Thursday, October 17, 2013
Saturday, October 12, 2013
24/7: late capitalism and the Ends of Sleep Jonathan Crary verso 2013
1) white-crowned sparrow US Defense Department has spent large amounts of money to study.. the brain activity of the birds during their long sleepless periods of migrations
the initial objective, is the creation of the sleepless soldier
The sleeplessness research should be understood as one part of a quest for soldiers whose capabilities will more closely approximate the functionalities of non-human apparatuses and networks.
p.10 In its profound uselessness and intrinsic passivity, with the incalculable losses it causes in production time, circulation, and consumption, sleep will always collide with the demands of a 24/7 universe. The huge portion of our lives that we spend asleep, freed from a morass of simulated needs, subsists as one of the great human affronts to the voraciousness of contemporary capitalism. Sleep is an uncompromising interruption of the theft of time from us by capitalism.
P.13 Sleep is an irrational and intolerable affirmation that there might be limits to the compatibility of living beings with the allegedly irresistible forces of modernization.
P.12 for Locke, sleep was a regrettable if unavoidable interruption of God's intended priorities for human beings: to be industrious and rational. In the very first paragraph of Hume's Treatise on Human Nature, sleep is lumped together with fever and madness as examples of the obstacles to knowledge. By the mid nineteenth century, the asymmetrical relation between sleep and waking began to be conceptualized in hierarchical models in which sleep was understood as a regression to a lower and more primitive mode in which supposedly higher and more complex brain activity was "inhibited."
2)
p. 29 24/7 announces a time without time, a time extracted from any material or identifiable demarcations, a time without sequence or recurrence. In its peremptory reductiveness, it celebrates a hallucination of presence, of an unalterable permanence composed of incessant, frictionless operations.
3) congealed present
p. 33 Desolating any luminous conditions except those of functionality, 24/7 is part of an immense incapacitation of visual experience. It coincides with an omnipresent field of operations and expectations to which one is exposed and in which individual optical activity is made the object of observation and management...
p 34-35 we are swamped with images and information about the past and its recent catastrophes —but there is also a growing incapacity to engage these traces in ways that could move beyond them, in the interest of a common future. Amid the mass amnesia sustained by the culture of global capitalism, images have become one of the many depleted and disposable elements that, in their intrinsic archive ability, end up never being discarded, contributing to an ever more congealed and futureless present.
4) p.39 the particular operations and effects of specific new machines or networks are less important than how the rhythms, speeds, and formats of accelerated and intensified consumption are reshaping experience and perception.
(my note: but are networks and machines merely related to consumption? )
5) p. 46 The rhythms of technological consumption are inseparable from the requirement of continual self-administration. Every new product or service presents itself as essential for the bureaucratic organization of one's life, and there is an ever-growing number of routines and needs that constitute this life that no one has actually chosen.
6) P47-48
Most of he historically accumulated understandings of the term "observer" are destabilized under such conditions: that is, when individual acts of vision are unendingly solicited for conversion into information that will both enhance technologies of control and be a form of surplus value in a marketplace based on the accumulation of data on user behavior.
eye-tracking scanners
7) critique of Bernard Stiegler
P.52-53
More important now is not the capture of attentiveness by a delimited object — a movie, television program, or piece of music— whose mass reception seems to be Stiegler's main preoccupation, but rather the remaking of attention into repetitive operations and responses that always overlap with acts of looking or listening. It is less the homogeneity of media products that perpetuates the separation, isolation, and neutralization of individuals than the larger and compulsory arrangements within which these elements, and many others, are consumed. Visual and auditory "content" is most often ephemeral, interchangeable material that, in addiction to its commodity status, circulates to habituate and validate one's immersion in the exigencies of twenty-first-century capitalism. Stiegler tends to characterize audiovisual media in terms of a relatively passive model of reception, drawn in some respects from the phenomenon of broadcast television.....But this notion of reception disregards the status of current media products as resources to be actively managed and manipulated, exchanged, reviewed, archived, recommended, "followed." Any act of viewing is layered with options of simultaneous and interruptive actions, choices, and feedback. The idea of long blocks of time spent exclusively as a spectator is outmoded. This time is far too valuable not to be leveraged with plural sources of solicitation and choices that maximize possibilities of monetization and that allow the continuous accumulation of information about the user.
