臺灣第一網誌

連結: http://newtalk.tw/news_read.php?oid=18089

「牽阮的手」從田媽媽夫妻一窺台灣歷史

連結: http://www.nownews.com/2011/06/08/327-2718566.htm

超屌的,沒看到啥實質的道歉跟賠償(只有退貨,還排除"不明"網購);

還恐嚇消費者不准說壞話....這真的超屌的....

真的是見鬼了....

鬼黨實錄:

告人的老闆: http://www.nownews.com/2011/06/08/327-2718566.htm

轉貼介紹良心企業的觀光廠區

連結: 【桃園】義美食品生產&生態&生活觀光廠區-好有良心的企業

連結: 義美生產生態生活廠區官網

多了一家拒用廠商

連結: http://raindog.pixnet.net/blog/post/28691125

今年最期待的電影!


Formosa Betrayed 台灣八月六日上映!

評價會兩極化吧....

 

連結: http://www.imdb.com/title/tt1121786/ratings

台灣被誰出賣?


台灣到底是被誰出賣?
很多人似乎沒搞清楚....

好巧....

連結: http://drtwu.com/node/84

李家囧之所以囧....

在於老是喜歡談自己不專精的項目,
卻又自稱對該項目專精,
但常為了要達到自己要的結論而給了錯誤的資訊內容....

相關連結:
http://blog.lester850.info/archives/2009/09/28/871/
http://tw.myblog.yahoo.com/roamer-tw/article?mid=6953&prev=-1&next=6950

題外話:
其實最常批李家同教授的人是宅神朱學恆大老,
不過看宅神批的論點就比較偏向吹毛求疵就是了,
有人還特地開部落格探討兩個人的恩怨:
http://shianzen.pixnet.net/blog
http://shianzen.pixnet.net/blog/post/1094312
http://shianzen.pixnet.net/blog/post/1094402
http://shianzen.pixnet.net/blog/post/1094449
整個部落格就三篇討論他們的恩怨...XD
算是幫李家同教授講話就是了....

不沉的太陽 - 台灣現實版

還記得山崎豐子寫的不沉的太陽嗎?

這本影射日本航空界醜聞的小說,
描述有正義但卻被官腐文化打壓的小人物,
一般被認為是影射真實人物所改編成的.

現在, 台灣現在也有現實版啦~~

簡介連結
連結: http://me.canberrapictorial.com.au/2009/04/blog-post.html

台灣現實版連結
連結: http://blog.sina.com.tw/buster/

其實很多大公司內幕重重,
一般人很難想像的....
(不過應該也有問題較輕微的, 跟老闆作風大有關係....)

只是像航空這類需要高度重視安全的,
還這樣搞....
說真的, 瞭解事實後, 你還敢坐這家航空公司的航班嗎?

話說回來,
不沉的太陽這本書好像真的得罪不少日本高層,
雖然一直有電影化跟拍成電視劇的消息,
但是硬是一直等不到啊....

看來我們想看Formosa Betrayed也有一定的難度....

總是和雞蛋站在同一邊

很棒的一篇演講,
最近太忙了根本不知道這件大事,
好在羊男實驗的咖啡館部落格紀錄了這件事,
輾轉又看到朱老的譯文,
覺得不愧是村上春樹,
這篇演講講得很棒,
非常值得大家一閱....

原文來源: http://metamuse.blogspot.com/2009/02/blog-post_27.html
譯文來源: http://blogs.myoops.org/lucifer.php/2009/02/25/alwaysstandontheeggside

"Always on the side of the egg" By Haruki Murakami

總是和雞蛋站在同一邊  村上春樹於耶路撒冷文學獎

I have come to Jerusalem today as a novelist, which is to say as a
professional spinner of lies.

我是以小說家的身份來到耶路撒冷，也就是說，我的身份是一個專業的謊言編織者。

Of course, novelists are not the only ones who tell lies. Politicians do
it, too, as we all know. Diplomats and military men tell their own kinds
of lies on occasion, as do used car salesmen, butchers and builders. The
lies of novelists differ from others, however, in that no one criticizes
the novelist as immoral for telling them. Indeed, the bigger and better
his lies and the more ingeniously he creates them, the more he is likely
to be praised by the public and the critics. Why should that be?

