One important staple crop has been largely forgotten from both agricultural and rural history: the humble potato. First imported from South America to Europe in the latter half of the sixteenth century, for the first couple of centuries it was considered exotic eating. It quietly became increasingly important during the eighteenth century, and is now widely credited as the food that enabled the population boom in much of Europe in the nineteenth century.

For several years from 1845, a fungus-like organism late blight caused widespread crop failure in the poorer parts of Ireland, Scotland and elsewhere, causing the Great Irish Famine, with at least a million dying from starvation.

The potato is unusual for storing large amounts of starch in its tuber. Although starch is only about one fifth of the potato by weight, the remainder being water, it came be the staple food for much of the working population, in both country and city. Overton has calculated using estimated crop yields from the early nineteenth century that an acre of potatoes would have provided about 2.5 times as many calories as an acre of wheat.

Like wheat, growing potatoes is a process of amplification. Tubers from the previous crop are sown in the ground, and multiply to yield many times the weight originally sown. Production is thus not dependent on conventional seed, but on seed potatoes with a more limited life. If a whole crop is destroyed by blight, not only is there nothing to eat that year, but the seed potatoes for the following year are also lost. Blight remains in the soil, and once affected that land has to be used for crops other than potatoes.

However, potatoes had other advantages in a war-torn and taxed Europe. While troops rampaging in foreign countryside would often raid or burn fields of grain, damaging or stealing potatoes proved more resistant to invaders. They were also likely to escape taxes or charges levied on other arable crops.

During the eighteenth century, labourers fortunate enough to have a little land they could farm for themselves started to grow potatoes, to supplement their limited diet. Small potato patches sprung up in the countryside, and around towns. Production at scale remained unusual until the following century, when some English counties including Lancashire and Middlesex devoted significant areas to supply the growing cities. That in turn depended on transport such as canals and then railways to deliver sacks of potatoes to urban consumers.

When Vincent van Gogh was living in Borinage in Belgium, he was among labourers whose staple food was potatoes, in one of the areas that had grown them for longer than most. His Still Life with Potatoes, painted in September 1885, is his tribute to the humble vegetable.

Potato production was painted extensively by social realists including Jean-François Millet, in the middle of the nineteenth century.

Millet shows this back-breaking work in his Potato Planters from about 1861.

The Potato Harvest from 1855 is another more substantial work developed from Millet’s drawings. In the foreground, a man and woman are working together to fill sacks with the harvested potatoes, to be loaded onto the wagon behind them. The other four work as a team to lift the potatoes using forks and transfer them into wicker baskets, a gruelling task. Although the fields in the left distance are lit by sunshine, the dark scud-clouds of a heavy shower fill the sky at the right. Being poor, none of the workers has any wet-weather gear. The soil is also poor, full of stones, and yields would have been low despite the full sacks shown at the right.

Millet’s most famous single work, The Angelus, was completed around 1857-59. This had been commissioned by the American collector Thomas Gold Appleton, as Prayer for the Potato Crop, but underwent modification before Millet renamed it. At some stage, it’s thought to have included a child’s coffin, but that was overpainted.

It shows a couple, praying the Angelus devotion normally said at six o’clock in the evening, over the potatoes they have been harvesting. It’s dusk, and as the last light of the day fades in the sky, the bell in the distant church is ringing to mark the end of work, and the start of the evening. Next to the man is the fork he has been using to lift potatoes from the poor, stony soil; his wife has been collecting them in a wicker basket, now resting at her feet. Behind them is a basic wheelbarrow with a couple of sacks of potatoes on it, ready to be taken home.

Twenty years later, Jules Bastien-Lepage painted what’s now sometimes known as October or Potato Gatherers (1878), but was originally shown as October: Potato Gatherers.

Vincent van Gogh painted Woman Lifting Potatoes (1885) and similar scenes during his time living with his parents in Nuenen, in North Brabant, the Netherlands.

János Pentelei Molnár’s The Potato Harvest from 1901 takes this theme into the early years of the twentieth century, in Hungary.

Laurits Andersen Ring’s A Man Digging Potatoes from 1901 is pure social realism, as this smallholder uses his spade to lift the potatoes that are his staple diet. I believe that the plants shown here have suffered from potato blight, which also swept Europe periodically causing more famine and death.

Although the girls shown in Léon Frédéric’s Three Sisters from 1896 are clean and well dressed, they’re sat together peeling their staple diet of potatoes in a plain and barren farmhouse. A glimpse of the shoes of the girl at the left confirms that they’re neither destitute nor affluent.

Vincent van Gogh’s The Potato Eaters (1885) is another revealing insight into the lives of poor labourers in Nuenen, who are about to feast on a large dish of potatoes under the light of an oil lamp.

Émile Friant’s The Frugal Meal (1894) continues the social theme, as a poor family with four daughters sits down to a meal consisting of a bowl piled high with potatoes, and nothing else. More worryingly, the pot on the floor at the left is empty.

Further reading

Christopher Shepherd’s brilliant essay on the history of the potato in The Oxford Handbook of Agricultural History (2024), ed. Jeannie Whayne, Oxford UP, ISBN 978 0 19 092416 4.

The first twenty or so chapters of Miguel de Cervantes’ groundbreaking modern novel Don Quixote consist of a series of largely self-contained comic misadventures. After the knight and his long-suffering squire Sancho Panza release a group of convicts, they fear for their safety, so head for the mountains. Once there, events become more interrelated and complex, presenting even greater challenges to those who tried to paint them in standalone works, rather than illustrations accompanying the text.

The pair find a hoard of gold coins apparently abandoned with a notebook in a travel bag. Then Don Quixote catches a glimpse of a man leaping around the bushes half-naked, and suspects that he’s the owner of the bag and its coins. A little way around the hillside, they find a dead mule whose owner they think had carried that bag.

This scene must have fascinated the French artist Honoré Daumier, who painted a series of oil sketches of it in about 1867.

In the first, the knight leads his squire towards the dead mule.

This rough oil sketch shows them drawing even closer.

Sancho Panza and Don Quixote in the Sierra is more generic, and omits the dead mule altogether.

A little later, Sancho Panza’s donkey is stolen, so the knight dispatches him on his own horse Rocinante to obtain three replacement donkeys, and deliver a letter to the Lady Dulcinea, Quixote’s semi-imaginary ‘lady’ of his chivalric quests. Meanwhile, the knight laments and feigns madness for the lady. Panza meets their village priest and barber, and they agree to deceive Quixote in a bid to persuade him to return to the village for his madness to be treated.

As the three head back towards Don Quixote, they meet Dorotea, who had previously been tricked and seduced. She agrees to dress up as a fine lady and pose as Princess Micomicona, who purports to have come all the way from Guinea to ask a boon of the knight.

Pedro González Bolívar’s painting of The Introduction of Dorotea to Don Quixote from 1881 shows their meeting. Without that background information, this would prove impossible to read.

Don Quixote is persuaded to leave the mountains and return home with them, but that’s the start of another series of misadventures. During these, Dorotea’s true identity is revealed, and at dinner Don Quixote gives a long and impassioned speech in which he argues surprisingly rationally in favour of the pre-eminence of arms over learning.