(my note: but does Stiegler really mean passive role of the audience? or rather the reduction of the possibilities of reflexivity? )
p. 53 Nonetheless, against his idea of the industrial homogenization of consciousness and its flows, one can counterpose the parcellization and fragmentation of shared zones of experience into fabricated microworlds of affects and symbols.... However, the vast majority of these microworlds, despite their patently different content, have a monotonous sameness in their temporal patterns and segmentations.
p. 57 (b)ut 24/7 should be understood not simply as a homogenous and unvariegated time, but rather as a disabled and derelict diachrony. Certainly, there are differentiated temporalities, but the range and depth of distinctions between them diminishes, and an unimpeded substitutability between times becomes normalized.
Teresa Brenna, Globalization and Its Terrors: Daily Life in the West London: Routledge, 2003
Luc Boltanski and Eve Chiapello The New Spirit of Capitalism London: verso
Giorgio Agamben What is an Apparatus? 2009 Stanford Univeristy press
the initial objective, is the creation of the sleepless soldier
The sleeplessness research should be understood as one part of a quest for soldiers whose capabilities will more closely approximate the functionalities of non-human apparatuses and networks.
p.10 In its profound uselessness and intrinsic passivity, with the incalculable losses it causes in production time, circulation, and consumption, sleep will always collide with the demands of a 24/7 universe. The huge portion of our lives that we spend asleep, freed from a morass of simulated needs, subsists as one of the great human affronts to the voraciousness of contemporary capitalism. Sleep is an uncompromising interruption of the theft of time from us by capitalism.
P.13 Sleep is an irrational and intolerable affirmation that there might be limits to the compatibility of living beings with the allegedly irresistible forces of modernization.
P.12 for Locke, sleep was a regrettable if unavoidable interruption of God's intended priorities for human beings: to be industrious and rational. In the very first paragraph of Hume's Treatise on Human Nature, sleep is lumped together with fever and madness as examples of the obstacles to knowledge. By the mid nineteenth century, the asymmetrical relation between sleep and waking began to be conceptualized in hierarchical models in which sleep was understood as a regression to a lower and more primitive mode in which supposedly higher and more complex brain activity was "inhibited."
2)
p. 29 24/7 announces a time without time, a time extracted from any material or identifiable demarcations, a time without sequence or recurrence. In its peremptory reductiveness, it celebrates a hallucination of presence, of an unalterable permanence composed of incessant, frictionless operations.
3) congealed present
p. 33 Desolating any luminous conditions except those of functionality, 24/7 is part of an immense incapacitation of visual experience. It coincides with an omnipresent field of operations and expectations to which one is exposed and in which individual optical activity is made the object of observation and management...
p 34-35 we are swamped with images and information about the past and its recent catastrophes —but there is also a growing incapacity to engage these traces in ways that could move beyond them, in the interest of a common future. Amid the mass amnesia sustained by the culture of global capitalism, images have become one of the many depleted and disposable elements that, in their intrinsic archive ability, end up never being discarded, contributing to an ever more congealed and futureless present.
4) p.39 the particular operations and effects of specific new machines or networks are less important than how the rhythms, speeds, and formats of accelerated and intensified consumption are reshaping experience and perception.
(my note: but are networks and machines merely related to consumption? )
5) p. 46 The rhythms of technological consumption are inseparable from the requirement of continual self-administration. Every new product or service presents itself as essential for the bureaucratic organization of one's life, and there is an ever-growing number of routines and needs that constitute this life that no one has actually chosen.
6) P47-48
Most of he historically accumulated understandings of the term "observer" are destabilized under such conditions: that is, when individual acts of vision are unendingly solicited for conversion into information that will both enhance technologies of control and be a form of surplus value in a marketplace based on the accumulation of data on user behavior.
eye-tracking scanners
7) critique of Bernard Stiegler
P.52-53
More important now is not the capture of attentiveness by a delimited object — a movie, television program, or piece of music— whose mass reception seems to be Stiegler's main preoccupation, but rather the remaking of attention into repetitive operations and responses that always overlap with acts of looking or listening. It is less the homogeneity of media products that perpetuates the separation, isolation, and neutralization of individuals than the larger and compulsory arrangements within which these elements, and many others, are consumed. Visual and auditory "content" is most often ephemeral, interchangeable material that, in addiction to its commodity status, circulates to habituate and validate one's immersion in the exigencies of twenty-first-century capitalism. Stiegler tends to characterize audiovisual media in terms of a relatively passive model of reception, drawn in some respects from the phenomenon of broadcast television.....But this notion of reception disregards the status of current media products as resources to be actively managed and manipulated, exchanged, reviewed, archived, recommended, "followed." Any act of viewing is layered with options of simultaneous and interruptive actions, choices, and feedback. The idea of long blocks of time spent exclusively as a spectator is outmoded. This time is far too valuable not to be leveraged with plural sources of solicitation and choices that maximize possibilities of monetization and that allow the continuous accumulation of information about the user.
