米若衣服

三天三夜

住在亚龙湾，吃在春园，去了蜈支洲岛和南田温泉

除了去蜈支洲岛那天下雨非常不爽外

一切都令人满意^_^ 

 

难得本王今天心情好,把下午拍的聚会照片上传上来,让大家看看本王的新发型

没想到Space速度果然还是无敌慢啊

 

于是,当当当当,强烈推荐两个小软件,用于处理上传space的照片

 

1.光影魔术手 nEOiMAGING

有批量改图片大小的功能,在"文件-批处理"中设置"自动反转"和"缩放"即可

缩放的话最长边设505即可

 

2.Image Optimizer

这个软件是在绿色软件站www.xdowns.com下到的

百度一下也可以搜到绿色版

号称能不改变图片质量的前提下压缩体积(而不改变画面尺寸)

最好的一点是它能批处理,实验下来效果很不错,能从1.5m压缩到200K以内

图像质量也不赖

 

大家知道如果不处理图片大小,msn自动压缩照片后脸会变形,无比丑陋

如果不压缩体积,上传和打开速度都很慢,等得火大

so,感兴趣的话试试看

 

 

相册里新加入了许多照片^^

 

总结：

今年真是漂泊的一年啊~

7月之前还处在苏州上海两头跑的状态

从7月份开始，陆续去了香港、杭州、宁波、合肥、武汉、北京、天津

现在终于有空把照片挑一挑，上传出来给大家看

 

说起来现在本王最近唯一变化是把头发剪掉了

和更新出来的照片上的样子不一样了

具体长度请参考成龙早期的发型=.=

 

 

 

 

 

 Firefox

-faster

-looks nice and clean

-keyboard shortcuts are easy to remember and quite powerful

 

 

"They say talk is cheap. Google thinks it should be free."

-pretty

-I still have 190 gmail invitations to give away =v=

 

 

-no formatting problems

-diplays lyrics automatically

-small memory footprint

Despite its small size, this ingenious camera boasts many distinctive features, such as the 3X optical ‘folding’ Carl Zeiss Vario-Tessar zoom lens. Another important feature is the anti-reflection Clear Photo LCD, which enhances viewing quality by preventing reflected light from interfering with the displayed image. For this combination of innovative design and powerful features, the TIPA jury awarded Sony the ‘Best Digital Ultra Compact Camera 2005’ Award.

One of the great literary nightmares of the past century

Reviewer:

Robert W. Moore (Chicago, IL USA)

Franz Kafka was obsessed with dreams, and THE CASTLE is his attempt to depict the modern world of corporate and governmental bureaucracy as a crazed nightmare. The novel possesses the logic of dreams, and there is a dreamlike quality to everything that happens in the book. As in a dream, people and situations transform effortlessly into something entirely different, as when one of the young, silly assistants of the protagonist K. suddenly appears to be a much older, decrepit man. Though his transformation is absurd, it is part and parcel of the logic of the village dominated by The Castle.

I first read this novel years ago when the only option in translation was the Muir translation. This new complete translation, which includes a large section that Kafka's friend and literary executor Max Brod decided to excise, transforms the novel into an entirely different book. For one thing, the section that Brod left out indicates even more vividly the degree to which the novel is concerned with depicting the more horrific aspects of modern bureaucratic life. For another, the manner in which the text simply breaks off in mid-sentence reinforces the nightmarish quality of the book, for just as we wake up from a dream, never able to complete the tale, so we break away from the narrative, never knowing what K.'s fate is.

The novel contains more a situation than a plot. K., a surveyor, arrives in a village having been hired by the local Castle, presumably to survey. Instead, K. quickly learns that he may not have been hired at all, and manages to break rapidly a number of laws of which he was utterly unaware and whose logic is far from obvious. In this way we see Kafka exploring one of the great themes of his literature: that all individuals are guilty until proven innocent, and that we have no idea what it means to be innocent. K.'s plight becomes more and more absurd and confused all the way until the point at which Kafka ceased working on the novel.

That Kafka gave up working on the novel isn't completely surprising. His method of writing was to growth the text like one would a plant, not necessarily knowing where the story was going, but instead allowing it to develop as it wished. Unlike virtually every other great writer of the past two hundred years, Kafka was almost completely unconcerned with either character development or with plot. It wasn't that he was bad at character: it simply didn't concern him. He was far more interested in pure situations, as if they were thought experiments. For instance, what would happen if a man awoke one morning to find that he had been transformed into a giant beetle? Or, what would happen if someone were accused of a crime, but knew neither accuser, the crime of which he is being accused, or where his trial was to be held? Or, what would happen if a man showed up in a village to work as a surveyor, but discovered that he had neither a position nor means to contact those who had hired him?

One reading this novel should keep in mind that Kafka spent his entire professional life working as a risk manager in an insurance company. He was acutely aware of the nature of corporate bureaucracy, and the myriad of silly rules and the amount of red tape inundating modern corporate and political life. Some tend towards a metaphysical reading of the novel, and while the book is not immune to such a reading, I think it can be better read on a more concrete social level. Kafka worked in an office his entire adult life, until his tuberculosis forced him to retire on what today would be workers' disability. He knew first hand the degrading, callous, and inhuman nature of the bureaucratic culture that was threatening to engulf modern urban living. Unfortunately, he did not, like K. in the novel, know how to escape the nightmare himself, or give us advice on how we could escape it ourselves.

 

The Chinese Institute of Certified Public Accountants (CICPA) was established in November 1988. The mission of which is: serving, supervising, regulating and coordinating.  