This is recorded in Manuel García Hispaleto’s painting of Don Quixote’s Speech of Arms and Letters from 1884. Sancho Panza stands immediately behind the knight, at the head of the table, on the right. Seated along the table’s length are a man who has just arrived from Algiers with a Moorish woman, the village priest, and others.

Don Quixote’s madness only continues, and eventually he has to be bundled into an oxcart and taken home.

On a Sunday when all the locals are out in the square, the oxcart bearing Don Quixote enters his village at noon, as shown in Hippolyte Lecomte’s undated Don Quixote’s Homecoming. At the left, Don Quixote’s niece or housekeeper holds her hands up in horror at his condition. To the left of the cart are the priest and barber, still mounted. Sancho Panza is riding his donkey, and has been greeted by his wife and their children, who are more interested in how many fine skirts he brought back for her, and how many pairs of shoes for their children.

The priest and barber leave Don Quixote alone to recover for a month after their return, then reassess him, as shown by Miguel Jadraque in this Visit of the Priest and Barber to Don Quixote from 1880. Don Quixote is becoming animated with them as he sits up in bed. In the left background are the knight’s niece and housekeeper, praying in vain for his recovery.

Don Quixote and Sancho Panza then leave on their third sally, which first takes them on a futile mission to El Toboso in quest of the Lady Dulcinea. After that, they head towards the city of Saragossa, and meet a cart full of players in costume, who create mayhem.

Carlos Vásquez Úbeda shows this encounter in his undated painting of Don Quixote. At this stage, the pair are still on their mounts, but shortly afterwards a clown causes Rocinante to bolt and throw Don Quixote, and one of the other players rides off on the squire’s donkey. For once, Sancho manages to persuade his master not to retaliate, and they continue on their way without coming to grief.

Later, they meet a group from a village, and are invited to attend a wedding there the following day.

The wedding brings an elaborate deception in which the bride’s first suitor appears to impale himself on his own sword so that he can marry the bride as his dying wish, but then miraculously comes back to life, to cheat the groom from marrying the bride as had been expected. Manuel García Hispaleto’s painting of The Marriage of Basilio and Quiteria from 1881 shows the priest officiating in the centre, as the bride to the right is married to the dying suitor, who is supported by Don Quixote with his lance. The groom stands at the front of the tent at the right, staring in disbelief at what’s going on.

The newlyweds entertain Don Quixote and Sancho Panza for three days, enabling them to visit the Cave of Montesinos and the Lakes of Ruidera nearby. Gustave Doré, whose illustrations for the whole book have been used by others as the basis for further illustrated editions, painted this non-narrative scene of Don Quixote and Sancho Panza Entertained by Basil and Quiteria in about 1863.

In the middle of Cervantes’ second book of Don Quixote, the knight and his squire Sancho Panza become guests of a Duke and Duchess who had already read Cervantes’ first book, and set out to trick the pair into further comical misadventures. Soon after their arrival, the Duke’s chaplain asserts that Don Quixote isn’t a knight errant at all, causing the knight to deliver a searing riposte.

Out of the blue, maids arrive to wash and lather the knight’s beard, and that of the Duke, in a procedure that defuses a tense situation by transforming it into the absurd. Columbano Bordalo Pinheiro’s painting of Don Quijote in the Duke’s House from 1878 shows this bizarre moment, with the rotund figure of Sancho Panza at the left, the gaunt Don Quixote in the centre, and the Duke and Duchess seated at the right, in obvious amusement.

Although Cervantes had completed Don Quixote in 1615, and it quickly became popular across Europe, it appears to have been painted infrequently before the nineteenth century. Only Valero Iriarte seems to have painted its comical adventure stories in the previous century. Although Eugène Delacroix painted the non-narrative Don Quixote in his Library in 1824, Cervantes’ novel was generally ignored by the major narrative artists of the nineteenth century, who continued depicting mostly classical myth.

These paintings demonstrate how modern fiction can form the basis for successful narrative painting, even though that has remained unusual.

Few cities in Europe have been painted as much as Venice, with its distinctive canals and other waterways. First popularised by Giovanni Antonio Canal (1697–1768), better known as Canaletto, a native of the city whose vedute (views) sold so well to rich tourists undertaking their Grand Tours during the eighteenth century, they had faded by the start of the nineteenth.

In this series of four articles, I show how they were revived in the paintings of visiting artists, and played important roles in the development of twentieth century art. We start today with an English painter who was only twenty-three years old, and was to die within two years: Richard Parkes Bonington.

On the Grand Canal (1826) is a brilliant plein air oil sketch painted from a boat, showing the entrance to the Grand Canal, which snakes its way through the centre of the city. Bonington has removed one of the palazzi, but otherwise appears faithful to the motif.

Riva degli Schiavoni, from near S. Biagio (c 1827) shows the San Marco basin from the Arsenal traghetto, near the south-eastern entrance to the Grand Canal. Although only a small watercolour, Noon considers it was painted well after Bonington’s return from Italy.

Ducal Palace with a Religious Procession (1827) was apparently painted in late 1827 for James Carpenter, from graphite studies Bonington had made during his visit in 1826. Painted on a white ground, it unfortunately underwent severe shrinkage, and was extensively retouched as a result. However, it was generally very well received at the time, despite the liberties taken with its representation of the view.

Grand Canal, the Rialto in the Distance – Sunrise (1828) is one of Bonington’s finest oil paintings, made in the studio from graphite and other sketches from 1826. This painting has quite commonly been described as showing sunset, but as the view faces almost due east, must have been set in the early morning.

The Grand Canal Looking Toward the Rialto (1826), painted on millboard, may have been started en plein air, but appears to have been completed later in the studio, when Bonington had returned to Paris, which may account for the difference in hues in the sky. By the summer of 1828, Bonington was back in London, where he died of tuberculosis at the age of only twenty-five.

Between 1838-1848, the English traveller, writer and painter Edward Lear lived in Rome, making occasional visits to Britain. This quick plein air watercolour sketch of Venice, the Doge’s Palace is undated, but may well have been painted during this period.

JMW Turner paid many visits to Venice, where he painted some of his most radical landscapes.

Although Turner wasn’t particularly consistent in his reflections, at his most faithful he remains accurate in this famous view of Campo Santo, Venice from 1842, where reflected sails appear angelic in form.

Turner’s clouds and buildings in The Dogano, San Giorgio, Citella, from the Steps of the Europa, from the same year, have a similar softness in form typical of his later oil paintings.

John Ferguson Weir visited the city in 1868, following which he painted The Grand Canal, Venice (1869) in the studio, probably when he was back in the USA in the autumn of the following year.

Next Sunday, I’ll show paintings from the closing years of the nineteenth century, when Venice became even more popular.

As Ovid approaches the midpoint of Book 8 of his Metamorphoses, he has just left Daedalus burying his son Icarus after their flight from Crete went tragically wrong. He then relates one of the greatest stories of the period, of the Calydonian Boar Hunt, which he tells with wry humour, lightening its gruesome events.

With the Minotaur dead, and Daedalus welcomed to Sicily, Theseus was sought to bring help to Calydon, a city in southern Greece that was being plagued by a wild boar as big as an ox, the vengeance of Diana. Calydon’s king Oeneus had paid oblations to most of the deities, but not to Diana, so incurring her wrath. Ovid provides a vivid description of how the beast was destroying crops and livestock in the area surrounding the city.