(my note: but does Stiegler really mean passive role of the audience? or rather the reduction of the possibilities of reflexivity? )
p. 53 Nonetheless, against his idea of the industrial homogenization of consciousness and its flows, one can counterpose the parcellization and fragmentation of shared zones of experience into fabricated microworlds of affects and symbols.... However, the vast majority of these microworlds, despite their patently different content, have a monotonous sameness in their temporal patterns and segmentations.
p. 57 (b)ut 24/7 should be understood not simply as a homogenous and unvariegated time, but rather as a disabled and derelict diachrony. Certainly, there are differentiated temporalities, but the range and depth of distinctions between them diminishes, and an unimpeded substitutability between times becomes normalized.
Teresa Brenna, Globalization and Its Terrors: Daily Life in the West London: Routledge, 2003
Luc Boltanski and Eve Chiapello The New Spirit of Capitalism London: verso
Giorgio Agamben What is an Apparatus? 2009 Stanford Univeristy press
Wednesday, October 9, 2013
the/a 的用法
用the：
5. 用于特殊事物（the sky, the sun, the earth…）
6. 用于第二次提到的事物
7. 当有短语或从句将某事物特定化的时候（the girl I met）
8. 当某事物在语境中被地点限定的时候
9. 用于序数词之前
10. 用于单个可数名词之前，指代整个类属里的全部（相当于all）
11. 用于某一特定人群里的某一个（the small shopkeeper）
不用the：
12. 抽象事物之前（除非该抽象事物被赋予了特定含义）
13. 表示“自然”时，nature不用the（但表示“本质”时要用the）
14. 非特定地点的的地点名词之前（at home, at school, at prison）
==========复杂的来了==========
a/an vs. the
15. a/an用于第一次出现的事物，the用于继续出现的事物
16. a/an用于类属里某的任一事物（any），the用于类属里的全部事物（all）
17. 用the对某一事物做普遍性的陈述
=========更复杂的来了=========
零冠词（即不用冠词） vs. a/an
18. 在概念层面上的事物，即使是单数可数名词，也不用冠词。
零冠词 vs. the
19. 复数名词，且用于泛指，用零冠词
20. 不可数名词，且用于泛指，用零冠词
21. 抽象名词，无论可数或不可数，都用零冠词
22. 论文标题的第一个词，如果是名词，通常省略the
23. 图表标题的名词，通常省略the
5. 用于特殊事物（the sky, the sun, the earth…）
6. 用于第二次提到的事物
7. 当有短语或从句将某事物特定化的时候（the girl I met）
8. 当某事物在语境中被地点限定的时候
9. 用于序数词之前
10. 用于单个可数名词之前，指代整个类属里的全部（相当于all）
11. 用于某一特定人群里的某一个（the small shopkeeper）
不用the：
12. 抽象事物之前（除非该抽象事物被赋予了特定含义）
13. 表示“自然”时，nature不用the（但表示“本质”时要用the）
14. 非特定地点的的地点名词之前（at home, at school, at prison）
==========复杂的来了==========
a/an vs. the
15. a/an用于第一次出现的事物，the用于继续出现的事物
16. a/an用于类属里某的任一事物（any），the用于类属里的全部事物（all）
17. 用the对某一事物做普遍性的陈述
=========更复杂的来了=========
零冠词（即不用冠词） vs. a/an
18. 在概念层面上的事物，即使是单数可数名词，也不用冠词。
零冠词 vs. the
19. 复数名词，且用于泛指，用零冠词
20. 不可数名词，且用于泛指，用零冠词
21. 抽象名词，无论可数或不可数，都用零冠词
22. 论文标题的第一个词，如果是名词，通常省略the
23. 图表标题的名词，通常省略the
The senses of modernism: technology, perception, and aesthetics Sara Danius Cornell University Press 2002
p.2 the emergence of modernist aesthetics signifies the increasing internalization of technological matrices of perception
p. 3 The basic propositions of my inquiry thus revolve around questions of sensory perception or, to be more precise, around the specific ways in which categories of perceiving and knowing are reconfigured in a historical situation in which technological devices are capable of storing, transmitting, and reproducing sense data, at the same time articulating new perceptual and epistemic realms.
