我只害怕一件事，我怕我配不上自己所受的痛苦。

-- 陀思妥耶夫斯基

Take responsibility of your own happiness, never put it in other people’s hands.

Attitude is a choice. Happiness is a choice. Optimism is a choice. Kindness is a choice. Giving is a choice. Respect is a choice. Whatever choice you make makes you. Choose wisely.

Be the reason someone smiles. Be the reason someone feels loved and believes in the goodness in people.

也许最明显的裂隙存在于南非两大主要的部落之间，祖鲁和科萨。祖鲁人是公认的战士。他们很骄傲，会拼尽全力去战斗。当殖民者的军队入侵时，祖鲁人拿着长矛与盾牌就冲上了战场，和对面拿着枪支弹药的敌人血拼。上千名祖鲁人死在了战场上，但是他们从未停止过战斗。和祖鲁人截然不同的是，科萨人一直以头脑灵活而自豪。我的母亲是科萨人。纳尔逊•曼德拉也是科萨人。科萨人也与白人进行了漫长的战争，但是在对手武器装备遥遥领先的情况下，科萨人感受到了武力战争的徒劳，于是一些科萨首领采取了一种更机智的手段。“不论我们喜不喜欢，这些白人都已经在这儿了，”他们说，“我们来看看他们都有什么长处是我们可以用得上的。与其抵抗他们的语言，不如我们来学学英语。这样我们就能明白他们在说什么，然后迫使他们与我们谈判。”

“虽说你已经有了开业执照，”他们说，“但是你还需要给不同的人种准备不同的厕所。你需要白人厕所，黑人厕所，有色人种厕所，还有印度人厕所。” “那我这个餐厅里就没别的地方了，全是厕所了。” “好吧，如果你不想那样做，你还有一个选择，就是转为正常的餐厅， 只为白人提供服务。” 他关了餐厅。

如果你申请成为白人，他们会往你头发里插一根铅笔，如果铅笔滑落，你就是白人，如果卡在头发里，那你就是有色人种。政府说你是什么人你就是什么人。有的时候就是一个职员盯着你的脸打量一会儿，就能快速得出结论你是哪种人。根据你颧骨多高，鼻子多宽，他在随便哪个选项上打上几个勾，就能决定你可以住在哪个片区，可以和谁结婚，能得到怎样的工作，拥有怎样的权利，享受怎样的特权。

种族隔离就是这么做的，它让每个种族相信，是因为其他种族的缘故，自己才不能进俱乐部的门。就好像门口的保镖跟你说：“我们不能让你进来，因为你的朋友达伦在旁边，而且他的鞋很丑。”于是你看着达伦，说：“去你的，黑人达伦。你拖了我的后腿。”然后达伦反击说：“去你的，斯威。”现在所有人开始怨恨所有人了。但是事实是，你们中任何一个原本也进不了俱乐部。

我找到了我的位置。既然我不属于任何一个小圈子，那么我可以在不同的圈子之间游走。我还是一条变色龙，文化上的变色龙。我知道如何去融入。我可以和爱运动的小孩一起运动，和书呆子一起讨论电脑。我可以跳进人群里，和小镇男孩一起跳舞。我可以和每个人都产生短暂的交集，一起学习、聊天、讲笑话、送餐。

身为局外人，你可以缩进壳里，默默无闻，让别人看不到你，或者你可以走上另一条路。你通过敞开自己的方式，从而保护自己。你不用因为自己是谁而希望被某个小团体接纳，你只要愿意分享自己的一小部分就可以了。对我来说，那部分就是幽默。我了解到，即使我不属于任何一个小群体，但我可以融入所有正在开怀大笑的小团体里面。我会突然出现，分发零食，讲几个笑话。我可以取悦他们，参与他们的一小部分对话，了解一点儿他们的圈子，然后转身离开。我从来不会在哪个圈子里停留过久。我并不受欢迎，但我也不会被排斥。我可以在任何地方，和任何人打交道，与此同时，我又完全是孤单一人。

这就是街区。总有人在买，总有人在卖，倒买倒卖就是要在全程搅混水。没有哪一步是合法的，也没人知道这些东西是哪儿来的。那个帮我们拿到耐克鞋的家伙，他真的有“员工优惠”吗？你不知道。你也不问。对话只会是这样，“嘿，看看我找到了什么”，以及“酷，你要卖多少钱”。这是国际通用密码。

邦哈尼一开始对我说“我们去街区吧”的时候，我以为我们就是去那边卖卖碟，或者在派对上做做DJ。结果，我们卖碟做DJ，都是为了在街区里做小额贷款和当铺生意积累资本。很快，后者变成了我们的事业中心。