A long list of heroes were summoned to hunt the boar: Theseus brought Pirithous with him, Telamon the son of King Aeacus came, Meleager from Calydon itself, and more than a dozen others. With them came a plainly dressed young woman, Atalanta, to whom Meleager took an immediate fancy.

Their departure is shown in The Hunt of Meleager and Atalanta (c 1634-39), dubiously attributed to Nicolas Poussin. The procession of heroes, some on horseback, others on foot, makes its way out into the Calydonian countryside. It’s easy to spot Atalanta who is wearing a plain blue robe, holding her bow, and riding a white horse, towards the right. There are two statues behind: on the right is Pan with his pipes, and in the centre is Diana, cause of the problem, with the skull of a boar shown on the tree behind.

The hunters travelled to dense ancient woodland to trap the boar, where they laid their nets, released their dogs, and set about trying to track their quarry. They found the boar at the boggy bottom of a deep gully, from where he rushed at them. Several threw their javelins, but none hit the beast, who promptly charged at the men, goring several of them fatally before disappearing into a dense thicket.

Telamon tripped over in his pursuit, and as he was being helped up, Atalanta loosed an arrow that grazed the boar’s back and buried itself into the animal’s head just below the ear. Meleager praised her for this first success.

Ancaeus then boasted how his weapons would surpass those of any woman, and raised himself to bring his double axe down on the boar. The beast gored and disembowelled him before he could strike. Pirithous threw his spear only to strike the branch of a chestnut tree, and Jason’s javelin impaled one of their dogs, pinning it to the ground.

At this stage, the efforts of the heroes had been at best amateur, if not farcical. It was now up to Meleager, whose second spear-shot struck home in the boar’s back, allowing him to finish the beast off.

Peter Paul Rubens and his workshop painted several different accounts. The first appears to have been The Calydonian Boar Hunt, in about 1611-12, now in the Getty. Here Meleager is just about to finish the wounded boar off. Atalanta’s arrow is visible by its left ear, and the body of Ancaeus lies just behind Meleager’s left foot. The wall of horses behind the boar, and the crowd of hunters behind Meleager, including Atalanta in blue, frame the combatants in the foreground, with some spears directing the gaze at a visual centre of the boar’s snout.

A few years later, in about 1618-19, Rubens reworked his composition in this marvellous study of Meleager and Atalanta and the Hunt of the Calydonian Boar. This shifts the visual centre closer to the geometric centre, and brings the gaze in using a greater range of radials. It also gives Atalanta a more active part, as in Ovid’s text.

Rubens’ finished result is The Hunt of Meleager and Atalanta probably from around 1618-20, now in Vienna. Meleager has aged slightly, and the boar rests its hoof on the body of Ancaeus. Radial lines of spears are augmented by a dog and some human figures, and the centre of the painting now includes a landscape, with bright sky used to emphasise the visual centre. It also seems to show not just Atalanta at the right hand of Meleager, but two other women behind her, and possibly another in blue robes on a horse just above the middle of the painting.

Meleager stood, one foot on the boar’s head, and gave his prize to Atalanta, to share the glory with him: he delighted her by giving the young woman the boar’s skin and head with its tusks as large as an elephant’s. But the two sons of Thestius objected to this, and took Meleager’s gift, enraging him, who promptly killed them both with his sword, leading into the next story.

With the boar now dead, Jacob Jordaens shows Meleager and Atalanta (1620-50) allocating the best part of the prize, the boar’s head. This is raised high above the couple at the right. On the left, though, the two sons of Thestius look incredulous, and are just about to refute Meleager, and take the head from Atalanta.

Rubens and his workshop’s Meleager Presents Atalanta with the Head of the Calydonian Boar (before 1640) prefers a more private award by Meleager. The couple are here alone, apart from an inevitable winged cupid, and a goddess, most probably Diana, watching from the heavens. Meleager stands on the forelegs of the dead boar, and his spear behind is still covered in its blood.

即使没有用过，你也很可能对外网的热门拍照社交平台 Snapchat 有所耳闻。

这个拍摄平台以搞怪和丰富的动态滤镜闻名，算是 AR 技术的一种早期应用形式。

它的开发商 Snap 公司野心不仅仅在于做一个热门应用。2021 年，这家公司推出了首款 AR 眼镜——第四代 Spectacles，成为该领域的先锋。

而在近日举办的 2024 Snap 全球生态合作伙伴大会上，Snap 带来了第五代 Spectacles 智能眼镜，也是第二代 AR 眼镜。

这不仅是一个比上一代更好用的 AR 设备，还是一个面向未来的 AR 软件+硬件平台。

更好的 AR 眼镜

前三代的 Spectacles 眼镜主要还是一个自带摄像头、能发 Snapchat 短视频的眼镜「时尚单品」，采用了多彩的镜框和圆形的镜片，看起来就像一个度假用的墨镜。

正式进军 AR 领域的第四代 Spectacles 眼镜一改活泼的外观，看起来相当严肃：厚厚的黑色镜框，以及棱角分明的镜片，像是一个更具份量的 3D 眼镜。

全新的第五代 Spectacles 大体延续了这一设计语言，只是总体要更圆润，眼镜柄要更粗。

虽然造型不如苹果 Vision Pro、Meta Quest 等头显设备那么夸张，但戴在头上，还是会因为太大而显得有点不协调。

226 克的重量也不算轻，相当于将一台国产大折叠手机挂脸上，比上一代的 134 克足足重了将近 70%。

大幅增重带来了更多的功能。上一代仅支持手势操作，这一代不仅新增了语音输入，还能在手机上安装 App 进行联动，不过依旧不支持眼动追踪，也不支持音频播放。

用户在手机上安装 Snapchat 应用后，就可以把手机当作 Spectacle 的「手柄」，可以用来当作直升机游戏的操纵台，或者高尔夫模拟器中的球杆。

除此之外，没有佩戴眼镜的用户，也可以通过手机摄像头，看看对面戴着眼镜的小伙伴在对着空气做什么了。

上一代被诟病的续航也有了增加，从 30 分钟提升到 45 分钟，虽然提升幅度高达 50%，但依旧不算是优秀的水平。

不少外网评测者还提到一个喜闻乐见的升级：第 5 代 Spectacles 发热对比上一代大大减少。The Verge 表示，即使带它到气温三十多摄氏度的洛杉矶市区，眼镜也不会像以前那样因为过热崩溃了。

作为一个用来看的设备，新一代 Spectacles 最重要的提升是显示的视野范围大幅提升，从 26.3 度提升到 46 度的对角线视野，相当于距离 3 米的距离看一块又长又窄的 100 英寸（2.54 米）屏幕。

考虑到用户已经把接近半斤重的设备夹在了脸上，这个大小其实是远远未能满足需求，跟苹果 Vision Pro 在现实世界变出 IMAX 大屏的效果比，更是相形见绌。

The Verge 尝试用 Spectacles 玩模拟高尔夫游戏，出来的效果很难称得上「未来感」。

不过，眼镜形态的 Spectacles 的一大优势是不需要通过摄像头捕捉外界环境，也不会遮住眼睛，和现实世界以及身边人没有那么强的「断连」感，因此也很适合协作。

CNET 评测者和一名 Snap 团队的成员尝试了使用 Spectacles 进行协作，眼镜可以识别附近的另一位佩戴者，然后进行体验的共享，并且还会利用多个摄像头，把房间扫描成一个混合现实的网格。

