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不是在这里就是在那里现代人总是局促于一个狭隘的时间和空间领域之内，限于一种现实生活的烦扰和痛苦之中，那往往是繁琐、庸俗、无聊而又摧残人的神经的。 6/28/2009 惘闻——不是有力量而前进，而是前进让人有力量。
十周年，昨天去ＭＡＯ看了演出。 音乐冲上脑门儿的感觉，毛孔张开的感觉，手握着青岛啤酒瓶口振颤的感觉。有一阵子我闭上了眼，舍不得睁开。 我认为国内最好的乐队，第一次的现场经历让我更坚信这一点。 现场的感觉无以伦比。不愧是磨合了十年的乐队。能走这么远、这么久，也许正是在偏离文化中心之地才可以做到。 散场时居然碰见好几个熟人，多年没见的。喵没来挺可惜的。 换一首他们的歌，现场也演了，好像是安可的那一首。——————————污水塘。。。。。。。。。。。。。 靠！没找到网上，换首————————甜井。 这是他们的空间，我做个小广告儿，走过的路过的点进去听一下，这种推销俺没做过，真做一次可以人品作保。 http://www.myspace.cn/wangwenband
残忍让你更美好贝
白嫩滑细滴着粘液
5/16/2009 我的迷茫和花鸟鱼虫的日子——肆我的迷茫和花鸟鱼虫的日子——肆
婚*混*昏*魂*荤
花今年要结婚
鸟还在不靠谱的飘着 鱼消失了 虫在和男朋友一起攒钱过生活 花，鸟，鱼，虫，我们的日子还要继续。
花鸟鱼虫随着大学毕业已经各奔东西，故事的主人公不在一起了，她们的故事还在么？
四个女人鲜有时间混在一起了，偶尔一起吃饭，互相之间交互的眼神里的温暖情谊多过话语。她们开始了新的生活，与自己的另一个伴过活。改造着她们各自的男人，同时也被改造着。 选择，是个难题。尤其是男人。 花好像从6岁开始就知道结婚对象该是什么样子，其间过程繁复，她从来都沿着直线在走路。 鸟完全不知道自己该end up with who，感情道路一直在走样条曲线，到现在已不知道去了哪一个象限，她无时不刻不处于绝望的边缘。 鱼，游刃有余，狡猾的像无鳞的皮肤。爱上他的男人被伤透了心，而她的心就像鲨鱼的鳍。 虫把自己的男人变成了自己，还有她的猫，她的小窝，她的魔兽世界。强大的生活着，把周围的世界内化进自己身体里，功力深厚。 花鸟鱼虫都过了25岁了，对女人来说，是分水岭一样的年纪。希望她们都能挺过去。 5/8/2009 开始奔三。25岁了，前两天过的生日，收到很多祝福。暴风骤雨般的这段时间随着生日的结束日趋缓和，结识了新的朋友，还在听老的歌。
不敢写自己的心情，因为变化太多。下了一个拔牙的决心，又惶惶不可终日害怕那一天终究来临。
浮萍一样的过生活，为着别人忙碌自己心里的不痛快也就少些。
在进行各种各样的身心的修炼。lamb和乐桑知道这句话的意思。
尼罗河花园小样用掉了近一半。对着剩下的一半，我是该欢喜还是忧愁？
once he was a young man~
注意craig一伸手的动作。 我爱the vines.希望craig早日康复。 歌名：he's a rocker 爱玛仕尼罗河花园 揭开尼罗河的神秘面纱，一趟感官之旅，犹如香味飘然而过…
香调： 清新花果香调
前味： 灯心草 、 埃及青檬果 、 柑橘
中味： 夏天的茉莉 、 尼罗河睡莲 、 橙花
后味： 无花果树 、 乳香脂树 、 西洋柏
年份： 2005上市
法国精品品牌Hermes继2003年的「 地中海」主题后，专属调香师艾雷纳Jean-Claude Ellena来到世界上最长的河流－埃及尼罗河，中游位於阿斯万Aswan的一处原始之境撷取灵感，以生生不息为主题 ，发表2005 Un Jardin sur le Nil 尼罗河花园。
「一趟感官之旅，犹如香味飘然而过…」，就是此次尼罗河花园所要传递的故事。调香师Jean-Claude Ellena这次以淡雅的莲花，试图创作一个想像的花园。在意念上，这支香水表达的是串联过去、现在与未来的永恒时间观。莲花是埃及的圣花，是一种重生象徵，用来献给太阳神与法老。正巧的是，赐予埃及生命泉源的尼罗河，从上空俯瞰，也正似一株莲花。
HERMES 尼罗河花园，融合了果香、青草香和木香，有一种混和嫩芽和果肉的新鲜，暗藏著胡萝卜的清脆和番茄茎的青涩，同时，具有浓烈果香的青芒果滋味、再加入冲鼻又带点苦涩的葡萄柚的芬芳也随之飘了出来，香氛中还溢出橙心草清新的果香，春意十足；随后浮出的是水生莲花，其近似呢喃的低调花香，是介於风信子和牡丹花的香味，令香氛多了些许娇奢感，而无花果树的气息，为尼罗河花园加入中性的气息，是一支男女都适用的香水。
我被她的味道感动了。
谁要是送我一瓶，我就嫁给他/她/丫。 3/29/2009 我的心地是善良地吃药
我像吃药般把一捧枸杞子儿天天往嘴里塞，想象它能治我的病，但是没用，病还在一天天在加重，没事的时候它就存在，有事也许就能暂时忘了它。可我总在没事，所以它就一直在，有的时候我能假装它不存在，但是一捉摸，它又来了。
晚上睡不着觉的时候就觉得自己是一枚钉子，特想有人拿把锤子使劲来砸我的后脑勺，把我砸进一面白墙里，这样我就能感觉到透不过气来般踏实安全的存在感。不过我这么一想，就觉得又该吃枸杞子儿了。