我们努力地干活干活干活，但不管投入多少时间和精力，这门生意还是在赔钱。我们什么都赔掉了。甚至买不起吃的。我永远忘不了有一个月我是怎么过的，那是我人生中最糟糕的一个月。我们太穷了，连续几周都在吃一种叫马洛葛的野菠菜，和学名叫莫帕尼虫的毛毛虫炖在一起。莫帕尼虫真的是最便宜的东西，只有穷人中的穷人才会吃。虽然我从小到大家里一直很穷，但是那种穷，和“等等，我在吃虫子”的穷，依然不是一个等级。连索韦托人看到莫帕尼虫都会说：“呃…还是不要了吧。”这些多刺且颜色明亮的毛毛虫，和人手指一般大小，但是和法国蜗牛不一样，人们可以给蜗牛安一个光鲜的名字，让它们成为高级食材，但莫帕尼虫只能是恶心的虫子。咀嚼的时候，它们的黑色脊柱会刺破你的上颚。而且很常见的情况是，当你咬下一只莫帕尼虫时，它们黄绿色的粪便会在你的口腔中溅射出来。

从外人的角度指责这个女人，说“你走不就行了”，实在太容易。我的家庭并不是唯—一个发生过家暴的家庭。在我的成长过程中，周围经常有这样的事。在索韦托的街道上，在电视里，电影里，我看到过无数次家暴。如果这是社会范例，那一个女人能去哪儿？当警察都不肯帮她的时候，当她自己的家人都不肯帮她的时候，她能去哪儿？离开那个打他的男人，找到第二个男人很可能还是会打她，而且比第一个更凶的时候，她能去哪儿呢？当一个女人带着三个孩子，而周围的社会会给没有丈夫的女人打上贱民的标签时，她能去哪儿呢？当所有人都会觉得她是个荡妇，她能去哪儿呢？她能怎么做呢？

According to scientists who have studied the five Blue Zones, the keys to longevity are diet, exercise, finding a purpose in life (ikigai), and forming strong social ties—that is, having a broad circle of friends and good family relations.

根据研究过五个“蓝色区域”的科学家们的研究，长寿的关键在于饮食、运动、找到人生的目标（ikigai）以及建立牢固的社会联系——也就是说，拥有广泛的朋友圈和良好的家庭关系。

Life is not primarily a quest for pleasure, as Freud believed, or a quest for power, as Alfred Adler taught, but a quest for meaning. The greatest task for any person is to find meaning in his or her life. Frankl saw three possible sources for meaning: in work (doing something significant), in love (caring for another person), and in courage during difficult times.

忙碌而积极的生活，其目的在于使人有机会了解创造性工作的价值；悠闲而退隐的生活，则使人有机会体验美、艺术，或大自然，并引为一种成就。至于既乏创意、又不悠闲的生活，也有其目的：它使人有机会提升其人格情操，并在备受外力拘限的情境下选择其生活态度。

一个人若能接受命运及其所附加的一切痛苦，并且肩负起自己的十字架，则即使处在最恶劣的环境中，照样有充分的机会去加深他生命的意义，使生命保有坚忍、尊贵、与无私的特质。否则，在力图自保的残酷斗争中，他很可能因为忘却自己的人性尊严，以致变得与禽兽无异；险恶的处境，提供他获致精神价值的机会；这机会，他可以掌握，也可以放弃，但他的取舍，却能够决定他究竟配得上或配不上他所受的痛苦。

一个人一旦了解他的地位无可替代，自然容易尽最大心力为自己的存在负起最大责任。他只要知道自己有责任为某件尚待完成的工作或某个殷盼他早归的人而善自珍重，必定无法抛弃生命。他了解自己"为何"而活，因而承受得住"任何"煎熬。

Nobody tells you this, but making your first $100 online feels better than any salary raise.

In a world that’s changing so quickly, the biggest risk you can take is not taking any risk.

-- Mark Zuckerberg quote Peter Thiel

业余爱好者和基本功扎实的专业画家之间的一大区别就是，新手们总是先大致勾勒出脸的外轮廓，接着便在这些线条围绕起来的空白区内画上眼耳口鼻。这种画法只包含了高和宽两个维度。我们必须进入第三个维度，创造出纵深感。这就意味着，我们必须呈现出头部在三维空间中的存在感， 然后再具体塑造脸部的模样。这样一来，我们不仅可以将五官布置到位，更能确立各种光影面，进而辨认出下层肌肉、骨骼和脂肪在脸表面形成的隆起、鼓凸和纹路。

-- 《头手素描课》

死亡和我们没有关系，因为只要我们存在一天，死亡就不会来临，而死亡来临时，我们也不再存在了。

-- 伊壁鸠鲁

双腿瘫痪后，家人们很忌讳提起我的腿， 只有余华他带我去踢球，让我守门。他没把我当残疾人，也没把我当人。

太喜欢史铁生的这段话了，平实又有画面感，还有精彩的反转。

Just keep building and posting until the internet can’t ignore you

Man. Don’t know how to explain it other than shock. Words cannot express the pain of this letdown. The frustration is unfathomable. I’ve worked my whole life to get to this moment and this is how it ends? Makes no sense.

