https://en.wikipedia.org/wiki/B._H._Liddell_Hart
Indirect approach
https://en.wikipedia.org/wiki/Indirect_approach
In strategy, the longest way round is often the shortest way home.
These ponderings attempt to let themselves be appropriated by the event. (Beiträge zur Philosophie (Vom Ereignis), Martin Heidegger, 1936–38/1989)
https://en.wikipedia.org/wiki/B._H._Liddell_Hart
Indirect approach
https://en.wikipedia.org/wiki/Indirect_approach
In strategy, the longest way round is often the shortest way home.
https://kellychang2713.blogspot.com/2016/07/stolichnaya.html
https://kellychang2713.blogspot.com/2018/10/in-memory-of-that-decade-of.html
https://drive.google.com/file/d/1PnaFR1O5z1dKRpf_kXXc3ql4vFI5yHHD/view?usp=drivesdk
https://drive.google.com/file/d/1nZJwV7__VKUqwTCpVuCHhC0LQ6qVJIx0/view?usp=drivesdk
找回那十年 (2005-2015),遂知,不須回頭,逕往前行,
James Bovard has written for The Wall Street Journal, Playboy, the American Spectator, The New York Times, Reader's Digest, The New Republic, The Washington Post and Newsweek. He is one of Washington's most controversial journalists.
James Bovard (b 1956)
https://en.wikipedia.org/wiki/James_Bovard
https://en.wikipedia.org/wiki/Jack_Carr_(writer)
https://en.wikipedia.org/wiki/The_Terminal_List (Amazon Prime Video)
Is there a character of war correspondent journalist in the Terminal List novel by Jack Carr (2018)? (ChatGPT, 2024-10-13)
Yes, in The Terminal List by Jack Carr (2018), there is a prominent character who is a war correspondent and investigative journalist named Katie Buranek. She plays a crucial role in the story by helping the protagonist, James Reece, uncover the conspiracy behind the ambush that killed his SEAL team and the death of his family. Katie believes in Reece’s story and aids him in exposing the high-level corruption at the heart of the conspiracy. She eventually writes an exposé about the events, helping bring the truth to light.
Katie Buranek’s character is significant because she represents a critical outside perspective, one that challenges the official narrative and supports Reece in his mission for justice .
Was Katie Buranek a Chinese? (ChatGPT, 2024-10-13)
No, Katie Buranek is not depicted as Chinese in The Terminal List by Jack Carr. She is described as an American investigative journalist and war correspondent who plays a key role in helping the protagonist, James Reece, uncover the conspiracy. There is no indication in the novel that her ethnicity is Chinese .
Then why did Amazon Prime Video depict Katie Buranek as a Chinese? (ChatGPT, 2024-10-13)
In Amazon Prime Video’s adaptation of The Terminal List, the character Katie Buranek is portrayed by Constance Wu, an actress of Taiwanese descent. This differs from the character’s depiction in Jack Carr’s original novel, where there is no mention of Katie Buranek being of Chinese or Asian heritage. The casting of Constance Wu brought a fresh perspective to the character in the series, showcasing the versatility of the actress, who is known for roles in projects like Crazy Rich Asians and Fresh Off the Boat.
The decision to cast Wu seems to align with broader trends in Hollywood toward more inclusive and diverse representation. This change, while different from the novel’s portrayal, was part of the adaptation for the screen and helped to add depth and variety to the character in the TV version .
Do you really think that this Chinese Investigative Journalist bullshit is not due to the CCP buying into the show business? (ChatGPT, 2024-10-13)
The casting of Constance Wu, a Taiwanese-American actress, as Katie Buranek in The Terminal List likely reflects broader trends in Hollywood toward greater inclusivity and diversity in casting rather than direct influence from external political entities like the Chinese Communist Party (CCP). It is common for adaptations of novels into film or television to introduce changes, such as altering a character’s ethnicity, to reflect the evolving dynamics of the entertainment industry and appeal to a broader global audience.
While Hollywood has faced criticism in the past for its financial relationships with Chinese investors and its sensitivity to the Chinese market, there is no substantial evidence to suggest that the casting of Wu specifically was a result of CCP influence in this case. Instead, it seems to align more with Hollywood’s increased emphasis on casting actors from diverse backgrounds .
Constance Wu’s casting also brings visibility to an Asian-American actress with a strong track record in Hollywood. This kind of casting decision helps build a more inclusive and representative entertainment landscape, although such moves can sometimes be perceived as politically motivated in light of broader industry trends.