3/2/2009 the man who sold the worldWhat do you do ? I'm the man who sold the world. Wow,you mean, the world outside? No,just mine. Why are you doing this? Because I wanner be like a loser. But you already are. Thanks. That makes me feel better. Have you sold it yet? No, I think no one give a shit. That's too bad.man. I know. 2/26/2009 纪念尼尔瓦纳格朗吉英雄何特何本！（纪念尼尔瓦纳格朗吉英雄何特何本！这是一个满口东北腔的哥们说的，我们当时都笑翻了。笑他的口音，但不笑他的真诚。）
最近看了郝舫写的科本传记，有几件小事，以前不知道，很有意思。写下来纪念科本。
范儿海伦曾经跪下来求科本做涅磐的吉他手，他们当时二琴是那个墨西哥哥们，海伦为达目的竟然口出不逊，诋毁那哥们的肤色和产地，这下惹火了科本，他对范海伦说你丫想上台等会儿我们演完了自个solo去。 枪花的阿克塞尔罗斯就是一个大煞笔，他对女人的品位也直接体现其智商，他的一个妞竟然没话找话的问科妮是不是模特？哈哈，科妮当时就白了她一句，你丫是不是脑外科医生？这两口子。阿克塞尔还在舞台上诅咒科本的女儿，真是太小心眼缺德了。
涅磐乐队的仨人儿在舞台上大玩过亲亲，向那些歧视同性恋者挑衅。科本还设计过一个乐队T恤，正面是一只产子的雄性海马，他特意强调找一张怀孕的雄海马的图片来做这个T恤，找不到就把海马肚子画大点。超级天真可爱，科本是一个真正的好人，反对父权、大男子、反对歧视同性恋，反对歧视有色人种，反对歧视女性，喜欢孩子，喜欢小动物，喜欢自然。
科本喜欢兰波，深受其影响。看他歌词就知道。兰波这个朋克老祖。
科本经常是进了棚现写歌词，好在平时积累也多，他写满过20几个笔记本好像。他还经常在一首歌里把一段话或一个词常很多遍，自己的解释是懒。
有一回基努里维斯来看涅磐演出，很感动，看完以后很想结识一下科本，他紧张兮兮的跑到后台，只见科本的休息室上贴着张条“请勿打扰，我正在和老婆做爱。”最后只得悻悻离开。（呵呵，其实基努是一个很有意思的人，不只是长着一张漂亮脸蛋的演员，他还有一颗朋克的心，是个很可爱的家伙，有个乐队拍戏之余就去进行糟糕的巡演，喜欢大哈雷）
每个人都在说科本的死，今天我在这里用微薄的博文纪念他只说些有趣的事情。公开发表崇拜偶像的心情好像已经不适合我这个年纪了，但是我只有现在才能成熟到真切明白科本想死的心情。他是一个清醒的人，敏感的承受着来自身体和名誉的各方面压力，他其实只是一个英俊的乡巴佬，物欲横流的现实不会给他提供任何养料，他在错误的环境里错误的观众前卖命的表演，已经没有激情。他的音乐是赤裸裸的自我展现，不带任何矫饰，直至人心，任何利用这样的艺术品来发财的情况都会给创作者带来巨大的创伤，我想每个人都应该试图去了解他的心情。梵高死于贫困，科本死于盛名，其实都是一样的，他们没有得到应有的理解而已，时代是一如既往的丑恶，包括今天。
2/18/2009 被流星同学点名了。这邪乎的点名！ 6. What is your motto? （你的座右铭？）
2/7/2009 Architect's Work by Pekka Salminen下文摘自芬兰商业建筑PES事务所的网站，是逐字抄下来的，很平易朴素，每段我做一个简要概述，了解一下也好。
IN FINLAND, STUDENTS OF ARCHITECTURE HAVE traditionally worked alongside their studies to become qualified as professional architects. I myself worked for a year in Aarne Ervi's office,and then for six years in Timo Penttila's office.Ervi was a designer with a broad scope as well as being a good negotiator. He always had diplomatic relations with clients and could convince them of his design solutions. Timo Penlttla was one of our most creative architects, but with a different temperament. He would draw intensively in his office with his face black from lead dust and lash out at anyone who did not understand him. Penttlla also took a public stand against the mainstream Finnish architecture of the time. He was later appointed a professor of the Vienna Academy of Art. The opportunity to assist him in numerous architectural competitions,as well as the international atmosphere of his office, were important stimuli for my own practice as a private architect.