當然，說謊的不只是小說家。我們都知道，政客也會。外交人員和軍人有時也會被迫說
謊，二手車業務員，屠夫和工人也不例外。不過，小說家的謊言和其他人不同的地方在
於，沒有人會用道德標準去苛責小說家的謊言。事實上，小說家的謊言說的越努力，越
大、越好，批評家和大眾越會讚賞他。為什麼呢？

My answer would be this: Namely, that by telling skillful lies - which is
to say, by making up fictions that appear to be true - the novelist can
bring a truth out to a new location and shine a new light on it. In most
cases, it is virtually impossible to grasp a truth in its original form
and depict it accurately. This is why we try to grab its tail by luring
the truth from its hiding place, transferring it to a fictional location,
and replacing it with a fictional form. In order to accomplish this,
however, we first have to clarify where the truth lies within us. This is
an important qualification for making up good lies.

我的答案是這樣的：藉由傳述高超的謊言；也就是創造出看來彷彿真實的小說情節，小
說家可以將真實帶到新的疆域，將新的光明照耀其上。在大多數的案例中，我們幾乎不
可能捕捉真理，並且精準的描繪它。因此，我們才必須要將真理從它的藏匿處誘出，轉
化到另一個想像的場景，轉換成另一個想像的形體。不過，為了達成這個目的，我們必
須先弄清楚真理到底在自己體內的何處。要編出好的謊言，這是必要的。

Today, however, I have no intention of lying. I will try to be as honest
as I can. There are a few days in the year when I do not engage in telling
lies, and today happens to be one of them.

不過，今天，我不準備說謊。我會盡可能的誠實。一年之中只有幾天我不會撒謊，今天
剛好是其中一天。

So let me tell you the truth. A fair number of people advised me not to
come here to accept the Jerusalem Prize. Some even warned me they would
instigate a boycott of my books if I came.

讓我老實說吧。許多人建議我今天不應該來此接受耶路撒冷文學獎。有些人甚至警告
我，如果我敢來，他們就會杯葛我的作品。

The reason for this, of course, was the fierce battle that was raging in
Gaza. The UN reported that more than a thousand people had lost their
lives in the blockaded Gaza City, many of them unarmed citizens - children
and old people.

會這樣的原因，當然是因為加薩走廊正發生的這場激烈的戰鬥。根據聯合國的調查，在
被封鎖的加薩城中超過一千人喪生，許多人是手無寸鐵的平民，包括了兒童和老人。

Any number of times after receiving notice of the award, I asked myself
whether traveling to Israel at a time like this and accepting a literary
prize was the proper thing to do, whether this would create the impression
that I supported one side in the conflict, that I endorsed the policies of
a nation that chose to unleash its overwhelming military power. This is an
impression, of course, that I would not wish to give. I do not approve of
any war, and I do not support any nation. Neither, of course, do I wish to
see my books subjected to a boycott.

在收到獲獎通知之後，我自問：在此時前往以色列接受這文學獎是否是一個正確的行
為。這會不會讓人以為我支持衝突中的某一方，或者認為我支持一個選擇發動壓倒性武
力的國家政策。當然，我不希望讓人有這樣的印象。我不贊同任何戰爭，我也不支持任
何國家。同樣的，我也不希望看到自己的書被杯葛。

Finally, however, after careful consideration, I made up my mind to come
here. One reason for my decision was that all too many people advised me
not to do it. Perhaps, like many other novelists, I tend to do the exact
opposite of what I am told. If people are telling me - and especially if
they are warning me - "don't go there," "don't do that," I tend to want to
"go there" and "do that." It's in my nature, you might say, as a novelist.
Novelists are a special breed. They cannot genuinely trust anything they
have not seen with their own eyes or touched with their own hands.

最後，在經過審慎的考量之後，我終於決定來此。其中一個原因是因為有太多人反對我
前來參與了。或許，我就像許多其他的小說家一樣，天生有著反骨。如果人們告訴我，
特別是警告我：「千萬別去那邊，」「千萬別這麼做，」我通常會想要「去那邊」和
「這麼做」。你可以說這就是我身為小說家的天性。小說家是種很特別的人。他們一定
要親眼所見、親手所觸才願意相信。

And that is why I am here. I chose to come here rather than stay away. I
chose to see for myself rather than not to see. I chose to speak to you
rather than to say nothing.

所以我來到此地。我選擇親身參與，而不是退縮逃避。我選擇親眼目睹，而不是蒙蔽雙
眼。我選擇開口說話，而不是沈默不語。

This is not to say that I am here to deliver a political message. To make
judgments about right and wrong is one of the novelist's most important
duties, of course.