具体体验而言，即使是酒店环境这种小环境，两台眼镜之间的连接也不够实时。Snap 的目标是将连接体验拓展到更大的环境，例如户外，美术馆，或者展览会场。

面向未来的 AR 平台

和第五代 Spectacles 眼镜一起发布的，还有其搭载的全新「Snap OS」操作系统。

Snap OS 和 Vision Pro 上的 visionOS 类似，有一个在用户手上展开的主菜单界面，用户通过手势或者语音打开各种各样的应用。

Snap 希望借助这个操作系统，吸引更多开发者为 Spectacles 平台开发 AR 应用，特别是能够协作、共享体验的 AR 应用。

Snapchat 应用有一个名为「Lens Studio」的创作平台，主要用于滤镜的开发。而全新的 Lens Studio 5.0 平台，则增强了 AR 开发能力。

开发者不仅可以跳过繁琐的编译环节，快速将项目推送至 Spectacles 眼镜，还能使用官方的 Spectacles 交互工具包快速构建应用体验，而不是从零开始设计软件交互。

Snap 机器学习（SnapML）平台还允许开发者直接在应用中使用自定义的机器学习模型，来识别、追踪和增强物体。

对于这些 AR、VR 或者 XR 平台来说，内容和应用是始终绕不开的坎。苹果通过和多家应用和应用提供商联手，并直接支持 iPad 的海量应用，尽可能让这个新生的平台快速成熟。

Snap 也走了类似的道路，和其他品牌合作推出了应用体验，比如乐高官方的「BRICKTACULAR」游戏，允许用户一起搭积木，未来还会有《星球大战》IP 的更多内容。

除此之外，Snap 比苹果 Vision Pro 和 Meta Quest 走得更远，愿意为大模型开发者提供比较敏感的摄像头、麦克风的权限，让他们为 Spectacles 添加多模态大模型，直接看用户所看，听用户所听。

Snap 本身也和 OpenAI 合作，Spectacles 集成了自家基于 ChatGPT 打造的「My AI」聊天机器人， 也引入了 OpenAI 的多模态 AI 模型。

CNET 测试了一下 Spectacles 的 AI 功能，尝试生成一些「3D Emoji」，发现机器人反应比较慢，也不能总是清晰理解用户的要求。

Spectacles 的提供方式类似订阅制，开发者计划需要每个月 99 美元（折合人民币约 702.16）的费用，并且需要一次订阅一年，也就是一次需要缴费 1188 美元（折合人民币约 8425.89 元），停止订阅后，需要将眼镜寄回 Snap 公司。

除了这个方案之外，Spectacles 不对外销售，普通消费者无法在市场买到这款产品。

也就是说，对于开发者来说，他们不仅需要支付高昂的费用测试 Spectacles 软件，短期内也无法收到来自用户的反馈，更不用提收入转化。

关于 Spectacles 对开发者的吸引力，Snap CEO Evan Spiegel 的看法是这样的：

我认为这与开发人员对早期台式计算机或早期智能手机真正兴奋的原因是一样的。我认为这是一群有远见的技术专家，他们对未来感到非常兴奋。

在 Snap 预想中， AR 生态构建是一个十分长久的过程，Spiegel 认为，在这个世纪的末尾，Spectacles 才会成为一项真正有意义的业务。

从这个设计不够轻便简洁，显示效果还比较局限，生态依赖开发者积极性的第五代 Spectacles 来看，Snap 确实还有很长的路要走。

但或许他们要进一步加快脚步了。Meta 有望在下周推出全新智能眼镜产品，CEO 扎克伯格声称，这将是一副「无可挑剔」的 AR 眼镜。

根据彭博社 Mark Gurman 的爆料，苹果 Vision 团队正在继续试验几种不同的穿戴式 VR/AR 眼镜产品，其中一款类似 Ray-Ban Meta 的智能眼镜。

实力和资源都要更强的玩家在后面追赶，曾经的领头羊 Snap，或许需要拿出比目前更好的产品和方案。

#欢迎关注爱范儿官方微信公众号：爱范儿（微信号：ifanr），更多精彩内容第一时间为您奉上。

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点击这里到 bilibili 观看视频

这期视频是一期比较随性的闲聊，主要从产品、设计、混合现实三个角度，谈谈我对 Apple Vision Pro 这款产品的看法。因为几乎都是独白，所以也可以当作一期 podcast 来收听。

以下为文字大纲：

先说我的观点：苹果选择了一条更艰难的路线。但只要「不做缸中脑」的价值观继续贯彻，这款产品的生态和迭代就是非常值得期待的。但是，它不会取代iPhone，它的目标也不在此。从它的产品定义来看，恐怕还有一个更大的 one more thing 在等待发布。

关于产品

1、不是VR！太好了！

2、之前的预测基本都对了：一体机、眼手控制、层与深度的交互、空间建模、空间音频、LiDAR 人脸建模。技术路径的连贯性。我之前说 M2 芯片单独划出了图形引擎，可能是有手势操作的考虑。但当时我还觉得，可能得要到 M3 才会实装，那是我低估了苹果，从各方体验的反馈看，M2 处理手部操作已经非常强悍了。这样子的话，M3 就真的不着急了。

3、从各方体验的反馈来看，初代产品的完成度非常高。但第一代产品很显然不是面向消费者的，从售价和硬件配置来看，都是给开发者的入场券：「想在下一个时代展示你的才华吗？加入我们的开发平台吧！」所以，买不起没关系，因为不用买。虽然，它有初代 iPhone 的感觉了，但很多人不免怀疑是不是要等三四代以后才堪可用？我到觉得不用那么久，因为软硬件的完成度已经是接近 iPhone 4 的状态了，也就是说，它先奠定了空间交互的完整逻辑和操作体验，硬件也足够强大。要知道，iPhone 初代除了大屏幕和多点触控，几乎没有一样拿得出手的东西，但它的交互设计改变了整个时代。所以 avp 剩下需要做的，就是把软件生态做起来。以苹果今天的开发者号召力，软件神态会比 iPhone 初代更快达到 4 代的状态，这个过程会更短。

4、发布会时，我第一处惊讶的地方，外部屏幕显示实时的眼神：你看着它，它也在看着你，实时计算双方关系。之前的观点：空间重建，让设备认识世界。因此设备下方有大量摄像头，用于捕捉用户手部的精细动作，这种程度的认识现实世界，是 avp 空间交互的基础。

5、我之前说过，头显设备不会替代手机，它的续航、应用场景、对空间的要求以及使用方式，都不会是一台手机这样的随身电子设备。这一点，我们从后续的官方设计原则上也能看到苹果对这件事的理解。人是在室内、坐着使用的。因此续航在现阶段并不是问题，它可以连接常电来使用，和我们的任何一台桌面显示器一样。苹果甚至不建议开发者去设计界面还原的操作，因为它们直接在系统内处理好这件事，你换个座位、换张沙发、换张床后，设备自己识别环境来让你视野内的界面回到合适的位置上。