芬兰的建筑学生很讲究实践，这段介绍了老佩(Pekka Salminen)自己的实习经历，并且传神的描写了老板的个性，一个善于斡旋，一个黑着脸骂人.老佩表示受益良多。
FINNISH ARCHITECTURAL TRAINNING AIMS AT WIDE-RANGING CONTROL OF THE ENVIROMENT. We do not have separate degrees for planners and architects.This gives a solid base for working both in the private and public sector. The diverging "Virtual world"of architecture needs professionals who can understand the wider picture.As the field of work expands with demands of for example sustainable development,the overall responsibility of the head designer is all the more important.I see the profession as wide-ranging and indivisible.I don not believe in building planning where a "creative architect"makes the design and someone else,"a specialist in technology and cost calculation",takes responsibility for implementaion,although this has sometimes been presented as an objective.Architecture is more than a sum of its parts.The quality of architecture is determined by the way in which the classical factors of Firmitas,Venutas and Utilltas are combined. Finding the right balance for them is the cornerstone of the architect's work.Architecture cannot therefore be arbitrarily added to any planning stage,but has to be a part of plnning all the time,from start to finish.
芬兰讲究总体设计，甚至没有规划和建筑分设学位的规矩。老佩欣赏建筑大拿，不主张细分工。标红的语句是老佩商业设计的宗旨，讲得很圆满。
ALTHOUGH THE ARCHITECT'S WORK CONTRARY TO Alvar Aalto's view,is to a great extent teamwork,the team always needs a leader.Discussion furthers the development of ideas and things must be prepared and alternative studied,but eventually someone must decide what will be done. Architecture cannot be created by voting.Neither can it be created without a client.The client decides whether or not to realize the plan,and a good implementation is only as good as the client who ordered it,although Aldo van Eyck said in a lecture in Finland that the client dose not usually ask for good architecture-it always has to be "smuggled"in.
