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猪儿理想May 10 登录常青藤联合会高校Logging On to the Ivy League By Andrea Ford
"Do you know what the most complex mass of protoplasm on earth is?" Marian Diamond asks her students on the first day of anatomy class as she casually opens a flowery hatbox and lifts out a preserved human brain. "This mass only weighs 3 lb., and yet it has the capacity to conceive of a universe a billion light-years across. Isn't that phenomenal?" “你们知道细胞质最复杂的部分到底在哪里吗？”第一天的解剖学课上，玛丽安·戴蒙德一边随手打开带有花卉图案的帽盒，取出一个保存完好的人脑，一边向她的学生问道。“这一部分只有3磅重，却能够构想出10亿光年之大的宇宙。这有多了不起啊！”
Diamond is an esteemed neuroanatomist and one of the most admired professors at the University of California, Berkeley. It would be a privilege for anyone to sit in on her lectures. And, in fact, anyone can. Videos of her popular course are available free online, part of a growing movement by academic institutions worldwide to open their once exclusive halls to all who want to peek inside. Whether you'd like to learn algebra from a mathematician at MIT, watch how to make crawfish étouffée from an instructor at the Culinary Institute of America or study blues guitar with a professor at Berklee College of Music, you can do it all in front of your computer, courtesy of other people's money. In March, YouTube launched an education hub called YouTube Edu, dedicated exclusively to videos from the more than 100 schools--ranging from Grand Rapids Community College to Harvard Business School--that have set up official channels on the site. Liberated from the viral stew of pop-culture vlogs and silly cat videos, the collection highlights how much free education is out there. 戴蒙德是贝克利加利福尼亚大学德高望重的神经解剖学家和最受崇敬的教授之一。对任何人来说，能够旁听她的课是一件很荣幸的事。而事实上，任何人都可以做到。她所讲的通俗课程的视频可在网上免费观看，这是全世界学术机构发起的一项方兴未艾的运动的一部分，旨在将其原本不对外的讲堂向所有心驰向往的人进行开放。不管你是想跟麻省理工学院的数学家学习代数，或是观看美国烹饪学院的教师如何制作小龙虾浇饭，还是想跟伯克利音乐学院的教授学习蓝调吉它，你都可以在电脑前实现，而自己却不用掏一分钱。3月份，YouTube开设了一个叫做YouTube Edu的教育专栏，专门发布已在网上设立了官方频道的100多所学校提供的视频——学校从大急流城社区学院到哈佛商学院一应俱全。这些视频摆脱了鱼目混杂的流行文化视频博客和傻猫视频，充分体现了教育的自由程度。
Why is YouTube going high-brow? The answer involves revenue (the Edu hub has room for one or two ads on its home page), social relevance and perhaps a bit of rivalry. More than 170 schools offer content free to the public on Apple's iTunes U, which originated in 2004 as a way for colleges to distribute content privately to their own students. The partnership has been a win-win: universities get a cost-cutting distribution tool, and Apple's products become must-haves on campus. YouTube缘何开始走向高雅？答案是收益（教育专栏的主页上设有一两个广告位）、社会实用性以及可能存在的些许竞争。在Apple’s iTunes U上，170多个学校免费向公众提供内容，Apple’s iTunes U始创于2004年，用于各大学私下向自己的学生发布内容。这种合作关系带来了双赢：大学获得降低成本的发布工具，而Apple的产品则成为校园里的必备品。
The bigger question is, Why have colleges started posting all this stuff at no charge? "Schools have always wanted to have their own area where they could be among their peer institutions and help with the discovery of their content," says Obadiah Greenberg, who leads the project at YouTube. 更重要的问题在于，为什么大学开始免费将所有的资料贴出来？“各个学校都总想拥有自己的区域，可与兄弟高校齐头并肩，并且有助于找到他们所发布的内容，”YouTube项目带头人的奥巴代亚·格林伯格说。
But producing content for global consumption can be hugely expensive. MIT, an open-courseware pioneer that since 2002 has published text materials such as lecture notes and syllabi for about 85% of its curriculum, spends more than $10,000 per course to compile, publish and license text materials; classes with videos cost twice as much. 但是，生产用于全球消费的内容可能会非常昂贵。麻省理工学院是开放式课件的倡导者，它自2002年始就发布课程笔记等教材资料以及约85%的课程教学大纲。教材资料的编写、出版和许可，每门课程的花费超过1万美元；视频课程的成本则要翻番。