6、官方设计建议，移动时从沉浸空间中淡出，稳定下来后再回到沉浸空间，这也是官方在主动表达，坐下来、在固定的空间内使用。一方面，这是创造沉浸感的条件，另一方面也是考虑到人身安全，在虚实结合的环境里快速地移动或手舞足蹈是很容易弄伤自己的。因此，我们在用现有的 vr 产品时都会有划定安全区这个操作。

7、杀手级应用？很多人说「3D照片/视频」，但我不觉得这个有足够的吸引力。它确实可以提供新的、生动的体验，但要成为「杀手级应用」，需要足够的便利条件。手机摄影之所以可以动摇传统摄影，是随身携带和随时按下快门。但 avp 的拍摄，更类似无人机视角，是一个你需要这样的视角时，才会需要的东西，它不够便利，不够快。avp 真正的的杀手级应用一定不会在一年内出现，甚至是上市后的一年内也不一定有，它需要开发者和时间一起酝酿和探索。况且，比特与原子的融合，还需要很多后台的工作来完善，比如更大的世界模型，或者催生出新的需求场景。总之，独属于这个平台的杀手级应用，一定诞生在基础建设更完善的时机。

工业设计和交互设计

1、现有产品的大融合吗？在我看来，它更像加大号的 aw：如出一辙的曲面玻璃盖板，复杂的曲面贯穿铝合金机身和玻璃，有机的整体轮廓搭配编织物绑带，贴身部分全部由织物和硅胶材质构成。这就是苹果这几年做手表和耳机的过程中总结下来的，穿戴数字产品的设计原则。avp 上的所有细节，都能在 aw 和 app 上找到对应的处理方案。

2、可以说，继铝合金后，另一个材料探索的方向：织物。亲和力、强韧、富于变化，很适合穿戴式计算设备的设计。这类材料是传统工业设计师并不熟悉的，通常只有部分家具设计师和家纺类产品的设计师会接触到。但是要注意一点，编织物是一种复合材料，它不仅不是塑料、金属这类单一实体材料，它甚至可以是不同种类材料的混合编织，因此可探索的边界，以及可变化的范围，是具有很大想象空间的。这类材料师师会比我了解，看看她有没时间出些视频给大家讲一下这类材料的设计。许多年前的宝马概念车和“大白”，都是柔性材料在科技领域很好的启发。我觉得，这是苹果在工业设计上的进一步探索，也将会带来产业链上的变化，类似氧化铝合金的普及，设计师和产品经理可以关注。

3、所有界面片层化、小组件化，所以小组件可以交互了。在分析灵动岛那条视频里我就说，它是中间交互层在 Face ID 上的具体结合。现在再看 avp 的交互，尤其是应用边缘的交互菜单，是不是很自然地从已有的交互习惯转移到新的空间交互里来了？

4、与 iPhone 初代的拟物化界面类似，AVP 采用了和现在 Mac 一致的界面布局和风格，帮助用户和开发者尽快适应新的空间交互。但是，界面风格其实从 iOS7 开始就固定了，毛玻璃一方面是让界面与环境保持良好的光照、氛围的互动，也能让更多层的展开显得自然。值得注意的是，在设计时，设计师和开发者不需要自己做出立体的分层效果，只需要做好平面的分层，毛玻璃的立体分层效果，是系统来处理的。这些协助和预设不起眼，用户也不会注意到，但对于开发者来说是非常有帮助的，它们不仅规范了所有应用的整体品质，也减轻了开发工作量，让更多人愿意为这个生态去做更多的尝试和探索。这也是护城河的一部分。

5、一个细节：设计原则中建议，层窗口不应跟随视线，而是锚定在现实中的固定位置。换言之，作为设计师和开发者，是可以选择跟随或锚定的。据我了解，把虚拟物品和界面锚定在现实中，是一项比较复杂且难度较大的技术，非常容易因为抖动而破坏沉浸感。这是由于细微误差的累积造成的技术问题。我们目前不知道苹果的技术实现方式，但如果明年上市时看到的确实是稳稳锚定的界面，那这背后的技术储备其实是相当深厚的。

6、观看的内容放大放在远处，操控的部件放在近处并且较小。这里用到了一个符合直觉的设计逻辑：电影、模型、网页这些被观察的对象，应该与人保持距离，和显示屏一样，而操控部件应该在离手较近的地方，方便你的视野锁定并操作，和键盘鼠标触控板一样。

7、苹果对层级的设计有建议，新元素出现时，已有界面和元素应该向后退一些，确保主次关系，保证良好的视觉重心体验。但这个尺度所以所有开发者来说都是比较难把控的，后续的设计规范中应该会有系统层面的自动化方案，不需要设计和开发去重新考虑。

8、设计建议中有一项比较值得注意的，是声音。苹果说你可以让界面的声音从前方传来，也可以四面八方，或者某个指定的角度，这取决于你的应用怎么使用、怎么设计。这一点之所以要重点关注，不仅仅是它有空间音频，更重要的是在空间计算的设备中，声音其实已经是整个UI的一部分了。你对应用的体验、理解，以及交互，都将与空间中的声音紧密相关。因此，参与了这款产品开发的苹果前员工也在推上强调，声音的体验是极少人关注、但极为重要的事情，而这款产品会给人巨大的惊喜。我想，所有设计师和开发者都应该注意这件事。

9、通过最简短、清晰的标签和符号，指引人离开、退出。这不仅仅是 UI 规范的事。因为在沉浸空间内，指引不明确是会比操作电脑、手机，更容易感到困惑、惊慌或愤怒的。在你想离开时，眼睛看向标签，锁定，确定，这种确认方式既符合直觉，也给了人可以随时退出的安全感。

10、因为选定完全依靠眼球追踪，所以为了确保准确度，苹果在设计规范中也提到，按钮的实际可控面积是比按钮本身的面积更大一些的。这里我要补充一点，人眼的活动本身并不是完全线性的，在慢速运动时，其实是一顿一顿的，只是大脑算法弥补了这种抖动。因此，在盯着界面看的时候，人眼实际上就处于这种慢速抖动的状态，眼动追踪也会检测到这种眼球抖动。所以，无论是因为算法矫正，还是优化选择容错率，这种选定范围大于实际面积的设计原则都是必须的。这在触摸屏的交互上，也是很常见的规范。但苹果规定一个按钮至少要保证 60 像素的面积，那就是说，它的眼动锁定范围的极限，大概就是在 60 像素这个区间左右。这一点，在推远玻璃面板时，会自动放大的轮廓也有所体现。因为如果跟随距离缩小，会导致后层界面的交互精度下降，造成系统不可用的问题。至于选定具体文字的精准操作，根据前员工的披露信息，我个人猜测，是由传言中的「眼部脑机接口」的「读心术」来辅助完成的。这件事可以以后再跟进确认。

