呢喃

  • 02 May, 2014

    餐牌

    由於不是食家,常常靠目測去判斷:
    掛在牆上的餐牌,寫得一手好字,字體正氣者,通常都很不錯。
    即使遇到不好吃,但字寫得靚,我會原諒佢,下次也會光顧。
  • 24 Apr, 2014

    The Grand Budapest Hotel

    睇到喊
    http://www.grandbudapesthotel.com/
  • 15 Apr, 2014

    為甚麼美麗的東西被拆毀

       Above all, then, we must begin by educating, instructing - training - the child's will. This in itself implies an emphasis on an artistic approach. For instance, when teaching writing we do not immediately introduce the letters of the alphabet in their present form because these have already become quite alienated from human nature. Rather, we begin by letting the children paint and draw, an activity that is a natural consequence and externalization of their will activities and that in turn leads to writing.

       (...) In relation to writing, we find two types of child. This becomes especially evident when we guide them towards writing through a kind of painting. One type of child learns to write in a way that always retains a quality of painting. This child writes 'with the eye', observing every line and working with an aesthetic feeling for the beauty of the form - a painterly quality lives in all his or her writing. The other type forms the letters on the paper more mechanically, with a certain compulsion. Even in writing lessons - often given for dubious pedagogical reasons, especially in the case of older persons who believe that they must improve their handwriting - the aim is usually to enable the participants to put their letters on paper with this mechanical kind of compulsion. This is how individual handwriting is developed. (...) Those who write mechanically no longer experience an echo of their writing. Their gaze does not rest upon it with an aesthetic pleasure. They do not bring an artistic element of drawing into their writing.

       Each child ought to be guided towards introducing this artistic element into handwriting. A child's eye should always rest on the piece of paper on which he or she is writing and so receive an impression of all that is being put into the writing. This will avoid writing under sheer inner mechanical compulsion, but will allow the child to experience an echo of his or her writing and the various letters. If we do this, we shall be cultivating a certain love in the child for what surrounds it - a sense of responsibility for its surroundings. Although this remark might sound improbable, it is nevertheless true. A caring attitude for whatever we do in life is a direct consequence of this way of learning to write - a method in which writing is a matter not only of manual dexterity but also for the eyes, for aesthetic seeing and willing.

       We should not underestimate how such familiar things influence the whole of human life. Many persons who, later in life, appear lacking in a sense of responsibility - lacking in loving devotion to the surrounding world - would have been helped if they had been taught writing in the right way.

    -- "Educational Methods Based on Anthroposophy" in Education, Rudolf Steiner, Rudolf Steiner Press 2003.

  • 14 Apr, 2014

    畫畫筆記(廿九):家事

    老生常談﹣﹣家家有本難唸的經。
  • 10 Apr, 2014

    法律罅循環

    我投訴
    「只有頭等用簡體,侮辱我」
    平機會說
    「由於不是不同的種族,歧視條例在此並不適用」
    因此
    罵他們XX,或YY,或問候(可能是同一位)袓宗
    這是鄙視,不涉歧視

    鄙視含道德譴責
    歧視則同一套道德已失效,除非你
    也認為我們屬於
    不同的種族
  • 29 Mar, 2014

    夢裡記憶

    夜裡半夢半醒時,眼裡看到緩慢旋轉的光暈。
    每次不同的圖形,我想這是按flower of life的結構在旋轉。

    我是如此猜想﹣﹣
    清醒時,身體每個粒子以某一頻率震動,而感知一個「現實世界」;
    睡眠時,卻以不同的頻率震動,進入了「夢」的世界。
    依這夢的頻率震動的肉身,好像電腦hardisk以別種format格式運作、存檔,
    於是,夢裡常有從前的夢的記憶,記起某夢裡曾到過某地,而這地在現實世界裡並不存在。
  • 24 Mar, 2014

    愛與和平

    讓愛與和平默許暴力
  • 13 Mar, 2014

    畫畫筆記(廿八):口罩

    晚上收工一直咳。
    原來整天塗黑,鉛筆粉塵飄揚,雖不至撲鼻,總有些吸入肺裡。
    翌日戴口罩,戴口罩沒五分鐘,竟有沙士的記憶跑出來,
    那味道那記憶,爬在口鼻和口罩之間。

  • 04 Mar, 2014

    翻譯

    每次讀到翻譯出錯,以我三腳貓水平竟也看得出來,
    就直覺覺得那些甚麼學院主任委員名銜,都是狗屁,都是用錢賄賂買回來的。
    編輯也無須幫他把關,就讓他臭名遠播吧。
  • 14 Feb, 2014

    十大最憎之四

    四、交通篇

    四之一、擋路的人
    地鐵、火車,閘口已夠擠,還要企一堆人,還有那些嘟不到八達通又塞在閘口弄來弄去的人,唔該企埋一邊摷得唔得。
    地鐵、火車,通道已夠窄,還要企一堆人擾擾攘攘又找不到方向,再大叫大嚷者,我想call食Q清場。
    扶手電梯,站靠左又不前進的人,後面全村人等你向行前。
    街道,條街已夠窄,三五成群還要打橫行,兩個字:霸道。
    我不想針對人,但明明就是做著這種鳥事的做出這種鳥事,我沒法不針對你本人。

    四之二、爭位坐的人
    此等下人根本目中無人,就算我擺明針對你但你不知不覺,肝火自能自己燒,我也想學你大叫大嚷,但眼火只能內爆。

    四之三、挨扶手的人
    地鐵、火車,明明已夠擠,插針不入,還要挨扶手,及/或挨扶手玩手提,旁若無人之境。還有那些揹大大個背囊阻塞通道的人,唔該放低用手拎,可以企多兩個人。

    四之四、拖大堆行李的人
    不要在上下班時段進車廂,你旅行好快活我返工好絕望,那麼有錢買那麼多東西不如搭的士;你霸到位坐就唔該將行李箱塞在座椅下。

    四之五、擋路的欄杆
    九七後的公共設施愈起愈醜,兼阻掟。舊時笨重石屎,造形可以很飄逸,如電車站,如迥轉天橋;今時通用鋼材明明能屈能伸很飄逸,但那些行人道上蓋、行人天橋上蓋、升降機天橋,偏要用最笨最蠢的粗枝插在路中心,處處擋路銀眼,such an eyesore。這樣馬虎的政治美學,無人會服你。

    x x x

    「歷史不會原諒你們,渣滓」
    點首歌:
    http://www.youtube.com/watch?v=1DPOq27DBmQ