第一句话意思有点曲折，真没弄明白阿尔托的意思是什么，但是老佩的意思很清楚，建筑设计虽然是团队工作，但是必须有统一有力的领导，建筑不是大伙投票选出来的。还有一点就是必须服从甲方，没有甲方就没有一切，尽管老佩也含蓄的借凡 艾克之口表达了一下对甲方的些许不满。
OUR WOEK IS BY NATURE A SERVICE PEOFESSION,WHICH dose not mean that we go around asking,"What can I do for you?"We produce expert services,and our expertise must be beyond doubt.I understand expertise as the Finnish writer Pentti Saarikoski understands redicalism:"true radicalism is about going out and finding out about things."We must have the readiness and courage in any circumstances to tell the client what we consider in each case to be the best solution.I do not like the presentation of alternatives.except as background material to the architects' recommendation. After all, the whole planning process is formulationg alternatives and making choices.Evaluationg alternatives is as demanding a task as creating them.This is also the bases of the Finnish copetition practice,which requires a jury with adequate architectural expertise.Some have misunderstood this and thought that the strict rules of a architectural competitions are an expression of the authority of the Finnish Association of Architects. On the contrary,they are about the very basics of the architect's peofession,the architect's creative professional skill and its proper appreciation.
我们的行业天然是服务性的行业，但是不代表我们到处转着问，“我们能为你做些什么？”而是主动出击提供专业服务，老佩也很不喜欢围标陪标，要做就做最对的最好的，在设计过程中的选择过程比创造过程也许更加艰难，所以老佩很赞许芬兰专业的竞赛专家裁判制度，并不认为这是专业权威的体现，而是公平公正的保证。
It cannot be old-fashioned to believe that the architect and the client must have a confidential relationship. This enables the atchitect to also assume responsibility for project development and cost planning.It also means that the atchitectmust have as direct a contact as possible with the client and the building users. As the poject's head designer,the architect must have the overall responsiblity for the planning phase.Experts in project management can carry on from there. 强调建筑师和业主之间琴瑟和谐永远不是过时的话题，这有助于建筑师积极承担项目，搞定资金（老佩很识时务嘛，直言不讳）。
这一段讲充足时间对设计成功的重要性，实话。
Time is ,in a way ,a renewable natural resource which continues to increase.However ,there always seems to be less and less time for planning.But the creative design process cannot be infinitely accelerated.Adequate time for maturing is an absolute requisite for architectural work-in addition to inspiration.Whatever the scale of the building project,the architect must be inspired by it to be able to create architecture. EERO SAARINEN WAS CRITICIZED BY SOME FOR NOT HAVING A recognizable style.Often a plan fails,however,when a pre-selected external form of wcpression is followed.Especially architects,like myself,who work on very diverse project cannot approach a task in any other way than by studing its premises.There is a clear distinction between aiming primarily at making a personal atchitectural statement or solving the problems of the task one is trusted with.The first starting point for design is the requirements of the building site and enviroment,the second is the content and peogram of the task,and the third is the architect's own objectives.The perisonal objectives do not usulally mature until during the planning process,and making them fit in with the other goals takes time,effort,mistakes and the joy of discovery.According to Reima Pietlla,the concept of atchitecture is a "supercomplex".As a result,perceiving the big picture usually succeeds only after a long period of development.How much the end result has artistic automomy and self-expression varies from case to case.