Yet MIT's Steve Carson, who serves as president of the OpenCourseWare Consortium, says it's worth the expense, since the online content attracts prospective students, keeps alumni connected and encourages innovation. Schools have decided that these benefits outweigh the concerns about cost, intellectual property and devaluation of élite degrees. After all, the free material does not add up to a diploma, and viewers can't interact with the faculty. 麻省理工学院的史蒂夫·卡森说，这是值得的，因为网上内容能吸引未来的学生，保持校友之间的联系，并鼓励创新。卡森目前是开放式课件联盟的主席。各学校已断定，这些好处比对成本、知识产权以及精英学位贬值的担忧更为重要。毕竟，免费资料并不意味着学历，浏览者无法与教师进行互动。
The volume of YouTube Edu's content, which includes campus tours and other nonacademic material, can be overwhelming, but the view-count sorting feature helps users quickly locate must-see videos, which they can comment on and rate on a five-star scale. YouTube Edu的内容量非常之大，它包括了校园游览和其他非学术性资料，但浏览量排序功能有助于用户迅速找到必看的视频，他们可以对这些视频进行点评，并按照五星级别进行评级。
Another new site, AcademicEarth.org lets users give lectures letter grades. (Diamond's brain-in-a-hatbox episode, posted there as well as on YouTube Edu, got an A average.) The much smaller, more closely edited site also assembles playlists of related lectures, like one titled "Wars Throughout History." Richard Ludlow, 23, came up with the idea for the site when he was struggling with an algebra course at Yale and discovered helpful Web lectures by the author of his textbook, MIT professor Gilbert Strang. Ludlow thinks every school should play more to its strengths and not be shy about letting a professor rely on a rival's superstar lectures. "That way, the students get a great lecture experience, and the professor has more time for question-and-answer," he says. 另外一个新的网站AcademicEarth.org，允许用户给讲座进行ABC评分。（发布在该网站和YouTube Edu上的戴蒙德帽盒里的大脑视频获得了A等平均分。）规模较小、编辑较为仔细的网站还会汇集相关课程的播放列表，像名为“历史上的战争”课程。23岁的理查德·勒德洛在耶鲁大学苦学代数课程时，发现其课本的编写者、麻省理工学院教授吉尔伯特·斯特朗的网络讲座很有帮助，于是产生了建立网站的念头。勒德洛认为，每个学校应更充分地发挥其优势，索性大大方方地让教授依赖对手超级明星般的讲座。“这样，学生听课会乐在其中，而教授则会有更多的时间进行问题解答，”他说。
There is clearly a big appetite for all kinds of online lectures, as shown by the popularity of sites like TED.com which broadcasts talks given by innovators in the fields of technology, entertainment and design. But one of the most interesting consequences of open courseware may be its impact on teachers, who have a new way to get feedback--and exposure. TED.com之类的网站的受欢迎程度表明，人们显然对各种网上课程的兴趣很大，该网站播出科技、娱乐和设计领域的创新者所做的讲座。但是开放式课件最有趣的结果之一可能在于它对教师的影响，他们有了一种新的获取反馈乃至讲课的方式。
"It used to be that research was No. 1. Now people are working harder to be better teachers," Diamond says. Sifting through e-mails, the 82-year-old professor reads over messages she's saved from students and teachers who watched her lectures from as far away as England and Egypt. "At this time of life, when everybody else is retiring and stepping aside, thinking they've done it all, you're getting this worldwide connection. It's beautiful." “过去，研究是第一位的。现在，大家则发奋努力，成为更好的老师，”戴蒙德说。通过认真筛选电子邮件，这位82岁的教授浏览从远在英格兰和埃及的观看她讲座的老师和学生那里保存的信息。“在人生的这个阶段，别人要退休、要让贤，认为自己已完成使命，而你正与世界相连。这太棒了。”
September 18 两个翻译问题（续）
另一个问题，也跟漫画有关。画面上是运动员起着马飞奔，标题是：马到成功。
毫无疑问，要翻译的就是这个“马到成功”。怎么译呢？同事跟我探讨。还真是个难题。尽管我很少愿意使用汉英词典，但这种时候可以参考一下，至少看看能否有什么启发或提示。
词典上的译文是解释性的，说白了，这种解释性的译文是帮助外国人理解中国成语用的，做翻译用根本不行。怎么可能有不变应万变的译文呢？况且，这里是做标题用，即便词典的译文合适，但冗长的表达如何用作标题啊？
在英文里，horse跟“成功”很难搭上关系的。如果是在文字篇章中，我们或者可以避开“马”这一形象，进行意译，即“舍其形，取其意”。但这里不行，画面上明明有马，这也是这幅漫画作者用意之所在，画面中的“马”与标题中的“马”是有联系的，舍弃了就会失色。
可能是晚饭那一碗红烧肉没有白吃，我想出一个方案，提供给同事，让他参考：Gallop for success.
Gallop本身就是形容马飞奔的词，而且还是拟声词，有如疾驰的马蹄声，如此便与画面中的“马”的形象构成了联系。飞奔夺取“成功”（success），或许说得过去。如果联系到这是奥运比赛，或许舍弃“成功”（success），直接更具体地表达为“金牌”（gold），也不错。
“马”不宜舍弃，“成功”可以再造。然否？
两个翻译问题~~~~
想起奥运期间碰到的两个翻译问题，记录下来，以备后查。
图表组做的一幅漫画，画面上两个运动员，一个中国的，一个外国的，具体什么项目我记不得了。中国运动员是上届冠军，给他设计的台词是：“我要卫冕。”外国运动员是有望夺冠构成威胁的选手，给他设计的台词是：“怎么赢？”并且有一个搔脑门的动作。
漫画所表达的内容一目了然，棋逢对手嘛。问题在于，要把这条稿子发对外，要翻译成英文。同事把已编稿拿给我看，跟我探讨。编辑把那两句话翻译成：—I want to defend my championship. —How to win?
