facing the thing it refers to, but in what I touch, the difference in depth and its meaning in projective geometry, compared with the extra things, it seems that we ourselves are these, can see
to them and touch them. We participate in it, disturb it, be in it.
I think Shen Nianjie (Li Zhi) and I have wandered and made choices, and a certain god has taken away our right to choose at certain moments. As a result, we do things we are willing to do and things we are not willing to do in every life. I
Said to Shen Nianjie: If we can't choose, at least we can choose what we can change, so I stretch out my strong right hand to grasp the shape of the wind that I can change. For this reason, I thought of what she said on her blog
I once wrote: Being a human being is nothing more than making others smile and then making others smile, that’s all.
This city is like a painted surface. I can't find myself. I saw us walking on the vague horizon, never daring to stop, but never reaching the end. So Kurosawa Hikaru told me that he felt strangely desolate. For this reason
He also told two cold jokes about me: "My friends all said that I look like a bicycle. One day I was walking on the street and someone rode me away without paying attention." "A certain wife (lying on her back)
(Next to her husband’s hospital bed) said: You must not die, his father. I have a huge wardrobe, and there is not even a black dress. However, her husband said to the swimming coach: Can you teach my wife to drown?"