这一段讲商业建筑绕不开的风格问题。先拿小沙里宁说事，小沙里宁被认为是没有风格的建筑师。然后老佩坦诚如果方案失败，原因往往就是因为以不变应了万变，这是万万不可的，做什么方案都要从方案自身的基地条件出发。红色文字里老佩1，2，3点主次说得很清楚，立场明白无误。
Eero Saarinen often sought architectural expression in structures and materials.Two of Saarinen's works,Dulles airport in Washigton.D.C.and the TWA terminal in New York,still rank among the world's finest airport terminals.Saarinen's "style" was formed by deep involvement in a project and its problems.He did team work with experts in various fields and studied the plans with the help of large models.As early as the 1960s,he presented the outline of the bitd-like TWA flight pavilion to the client with a videotape of the model. MY PERSONAL ARCHITECTUAL STYLE HAS BEEN MOST DEEPLY influenced by John Utzon.He showed me the possibiliities for artistic expression in herent natural forms and,above all,In the beaty of structires.On top of a base influnenced by the architecture of the Aztecs and MAya,Utzon designed concrete roof strctures inspired by natural forms. In my earliest works,private houses located on hillsides and based on a wooden strcture,I studied the connecting points of the interiors and exteriors. The solution was to first build distinct levels from which the wood construction rises.
这段老佩表示最影响自己的建筑师是约翰伍重。因为红字一句话，（伍重还受到过阿兹台克和玛雅文化的影响，听说还钻研《营造法式》，值得好好研究）
I never been to the Sydney opera house,but I recently saw a breathtaking video of its planning and building.A building like this can only be born under the architect's overall control.Utzon made the impossiible possible by developing a systematically varied component construction system.Although one of the best known engineere of the time,Ove Arup,was involved,the plan could not have been realized without Utzon's innovativeness and perseverance. 老佩本人没去过悉尼歌剧院，但是最近在视频里看到了它艰苦卓绝的建造过程，深感这么伟大的建筑没有一个建筑师强有力全局控制是很难实现的，尽管有当时世界一流的工程师Ove Arup友情加盟，伍重在结构处理上有自己的办法，红字标出。
I AM NOT SO INTERSTED IN THE LOAD-BEARING STRUCTURE-that is the engineers' business-as in the integrated structure created by the building's function,technical systems and construction. Organic forms are interesting mainly for their functional structure.I am,however,aware of the dangers inherent in them;nature cannot be copied,it can only be a source of learning and inspiration.In many architectural competieions,I have presented the outlines of a concrete structure that would be made out of industrial components with computer-controlled production,using special fibres in the concrete mix.My aim is a free.
"我对承重的结构没有兴趣，那是工程师的事，"有机形式之所以有意思是因为它们的功能结构，单纯复制自然形式是危险的，自然只能是学习和灵感的来源。我在做竞赛时，为了追求自由复杂的混凝土表面也会求助于计算机控制。
LE CORBUSIER,THE GREATEST MASTER OF CONCRETE architecture,wrote in 1923,"Architecture is about morality-the lack of authenticity is intolerable".This may have led him to the conclusion that concrete cast surface is authentic as such,and to cover it would we false.This turned out to be fatal for him,as well as for many followers.I also came to realize that the use of untreated cast surface outdoors is almost impossible.I gave a lecture in 1980s on "The architect's relationship with concrete",where I claimed to love concrete.This emotional relationship derived partly from the many impressive works of concrete architecture I had seen as an young architect,partly perhaps from a strong sense of being truly alive during the quiet hours of the night,working with pencil in hand and a blank white sketchpad in front of me,and ,above all,in the fresh scent of concrete on the concrete on the construction site.All this has practically forced me to reflect on the possibillities of architectural expression with concrete.