第一句问题不大，championship如果嫌长——毕竟漫画中用以书写文字的空间有限——还可以用title替换。
要命的是第二句，字字对应，“信”度极高，而且这种说法是中国学生口语中最为常见的表达方式之一。最典型的就是那个how to say，很奇怪，几乎风靡全国，说明这不是一个个别现象，而是一种趋同的思维方式。可是我们见过外国人这么说过吗？语言的创造性不是这么表现的。它跟中国人的那句用来延缓语气的“怎么说呢？”是不对应的，与那句“（……用英语）怎么说？”的询问也大不相同。
回到漫画。“怎么赢？”作为设计出来的外国运动员的内心独白，它的完整表达应该是 “我怎么才能够赢/打败他呢？”如果是在日常两人的对话中，有了具体语境，可能一个“how”就足以。比如，一个人说：“你这次一定要赢他，夺取冠军”，另一个人可以说：“怎么赢？”（But how?）但是这里不是对话，漫画所设计的两句话没有相互交流的属性，形不成对话，而是两人各自的内心独白，各怀“鬼胎”。如果翻译成how，那就完蛋了，那就无形中把内心独白转化成了对话。一个说：“我要卫冕，”另一个问：“怎么卫冕？”（how?）这显然偏离了漫画的本意。
那么还有一个办法就是明示其意，把“怎么赢”的意思完整地用英文表达出来——我怎么才能够赢/打败他呢？How can I defeat/win him?我却不喜欢，感觉生硬。
但是最终我给出的参考意见不是这个。我的译文是：Challenge him!
这个译文的优点在于：1、简洁，节省空间；有力，祈使句，表现出一种敢于胜利的决心，而且突出了剑拔弩张的气氛。2、与第一句形成对应，一个要卫冕，一个要挑战。卫冕与挑战本身就是矛盾的双方。试想，哪届奥运会不是卫冕与挑战之间的角逐呢？要不哪来的“更快更高更强”呢？
但也有缺点：与画面有一定距离。画面上的外国运动员摸着脑袋，若有所思地说：Challenge him!从中国人的角度来看，不对味啊。那么，外国人来看呢？合适吗？这毕竟是给外国人看的啊。
问题就出现了。一个给中国人看的稿子，能否只靠翻译就变得为外国人喜闻乐见呢？或许，这已经超出了翻译的话题。
（待续） September 17 90岁的康奈尔·卡帕——纽约摄影中心创始人Cornell Capa, 90; Founder Of N.Y. Photography Center
Early in his career, Mr. Capa stepped away from the battlefield focus of his brother, whose photographs of the Spanish Civil War and World War II are some of the most stark and memorable images of warfare. Saying that "two war photographers in the family was too much," the younger brother concentrated on "opening the door to worlds that people would not have seen otherwise," with a portfolio that ranged from scenes of political oppression to candid shots of Marilyn Monroe.
He coined the term "concerned photography" to describe an emotional engagement with his subjects that often blurred the border of journalistic objectivity. Working as a staff and contract photographer for Life magazine for more than 20 years, Mr. Capa infused his pictures with a quiet, revealing drama that made him almost as renowned as his dashing brother.
One of Mr. Capa's stylistic traits was to show telling details by narrowing his camera's view. In photographing the 1949 funeral of tap dancer Bill "Bojangles" Robinson, Mr. Capa focused not on the faces of the mourners who were lined up along a street, but on their shoes. While covering John F. Kennedy's race for the White House in 1960, he showed Kennedy's hands reaching into a crowd.
In the 1950s, he photographed life in the Soviet Union and the world of mentally ill children, sensitively revealing a subject that had been all but ignored.
He created one of his most memorable photos while following Adlai Stevenson on the presidential campaign trail in 1952. As Stevenson spoke from the back of a train, Mr. Capa photographed the candidate from behind, with the crowd spreading out before him.
In 1960, he took time out from the presidential campaign to visit the Nevada movie set of "The Misfits," the final completed movie of Clark Gable and Marilyn Monroe.
Sensing that Kennedy represented a change in political style, Mr. Capa and seven other photographers chronicled the president's first 100 days in office. The resulting book, "Let Us Begin," appeared 10 days after the final photograph was taken and became known as "instant history."
As time passed, Mr. Capa developed a sense of mission about preserving the history and conscience of his craft. Some of his most lasting contributions to photography came after he put his camera down in 1974 and organized the International Center of Photography.
In 20 years as executive director, he built the ICP into one the world's foremost museums of photography. He made it the world's largest repository of his brother's work and regularly presented exhibitions of his photography.在担任主任的20年时间里，他把国际摄影中心建成了一个世界一流的摄影博物馆。他使之成为世界上最大的他哥哥的作品陈列馆，并定期举办展览。
Robert Capa, who once said, "If your pictures aren't good enough, you aren't close enough," was killed at age 40 when he stepped on a landmine in Vietnam in 1954 while on assignment for Life magazine.
"From that day," Cornell Capa told Newsweek magazine in 1994, "I was haunted by the question of what happens to the work a photographer leaves behind, by how to make the work stay alive."
Kornel Friedmann was born April 14, 1918, in Budapest. His brother, who was five years older, fled Hungary for political reasons in 1931 and settled in Paris, where he changed his name from Andrei Friedmann to Robert Capa. When the younger brother joined him there in 1936, he was called "the little Capa."
Cornell Capa came to New York in 1937 and worked in a photo agency darkroom before joining Life as a printer in 1938. He served in an Army Air Forces photo-intelligence unit during World War II and became a U.S. citizen in 1944. He officially changed his name the same year.