這並不代表我要發表任何政治信息。判斷對錯當然是小說家最重要的責任。

It is left to each writer, however, to decide upon the form in which he or
she will convey those judgments to others. I myself prefer to transform
them into stories - stories that tend toward the surreal. Which is why I
do not intend to stand before you today delivering a direct political
message.

不過，要如何將這樣的判斷傳遞給他人，則是每個作家的選擇。我自己喜歡利用故事，
傾向超現實的故事。因此，我今日才不會在各位面前發表任何直接的政治訊息。

Please do, however, allow me to deliver one very personal message. It is
something that I always keep in mind while I am writing fiction. I have
never gone so far as to write it on a piece of paper and paste it to the
wall: Rather, it is carved into the wall of my mind, and it goes something
like this:

不過，請各位容許我發表一個非常個人的訊息。這是我在撰寫小說時總是牢記在心的。
我從來沒有真的將其形諸於文字或是貼在牆上。我將它雋刻在我內心的牆上，這句話是
這樣說的：

"Between a high, solid wall and an egg that breaks against it, I will
always stand on the side of the egg."

「若要在高聳的堅牆與以卵擊石的雞蛋之間作選擇，我永遠會選擇站在雞蛋那一邊。」

Yes, no matter how right the wall may be and how wrong the egg, I will
stand with the egg. Someone else will have to decide what is right and
what is wrong; perhaps time or history will decide. If there were a
novelist who, for whatever reason, wrote works standing with the wall, of
what value would such works be?

是的。不管那高牆多麼的正當，那雞蛋多麼的咎由自取，我總是會站在雞蛋那一邊。就
讓其他人來決定是非，或許時間或是歷史會下判斷。但若一個小說家選擇寫出站在高牆
那一方的作品，不論他有任何理由，這作品的價值何在？

What is the meaning of this metaphor? In some cases, it is all too simple
and clear. Bombers and tanks and rockets and white phosphorus shells are
that high, solid wall. The eggs are the unarmed civilians who are crushed
and burned and shot by them. This is one meaning of the metaphor.

這代表什麼？在大多數的狀況下，這是很顯而易見的。轟炸機、戰車、火箭與白磷彈是
那堵高牆。被壓碎、燒焦、射殺的手無寸鐵的平民則是雞蛋。這是這比喻的一個角度。

This is not all, though. It carries a deeper meaning. Think of it this
way. Each of us is, more or less, an egg. Each of us is a unique,
irreplaceable soul enclosed in a fragile shell. This is true of me, and it
is true of each of you. And each of us, to a greater or lesser degree, is
confronting a high, solid wall. The wall has a name: It is The System. The
System is supposed to protect us, but sometimes it takes on a life of its
own, and then it begins to kill us and cause us to kill others - coldly,
efficiently, systematically.

不過，並不是只有一個角度，還有更深的思考。這樣想吧。我們每個人或多或少都是一
顆雞蛋。我們都是獨一無二，裝在脆弱容器理的靈魂。對我來說是如此，對諸位來說也
是一樣。我們每個人也或多或少，必須面對一堵高牆。這高牆的名字叫做體制。體制本
該保護我們，但有時它卻自作主張，開始殘殺我們，甚至讓我們冷血、有效，系統化的
殘殺別人。

I have only one reason to write novels, and that is to bring the dignity
of the individual soul to the surface and shine a light upon it. The
purpose of a story is to sound an alarm, to keep a light trained on The
System in order to prevent it from tangling our souls in its web and
demeaning them. I fully believe it is the novelist's job to keep trying to
clarify the uniqueness of each individual soul by writing stories -
stories of life and death, stories of love, stories that make people cry
and quake with fear and shake with laughter. This is why we go on, day
after day, concocting fictions with utter seriousness.

我寫小說只有一個理由。那就是將個體的靈魂尊嚴暴露在光明之下。故事的目的是在警
醒世人，將一道光束照在體系上，避免它將我們的靈魂吞沒，剝奪靈魂的意義。我深信
小說家就該揭露每個靈魂的獨特性，藉由故事來釐清它。用生與死的故事，愛的故事，
讓人們落淚的故事，讓人們因恐懼而顫抖的故事，讓人們歡笑顫動的故事。這才是我們
日復一日嚴肅編織小說的原因。

My father died last year at the age of 90. He was a retired teacher and a
part-time Buddhist priest. When he was in graduate school, he was drafted
into the army and sent to fight in China. As a child born after the war, I
used to see him every morning before breakfast offering up long,
deeply-felt prayers at the Buddhist altar in our house. One time I asked
him why he did this, and he told me he was praying for the people who had
died in the war.