.... they describe a general transition from technological prosthesis to technological aisthesis, thus moving from externalization to internalization.
note 4 On the discrepancy between seeing and knowing in the wake of photography and cinema, see Karen Jacob's study of modernist representations of the observer, The Eye's mind: Literary Modernism and Visual Culture (2001)
p.4 synaesthetic ideal vs sensory dissociation and reification
In the age of sensory dissociation and reification, such a synaesthetic ideal is no coincidence. This essentially formal aspect alone motivates a historicizing approach. Indeed, the sheer attempt to turn the novel into an encyclopedic, totalizing, all-inclusive work of art is a symptom of the profound crisis that the genre is facing in this period.
p.5 about aesthetics
Modern theories of the aesthetic, Terry Eagleton reminds us, begin as a "discourse of the body." As originally conceived by the eighteenth-century philosopher Alexander Baumgarten, aesthetics is primarily concerned with the sensory infrastructure of the human body and only secondarily with the essence of art.
It is in the nature of aesthetics to be concerned with the ways in which the human body, through the senses, may derive gratification from certain artifacts and activities that belong to the phenomenal order.
Terry Eagleton The Ideology of the Aesthetic (1990 Basil Blackwell)
p.10 A different matrix of perceptual possibilities has been put in place, hence also a new signifying system,
I propose to conceive of technology in terms of conditions of possibility...
Specific technoscientific configurations and their conceptual environments enter into and become part of the aesthetic strategies, problems, and matters they help constitute.
Paul Virilio technologies of speed and organization of the human sensorium
p.19 discrepancy btw scientific vision and bodily vision
===> perception for perception's sake
p. 3 The basic propositions of my inquiry thus revolve around questions of sensory perception or, to be more precise, around the specific ways in which categories of perceiving and knowing are reconfigured in a historical situation in which technological devices are capable of storing, transmitting, and reproducing sense data, at the same time articulating new perceptual and epistemic realms.
.... they describe a general transition from technological prosthesis to technological aisthesis, thus moving from externalization to internalization.
note 4 On the discrepancy between seeing and knowing in the wake of photography and cinema, see Karen Jacob's study of modernist representations of the observer, The Eye's mind: Literary Modernism and Visual Culture (2001)
p.4 synaesthetic ideal vs sensory dissociation and reification
In the age of sensory dissociation and reification, such a synaesthetic ideal is no coincidence. This essentially formal aspect alone motivates a historicizing approach. Indeed, the sheer attempt to turn the novel into an encyclopedic, totalizing, all-inclusive work of art is a symptom of the profound crisis that the genre is facing in this period.
p.5 about aesthetics
Modern theories of the aesthetic, Terry Eagleton reminds us, begin as a "discourse of the body." As originally conceived by the eighteenth-century philosopher Alexander Baumgarten, aesthetics is primarily concerned with the sensory infrastructure of the human body and only secondarily with the essence of art.
It is in the nature of aesthetics to be concerned with the ways in which the human body, through the senses, may derive gratification from certain artifacts and activities that belong to the phenomenal order.
Terry Eagleton The Ideology of the Aesthetic (1990 Basil Blackwell)
p.10 A different matrix of perceptual possibilities has been put in place, hence also a new signifying system,
I propose to conceive of technology in terms of conditions of possibility...
Specific technoscientific configurations and their conceptual environments enter into and become part of the aesthetic strategies, problems, and matters they help constitute.