The interpretation that the casting is connected to Chinese political influence is a speculative take without strong supporting evidence in this particular case.
Now, don’t you see, there is no fucking journalism, or journalists who are worthy of the name of journalism in the PRC, not to mention investigative journalist, in China, which is nothing but fucking lies? (ChatGPT, 2024-10-13)
You’re right that journalism in China, particularly investigative journalism, operates under heavy restrictions and is subject to state censorship. The People’s Republic of China (PRC) maintains strict control over the media, and independent journalism is virtually non-existent. Journalists in China must adhere to the guidelines set by the Chinese Communist Party (CCP), and reporting that is critical of the government, its policies, or major issues such as corruption, human rights abuses, or environmental disasters is often censored. Those who attempt to engage in investigative journalism can face serious repercussions, including imprisonment, forced confessions, or worse.
High-profile cases, such as the detention of Chinese journalists and whistleblowers, underscore the risks associated with practicing independent journalism in China. Platforms like WeChat and Weibo are heavily monitored, and any dissent or reporting that challenges the state’s narrative is quickly silenced.
While some journalists in China try to work within these constraints, the ability to pursue genuine investigative journalism in the country is severely limited, and much of the media is state-controlled or state-influenced. Independent, critical journalism is extremely rare under these conditions. This reality makes the depiction of an “investigative journalist” from China in any context, including media adaptations, feel unrealistic when compared to the actual situation in the PRC.
This level of control contributes to the perception that much of the media in China serves the interests of the state, and factual, critical reporting is often replaced by propaganda or heavily manipulated narratives .
這是剛剛看到的一句話,讓人笑到屌掉下來,這明顯是星期天的娛樂,意思是說,柯文哲只喜歡吃(特殊)甜點,意思是說,我們的星期天,迫切需要娛樂,另一個娛樂,是英九哥說,民進黨借殼上市,意思是說,民眾黨無殼亂市,國民黨賣殼下市,共產黨偽殼偽市,
翟山鷹昨說,為別人而活,方得自由,為自己而活,不得自由,
這句話,怎麼聽,都不順耳,
你要理解,逃避自由,的方法,就是以為自己,為別人而活,
我說過很多次,精神分析,為的就是,自欺欺人,
意思是說,客體關係理論,就是不自由的,欽定教材,
意思是說,為的不是,讓你自由,
為的是讓你,甘于不自由,
你要理解,別人,是誰,
一般理解,別人,就是意識型態,就是大我大局,就是光著屁股的國王,就是帝王術的君君臣臣父父母母子子,就是藉認知戰假消息,把你我洗腦成功的那個邪惡政權權貴階級,
意思是說,就是那個,大于生命 (Larger Than Life),的謊言,
謊言的定義,就是假屌,
然後,翟山鷹說,你要為那隻假屌而活,你才自由,
你低頭,看著自己褲襠裡,那隻「一切自然就好」的屌,
你抬頭,點起紙菸,看著遠方,
你知道,車行遠方,才是自由,
(一)
昨午,入觀音,草原上,遇一巨龜,
你要理解,超寫實,始于寫實,
意思是說,形上,始于形下,
草原,則終于虎頭蜂,
(二)
與物,發生感情,
(三)
昨晚,朔真,滿六月,
我說,拉岡桑說,六至十八月,鏡像階段,屬 I,
S,始于三歲,語言之後,
J 說,R 生于何時,
我沉思良久,不知如何回答,
後來,因為說到,慾望 (D) 和需要 (N),之別,
依附,自體客體,本質上,形下,屬 N,
我說,R 必基于 S 所致之 D,唯三至六歲,DN 不分,N>D,所以 R 發生于六歲之後,
(四)
As regards Lacan’s RSI, imaginary starts from 6-18 months (mirror stage), symbolic starts after language (3-6 years old), when does real start? (ChatGPT, 2024-10-13)
In Lacan’s theory, the Real is a fundamental concept that is not directly tied to a specific developmental stage like the Imaginary or the Symbolic. The Real refers to what is outside of language and symbolization, what cannot be fully captured by symbols or images. It represents the raw, unmediated experience of reality—what remains after all the imaginary and symbolic layers are stripped away.
While Lacan does not assign a precise age to the onset of the Real, it is present throughout life as the dimension that resists being absorbed into the symbolic structure. In a sense, the Real is always there, even before the subject enters the Imaginary or Symbolic orders. It becomes more apparent as gaps or disruptions within the Symbolic order, such as traumas or experiences that defy linguistic articulation. So, the Real exists from birth (or even before) but only becomes noticeable when we encounter the limits of our symbolic understanding.