先父在九十歲時過世。他是個退休的教師，兼職的佛教法師。當他在研究所就讀時，他
被強制徵召去中國參戰。身為一個戰後出身的小孩，我曾經看著他每天晨起在餐前，於
我們家的佛壇前深深的向佛祖祈禱。有次我問他為什麼要這樣做，他告訴我他在替那些
死於戰爭中的人們祈禱。

He was praying for all the people who died, he said, both ally and enemy
alike. Staring at his back as he knelt at the altar, I seemed to feel the
shadow of death hovering around him.

他說，他在替所有犧牲的人們祈禱，包括戰友，包括敵人。看著他跪在佛壇前的背影，
我似乎可以看見死亡的陰影包圍著他。

My father died, and with him he took his memories, memories that I can
never know. But the presence of death that lurked about him remains in my
own memory. It is one of the few things I carry on from him, and one of
the most important.

我的父親過世時帶走了他的記憶，我永遠沒機會知道一切。但那被死亡包圍的背影留在
我的記憶中。這是我從他身上繼承的少數幾件事物，也是最重要的事物。

I have only one thing I hope to convey to you today. We are all human
beings, individuals transcending nationality and race and religion,
fragile eggs faced with a solid wall called The System. To all
appearances, we have no hope of winning. The wall is too high, too strong
- and too cold. If we have any hope of victory at all, it will have to
come from our believing in the utter uniqueness and irreplaceability of
our own and others' souls and from the warmth we gain by joining souls
together.

我今日只想對你傳達一件事。我們都是人類，超越國籍、種族和宗教，都只是一個面對
名為體制的堅實高牆的一枚脆弱雞蛋。不論從任何角度來看，我們都毫無勝機。高牆太
高、太堅硬，太冰冷。唯一勝過它的可能性只有來自我們將靈魂結為一體，全心相信每
個人的獨特和不可取代性所產生的溫暖。

Take a moment to think about this. Each of us possesses a tangible, living
soul. The System has no such thing. We must not allow The System to
exploit us. We must not allow The System to take on a life of its own. The
System did not make us: We made The System.

請各位停下來想一想。我們每個人都擁有一個獨特的，活生生的靈魂。體制卻沒有。我
們不能容許體制踐踏我們。我們不能容許體制自行其是。體制並沒有創造我們：是我們
創造了體制。

That is all I have to say to you.

這就是我要對各位說的。

I am grateful to have been awarded the Jerusalem Prize. I am grateful that
my books are being read by people in many parts of the world. And I am
glad to have had the opportunity to speak to you here today.

我很感謝能夠獲得耶路撒冷文學獎。我很感謝世界各地有那麼多的讀者。我很高興有機
會向各位發表演說。

連結: http://www.wretch.cc/blog/haomei/9632162

好感人~~

生命振動....

還記得所謂的高鐵南科弊案嗎?
當時吵得狒狒洋洋的弊案,
一審時, 謝清志博士及其團隊獲判無罪,
這件事大概吸引不了報紙大肆報導....

當然, 檢方還是會再上訴,
此案在某些人眼中, 仍是弊案連連,
官司仍在持續進行中....

謝清志的生命振動

連結: http://www.books.com.tw/exep/prod/booksfile.php?item=0010417803
連結: http://www.wretch.cc/blog/chinshieh

謝清志博士, 放棄在美的高薪, 回台貢獻所學,
在前一次政權交替之間, 肩負起重任,
負起解決前一任政府所留下的爛攤子.

當時, 南科選址時, 選了高鐵行經之區塊,
大家雖然覺得可能有共振問題需解決,
但那時還沒有人負責解決這個問題.

高科技廠商的精密儀器與生產機器,
對於振動頗為敏感,
因此當時也跟政府簽訂合約,
要求減震方案必須符合一定標準.

但是直到高科技廠商意識到這個問題沒人負責解決,
開始猶豫是否遷入南科, 問題才真的凸顯出來.
此時, 謝博士被賦予重任, 被要求找出解決這個問題的方法.

由於這個問題, 是前所未見的,
傳統的發包方式恐怕不適合,
因此謝博士採用他在國外的採購經驗,
公開徵求具有創意的解決方案.
並選了兩個方案進入實做模擬,
最後才選了減震效果最好的方法.