Paul Virilio technologies of speed and organization of the human sensorium
p.19 discrepancy btw scientific vision and bodily vision
===> perception for perception's sake
Thursday, October 3, 2013
文化研究专业博士研究生必读书目 （初级）
文化研究专业博士研究生必读书目
（初级）
1、西美尔《社会是如何可能的》
2、费迪南·滕尼斯《共同体与社会》
3、卡尔·曼海姆《卡尔·曼海姆精粹》
4、马克思《资本论》（第一卷）
5、卡尔·波兰尼《大转型：我们时代的政治与经济起源》
6、哈贝马斯《作为“意识形态”的技术与科学》
7、鲍德里亚《符号的政治经济学批判》
8、爱德华·S·赫尔曼、诺姆·乔姆斯基《制造共识——大众传媒的政治经济学》
9、葛兰西《葛兰西文选》
10、佩里·安德森《西方马克思主义探讨》
11、E.H.卡尔《历史是什么》
12、艾瑞克·霍布斯邦《十九世纪三部曲》（革命的时代、资本的时代、帝国的年代）
13、莫里斯·梅斯纳《毛泽东的中国及其发展——中华人民共和国史》
14、詹明信《晚期资本主义的文化逻辑》
15、居伊·德波《景观社会》
16、霍尔《表征》
17、雷蒙·威廉斯《漫长的革命》
18、亨利·勒菲弗《空间与政治》
19、王晓明、周展安主编《中国现代思想文选》（上下）
20、薛毅主编《乡土中国与文化研究》
【说明一：本书目为博士研究生的初级书目，共20种。其中霍尔的《表征》、霍布斯邦的《十九世纪三部曲》和梅斯纳的《毛泽东的中国及其发展》与硕士生的初级书目相同。】
【说明二：本书目就其知识构成而言，大致可以分为社会学、历史学、政治经济学、文化研究及中国思想与文化研究等五个方面。西美尔和滕尼斯为社会学的基础理论，曼海姆的著作则是知识社会学的经典著作；《资本论》、《大转型》是资本主义批判的一般理论和历史，而哈贝马斯、鲍德里亚和乔姆斯基则是以政治经济学的方法对资本主义制度中的科学技术、符号和大众传媒的批判，两部分合在一起，可算政治经济学部分；安德森的《西方马克思主义探讨》（另有姊妹篇《当代西方马克思主义》，可一起阅读）介于理论和历史之间，可算是思想史，所以下接卡尔的《历史是什么》，本书是当代马克思主义历史学理论的代表作之一，可与本雅明《历史哲学论纲》及卢卡奇《历史与阶级意识》对读，并与霍布斯邦的十九世纪历史和梅斯纳的中华人民共和国史对读；从詹明信到勒菲弗，大体可算是宽泛的文化研究的范畴；最后两种虽是文选，且思想文选首先是作为思想史的材料，但细致体会，亦自有其脉络，思想文选其实也是前人对中国历史和文化的研究成果，后者则重在突出文化研究与乡土中国的勾连，既是方法探索，也是实践的成果，可与费孝通和梁漱溟等人的著作对读。】
（初级）
1、西美尔《社会是如何可能的》
2、费迪南·滕尼斯《共同体与社会》
3、卡尔·曼海姆《卡尔·曼海姆精粹》
4、马克思《资本论》（第一卷）
5、卡尔·波兰尼《大转型：我们时代的政治与经济起源》
6、哈贝马斯《作为“意识形态”的技术与科学》
7、鲍德里亚《符号的政治经济学批判》
8、爱德华·S·赫尔曼、诺姆·乔姆斯基《制造共识——大众传媒的政治经济学》
9、葛兰西《葛兰西文选》
10、佩里·安德森《西方马克思主义探讨》
11、E.H.卡尔《历史是什么》
12、艾瑞克·霍布斯邦《十九世纪三部曲》（革命的时代、资本的时代、帝国的年代）
13、莫里斯·梅斯纳《毛泽东的中国及其发展——中华人民共和国史》
14、詹明信《晚期资本主义的文化逻辑》
15、居伊·德波《景观社会》
16、霍尔《表征》
17、雷蒙·威廉斯《漫长的革命》
18、亨利·勒菲弗《空间与政治》
19、王晓明、周展安主编《中国现代思想文选》（上下）
20、薛毅主编《乡土中国与文化研究》
【说明一：本书目为博士研究生的初级书目，共20种。其中霍尔的《表征》、霍布斯邦的《十九世纪三部曲》和梅斯纳的《毛泽东的中国及其发展》与硕士生的初级书目相同。】
【说明二：本书目就其知识构成而言，大致可以分为社会学、历史学、政治经济学、文化研究及中国思想与文化研究等五个方面。西美尔和滕尼斯为社会学的基础理论，曼海姆的著作则是知识社会学的经典著作；《资本论》、《大转型》是资本主义批判的一般理论和历史，而哈贝马斯、鲍德里亚和乔姆斯基则是以政治经济学的方法对资本主义制度中的科学技术、符号和大众传媒的批判，两部分合在一起，可算政治经济学部分；安德森的《西方马克思主义探讨》（另有姊妹篇《当代西方马克思主义》，可一起阅读）介于理论和历史之间，可算是思想史，所以下接卡尔的《历史是什么》，本书是当代马克思主义历史学理论的代表作之一，可与本雅明《历史哲学论纲》及卢卡奇《历史与阶级意识》对读，并与霍布斯邦的十九世纪历史和梅斯纳的中华人民共和国史对读；从詹明信到勒菲弗，大体可算是宽泛的文化研究的范畴；最后两种虽是文选，且思想文选首先是作为思想史的材料，但细致体会，亦自有其脉络，思想文选其实也是前人对中国历史和文化的研究成果，后者则重在突出文化研究与乡土中国的勾连，既是方法探索，也是实践的成果，可与费孝通和梁漱溟等人的著作对读。】
Wednesday, October 2, 2013
reassembling the social: an introduction to actor-network theory (Bruno Latour)
P64-65
