首先，要設法了解張光直先生過世之後，所有的檔案送到那單位，還是沒有，在家中：我的英雄中Herbert Simon 給CMU的圖書館；Peter Drucker的，給學校，這兩位的數位檔都公布了，我近日讀些Drucker的書信草稿，激發與美國友人討論：美國工會在品質管理推行之角色；W. Edwards Deming的，送美國國會圖書館，是個大官僚組織，現在我不知道狀況。
我是1975級的鍾漢清。數月前我錯失加入貴會的時限定。今天透過鄧學長的FB資訊來此。首先，我覺得貴會目前的資助博雅(看了所謂品格教育，啞然失笑)，與東海的學術地位之提升無關：現在物理系招生已是80%百分點，我的母系IE也淪為七十幾.....東海在英國Times高教全球排名輸台灣4~5家私校，據說八百多名(？ 因為它書沒排名)....讓我們不要用博雅書院自我陶醉，討論下去！
孟浩然：「何當載酒來，共醉重陽節」
Kevin Lin 提早過來，我就結束日本Edo 時代畫家的筆記，Wikipedia 的日文版助益大。我送他一本新譯的【轉危為安】，並解釋那些地方大有改善處，他欣然接受，只說黑色系統的封面和書，應做得有經典讀物的貴重感。我們談咖啡--他送的禮。談他的公司做牙科手機的經營情形。又談他讀逢甲機械，與成大研究所在資源上的差別，......他去讀東海EMBA的統計老師，每回都提早一小時來輔導.......大談統計與資訊工程教學上的迷途(他兒子在台大的研究所).....我跟他講些近日碰到的美國聯合董事會與東海之間的同學捐款的會計科目和溝通問題。與他去搭捷運外出，他說連中國佛山等都市都開始建，台中市竟然慢半拍........我將北平東路記錯成和平東路，迷航2小時，很難得有這種啞行的經驗。
- Sengai Gibon (仙厓 義梵?, 1750 - 1837)
- Kantei (鑑貞; fl. second half of 15th century)
- Watanabe Kazan (渡辺 崋山, October 20, 1793 – November...
- Kanō Sanraku (狩野 山楽, 1559 – 1635)
- Tani Bunchō (谷 文晁,1763 - 1841)
- Sakai Hōitsu (酒井 抱一, 1761-1828)
- Kushiro Unsen 釧雪泉 (Japanese, 1759–1811)
- Ogata Kōrin (尾形光琳, 1658 – 1716)
- 伊藤若冲 Itō Jakuchū 1716-1800
- 曾我蕭白 Soga Shōhaku
- Maruyama Ōkyo (円山 応挙 1733-1795)
- 長沢芦雪 Nagasawa Rosetsu 1754–1799
- 久隅 守景 Kusumi Morikage(c. 1620–1690)
- 川合玉堂 Kawai Gyokudō 1873-1957
A New Trudeau Era in Canada
As prime minister, Justin Trudeau promises to return the country to its liberal and humanitarian values.
畫達摩的心境、精神、神氣、自我表現。
8點醒。夏陽的繪畫。
PC開不順：中共指示國民黨；前天100對朝韓會面12小時---昨天看解密的韓戰影片。
不看FB又如何？Dear 鍾老師，您好,
好久沒有連絡了，近來好嗎？
前兩天在書局看到博華把"轉危為安"重新發行，感覺蠻好的，可以再造福一些人，只是不知是否有方法去promote嗎?
下週三(10/21)會北上參加衛福部的一個法規研討會，若鍾老師傍晚有空，預計下午五點多至工作室拜訪。不知是否方便？
Best Regards,
Kevin Lin
NYTimes Living With Art
"The Dance of the Dead" by Johann Wolfgang von Goethe
He warder he gazes o' the night
On the graveyards under him lying,
The moon into clearness throws all by her light,
The night with the daylight is vying.
There's a stir in the graves, and forth from their tombs
The form of a man, then a woman next looms
In garments long trailing and snowy.
They stretch themselves out, and with eager delight
Join the bones for the revel and dancing --
Young and old, rich and poor, the lady and the knight,
Their trains are a hindrance to dancing.
And since here by shame they no longer are bound,
They shuffle them off, and lo, strewn lie around
Their garments on each little hillock.
Here rises a shank, and a leg wobbles there
With lewd diabolical gesture;
And clatter and rattle of bones you might hear,
As of one beating sticks to a measure.
This seems to the warder a laughable game:
Then the tempter, low whispering, up to him came:
"In one of their shrouds go and wrap thee."
