User:)biyibiyibiyi(

Network Ontology

paranode nodecentrism semantic web

奇谈疑问收集CN

https://www.wto.org/english/thewto_e/countries_e/china_e.htm

西樵轻纺城

西樵轻纺城是一个面向全国、幅射海外的大型纺织品综合批发市场，同时也是一个综合性多功能的商务中心，设有原料；布匹；纺织及陶瓷机械；服装和百货商品；家具家电；鞋类和皮革等六大交易区。

1998年入读小学，98年发洪水，轻纺城因为地处低洼，被淹了。轻纺城旁边有一片新盖的小区，别墅，不少也被淹了。我们家住在山脚下的学校，山是比平地要高的，所以我父母在山上望远看，有钱人的房子被淹了，我总记得他们远望的情绪里，有一点高兴的成分。

戈尔巴乔夫是谁，叶利钦是谁，

“俄罗斯第一任总统，可厉害了，把戈尔巴乔夫赶跑”

胃仙u 广告 https://www.youtube.com/watch?v=Yic-OVtzeCQ

乒乓球

庄则栋跨前几步，来到科恩身边。他对科恩说：“我们中国人民和美国人民一直是友好的。今天你来到我们车上，我们大家都很高兴，我送给你一件礼物吧……”

说着，庄则栋伸手向肩背的挎包里取礼物。就在这时，他身后响起一迭声的轻轻呼唤：“小庄、小庄，别，别……”有一只手还在庄则栋的衣服后摆拉了一把。因为来到名古屋，按照事先约定，中国选手不宜主动向美国人打招呼。

庄则栋还是从挎包里掏出了小礼品，那是一面一尺多长的杭州织锦。织锦上是一幅黄山风景图，奇峰奇树，烟云缭绕。庄则栋把它递给科恩，说：“这个送给你。”

在随后的单打比赛中，科恩以1比3负于日本选手小岩勇。这原本是意料之中的事情，丝毫没有影响他的情绪。他终于在一家商店里找到了自己中意的、印有“听其自然”(Letitbe)的运动衫，立刻掏钱买了两件。一件留给自己，另一件当作礼品。

第二天4月5日，科恩没有比赛，他还是肩背挎包出现在赛场边。科恩一扭头，看见庄则栋正出现在场地另一头，他急忙招手呼唤起来。庄则栋和代表团的一位工作人员一起走来。科恩上前把他拉到电视摄像机前，面对摄像机和话筒。在短短10余秒钟里，体育馆内的记者们大都手持照相机跑来，把两个新闻人物团团围住。

科恩大声说：“我有一件礼物要送给你，庄先生。”

他把运动衣递了过去，庄则栋点点头，带着笑收下来。

然后，科恩双手展开织锦高高举过头顶，庄则栋也以同样的姿势高高地举起了运动衫，两个人站到了一起，四周响起了“嚓嚓”的照相机快门按动声。

尼克松、基辛格和罗杰斯得出一个结论，北京对美国乒乓球队的邀请，是对美国政策的制定者一个充满含义的微妙示意：它绝不是一段孤立的插曲，而是盼望已久的一个重大外交进程的开端。他们立即指示美国乒乓球队务必接受邀请，前往中国访问。

随着美国乒乓球队的历史性访华，中美两国交往的大门终于打开了。

新中国成立后，美国对中国采取封锁、孤立的政策，两国之间的民间交往也完全隔绝。1969年尼克松就任美国总统后，为了摆脱越南战争泥淖的困境，改变当时苏攻美守的战略态势，积极谋求发展对华关系，1969年8月，尼克松先后托巴基斯坦总统阿尤布·汗和罗马尼亚总统齐奥塞斯库向中国领导人传话，表示要与中国和解。同年年底，中国方面作出了相应反应。之后，两国关系开始松动。1971年春，正当两国领导人通过巴基斯坦秘密渠道酝酿美国领导人访华的时候，3月底、4月初在日本名古屋举行了第三十一届世界乒乓球锦标赛。毛泽东抓住这个时机，作出决策，邀请美国乒乓球队访华，率先打开了两国人民友好往来的大门。“小球转动了大球”，乒乓外交推动了世界形势的发展。