疑惑

1、交互的力反馈怎么处理？对体感游戏很重要。会有单独的游戏配件吗？

2、混合现实游戏的玩法：不是复原现实游戏，应该是现实中玩不到的玩法，比如巫师棋、游戏王。这样的话，其实也不需要力反馈了。

我对于 XR 的一些看法

1、选择了「不做缸中脑」的价值观，很棒！

2、增强现实和人的链接，是融合，不是制造一个虚拟世界代替。iPhone X 发布的时候，我曾写文章说，需要有边框来界定虚拟和现实的边界，因为沉浸感越强越需要清晰的退出机制，人才会有安全感，才更愿意用。这是交互设计要死守的底线。果然，苹果选择用数码表冠来切换融合程度，而且，这是一个实体旋钮，是唯二的实体操控部件之一。可想而知，其优先级和对交互体验的重要程度。

3、因此，是「多一个」，不是替代关系。但说实话，我对人性没有那么乐观，当其生态足够完善后，肯定会有多数人主动选择待在里面的世界。届时，不仅仅是手机被替代，而是连同电视、电脑、大房子、电影院、足球场这些东西，统统都会被吸引这个黑洞里。

问题来源：苹果或将在 2025 年推出触摸屏 Mac，此前其一直抵触触摸笔记本设计，如何解读这一改变？

我的观点是：

媒体们捕风捉影的思路错了，克雷格可没有说是什么形态的 MacBook 啊。

我们假设苹果真的要推出触摸屏笔记本，那么：

1、手臂悬空地在屏幕上点点划划，这是人体工学的死穴，体验极差，所以触摸屏的笔记本一定需要搭配外翻折的结构，折过去变成平板电脑才堪可用；

2；苹果自家目前有着全球最好用、市占率最高的平板电脑 iPad，那么一个带触摸屏的外翻折笔记本可以给公司提供什么「价值」呢？有两个，一是冲击平板的销售，二是让 MacBook 变成另一个装了妙控键盘的 iPad Pro。可见，无论是从哪个角度来看，这件事对公司的经营都没有好处。

既然触摸屏 MacBook 不应该是 iPad Pro 的平替，那么如果非要做，可以怎么做呢？一个比较正常的产品思路是，跳出去，成为另一个东西，例如：

图中自左向右的白块分别是：Apple Watch、iPhone、iPad 和 iMac

那么，如果苹果需要打造一款搭载触摸屏的 MacBook 的话，更好的做法一定不是直接在笔记本上装一块触摸屏，因为一款既不好用又影响销量和品牌声誉的产品，百无一用。但是，如果跳出笔记本现有形态的固有观念，在 iPad 和 iMac 之间仍然存在一个有待开发的产品形态：

也就是说，这块可能存在的触摸屏不是给现在这个形态的 MacBook 使用的，而是为折叠屏形态的 MacBook 去准备的。从这个角度去理解克雷格说的「谁说得准呢？」，意思就完全不一样了。至少这么理解比较符合商业公司的基础利益逻辑，做一个世人都知道不合理的产品，它图什么？

从近几年的消息和产品更新来看，苹果正在全力打造 AR/VR 产品已经是不争的事实，问题只是发布时间在何时了；与此同时，各个产品线的更新一方面在性能和芯片上开始疯一般堆料，另一方面开始在交互设计上有各种动作，无论是AOD、台前调度、灵动岛、悬空的笔尖操作，都在指向那个万众瞩目的 AR/VR 产品方案。

一头是打破产业困局的新形态产品，是引领全新交互设计的探索；另一头是早已完整的旧形态的非必要、高争议、不赚钱的更新。但凡是个正常脑回路的产品经理，都不会选后者。

何况现在公司的精力都在 AR/VR 和汽车这两件生死攸关的事情上，哪还有多余的研发力量折腾这种没钱途的东西？简单算一下投入产出，这项目就当场黄了。

*本篇内容为应 巫冬 邀请所写

为什么需要写这篇文章呢？

首先我是个有洁癖的人，洗衣频率自然少不了，很早以前，大家可能都有过一种误区那就是越洗装备越容易坏，其实不是这样的。灰尘，汗渍和污垢反而会使装备过早老化，所以如何好好洗衣是我很关心的。

在 Arc‘teryx 官网有一件 2004 年的夹克，这件 Vintage 还可以正常使用，这是我喜欢的风格，物尽其用，保护环境。

那么何时清洗？

若衣服看起来比较脏，或表面无法形成水珠，则应清洗衣服。

重度使用（如高强度活动），每使用 5 至 8 天清洗一次

轻度使用（如日常生活），每使用 10 至 20 天洗一次

专业的东西必须要好好保养才能延长使用寿命，关键时候不掉链。如果是国行的 Arc‘teryx 始祖鸟，可以用积分兑换门店洗衣服务，可是需要预约，来去门店费时间，而且门店也需要统一送去洗，这样来回需要好多天。本文就来说说在家该如何洗。

在家需要的东西：

• 洗衣机（推荐博世，美诺）

• 烘干机（最好有，没有看下文也有办法），不要用洗烘一体的，不能控制温度

• 专门的清洁剂组合（很重要）

那么我们开始吧

洗前准备

• 拉上主拉链和腋下拉链

• 松开口袋拉链，松开所有弹性抽绳，松开并轻微固定袖口魔术贴

放洗衣液和洗衣机设定

• 将衣服放入洗衣机，按洗涤剂瓶身说明加入洗涤剂，倒入前清洗上一次洗衣液残留
• 设定温度不超过 40°C（具体看衣服标签），常规程序清洗，选择漂洗两次，以完全去除残留的洗涤剂（残留洗涤剂会损害 DWR并降低衣服的性能）

DWR（防泼水处理）的判断

洗完后还需要测试防水性，若还有防泼水荷叶效应，那么直接烘干就可以。

否则需要先做 DWR 防泼水处理（具体看买的产品是喷雾，还是浸泡）再烘干。

DWR 处理

以 NIKWAX 115 套装（181 清洗剂 + 571 防水剂）使用为例，使用之前，需要充分的摇晃一下，衣服清洗干净后，湿的状态下，平铺，用紫瓶防水剂均匀喷开，一定要喷匀，表面形成一层全覆盖的防水剂，静置十分钟左右，然后用湿的干净抹布，把多余的防水剂擦掉（避免干了之后，有印迹）。

着重喷涂处理以下部位：风帽、肩部、上背部、袖口等，这些地方因为经常接触其他装备磨损DWR涂层。

烘干

将湿衣服反面放入烘干机中，用中温（不高于 60°C）烘干 40 - 50 分钟，没有条件就创造条件，选择日照好的时候悬挂晾干。连续下雨天就开浴霸，甚至电熨斗（低温，无蒸汽）垫着毛巾熨烫解决

Q&A

Q: 手洗好还是机洗好？A: 有时间和精力当然是手洗

Q: 为啥不能用普通洗衣液清洗？A: 普通洗衣液的成分会损伤防水薄膜，影响防水性以及堵塞防水薄膜的透气孔，降低透气性

Q: 为何不能甩干和拧干A: 容易造成接缝处压胶条（Arc‘teryx 引以为傲的胶条就毁了）开胶导致漏水

Q: 啥是中性洗衣液？A: 不含漂白剂（氧化型漂白剂包括氯系以次氯酸钠为有效成分。粉剂型，碳酸钠或过硼酸钠和液体型以双氧水为主要），增白剂，加酶香精柔顺剂或着色剂。建议买专用洗涤剂，例如，Nikwax、Grangers 和始祖鸟官方产品，这类产品对环境保护做的努力也很多