Mr. Capa was a Life staff photographer from 1946 to 1954 and contributed to the magazine through 1967, when he went to the Middle East to cover his only major conflict, the Six-Day War.卡帕先生从1946到1954年在《生活》做全职摄影师，直到1967年他赴中东采访唯一一次重大冲突“六日战争”时还在为杂志供稿。
From 1956 to 1960, he was president of the Magnum Photos agency, which had been co-founded by his brother. In 1967, he presented an exhibition of renowned 20th-century photographers, "The Concerned Photographer," and collected their works in a book.
To ensure that their example would not be forgotten, Mr. Capa conceived the idea for the ICP, which opened its doors in 1974. One of its early benefactors was former first lady Jacqueline Kennedy Onassis, whom Mr. Capa befriended while photographing the early days of the Kennedy White House.
His wife of 61 years, Edith Schwartz Capa, died in 2001. There are no immediate survivors.
"I have always thought of myself not as a reporter, but as a commentator," Mr. Capa wrote in the introduction to his 1992 book "Cornell Capa Photographs." "I have aimed to be a credible witness, one who cares about the world he inhabits."
译自The Washington Post May 24，2008 September 16 泰国记录（一）序言
之所以在来泰国一个多周才开始做文字记录，是因为突然发现博客可以更新了。于是，写作的欲望就如同一汪四处流动的泉水终于找到了一泓深潭，有了倾泻的地方。在曼谷城里寻找新闻的路上，在奔赴新闻现场的出租车里，在孤寂无聊独处酒店的闲暇，在没有了电视节目吸引目光的夜晚，我的大脑开始细数着这次泰国之旅的点点滴滴…… （一）
飞机降落的时候，透过舷窗，我发现地面一洼一洼的水影，似乎刚刚下过雨。泰国正处于雨季。第二天的新闻报道说，午夜的狂风暴雨夹带着冰雹，冲散了在总理府静坐示威的人群。
分社记者凌朔把我接到酒店，已是凌晨1点多钟了。他让我好好休息，明天带我出去了解一下环境。我有早起的习惯，早上不到9点就起来了。酒店的早餐挺好，尽管主要是西餐，我最喜欢的就是那些水果，种类丰富，味道鲜美，就是很多不知道名，吃就是了。一半是早餐，一半是水果。
吃过午饭，凌朔来了，带我去熟悉环境。总理府就在酒店附近，步行大概20分钟就到。总理府靠着一条河，河上一座桥，被民盟的人把守着，每人手里一根大棒。桥的南侧一个绿顶建筑是联合国大厦，紧靠着的是泰国陆军司令部。凌朔说，这里是一个需要盯的点儿，那场民盟和政府支持者的冲突就发生在这里，如果情况危险，可以跑到联合国里避难。
过了桥上的关口，就到了民盟占领的地界了。往里走，一条街两边满是摊点，卖什么的都有，赶集似的，黄色成了主旋律，T恤衫、帽子、领巾等等。路边还停放着几辆移动厕所车。转两个弯就到了总理府大门了，门内门外都是人。
走进大门，一座古式建筑前搭满了大帐篷，地上铺着木板，坐满了示威者，不是头上扎着黄头巾，就是脖子上戴着黄领巾，要不就是胳膊上绑着黄丝带。旁边摆设着大音箱，里面传出演讲者高亢的声音，人群不时发出高喊声和掌声回应着。也不知道说的是啥，一句也听不懂，但热烈高涨的气氛无孔不入。门口左侧有一间屋，外面的泡沫箱里装着冰块浸泡的瓶装矿泉水。这些都是免费供应的，凌朔说。吃饭也是免费的。
走进那间屋子，里面乱哄哄的全是记者，电脑、电视、摄像机、照相机、桌子、椅子、忙碌的人。这是媒体中心，各路记者在这里守候。凌朔告诫我，如果发生冲突，不要在这里逗留，这里并不安全。一名美联社摄影记者显然跟凌朔很熟了，透露说晚上学生有示威游行。
下午是在分社度过的。晚上凌朔请我吃饭，中国餐馆，很正宗的中国菜，女服务员都讲标准的汉语，但却不是中国人。凌朔告诉我，这是当年流落到泰国境内的原国民党93师官兵的后裔。这是一个说来话长的故事，我曾看过一篇关于这批国民党士兵的报告文学，略知一二。
晚上有游行，我得去现场啦。学生们就在那个联合国大厦附近的桥头集会，为了防备天下雨，我带了一把伞。我去的时候气氛已然很热烈了。我犯了一个大错误，没有带闪光灯。尼康D3的感光度可以调到2000没有问题，但光比我却无法改变。后悔也晚了，不可能回去拿了。台上有人在演讲，喊口号，台下呼应。台前聚集了一些像我一样的摄影记者，忙着找角度拍摄。台下有人扯起了一面大国旗，数个人扯着各边，舞动起来。好不容易演讲结束了，队伍开始游行，我跟着往前走。这令我想起了当年中国驻南斯拉夫使馆被炸后国内大学生上街游行的场景。当时我也是摄影记者，跟着队伍拍照，虽然为学生们的爱国热情所感动，却保持了相当的冷静——新闻工作需要这样。