Now that I’ve gotten surgery, I wish I could count the number of times people will tell me I’m going to “come back stronger”. What a cliche lol, this shit sucks. My foot feels like dead weight fam. But what’s hurting most I think is my mind. Feel like I’m rambling, but I know this is something I’ll look back on when I’m through this, as something I’m proud I fought through. It feels good to let this shit out without y’all seeing the kid ugly cry.

At 25, I’ve already learned that God never gives us more than we can handle. I know I’ll come out on the other side of this a better man and a better player. And honestly, right now, torn Achilles and all, I don’t regret it. I’d do it again, and again after that, to fight for this city and my brothers. For the chance to do something special.

Indy, I’m sorry. If any fan base doesn’t deserve this, it’s y’all. But together we are going to fight like hell to get back to this very spot, and get over this hurdle. I don’t doubt for a second that y’all have my back, and I hope you guys know that I have yours. I think Kobe said it best when in this same situation. “There are far greater issues/challenges in the world then a torn achilles. Stop feeling sorry for yourself, find the silver lining and get to work with the same belief, same drive and same conviction as ever.” And that’s exactly right. I will do everything in my power to get back right.

My journey to get to where I am today wasn’t by happenstance, I’ve pushed myself every day to be great. And I will continue to do just that. The most important part of this all, is that I’m grateful. I’m grateful for every single experience that’s led me here. I’m grateful for all the love from the hoop world. I don’t “have to” go through this, I get to go through this. I’m grateful for the road that lies ahead. Watch how I come back from this. So, give me some time, I’ll dust myself off and get right back to being the best version of Tyrese Haliburton.

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Proverbs 3:5-6 “Trust in the Lord with all your heart, and lean not on your own understanding; in all your ways acknowledge Him, and He will make your paths straight."

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除了震惊我无话可说。这种挫败的痛苦难以言表，沮丧感深不见底。我奋斗一生就为这一刻，结果竟这样收场？简直荒谬。

做完手术后，我都能猜到会有多少人跟我说"你会更强归来"。老套到可笑，但真他妈难受啊兄弟。现在这只脚沉得像灌了铅，但最疼的恐怕是这儿（指脑袋）。可能说得有点乱，不过我知道熬过去之后，这段经历会让我骄傲——看啊，老子挺过来了。能在这发泄情绪而不用被你们看见我哭成狗，挺好。

25 岁我就悟了：上帝给的考验从不超过你能承受的。等跨过这道坎，我会成为更好的球员和男人。说实话，就算跟腱撕裂，我也不后悔。要是重来，我还会为这座城市和兄弟们拼上千万次，只为搏一个创造传奇的机会。

印第安纳，对不起。没有哪家球迷比你们更不该遭遇这种事。但我们会一起拼命杀回来，跨过这道坎。我从不怀疑你们的支持，也希望你们知道我与你们同在。科比遭遇同样伤病时说得最好："世界上比跟腱断裂严重的挑战多了去了。别自怨自艾，寻找希望，带着不变的信念继续奋斗。"太对了，我会竭尽全力复健。

我能走到今天绝非偶然，是日复一日的自我鞭策。这份感激才是最重要的——感谢每段造就我的经历，感谢篮球世界的厚爱。这不是"必须承受"的磨难，而是"有幸经历"的洗礼。等着看我如何王者归来吧，给我点时间，我定会抖落尘土，做回最强的哈利伯顿。

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箴言3:5-6："你要专心仰赖耶和华，不可倚靠自己的聪明；在你一切所行的事上都要认定他，他必指引你的路。"

刚开始只是尾随一条狗，没想到却把我带到一个意想不到的全新世界。我的走法会不自觉变得跟狗一样，异常执着于路上的细微之处···

Varying the colors within your shadows is important. Shadows aren’t just one solid wash of color. It’s much more interesting to push other colors into them, combining cool and warm colors within the same part of a shadow.

We’re also not only painting the color of an object. It’s one thing to paint a gray roof or a beige chimney, but to paint the light that’s reflecting off surrounding objects is much more interesting. To paint the temperature of the day, to paint the mood we want to convey can shift our thinking and add dimension to our work.