Q: 洗涤剂有哪些类型？A: 清洁剂有分需要清洁完需要热激活和不需要的，防水处理有分喷雾和浸泡两种模式的，如果去过雪山，非常脏的话推荐用浸泡清洗

Q: 洗衣常规程序是啥？A: 我选择手动设置，把转速调设较低，脱水转速设定为零（不要滚干）

Q: 洗的时候要不要套洗衣袋A: 看官方视频没有套，除了硬壳都套一下放心吧

Q: 要不要反面洗A: 看脏的程度，和是否用洗衣袋一样，官方没有说明。不过需要反面烘干

Q: 需要每次做 DWR 处理吗？A: 判断有没有丧失荷叶效应

Q: 为啥最好要烘干？A: 喷涂 DWR 溶液之后，是高温烘干这个操作使其发生作用，就是所谓的热激活

Q: 如果发现丧失部分防水性能怎么办？A: 重新清洗一遍，不能直接做 DWR 处理

要注意的点还是不少的，冲锋衣裤最怕油污，遇到油污第一时间清理。我就为此差点报废过一件 Beta……比如 Nikwax 清洗剂一次只能洗两件，不过就算真洗坏了也不要心疼，户外装备就是用来造的！尽情去享受大自然的回馈吧。

Reference

• 如何清洗 Arc’teryx 产品保养 | Arc’teryx
• YouTube How To Wash Your GORE-TEX
• YouTube GORE-TEX Wash Tutorial
• YouTube 洗完之后的 DWR 防水处理
• Gore-Tex 产品清洗始祖鸟官方教程

购车起源

七月的时候看到一篇文章说上汽大众 ID.3 降价了，之前看 Chiphell 站长的文章，对这车有所了解。之前也卖了油车，在自身经济不好的情况下，便宜低成本的 ID.3 和我现在特别般配。觉得此时是入手的好时机。

我对汽车选择的理解，后驱第一，越野四驱，不要前驱。说来也是好笑，看过 BRZ，外观和操控不用说，可是这车后续成本还是太高，就无缘了。野马外观是不错，也是多年未换代，电动野马没有轿车，也 pass。传统 BBA 的入门车也没啥好玩的，一般的家用日系车也不喜欢，凯迪拉克 CT5 这车太大也爱不起来。去新疆深度驾驶过的长城坦克 300，性价比是高的，但是小毛病还是很多，而且城市里没啥地方玩越野，还是小车更适合，也作罢。直到我看起了电车，Tesla 开的人实在太多了，而且迟迟不换代，虽然价格一降再降，也不是特别吸引我。国产新势力没兴趣，直到看到了大众旗下 MEB 纯电平台的 ID.3 居然成为了我最后的选择。以前有一句话，「不买大众车，不买小众车」，大众在我心里就是无限套娃，是我最分不清车型的一个品牌，而且旗下车都是前驱，所以最早 GTI 也被排除了，何况用的还是老款 EA888 的机头，没有和海外市场同步。

所在城市还有纯数字的电动车牌照，家里燃油车还有一辆可以开，所以，就选择电动小钢炮啦！

看车和购车流程

多跑几家比价

开始跑 4s 店问价格，先去 ID.Store 看车，就是大众的商场展厅，店里现车很少，我还把自行车带去看看能不能塞下，后排放倒刚好可以不拆轮子整辆塞下（1.65m 的长度），满意。试驾了一下，第一印象是外表虽小，内在空间和操作感却不是一台小车的感觉。销售说全市没有我要的白色外观和白色内饰（皎月金星选装包）。第二天又去另外两家看车，第一家有我要的现车，4s 停车场挺大，但是销售经验不足，带着我在停车场转了几圈也没找到车停在哪里，后面谈价格的时候，还让我把手机放在一边，不要录音，给了我一个价格，搞了这么久时间还没到心理预期，就去了下一家。

选车前验车

先看车，车轮胎是 2022 年产的，其余部件都是今年二三月份，看在价格便宜的份上，算了。之前和销售在电话上聊过，我带着现金去的，比上一家多给两千的优惠，就成交了，其实再砍砍价还能更低。办理分期付款也还能便宜 ¥1500，但是还是选择全款支付了，绿本在自己手里（机动车登记证书）比较舒心。

刷卡付款，裸车价 + 选装包 + 保险 + 上牌费，免购置税。本来以为当天就能开回家了，没想到做 PDI 检测的时候说气囊故障灯亮起，这我可不要，让销售换一台车，同是三月份的，轮胎都是今年的第五周生产，更新一点，第二天再去。当晚保险就生效了，上汽大众总部的「伙伴」（品牌官方支持人员）就来加我，有些问题可以直接问他，而不是和 4S 沟通，后面会用上。

注意捆绑销售

第二天又喊上好友，他夜班刚下就陪我去，一晚不睡看车，建议大家去 4s 店看车和提车都要留足至少半天的时间。把昨天上的保险退掉，重新上保险（换了一辆车），此时我才发现有一个 ¥365 的费用，提供修车时候代步车权益，对我来说没用且不属于保险范畴内，我就问了下上汽大众伙伴，伙伴回复说不强制，自己选择，那我知道了，这就是 4S 店强行卖的包。我就问销售，销售说别人都买了，言下之意怎么就我一个人计较，我不吃这套，说要退，他们态度马上就很差，说早知道不做我这单生意了， 我一听这话，那不想成交，退车呗，哪里不是买。经理见状，才连忙说好话，说这个可以退，我才没有交这个钱。这里不得不说 BBA 收费贵，装修好，服务态度也强很多，当然交多少钱办多少事，可是这家上汽大众经销商连瓶矿泉水都没有，服务真不行。

再次检查车况

销售去办理手续，新车已经完成 PDI 检测，但是自己还是要看下，其实这一步应该在付钱前就要做（昨天已经付清），网上有详细教程，主要看下车漆有无划伤，轮胎、玻璃、内饰情况是否正常。当天下雨也看不怎么轻，大致看了下没问题，真有问题，我回头就找他们说理。

上牌

此时销售过来说可以上临时牌照，然后选号码牌了，我问了下在他们电脑上机选和交管 12123 上选有什么区别，说是后者才发放纯数字，这不早点说，昨天我自己就可以完成了。

打开交管 12123，里面有「新车选号」选择号牌种类，新能源汽车还分小型和大型，输入机动车合格证/进口货物证明书，车辆识别代号，网上有五组号码，每组选一个，最后五组里面选一个自己最喜欢的，时间留的足够了，所以慢慢选不要急。最后如愿选到一个还不错的纯数字号码牌。选号成功后后台要过一段时间才有信息，所以要预留充足的时间，好在我这个上午前就完成了，不用等到下午下班时间。最后确认下，拿到的东西：

1. 机动车登记证书（绿本）
2. 车辆合格证
3. 购车合同
4. 交车确认书
5. 购置税申报表（在手机上当地税务 App 完成，有电子版）
6. 三包证书
7. 购车发票（红色、绿色、紫色）