队伍浩浩荡荡前行，前面有民盟的人开路，手里拿着大棒，路口有警察维持秩序。十字路口处，民盟的人会自动形成人墙，挡住过往的车辆。人挺多，但并不显得乱，大家靠路左走，右边还留出了半边。一路走走停停，偶尔整理一下队伍，目标是民主纪念碑。一辆汽车上，演讲者——我估计是学生干部——依次拿着话筒演说，激起游行者阵阵口号声、呼喊声。有人扯起横幅标语让记者拍摄，有人点燃蜡烛，秉烛而聚。民主纪念碑前的集会示威持续了大概半个小时，队伍开始回撤。
我的劲头消退了不少，远远地跟着往回走。有闪电在云中游动，照亮夜空，开始滴雨了。
正走着，突然发现前方有警察忙碌的身影。一辆汽车停在路上，警察围着它看来看去，电视记者扛着摄像机扫来扫去。汽车后面的玻璃破碎了，难道受到了袭击？车主在接受警察的询问和记者的采访，我一句也听不懂。警察手里拿着一粒钢珠，让电视记者拍。难道是遭到枪击？
一名女孩手里拿着DV机拍摄着。我用英语问她，这里发生了什么事？她摇摇头说，不知道，大概是有人袭击了这辆车。看到她能说英语，我就跟她聊了起来，遗憾的是却得不到任何新的信息，她知道的一点儿都不比我多。雨开始密集了，我撑起了伞，也给女孩遮上。她头上扎着黄头巾，长得挺好看，笑容淡淡的，如秋日之菊，民盟的标志现在成了一种不错的装饰。
雨越下越大，既然和我同路，帮人就帮到底吧。而且瓢泼似的雨，确实让她面露难色。我撑着伞和她一起往前走。我问她，今晚的游行示威的目的是什么呢。她居然说不知道，随后加了一句，反对腐败吧。我奇怪的是，轰轰烈烈的一场游行，参加者竟然不知道是为了什么。我开始以为她是大学生，后来才知道她已经工作了，是银行职员。而她则把我当成了日本人。她嘟囔着，这么晚了父母该担心她了。
走到一个公交站台，我们躲进去避雨。女孩给家里打了电话，对我说，非常感谢，不用麻烦你了。还好，我挺认路，冒雨回到了酒店。
几天后，在网上聊天时，有同事问我：“你没碰到点艳遇什么的？”我把这段经历讲给他听，他说：“要是我，我一定跟她要电话或者把我的电话告诉她。”我回敬了一句：“你爱想起我就想起我，像想起一颗夏夜的星；你爱忘记我就忘记我，像忘记一个春天的梦。”同事惊讶于我的浪漫情怀。本来也没什么嘛~~~~生活是朴素的，其实他也在期待浪漫，哈哈，有了浪漫情怀，你还觉得生活不够浪漫吗？
September 15 年度计划二次评估08年三季度快过去了，对照年度计划做二次检查评估，以推动进程：
1、出一到两本书。——两本书都已经完稿，剩下的要看出版社的进程了。 2、趁年轻，赶紧学配音，争取有所收获。——培训班6月份已经结束，收获颇多，但需要慢慢消化，练声是硬道理，坚持数年，必有好处。
3、继续做好翻译，为《英语文摘》的读者服好务，敢于向新领域发展。——在进行之中~~~
4、继续钻研电影电视艺术，与业务相结合，力争有结果。——除《电影电视剪辑学》外，又阅读了《影视视听语言》，需要增加看片量；拍摄短片计划需推进；与业务的结合，已有所感……
5、继续提高业务能力，理论与实践大步前进，争取在数码影像技术上能取得大的收获。——动作仍然不大，需要继续努力……
6、买房。——钱已备，正在寻觅。
7、挣钱，争取有所突破，上一个台阶。（外加要债）——正在进行中，讨债已成功，继续努力……
8、提高生活质量，锻炼身体，塑形塑质。——本阶段太松懈，不能这样……
9、加强阅读，感悟生活，勤于写作，发表像样的文章。——正在酝酿之中……不能只是酝酿，要有行动~~~~
10、吃好玩好~~~——已经有所改善，期待更大改善~~~~需要继续大力推动
总体评价和展望： 此阶段经历的事情太多，四川地震、奥运会、泰国政治危机……计划屡屡被打乱，要排除各种干扰因素，努力完成任务。 1、练声不是一两天的事，需要常年坚持才会有效果，目前学习态度端正，但需要加强力度，要量化。机会是有的，但水平一定要跟上。 2、要拓展挣钱渠道，人的潜力是巨大的，思维不能太局限。 3、不能不看书，这一点需要注意。不能不动笔，这一点也要注意。 4、改变消费观念，学会花钱~~~ 振奋精神、少发牢骚、天天进步~~~~
博客又能打开了~~~ 自博客死活无法进入已有近小半年了，今天突然发现居然死而复活，能够打开了，于是，往昔那些博文又如此生动鲜活地跳跃到眼前。
博客死去，我也封笔了。既然活了，那就开始吧~~~~ March 27 加里·吉盖斯Gary Gygax
加里·吉盖斯
Affable avatar of the Dungeons & Dragons fantasy role-playing game which became a worldwide cultural phenomenon
业已成为国际文化现象的奇幻角色扮演游戏《龙与地下城》的前生今世
As the creator of Dungeons & Dragons, Gary Gygax was an idol to millions of geeks around the world. But he was also the visionary inventor of a new type of interactive hobby, the role-playing game, one that sparked a rekindling of interest in the fantasy genre and was a key inspiration for the billion-dollar computer game industry. As such, Gygax’s influence spread beyond the legions of pallid school misfits who knew his name, and came to permeate popular culture as a whole.