'Twas done soon as said; then he gained in wild flight
Concealment behind the church portal,
The moon all the while throws her bright beams of light
On the dance where they revel and sport all.
First one, then another, dispersed all are they,
And donning their shrouds steal the spectres away,
And under the graves all is quiet.
But one of them stumbles and fumbles along,
'Midst the tombstones groping intently;
But none of his comrades have done him this wrong,
His shroud in the breeze 'gins to scent he.
He rattles the door of the tower, but can find
No entrance -- good luck to the warder behind! --
'Tis barred with blest crosses of metal.
His shroud must he have, or rest can he ne'er;
And so, without further preambles,
The old Gothic carving he grips then and there,
From turret to pinnacle scrambles.
Alas for the warder! all's over, I fear;
From buttress to buttress in dev'lish career
He climbs like a long-legged spider.
The warder he trembles, and pale doth he look,
That shroud he would gladly be giving,
When piercing transfixed it a sharp-pointed hook!
He thought his last hour he was living.
Clouds cover already the vanishing moon,
With thunderous clang beats the clock a loud One --
Below lies the skeleton, shattered.
"死亡之舞"由沃爾夫岡 · 歌德爭奪他看守他凝視著點夜色下他躺，月亮要變為清晰拋出全部由她的墓地上光，白天與黑夜。
還有在墳墓裡，一陣騷動，提出從墓形式的一個人，然後一個女人接下來織機在長時間尾隨雪白的衣服。
他們舒展自己弄，渴望喜悅加入狂歡和舞蹈 — — 青年人和老年人，富人和窮人、 夫人和騎士的骨頭，他們的火車是跳舞的一個障礙。
因為這裡由它們不再綁定的恥辱，他們洗牌他們關閉，瞧，散佈謊言圍繞自己在每個小土丘上的衣服。
在這裡升起的小腿，和一條腿擺動那裡好色的惡魔手勢;
噹啷聲和撥浪鼓的骨頭，你可能會聽到，一個跳動堅持一項措施。
這似乎對看守一個可笑的遊戲: 然後試探，低耳語，他來了:"在他們的裹屍布之一去和懷抱"。
' Twas 做儘快說;然後，他獲得了在野生飛行背後的教會的門戶，月亮都在隱瞞引發她明亮光束對他們陶醉運動所有的舞蹈。
第一位，那另一個，分散所有他們，穿上他們的壽衣偷幽靈走了，和下墳墓都是安靜。
但其中一個踉蹌，摸索前進，' 中間墓碑摸索專心;
但他的同志們有沒有他這錯了，他在微風中的壽衣 ' 杜松子酒香味他。
他搖鈴門塔，但是能找到沒有入口 — — 對後面看守好運氣!— — ' Tis 禁止與神聖十字架的金屬。
他的壽衣他必須或其他可以他從未;
因此，沒有進一步的序言，舊的哥特式雕刻他緊握著那時，從炮塔頂峰爬上爬下。
唉為看守!所有的過去了，我害怕;
從到 dev'lish 的職業生涯中的支墩支墩他爬得像一隻長腿的蜘蛛。
他顫抖著，獄吏，面色蒼白，豈他看，他會很樂意給，當穿孔木雞它尖銳突出的鉤，裹屍布!
他認為他的最後一小時他住。
浮雲遮已經消失的月亮，與雷鳴般鏗鏘節拍時鐘一個響亮 — — 低於在於骨架，破碎。
Precious Moments
October 20, 2015 | by Sadie Stein
It’s no great shock that Leonard Woolf was recorded on film, not when you think about it—after all, the writer, publisher, and widower of Virginia lived into 1969.
And yet! And yet! It seems somehow magical that here he should be, modern and in color, talking about Maynard Keynes for all the world as if he is not a living bridge to a storied past, most of which went as unfilmed—as though Bloomsbury had not belonged to modernity at all, let alone invented it.
There’s less than a minute of footage of Leonard in the video above, and he’s not saying anything particularly revolutionary; just praising his friend Keynes’s famously lively mind. Perhaps because Virginia Woolf was never filmed, Leonard’s sheer normalcy lands with a lot of force. (I say “Leonard” and “Virginia” as if I know them, as if they are public property.) It’s hard not to think of his own words: “Whenever one really knows the facts, one finds that what is accepted by contemporaries or posterity as the truth about them is so distorted or out of focus that it is not worth worrying about.”
And yet.
Sadie Stein is contributing editor of The Paris Review, and the Daily’s correspondent.
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