For ANT... "the social".. doesn't designate a domain of reality or some particular item, but rather is the name of a movement, a displacement, a transformation, a translation, an enrollment.... Thus, social, for ANT, is the name of a type of momentary association which is characterized by the way it gathers together into new shapes.
P66 The main advantage of dissolving the notion of social force and replacing it either by short-lived interactions or by new associations is that it's now possible to distinguish in the composite notion of society what pertains to its durability and what pertains to its substance.... It's now possible to bring into the foreground the practical means to keep ties in place, the ingenuity constantly invested in enrolling other sources of ties, and the cost to be paid for the extension of any interaction.
P78 so we have to take non-humans into account only as long as they are rendered commensurable with social ties and also to accept, an instant later, their fundamental incommensurability.
P39 mediators vs intermediaries
An intermediary, in my vocabulary, is what transports meaning or force without transformation: defining its inputs is enough to define its outputs. For all practical purposes, an intermediary can be take not only as a black box, but also as a black box counting for one ,even if it is internally made of many parts. Mediators, on the other hand, cannot be counted as just one; they might count for one, for nothing, for several, or for infinity. Their input is never a good predictor of their output; their specificity has to be taken into account every time. Mediators transform, translate, distort, and modify the meaning or the elements they are supposed to carry.
Thursday, September 19, 2013
不会说话的爱情
我在窗里
灯影浮在黑暗的海洋上
黑色的呼吸
穿透我的皮肤
我看见
月的光
在自转的阴晴圆缺
潮汐起伏
黑色的血液 稠密凝滞
从此 我漂向我的晨光
你消失在弯曲的海岸
浓雾去时
我在粼粼波光
打捞那瞬间的凝视
不会说话的爱情 （周云蓬）
绣花绣得累了么
牛羊也下山了
我们烧自己的房子和身体生起火来
解开你红肚带
撒一床雪花白
普天下所有的水都在你眼中荡开
没有窗亮着灯
没有人在途中
只有我们的木床儿唱起歌说幸福它走了
我最亲爱的妹呦
我最亲爱的姐
我最可怜的皇后我屋旁的小白菜
日子快到头了
果子也熟透了
我们最后一次收割对方从此仇深似海
从此你去你的未来
从此我去我的未来
我们只能在彼此的梦境里虚幻的徘徊
徘徊在你的未来
徘徊在我的未来
徘徊在水里火里汤里冒着热气期待
期待更美的人到来
期待更好的人到来
期待往日我们的灵魂附体它重新回来
它重新再回来
牛羊也下山了
我们烧自己的房子和身体生起火来
解开你红肚带
撒一床雪花白
普天下所有的水都在你眼中荡开
没有窗亮着灯
没有人在途中
只有我们的木床儿唱起歌说幸福它走了
我最亲爱的妹呦
我最亲爱的姐
我最可怜的皇后我屋旁的小白菜
日子快到头了
果子也熟透了
我们最后一次收割对方从此仇深似海
从此你去你的未来
从此我去我的未来
我们只能在彼此的梦境里虚幻的徘徊
徘徊在你的未来
徘徊在我的未来
徘徊在水里火里汤里冒着热气期待
期待更美的人到来
期待更好的人到来
期待往日我们的灵魂附体它重新回来
它重新再回来
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