作为《龙与地下城》的创始人，加里·吉盖斯是世界数百万游戏迷们的偶像。但他还是新型互动爱好——角色扮演游戏——的梦幻发明者，它重新点燃了人们对奇幻流派的兴趣，成为拥有10亿美元产值的电脑游戏业的主要灵感之源。因此, 吉盖斯的影响超越了广知其名的不思进取的学校后进生，并开始向整个流行文化渗透。
Ernest Gary Gygax was born in Chicago in 1938, and moved to Lake Geneva, Wisconsin, aged 8, where he lived until his death. His father, a Swiss immigrant violinist in the Chicago Symphony Orchestra, introduced him to fantasy novels at a young age.
欧内斯特·加里·吉盖斯于1938年生于芝加哥，8岁时搬到威斯康星州的日内瓦湖居住，直到去世。他的父亲是一名瑞士移民，在芝加哥交响乐团拉小提琴。在加里还小的时候，父亲就将他引入奇幻小说的世界。
Gygax dropped out of high school, although he took anthropology classes at the University of Chicago, and worked as an insurance underwriter in the 1960s. He became an avid fan of traditional board-based war games, particularly medieval battles. The first step towards Dungeons & Dragons came when Gygax introduced fantasy elements from the pulp authors he devoured.
虽然吉盖斯在芝加哥大学攻读过人类学课程，但他却是一名辍过学的高中生， 20世纪60年代，他做了一名保险承保人。他对传统桌面战争游戏极为着迷，尤其是中世纪战争。加里从他大量阅读的通俗小说中引入奇幻元素，迈出了走向《龙与地下城》的第一步。
“The guys were getting a little tired of military miniatures, so one day I put a troll under the bridge, had a giant dragon and all that kind of good stuff,” he said in 1987. “Well, they loved it. They absolutely went crazy for it.”
“人们对军事模型有点厌倦了，一天，我在桥下设置了一只巨兽，增加了一条巨龙以及各种宝物。”他1987年说。“呃，他们非常喜欢。他们彻底疯狂了。”
This evolved into Chainmail, a fantasy war game still played with minature pieces. This was stripped down by Gygax’s fellow gamer, Dave Arneson, into a game where each player was represented by just one piece. The pair then codified this into an early version of Dungeons & Dragons.
这个想法后来演化成了《链甲》——一款仍然使用小型棋子来玩的奇幻战争游戏。吉盖斯的游戏伙伴戴夫·阿尼森将其加以提炼，做成一个游戏，每个玩家由一个棋子来代表。两人后来将这一规则编撰进《龙与地下城》的早期版本。
The game did away with the board, relying only on graph paper, pencils, imagination and many-sided dice. Each player created an avatar from a class — warrior, wizard — and a race — dwarf, goblin, elf — and set off on a fantasy expedition guided by the Dungeon Master and his thick book of rules.
这款游戏取消了桌面，只依靠方格纸、铅笔、想像力和多面骰子。每个玩家从武士、巫师中选择一个职业，从侏儒、妖怪、小精灵中选择一个种族，从而创建出一种身份，在地下城主及其厚厚的规则手册的指导下开始一次奇幻探险。
The goals included finding a hoard of treasure, or defeating an evil magus, and making sure to kill everything along the way. Games could last for several days, and there was no obvious way to win. It seemed an unlikely hit. “People said, ‘What kind of game is this?’ You don’t play against anybody. Nobody wins. It doesn’t end. This is craziness’, ” Gygax said in 1983.
游戏目标包括找到潜藏的财宝，或打败邪恶的魔法师，而且一定要杀死路上的一切东西。游戏玩起来需要持续数天，没有显而易见的取胜之道。它似乎不可能受到欢迎。“人们说：‘这是种什么游戏啊？’没有对抗，没有输赢，也没个尽头。这太没谱了。”吉盖斯在1983年说。
Undeterred, in 1973 Gygax and Donald Kaye founded a company, Tactical Studies Rules, to develop the game. Dungeons & Dragons hit the shelves in early 1974. The game sold only 1,000 copies in its first year.
吉盖斯没有退缩，1973年，他和唐纳德·卡伊成立了一家公司，Tactical Studies Rules（TSR），对这个游戏进行开发。1974年初，《龙与地下城》上架销售。第一年，仅卖出1000份。
Gradually though, as teenagers across American met for furtive games in their parents’ basements, D&D became an underground hit. A tournament version, Advanced Dungeons & Dragons, was introduced in 1978, and the game became a phenomenon on college campuses. Gygax began receiving late-night phone calls from players asking for clarification of the rules. Sales of the game reached $8.5 million in 1980 and $29 million by 1985.
但是渐渐地，随着全美国青少年开始聚在父母的地下室里偷偷摸摸地玩起游戏，《龙与地下城》开始地下走红。1978年，一款竞技版《高级龙与地下城》开始推出，并成为大学校园里的大热门。吉盖斯开始收到玩家们深夜打来的电话，要他详解规则。1980年，游戏销售额达到850万美元，1985年，则达到2900万美元。
Many adults, however, were suspicious of the new craze. Religious groups accused the game of spawning satanic cults. Newspapers linked it to a variety of teen murders and suicides. Although he later joked “that really pushed the sales up”, at the time Gygax received death threats and for a while had to employ bodyguards. He always insisted that the claims were absurd, and that D&D was good for imaginative development.