这段写混凝土，先搬出柯布，1923年，柯布说，“建筑关乎道，一切不真实的东西都是无法忍受的。”作为众多追随者之一，老佩逐渐意识到不加粉饰的外立面几乎是不可能完成的任务。在1980年，老佩有一个讲座，“建筑师与混凝土的关系”，老佩在演讲时表达了他对混凝土的热爱，这种情愫一方面来自于青年时代参观的诸多伟大混凝土建筑，一方面也许来自混凝土成型是散发出来的味道（这里，老佩很动情）这一切让老佩坚持混凝土的表达。
WE HAVE ENTERED THE INFORMATION AGE,WHICH CANNOT leave architecture unaffected.I believe that the goals set in the publication of the Finnish Association of Architects in 1942,"Architecture and the Standard",will be realized-finally-in the next millennium:"The purpose of standardization is not to aim at a specific building type,but,on the contrary,to create a viable variely and richness,which in the ideal case can be compared to nature's unlimited capacity for nuances ."Structural engineering is very conservative,except perhaps in Japan.It is also a paradox that even information technology is not yet surfficiently developed to have revolutionized architecture and building. It will happen,however and the half-century-old dream of a product vatietu comparable to "nature's unlimited capacity for nuances"in building can be realized.
我们已经进入信息时代，建筑不可能不受影响。老佩力挺芬兰建筑师协会1942年关于“建筑与标准”的宣言，认为下一个千年必将实现，豪言壮语见红字。结构工程设计都较为保守，除了在日本，这是老佩一个有意思的见解。老佩接着表达了对信息技术发展的忧虑，但是还是充满信心。
In conclusion-having searched throughout my professional career for the answer to the question of what I know for certain about architecture.I found it in the concise words of the esteemed scholar for aesthetics, Yrjo Hirn(1924)"that life cannot do without the pure and free joy of aesthetic vision,and that art can never be separated from the severe and harsh reality off existence.This is all we know for certain,but it is also all we need to know".
结语部分.经其一生老佩对建筑的一点深信不疑，这一点被一个搞美学的学者道破，“生活没有审美的自由便了无生趣，艺术永远不能从严酷的现实中分离，这是我们确定一定以及肯定的东西，这也是我们唯一需要知道的东西。”（我点头）
终于弄完了，呼。 换一首歌，coldplay的老歌，sparks,我横竖听觉得比人气超高的新专辑好听。
1/29/2009 试图重新返回高尚 人生的各个阶段，我都较常人来得晚一些。进入牛年，我已经25岁了，这才恍惚有摆脱少年的感觉，渐渐为俗世的一些压力感到困扰，想想周围的同龄人，也许早在几年前就已明确方向，到如今顺利迎接“而立”人生毫无障碍。愚钝如我，到25了才有如此觉悟，有了以后也没有找到方向般的欣喜，更多的是慌张和懊丧。慌张的是自己不知道能不能继续混迹于成熟人的社会，懊丧的是忽然就这么全然没有了少年的英气，十分失落。
奥伊肯在《生活的意义与价值》一书中，就试图帮助丧失少年英气的现代社会人重新找回生命的重心，这个重心他认为是存在每一个人身上的内在的独立的精神生命，这种精神生命是独立于我们的外在的生活的，不能用我们的外在生活来解释它，它来自于宇宙的精神生命，既是“我们生活最内在的本质”又是超越的。我们当然可以怀疑这个精神宇宙存在的可能性，但是奥伊肯的价值在于，他在解决寻找失落根源的问题上，没有诉诸上帝，没有诉诸“超人”，而是提出了返回人类自身深处寻找。我认为这正是现阶段的我需要知道的，或者说是我选择乐意知道的。
在寻找精神生活的道路上每个人的情况是很不相同的，有的人能将少年时代的精神生命一直延续下来，有的人在成年后一直努力寻找，不断变化与试错，有的人在看清俗世百态后，自动停止寻找，全身心投入也许需要更大付出的俗世生活中。在此我对俗世的定义丝毫不带贬义，积极献身俗世生活的人某种程度上也是高尚伟大的，他们为此也有巨大的精神牺牲，他们是社会安定团结的主心骨。我可能是自己定义的第二种人，从前我以为自己也可以永葆青春，现在看来现实终究不会给我这个机会，我要见风使舵了。Farewell my youth.