The key to improving at any skill is to develop the talent for improving technique. Fall in love with the process and the results will take care of themselves.

Because I’m always thinking in terms of story, I look for buildings with a story to tell. Whether it’s a tranquil café, a busy intersection, or an intricately detailed cathedral, there’s always a story being told. These buildings become individual characters in a city. It helps me to see architecture as character. Maybe a particular structure resembles an exhausted old man, or a proud soldier, or an elegant movie star.

Attention without feeling, I began to learn, is only a report.

— MARY OLIVER

This is a jar of some of my favorite brushes. It’s a simple group of objects, but it holds meaning for me, and this is key for depicting still life. You must feel what these objects have to say. Truly see them. These brushes form a little family. Each one is an actor waiting in the wings, and here they’re all huddled together ready to perform. “Pick me! Pick me!” they seem to say.

Once you start painting a personality rather than bricks, stone, and windows, your sketches take on new life. Each line, each brushstroke becomes imbued with the personality you are portraying.

This idea can be applied to anything you sketch. Mountains famously look like sleeping giants, and trees have multiple personalities. The idea is to sketch these personalities, and to see everything around you as a personification with unique characteristics.

Draw some simple squiggles on a page. These may seem meaningless on their own. But, like individual notes on a page, when they’re in tune with each other, they describe a symphony.

Allow yourself the freedom to suggest details, rather than dogmatically explain everything. Your sketch is a conversation, not a lecture.

Composition is a method of guiding a viewer’s eyes into and through a piece. When we look at paintings, we don’t take them all in at once. We read images in a certain order, like reading a book. Our eyes move in a dynamic sequence around a piece, seeing one area first, then moving on to secondary points of focus and lesser details, returning again to the main focal point. In truly great compositions, our eyes move around a painting, unfolding details, discovering secrets. We have the power to invite a viewer in and gently guide them around a piece.

Everything you sketch tells a story: a story of a time and place, a memory, a dream, a mood. Sketches are an energy transfer. What you feel at the time of creation is translated directly onto the paper. It can be a mysterious process, but shining a light on this mystery gives clarity without diminishing its power.

When I’m walking around my favorite neighborhoods looking for something to sketch, I imagine what a particular view would look like on a movie screen. I’m always looking for the most dynamic angle, the unexpected perspective, the unique vantage point from which to sketch. It’s not enough to paint a pretty building. We’re telling a story, and our choice of viewpoint says just as much as the subject itself. A viewer should lean in, wanting to know the story.

IN ORDER TO GRADUATE, Newcastle students had to take a familiar concept and reimagine it. The school called it the “blue sky” project, a name that encouraged students to imagine futuristic products that weren’t constrained by current production capabilities

-- "After Steve"

为了毕业，纽卡斯尔的学生必须对一个熟悉的概念进行重新构想，学校称之为“蓝天”项目，这个名字鼓励学生想象不受当前生产能力限制的未来产品。

When a clown moves into a palace, he doesn’t become a king. The palace becomes a circus

-- TURKISH PROVERB

If you don't lie awake at night thinking about it, you don't want it badly enough.

-- Naval

Your Second Life Begins When You Realize You Only Have One

Build it (well) and they will (eventually) come.

-- Naval

The most important thing is to focus on the most important thing.

Kuhn argued that, while continuous progress is indeed characteristic of long periods of “normal science,” these periods are interrupted by periods of “revolutionary science” in which not only a scientific theory but also the entire conceptual framework in which it is embedded undergoes radical change. To describe this underlying framework, Kuhn introduced the concept of a scientific “paradigm,” which he defined as a constellation of achievements – concepts, values, techniques, etc. – shared by a scientific community and used by that community to define legitimate problems and solutions. Changes of paradigms, according to Kuhn, occur in discontinuous, revolutionary breaks called “paradigm shifts.”

-- The Systems View of Life

库恩认为，虽然持续进步确实是长期“常规科学”的特征，但这些时期会被“革命性科学”时期所打断，在这些时期，不仅科学理论，而且它所嵌入的整个概念框架都会发生根本性的变化。为了描述这种潜在的框架，库恩引入了科学“范式”的概念，他将其定义为科学界共享的一系列成就——概念、价值观、技术等等——并被该群体用来定义合法的问题和解决方案。根据库恩的说法，范式的改变发生在不连续的、革命性的突破中，称为“范式转变”。

AI 的出现可能正在引发多个领域的范式转移。

AI won’t replace programmers, but rather make it easier for programmers to replace everyone else.

-- Naval