 

According to the requirements of the State Council in standardizing theregulation of domestic accounting market, CICPA merged with the China Association of Certified Public Auditors in 1995 to form the new CICPA and carried out unitary management over the domestic accounting market. 

 

In accordance with the requirements of the rectification of professional service organizations engaged in business assurance services of the State Council, the assets evaluation profession and the accounting profession were regulated unitarily and formed the new CICPA in 2000. In 2002, the Certified Public Tax Agent profession and the accounting profession were placed under uniform leadership. The China Institute of Certified Public Tax Agent joined CICPA as a community member. 

 

The supreme power organ of the institute is the National Assembly of Delegates of Members, through which a number of directors that consisted the Council were elected.  The plenary meeting of the Council shall elect a president, a number of vice presidents and a number of executive directors. The Executive Committee shall exercise authority of the Council at the closing sessions of the Council. The Council shall establish a secretariat, which shall be the permanent office of the Institute. The Secretary General shall take charge of the daily operation of the secretariat.  

 

CICPA sticks to the working train of thought with the construction of professional credibility and integrity as the substance; makes great efforts to establish the professional faith of “taking integrity as the basis, stressing on professional ethics, adhering to professional standards and not making false accounts”; creates a professional image of “independent, objective and impartial”, so as to constantly promote the improvement and development of the accounting profession, the assets evaluation profession and the certified public tax agent profession, safeguard the public interests conscientiously, and strive to make due contribution to the accomplishment of the grand objectives of establishing improved socialist market economic system and achieving the overall construction of a well-off society.

Patricia Sheridan's Breakfast with...

Manolo Blahnik

Monday, April 04, 2005

Women have been mincing around in his hot couture heels since the '70s, but it wasn't until the '90s that Manolo Blahnik really hit his stride, thanks in part to "Sex and the City" and Sarah Jessica Parker's shoe-obsessed character. A contemporary of Andy Warhol, Blahnik was happy to send his best wishes along with a shoe drawing for the auction at the Andy Warhol Museum's 10th Anniversary Party Saturday, April 9th at the South Side Works. The dinner is sold out, but tickets to the dance party starting at 9 p.m. are still available by calling 412-237-8364.

---

Q. Others have called them works of art -- do you think of your shoes that way?

A. Well, I mean you know this is a little too exaggerated maybe, don't you think? Sometimes, you know, well after all it's just applied art. It's not total art. I don't believe all these kinds of things people think about it, but you know, it's OK. Fine, it's nice. It's their opinion not mine. It works for me, yes, thank God.

Q. Andy Warhol ...

A.

I do love him. I love his work. I love the person of him. I was so lucky to know the real Andy. You know I did a little drawing in remembrance of him, because when we opened the shop in New York he would come down from his house with his friend -- a Chinese gentleman, an assistant or something -- I don't remember what his name was. Anyway once we were unpacking shoes from Italy and he picked up one of the shoes, and he said, "Oh wow great oh gee that's great," you know how he used to talk.

Q. So you grew up on a banana plantation?

A.

Indeed, I grew up on a banana plantation. It was my mother's home. Being a shoe designer was an accident. It happened when I came to London I wanted to go into the theater and do sets, movie sets, whatever. Anyway I started to do projects with drawings, and I took my portfolio to New York showing it around. I was very fortunate to be introduced to all these people from my friend Paloma, and Paloma also knew Warhol. So many things remind me of that period.

Q. What is the highest heel you ever designed?

A. Good gracious. Well I don't even like platforms and wedges. I did a lot of them in the '70s but now I don't even like them again. But I did huge high heel shoes, almost like a hooker's. I don't do that anymore, Now I am doing, like, serious things. I'm doing serious shoes,

Q. You were a well kept secret until the '90s.

A.

Yes, unfortunately things like that happen not because you want it but because it happens. So then I started to get known and blah blah blah? Sometimes I miss those years, that I could to do whatever I wanted to do and nobody bothered me (laughing). But freedom is always in your mind anyway. In my mind anyway.

Q. Was it Diane Vreeland who suggested you design women's shoes? Why?

A. She was the main architect, really. She said, "Please my dear, do shoes, yes." Mmmm Mmm. I remember, I used to go there with my friend -- 350 Madison Avenue, Vogue and Mrs. Vreeland. She would say, "My dear, my dear try to do things with objects. Try to do accessories." This is true actually. God, it seems so long ago. As I'm talking about these things, it makes me really cringe. She was divine. She was, she still... Mrs. Vreeland will never die, and Warhol and all those people, they never will die in my mind.

Q. Have you ever been tempted to put on a pair of those heels?

A.

I've done it in the factory, and I'll tell you I'm not keen on that kind of transformation. I find it very uncomfortable. But can I tell you something -- I have women who cannot walk in flat shoes.

Q. Sarah Jessica Parker and "Sex in the City" made the Manolo Blahniks a must have for the masses.

A.

She mentions me all the time. She is the most generous and charming woman. She did put her stamp on this period/ this century. She is one of the few girls who have really put an incredible stamp on the times.

Q. Do you think formal artistic training would have stunted your creativity?

A. Possibly, I don't know. But I believe if you are a slave of what they told you to do and not to do, that constrains your creativity a bit. To me it's been great because I learned my trade in factories.

Q. Last question -- any secret desires or things you still want to do or accomplish?

A. I have so many that I don't remember all of them. But I have a lot. Yes. But I look at life that I am really so privileged and I get to do what I love to do -- I never thought much about it, but I really realize that I'm lucky, yes?