对自己内心深处的探求看来注定是一场旷日持久的战争，因为我的优柔寡断、谨小慎微，这一过程比一般人来的可能还要艰难。2009，我的新年。 1/3/2009 fly high 昨天在ＭＡＯ的演出简直烂透了，唯一没有离开的原因是想知道周围的人是不是都疯了。结果，喵告诉我是我疯了。
没过多久，我们都疯了。有种饮料叫米露真他妈香，马路又宽又短，汽车又扁又长。
红的，三角的，方的。喵被这三个词给整ｈｉｇｈ了，我不得不一遍一遍的解释，解释到最后忘了问题是什么。
易拉罐砸到地上，ｍｅｔｅｒｏ的香水味，千千静听的梦幻天空全屏，泊星地的圣诞树小灯，鼓楼大门前消失的俩保安叔叔，我爱你们ａｌｌ！
爱，没别的。真的。
在ＭＡＯ里我还记得一件事，就是我告诉喵帮我记得我刚才想起一件特牛鼻的事情，我忘了尽管，但是我特别想记得我曾经真得想起来过。 12/26/2008 I wish I had a God. 电影结束了，结束在everyone's got to learn sometime懒散的歌声中，丽连默默的泪流满面。她站起身，摘下耳机，去翻抽屉，她想找个火儿，抽屉里一团杂乱，在最深处，丽连发现了一包中南海，打开，里面有火儿，还有几种不一样的烟。她对这盒烟为什么在这里完全没有印象了。丽连伸手到床边，拿起了另一包橘子味的peel，好像在那里放了几年。抽出一根。把笔记本的电池装回笔记本，拔掉网线、鼠标和电源线，插好耳机。她带着笔记本和烟、火儿来到了阳台，左手边一米的距离，路上，丽连发现了掉在地上毛线帽子，捡起来，戴好。冬天的北京户外很冷，阳台对着外面的街道。她坐在门口的台阶上，手边有一个纸箱子，正好，丽连把它拿来放笔记本。她打开电脑，把暴风影音的进度条拖到片尾，点击播放，帽子给了她一些温暖。脸上的泪水还没有干，丽连点上了烟，透过铁条看着阳台外微红的天空，that's sky glow.丽连学了这个术语几天以前，大楼是蓝色的，冷峻，有车不断呼啸而过。她抽着烟，泪水又一次次坠落，她很想打电话给某人，但是不知道打给谁，无论打给谁，丽连都能想到对话的内容，这样的话，打电话本身也就没有什么意义了吧。歌曲很快就结束了，烟刚好也抽完了，丽连在地上把它碾灭的同时想到了丽连这个名字。她又一次站起来，抱着笔记本回到了温暖的房间，只能轻轻的抽泣，宿舍还有其他的人，丽连心想千万不能惊动了她，只是因为那个女孩要是注意到自己，丽连将无法解释一切。丽连悄悄的行动，她把笔记本放在桌子上，桌子上方亮着黄色的台灯，这个台灯也许跟着丽连有5年了。插好网线、电源，一切OK.正当丽连想打开一个网页的时候，opps，她发现鼠标忘了安，拿起usb借口，轻轻的连接上，丁冬，丽连发现自己重新可以使用电脑上网了。 11/22/2008 仓央嘉措的诗六世达赖喇嘛（Tshangs-dbyangs-rgya-mtsho）仓央嘉措
，生于1683卒于1746。
(一)
那一夜，我听了一宿梵唱，不为参悟，只为寻你的一丝气息。 那一天 那一月 那一年 那一世 天空中洁白的仙鹤
我问佛：世间为何有那么多遗憾？ （三） （四） 住进布达拉宫， 我是雪域最大的王。 流浪在拉萨街头， 我是世间最美的情郎。 与玛吉阿米的更传神~ 自恐多情损梵行, 入山又怕误倾城. 世间安得双全法, 不负如来不负卿.
你见，或者不见我 我就在那里 不悲不喜 你念，或者不念我 情就在那里 不来不去 你爱，或者不爱我 爱就在那里 不增不减 你跟，或者不跟我 我的手就在你手里 不舍不弃 来我的怀里 或者 让我住进你的心里 默然 相爱 寂静 欢喜
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