然而，很多成年人对这轮新的狂热表示怀疑。宗教团体指责该游戏导致魔鬼崇拜。报纸则将其与各种青少年谋杀和自杀现象联系起来。虽然他后来开玩笑说“这的确推动了销售额的上升”，但在当时，吉盖斯却收到了死亡的威胁，一度还不得不雇用保镖。他一直坚持认为，这些说法荒唐可笑，《龙与地下城》确实有利于想像力的开发。
Although the furore passed, and a D&D spin-off cartoon became popular, the game itself seemed to have peaked. Gygax lost control of TSR in the mid-80s after a legal tussle. The company was sold in 1997 to Wizards of the Coast, which later became part of Hasbro. There followed a D&D film, with Jeremy Irons, and a computer version of game, both to poor reviews.
虽然这股狂暴攻击过去了，《龙与地下城》的副产品卡通却流行起来，游戏本身似乎步入了鼎盛时期。80年代中期，经过一场法律纠纷之后，吉盖斯失去了对TSR的控制权。公司于1997年被“海岸巫师”收购，海岸巫师后来又加入了孩之宝集团。随后制作了一部由杰瑞米·艾恩斯主演的D&D电影，并推出了一款电脑版游戏，二者评论欠佳。
Gygax moved on to other projects. He developed two more games, Dangerous Journeys and Lejendary Adventures, and wrote a series of fantasy novels. He also remained involved with GenCon, the gaming convention he had started in 1968 and which last year attracted 26,000 devotees. In 2000 he appeared, alongside Al Gore, in a episode of Futurama. He worked consistently until health problems began two years ago, commenting in 2005: “What money I made I gave to charities and needy attorneys, the IRS and my ex-wife.”
吉盖斯继续着手其它项目。他又开发出两款游戏《危险的旅程》和《Lejendary Adventures》，并创作了一系列奇幻小说。他还仍然负责自己于1968年创立的“金康”（GenCon）游戏展览大会。去年，该展会吸引了26000名游戏迷。2000年，他和阿尔·戈尔一起出演了一集《飞出个未来》。他马不停蹄地工作着，直到两年前身体开始出现问题，他2005年说：“我挣的钱都捐给了慈善机构、贫困律师、IRS公司和我的前妻。”
Although D&D struggled as computer games chipped away at role-playing’s fanbase, it proved a huge influence on the emerging gaming industry, and generations of hugely popular games like Everquest, Halo and World of Warcraft owe a debt to Gygax’s original. Even though he never made one himself, Gygax was named 17th most influential person in computer game history by Gamespy.com. In their book of the rise of the computer game, Dungeons & Dreamers, John Borland and Brad King credit Gygax as an inspiration: “Scratch almost any game developer who worked from the late 1970s until today and you’re likely to find a vein of role-playing experience.”
在电脑游戏蚕食角色扮演游戏迷的过程中，虽然《龙与地下城》进行了一番挣扎，但它证明了自己对新兴游戏业的巨大影响，历代人气颇高的游戏，像《无尽的任务》、《光晕》和《魔兽争霸》，都受益于吉盖斯的原作。虽然他没有亲自做过电脑游戏，但吉盖斯被Gamespy.com列为电脑游戏史上第17位最具影响力的人物。约翰·勃朗德和布拉德·金在其合著的《地下城与梦想者——电脑游戏的崛起》一书中，将吉盖斯奉为灵感之源：“刮开20世纪70年代末期到今天几乎所有游戏开发商的表面，你很容易发现角色扮演游戏的血脉。”
Gygax himself though, was no fan of online gaming, which he said destroyed the social bonding of D&D. “The game offers camaraderie, imagination, socialisation,” he said in 2005. “Computer games can be so isolating. They’re not anything like sitting in a group and laughing, telling stories. You can’t share a bag of Cheetos online.”
吉盖斯本人并不是网上游戏的爱好者，他认为网上游戏毁坏了《龙与地下城》的社会联系。“游戏培养了同志友谊、想象力和社会化，”他2005年说。“电脑游戏可以如此孤立。它们根本就不是大家坐在一起，嘻嘻哈哈，讲述故事。你无法在网上一起分享一包奇多。”
As the generation that grew up with D&D came of age, the fantasy aesthetic that Gygax popularised spread through film, television and graphics, with many of the writers of his youth enjoying a renaissance. His world of wizards, elfs and unending quest became part of popular culture, and contributed to the receptive climate for the Harry Potter novels and the Lord of the Rings films.
随着与《龙与地下城》一起长大的一代步入成年，吉盖斯推广的奇幻美学扩展至了电影、电视和造型艺术，他年轻时代的众多作家享受到一股复兴之风。巫师、小精灵和无尽的探险，他所创造的这个世界成为流行文化的一部分，促进了人们对小说《哈利波特》和电影《指环王》的接受。
“The story of the hero being called forth, usually unwillingly, and adventuring and undergoing a change has been with us probably since stories were told round campfires,” he said in 2005. But although many detected the influence of Tolkien in D&D, Gygax told Gamespy.com that he was never a fan: “I yawned through the books. I found them very droll and very dull. I still don’t give hoot about Hobbits.”
“可能从围坐营火听故事的时候起，召唤英雄——虽然通常是不情愿的——冒险以及经历变化的故事就和我们如影相随，”他2005年说。但是，虽然很多人注意到托尔金对《龙与地下城》的影响，但吉盖斯告诉Gamespy.com自己不是他的粉丝 ：“看这些书我会打呵欠。我觉得很滑稽，很无聊。我对霍比特人根本不感兴趣。”
He is survived by his wife, Gail, and six children.