按照“关贸”以及后面世贸组织的规定，所有成员国都有否决权，因此当一个国家提出加入申请后，需要跟成员国逐一进行谈判。每个国家的诉求不一样，比如冰岛的焦点是鱼类，俄国多尔的焦点是香蕉，马来西亚的焦点是棕榈油，搞定这些国家并不难，最难攻克的是美国。

中美之间涉及了6000多个税号的产品，而根据非歧视性原则，双边谈判的成果适用于所有成员国，因此大部分成员国都乐意见到美国对中方的高价勒索。

但毕竟当年正值中美十年蜜月期，那是黑鹰直升机都往中国卖的激情燃烧岁月，冷战的地缘政治让两国紧密合作，中美谈判一度出现了比较好的势头。1988年外贸部讨论复关工作，李岚清，沈觉人等几位领导都对谈判的进展表示乐观，当时会议气氛热烈，大家谈笑风生。

...... "也没有小球转动大球“这样的神来之笔，只有无穷无尽的相持与对峙。

...

self

The Democratic Self, The Entrepreneurial Self, The Self under Spectacle, The Self under Surveillance, .....

ongoing update 2018 11 11

Objective: Communicate textually what have you done during the past period to staff and peers.

Attention: To connect specific personal interest to collective thematic work.

Prior to joining the XPUB program, I have a small body of work, and my interests are loosely connected. The small body of work is consisted of three publications of color. The thematic interest on color is due to my interest in theories of vision from sporadic readings of Merleau-Ponty, Descartes, and Massumi. I am interested the way these authors write about sensorial experience in its most nascence. To unpack how I understand nascence, Merleau-Ponty reconstitutes an experience of seeing a red book as firstly perceiving a certain redness, which is in turn the manifestation of a red surface, which is the manifestation of a piece of red cardboard, and finally, the manifestation of the outline of a red thing, namely, this book.

The phenomenological approach is valuable to my research since it affirms in my practical work, the centrality of bodily perception. I like how Foucault summarizes the text of Phenomenology of Perception: “the body organism is linked to the world through a network of primal significations, which arise from the perception of things.”

Prior to entering the XPUB program during the interview, I was asked by Aymeric about my choice of extracting color from IKEA catalog. At that point I did not know how to answer. The answer is as simple as I like the color palette of IKEA, I like the way individual color swatches rhythmically resonate from one another.

Today is November 11th and it’s two months after commencement of XPUB course. During these two months, a thematic publication is developed supported by the web of interconnected courses. I find that, the content from Special Issue prompted me to answer my unanswered question during the interview.

The formation of the public sphere is comprised of what is presented public, hence, our perception and notion of the public is conditioned by what is already presented as public. This process neglects the margins away from the centralized and the more often attended. As an individual, my perceptive experience is conditioned by the content in public sphere. I try to go back to Foucault’s summarization again – the body organism is linked to the world through a network of primal significations, which arise from the perception of things. As an individual, my perceptive experience is conditioned by the content in public sphere; that is to say, “the perception of things” is conditioned by the content in the public sphere.

list of research book titles

I begin to read Jonathan Crary's writings. A problem that I find is that, there is a limit to rely solely on his reading to support my current interest. Suspension of perception focuses on the timeline the second half of nineteenth century, from 1880 to 1905. In addition to this part of the timeline I need to research textually on computer vision for example.

I am also finding readings of Bernard Stiegler interesting. I found a small book written by him, doesn't seem to relate to my research interest whatsoever, by incredibly contemplative. It's called Acting Out. I am reading on how he writes individuation in the beginning of the book.

In addition to that I also read part of the Consumer Society, but I am starting to unlike it. Perhaps it's because the way Baudrillard writes. I find that he focus on analyzing the scenarios, rather than the emergence of the conditions which I find more intriguing.

I also made a request in the library, to order a book called The Existence of Digital Objects written by Yuk Hui, who is a translator of Stiegler's writing to Chinese.

today

• What does the author mean by 'Agonism'
• What does the author mean by 'Hegemony'
• What does the author see as a 'Critical art practice'?
• What four forms of 'critical art practices' does the author propose?
• What is a critical art practice to you? Where could that practice take place?

• What infrastructure are you currently using to go through this material? What systems are part of that infrastructure?
• What is meant by the 'poetics of infrastructure?'
• Why is discussing an infrastructure a categorical act? What is the consequence of this act of categorization?
• What can be considered as a difference between a technology or system and an infrastructure?
• How can an infrastructure operate as an aesthetic or 'fantastical' object?