認為有弊案的一方,
主要的論點在於最終兩個方案,
所花得經費落選的一個遠低於另一個出線的,
然而他們卻忽略減震效果是出線的較佳.
也就是此採購所選的是找出減震效果最好的方法,
以避免往後所冒的風險,
然而此論點卻成了某些人眼中的弊案.

比較諷刺的是, 書中透露,
實際上第一次審查時,
符合減震標準的只有一家,
當時謝博士的團隊怕只有一家進入實做模擬,
會造成往後議價任人予以予求,
因此才又商請最接近減震合格標準的另一家進入第二輪實做模擬.
可惜實做模擬的結果還是遠不如另一家,
結果最後卻反被亂咬一通....
尤其又適逢政黨惡鬥,
媒體跟某些挾著免責權亂放炮的立委, 到處亂放話,
結果原本是一樁建築史上難得一見的成功減震方案, 應該受到褒揚的,
卻被打成弊案, 謝博士的團隊還因此深陷牢獄之災.

對照於最近的貓纜,
其實是很諷刺的事情....

圖片:

(來源: http://tinyang1.pixnet.net/blog/post/23520326)

像這類的公共建築, 該考量並非只有成本,
還必須考量環保與公共安全.
一開始規避環境評估,
建構後又沒做好水土保持,
發生問題後要復原所耗費的成本,
恐怕更多!!
更別提規避環評跟忽略水保是否涉及不法....

幾個消息....

消息一:

 "台灣查某人的純情曲" 一書,
因為得罪某位先生 (不是指驅長啦) ,
暫時被禁止販售,

連結: http://www.vnunet.com/vnunet/news/2231089/top-worst-chief-executives

連結: http://www.vnunet.com/vnunet/news/2231089/top-worst-chief-executives?page=6

恭喜Yahoo~~~~

恭喜楊致遠!!

榮獲Vnunet 網站的

Yahoo股價直直落,
和微軟的合併案,
與Google的合作案,
兩頭落空....

慘!!

惷事....

一大早辦公室好不熱鬧,
除了我以外的人,
幾乎都在咒罵著阿扁,
討論他昨晚如何規避羈押,
熱鬧到影響到我的工作,
讓原本在工作的我也不得不停下來....

我好不容易插了一句話,
至少阿扁不像國民黨那些人,
潛逃出境...

對啊, 那些潛逃出境的人真的很可惡,
有人這樣回應!

我一貫的回應是,
有事證犯罪抓去關我沒意見,
但是不覺得最近的針對性不會太強了嗎?

同事回應道,
上位者都很可惡,
也就是改朝換代才能抓到阿扁跟民進黨的弊案啊....

我同意有弊案就嚴辦,
但不要像高鐵南科減震案或高捷案到最後判無罪.

同事辯說高捷是有弊案的,
這部份我不熟, 我沒反駁,
我只提謝清志的例子,
現在被羈押, 到最後還是有可能無罪,
同事說, 當然怕有這種結果....

不過看起來大家還是寧願未審先判阿扁有罪,
認為阿扁沒啥不敢做的....

唉....說真的, 我還真希望阿扁沒啥不敢做的,
若真的這樣,
為啥不關掉亂七八糟的媒體?
為啥還讓高捷跟高鐵南科減震案變成弊案?
為啥有人可以先吞掉特支費又捐出來就完全沒事?
只差沒說都有人說法院是國民黨開的了,
這八年在我看來,
民進黨只是贏得幾個領導位置,
根本駕馭不動整個盤根錯節的政府體系,
不過我不想陷入爭論,
所以啥都沒說....

接著箭頭又指向李登輝,
同事認為李登輝更應該被抓,
但阿扁不敢辦...
這點我同意,
唯一不同意的不是阿扁不敢辦,
而是李登輝在國民黨勢利還很龐大,
而且最後也會址回國民黨,
所以是藍綠都不敢辦....

不過在同事的眼中,
應該是認為國民黨的骯髒事, 李登輝要負責,
民進黨則是整個骯髒吧?
或許那些被判無罪的弊案,
在他們的眼中又是阿扁的魔手影響的吧?

辦公室總算稍微平靜了,
我想其他人大概又回去看中時電子報或聯合電子報,
只是覺得自己又做了惷事,
居然敢跟幾個老闆的愛將討論這種事....
環顧一下周遭, 比我黑的幾個同事差不多都走光了,
下一個應該是我了吧?

前一陣子又搬了一次辦公室,

這次的辦公室環境真的很糟糕,

房頂會滴水, 又有臭味,