他身后留下了妻子盖尔和六个孩子。
Gary Gygax, co-creator of Dungeons & Dragons, was born on July 27, 1938. He died after a long illness on March 4, 2008, aged 69.
加里·吉盖斯，《龙与地下城》的合作创始人，生于1938年7月27日。因长期患病于2008年3月4日去世，终年69岁。
选自The Times Mar.6,2008
March 20 年度计划进程评估08年一季度快过去了，对照年度计划做一次检查评估，以推动进程： 1、出一到两本书。——第一本书3月底交稿，年内出版问题不大。希望第二本能坚持，但要看情况。 2、趁年轻，赶紧学配音，争取有所收获。——培训班本周开课，6月之前结束，收获大小目前尚难确定。力争能开拓新局面。
3、继续做好翻译，为《英语文摘》的读者服好务，敢于向新领域发展。——进入08年，已经翻译了3篇文章，其中一篇涉及电脑游戏领域。难度在加大，体会在加深~~~
4、继续钻研电影电视艺术，与业务相结合，力争有结果。——已阅读《电影电视剪辑学》；正酝酿剧本，期待年内能尝试拍摄短片一部；与业务尚未结合，有待努力……
5、继续提高业务能力，理论与实践大步前进，争取在数码影像技术上能取得大的收获。——动作不大，需要努力……
6、买房。——钱已备。
7、挣钱，争取有所突破，上一个台阶。（外加要债）——正在进行中……
8、提高生活质量，锻炼身体，塑形塑质。——胳膊上的肌肉已有变化，争取在夏天来临之前有明显变化……
9、加强阅读，感悟生活，勤于写作，发表像样的文章。——正在酝酿之中……
10、吃好玩好~~~——已经有所改善，期待更大改善~~~~ 评估结论： 1、总的来看，一季度开了一个好头，10项计划大部分进展良好，有的已经取得阶段性成果。 2、要戒骄戒躁；针对拖后腿的方面，要积极查找问题根源，拿出整改措施，力争二季度赶上。 3、对这两点一定要重视。 哈哈~~~继续努力啊！！ March 16 摄影已死？Is Photography Dead? By Peter Plagens 摄影已死？ How is that even remotely possible? The medium certainly looks alive, well and, if anything, overpopulated. There are hordes of photographers out there, working with back-to-basics pinhole cameras and pixeled images measured in gigabytes, with street photography taken by cell phones and massive photo "shoots" whose crews, complexity and expense resemble those of movie sets. Step into almost any serious art gallery in Chelsea, Santa Monica or Mayfair and you're likely to be greeted with breathtaking large-format color photographs, such as Andreas Gefeller's overhead views of parking lots digitally montaged from thousands of individual shots or Didier Massard's completely "fabricated photographs" of phantasmagoric landscapes. And the establishment's seal of approval for photography has been renewed in two current museum exhibitions. In "Depth of Field"— the first installation in the new contemporary-photography galleries at the Metropolitan Museum of Art in New York, on display through March 23—the fare includes Thomas Struth's hyperdetailed chromogenic print of the interior of San Zaccaria in Venice and Adam Fuss's exposure of a piece of photo paper floating in water to a simultaneous splash and strobe. 在位于华盛顿美国国家美术馆，“美国快照艺术展，1888—1978”（12月31日结束）展出了普通美国人用布朗尼相机和傻瓜照相机拍出的惊人效果。 Yet wandering the galleries of these two shows, you can't help but wonder if the entire medium hasn't fractured itself beyond all recognition. Sculpture did the same thing a while back, so that now "sculpture" can indicate a hole in the ground as readily as a bronze statue. Digitalization has made much of art photography's vast variety possible. But it's also a major reason that, 25 years after the technology exploded what photography could do and be, the medium seems to have lost its soul. Film photography's artistic cachet was always that no matter how much darkroom fiddling someone added to a photograph, the picture was, at its core, a record of something real that occurred in front of the camera. A digital photograph, on the other hand, can be a Photoshop fairy tale, containing only a tiny trace of a small fragment of reality. By now, we've witnessed all the magical morphing and seen all the clever tricks that have turned so many photographers—formerly bearers of truth—into conjurers of fiction. It's hard to say "gee whiz" anymore. 艺术与真实曾是挚友。现代主义出现之前，西方艺术中最受推崇之处是模拟——绘画和雕塑的对象与现实生活的实物极其相像。1839年 威廉 · 亨利 ·福克斯 · 塔尔博特 用一张负片冲印出第一批照相图片，他 立刻将这个以模拟见长的新媒介视为一种艺术形式。塔尔博特 只是想 能够 “ 画 ” 得比手更为精确。事实上，他把自己第一本画册称为《自然的画笔》。在此后的至少一个世纪里，任何 自 称为艺术的照片 的DNA中都在一定程度上带有 塔尔博特 《 敞开 的 门 》 （1844年） 的染色体 ， 在这张照片上， 一把树枝做成的扫帚 非常艺术 地倚在黑 洞洞 的门口。当然，伟大的摄影师 绝非 像法庭速记员记录证词一样 ，只是不加选择 地纪录所见事实。他们认真选择拍摄对象，精心构图，赋予画面以“艺术”之感。19世纪后期， “ 绘画派 ” 摄影师运用柔焦、 多齿相纸、棕褐色调、多底合成，甚至 划刻底片，来让照片看上去更像一幅画。
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