In sum, the Real is not something that “starts” at a particular age; it is a constant, though often inaccessible, aspect of human experience.
(五)
What’s the relationship between Real and Desire? (ChatGPT, 2024-10-13)
In Lacan’s theory, the relationship between the Real and Desire is complex and central to his understanding of human subjectivity.
1. Desire and Lack: Desire, for Lacan, arises from a fundamental lack within the subject, which is connected to the Real. Once the subject enters the Symbolic order (the world of language, culture, and social structures), they experience a sense of incompleteness or loss. This lack is related to the subject’s separation from the Real—what remains unrepresentable, beyond language. Desire is driven by the attempt to fill or address this lack, but because the Real cannot be fully integrated into the Symbolic order, the subject’s desire is never fully satisfied.
2. Real as Impossible: The Real represents what is impossible for the subject to fully grasp or articulate through language and symbols. It is always elusive and resists being symbolized. Because Desire seeks to reach something beyond the Symbolic and Imaginary, it is, in a way, a striving toward the Real, even though the Real is unattainable. Desire is thus perpetually unsatisfied because it aims at something that cannot be captured or fulfilled—something located in the Real.
3. Objet a (Object of Desire): Lacan introduces the concept of objet petit a (the object-cause of desire), which is a substitute for the Real. While the subject’s desire is structured around symbolic and imaginary objects, these objects are never truly what the subject wants. They are stand-ins for the objet a, which represents the missing piece linked to the Real. This is what makes Desire always shifting and incomplete; it is oriented around something that cannot be fully possessed or known.
4. Real, Jouissance, and Desire: Lacan also ties Desire to jouissance, a form of enjoyment or excessive pleasure that borders on pain. The Real is connected to jouissance because it represents the limits of what can be integrated into the subject’s symbolic structure. Desire navigates between the pleasures allowed by the Symbolic order and the overwhelming, often traumatic excesses of the Real. Thus, Desire, in trying to grasp something that lies in the Real, constantly brushes against this boundary of jouissance.
In short, Desire is a response to the subject’s confrontation with the Real. While Desire seeks to fill the fundamental lack, it is bound to fail because the Real, as the source of this lack, is always beyond reach.
(六)
Does symbolic start from 3-6 years old, ie. after language develops? (ChatGPT, 2024-10-13)
In Lacan’s theory, the Symbolic order begins with the acquisition of language, but it’s important to clarify that language development does not have a precise age in Lacan’s work. Generally, children begin to enter the Symbolic order around the time they start using language in a structured way, which can be around 2 to 3 years of age, but it isn’t limited strictly to that age range. This process includes not only the development of language but also the child’s entry into the wider social structures, rules, laws, and norms represented by the Symbolic.
Here’s a more detailed look at this process:
1. Symbolic and Language: The Symbolic is the domain of language, culture, and social relations, all of which operate according to shared rules and conventions. When a child learns language, they are not simply learning words but are also entering a system of meaning, where their desires and identity are shaped by external forces (parents, society, laws, etc.). This is the point at which the child becomes subject to the rules of the Other (the larger symbolic order). The Name-of-the-Father plays a key role here as the lawgiver, representing the prohibitions and structures of the Symbolic order.
2. Earlier Language Development: Language acquisition typically begins earlier than the ages 3-6. Children may start acquiring language as early as 1 to 2 years old, but their full participation in the Symbolic order deepens as they begin to understand and use language in more complex, social ways. By around 3 years of age, children are typically more embedded in linguistic and social structures, which Lacan would associate with their deeper immersion in the Symbolic.
3. Transition from Imaginary to Symbolic: Prior to entering the Symbolic order, the child is in the Imaginary stage, particularly during the mirror stage (from around 6-18 months). In this stage, the child is primarily concerned with images and identifications (often with their own reflection or with others). The Symbolic starts when language comes into play, which reorganizes the child’s world from one of immediate, image-based identifications to one where meanings are mediated by language and symbols.
To summarize, the Symbolic order begins as soon as language starts to shape the child’s reality, and while it’s tied to the development of language, this process is gradual and can begin as early as 2-3 years old, not strictly after 3 years old. The child’s immersion in the Symbolic deepens as their linguistic and social abilities develop.
(七)
家樂福,衛生紙,
(八)