就直接开回家啦！

开箱

这是一个女生送我的，我的第一款乐高模型玩具，编号为 42125。是我很喜欢的赛车，还是赛版的红色跃马，这谁能不爱？

开拼

一开始觉得手残党难以完成，但是不能妄自菲薄，耐下心来就可以完成，不能说简单，包装上的标注是适合 18+ 的玩家。

给的图纸说明书共有 321 页，总计 1684 个零件。我先把小零件按照颜色分类好，这样用的时候就方便许多。

这部赛车是由内而外的搭建，先把悬挂和动力系统组装完毕，再搭建赛车的外壳，就像打造一辆真正的赛车一样。

贴纸的时候也能逼疯我，方方正正的尤其难，撕掉重贴再撕掉重贴。

拼到第三十二页的时候我就弄错了，不能想当然，图里的模型都是有其排列和安装顺序的，一步错后面就很麻烦，需要回炉重造，好在这一步出错后后面就小心许多，顺利了很多。

大功告成

嗯，暂停一下……

逼死强迫症

全部完成后我再把玩，发现有些细节地方没有处理好，比如有些卡扣没有卡到位，是搭建的过程中不够仔细。其中左后轮拱地方不够完美对称，看了直犯强迫症！可就是为了这一步，我又花了整整一下午，连一口水都没喝。差不多就是拆开重造了，而且没有根据图纸来，所以过程尤其痛苦，这边卡扣插进去，那边的卡扣就又蹦了出来，好不容易都摁进去，结果发现尾翼上的积木少了一块（编号 #4160869）！找了一屋子都没有找到。

改装

在仔细把玩后发现，原厂的姿态不够低趴，一点都不法拉利，根据网上的教程，把前后桥的悬挂分别做下改动，一番折腾后终于趴了下来，完美！而且我之前在拼的过程中就没有视频中 1:48 下端两根灰色十字小棒（编号 #4211815）了，灵机一动选了稍长一点的黑色十字小棒（编号 #370526）代替。

前后对比一下，是不是更加气动，更加战斗了。

细节品味

作为一部中置后驱的跑车，乐高积木还原了后轮驱动时候，汽缸工作的联动场景。方向盘转向也可以带动前轮转动。车门可以开关，比起纯静态的模型有些许可玩性，看了网上的改装视频，因为底盘预留的空间很大，甚至可以加入电机让他真的跑起来。

最后就是当摆件来欣赏啦，去定制一个亚克力盒子装起来看，好的进口原料的亚克力盒子挺贵的，50 ✖️ 23 ✖️ 16 cm 的盒子要近两百块。

一次不错的体验，可以让我耐下心来坐了近二十小时来完成。

10.5 国庆假期送爷爷去亲戚家做客，那个小区在施工改造，进去的时候一条好路，出来的时候被挖掘机挡住了，只能走另一条路，路是挖开的，回到家才发现轮子压到的不是石头而是前保险杠，刮伤了。当时工人在旁边看着，没有任何提示此路不能过的施工牌。

我向亲戚要了该小区物业的联系方式，物业主任给了施工方的联系方式。开始谈的比较爽快，毕竟亲戚认识物业的人，打过招呼，但是就赔偿金额发生了争执，我问了下修理费用在八百，所以要他赔 ¥900 - ¥1000。但是对方只愿意赔 ¥500，在电话里僵持不下，没有进展，我决定跑过去一趟当面聊，去之前先把准备做好，把行车记录仪的视频调出来，还好有视频证据，证明确实是施工导致的车损。

当天还是下雨天，来到项目部，给他们看了视频，他们的态度顿时好了不少，估计一开始是猜我没有证据吧，然后带着他们去看了下我的车损，他们一开始说给 ¥800，一番拉锯后，最后协商在九百，事情终于结束。期间我用来谈判的筹码有：

1. 交警队，让交警来现场协商处理
2. 联系保险公司介入，代位追偿
3. 极端一点的，车子停在这里，不要施工了，拨打监督举报电话，施工不规范，有安全隐患种种（不用到这一步）

本来还觉得维权困难的，其实没有那么复杂，至少不能吃个哑巴亏，要不怕麻烦。不过以后自己遇到觉得难开的路段还是不要过于自信，该停的时候得停下来。

老车整备 10.20 修理厂出院

最近我爸换了新车，淘汰下来一台老的德系车给我代步，行驶公里数已经超 24w 了，车况相当不好，我是一个做事仔细的人，既然给我了，就要去做个体检然后维修，先把发动机故障灯的原因找出来。

开到朋友介绍的汽修厂，连接 OBD 检测以及「望闻问切」后，需要更换：

1. 美孚 5W40 全合成机油 5L 和机滤 ¥600
2. 火花塞 4 ✖️ ¥100（积炭严重）¥400
3. 废气阀 ¥350
4. 止水管 ¥150
5. 防冻液 ¥150
6. 清洗节气门 ¥80
7. 空气滤芯 ¥50

总计：¥1750（抹掉三十块零头）

底盘避震的球头也有间隙了，但是更换成本相当高，要 2000+，整辆车的残值也就几万块了，就不更换了。本来让汽修厂帮我精洗一下，结果我去拿车的时候连灰尘都没清，烟灰缸也没洗。洗车的 ¥300 费用就不付了，改日去正儿八经的内饰精洗一下。我忘记买了内外空调滤芯，等冬天之前换一下。

其余我还买了：

1. 车载充电器（Belkin 37w 双口充电器，给 Apple 做配套的，无脑买就好了，贵一点）
2. 主副驾驶座椅套（座椅破损严重，但是手工修复成本太高）
3. 车载支架（未买，准备选择出风口款）
4. 钥匙套（虽然基本不需要这玩意儿，但是原来的钥匙有点破旧还是装一个吧）

希望这台车在我手里能尽可能的开久一点。

2022-10-29 Update

试了一个所谓的专车专用的座椅套但是实际体验很差且没能遮盖破损部位，退货。

2023-07-18 Update

五月份的时候卖车了，让朋友找的一个二手车中介，中介又找了一个批发贩子，专门批发我这类车型去东北卖。约了地点看车，俩人也没带啥专用仪器，测了下油漆厚度，别的纯凭感觉看。看看翼子板有没有切割过，前舱后备箱螺丝有无泡水，更换螺丝痕迹。看完杀价，还算在心理区间，就没僵持，谈了一个数字，尽快出水，比自己找买家快。

因为有中介做担保，卖车甚至没有签合同，我就让他们把车开走了（先给我了 30% 的定金）。如果不信任的，一定要签合同。

第二次过去，先把违章处理好，把机动车登记证书（俗称绿本）、行驶证和钥匙给对方，就算完成交付了，别忘记自己车上的东西，比如 ETC 装置，行车记录仪。在支付宝上有个小程序可以登记处理，上传车辆照片、行驶证照片、机动车号码、车辆识别代码、身份证照片。输入中介给的代理证编号，被委托人姓名和身份证。基本上就相当于公证一下过户。后续去交管12123看下名下的车辆有没有过户成功就完全 OK 了。

因为本来想着去另一个城市生活，太着急卖车了，可后续没能去，没车还是很不方便的，以后只是把汽车作为一个交通工具来看待吧，买辆电车代步，把速度与激情留给公路车和卡丁车吧。