As cultural institutions face an existential crisis over who funds them and how, the 88-year-old artist Hans Haacke is still making curators and collectors clutch their pearls.

How one drug might work for weight, fertility and dementia.

How one drug might work for weight, fertility and dementia.

The body mass index has long been criticized as a flawed indicator of health. A replacement has been gaining support: the body roundness index.

My nine months as a generative art model.

Mr. Gao is being held on suspicion of slandering China’s heroes and martyrs, an offense punishable by up to three years in prison, his brother said.

MINI 和 smart 曾经有一时瑜亮的感觉，二者的品牌定位，车型大小以及背后的宝马和奔驰集团，都充满了针对意味。

但进入到了电动时代，smart 不仅改变了股权结构，变成了吉利和奔驰共同持股的合资公司，并且也不生产两座小车，直接全员触电只做电动 SUV 之后，就以及和 MINI 分道扬镳了。

尤其是上个月刚刚电动 MINI Cooper E 系列上市，在电动化之余依旧保留了 MINI 设计的神韵和驾驶乐趣，MINI 依旧很 MINI，英伦味儿还是很正。

但 smart 确实再也不是人们印象中的那个 smart 了。

「小」一度被认为是 smart 和 MINI 最大以及最像的特征，哪怕是 smart 曾经的五门四座车型 Forfour 也是小得有点夸张：初代车长 3 米 7，轴距 2.5 米；二代更是车长不到 3 米 5，轴距不到 2.5 米。

当然欧洲人因为道路环境和基础建设的原因，不得不偏爱小车，但中国市场却是对小车有着天然的抵触，除非你便宜得像五菱。

所以新 smart 品牌和过去说再见，并且目前把主要精力放在中国市场之后，我们就看到了新旧 smart 之间的巨大差别：有那么一点传承，但更多还是变化。

传承大概有 3 点，一是车标没变，毕竟品牌价值还是有的，祖上阔过。

二是造型，虽然说现在的 smart 精灵#1 和精灵#3 和我们认知中的两门 smart 小车差异挺大，但实际上和 smart EQ Forfour 这款车还是有明显相似的，我们甚至可以认为 smart 精灵#1 就是 smart EQ Forfour 的继任车型。

三是电动化，现在的 smart 全员上电，看其实变了祖宗之法，但其实 smart 电动化非常早，在 2007 年的时候就推出了 smart EQ Fortwo 纯电车，如今看来其性能有点惨不忍睹：30kW（41 马力）动力，110 公里满电续航，8 小时才能充满电池，以及最高时速仅有 120 公里。

变化自然是吉利的加入，以及 SEA 浩瀚平台成为 smart 的灵魂，而其外表，按照官方说法，依旧由奔驰方面设计，奔驰主外，吉利主内的模式，铸就了全新的 smart。

另外的变化也在于其定位。

最能标志这种转变的是还没有上市的 smart 精灵#5 概念车。

smart 在「小」之外，另一个关键词是「城市」，曾经的它确实适合在历史悠久的欧洲老城逼仄的道路上穿梭停留，虽然如今的 smart 精灵#1 和精灵#3 变大了一些，但至少看得出它依旧很城市，具有强烈的时尚气质和明确的通勤定位。

但 smart 精灵#5 完全是为户外而生的中型大五座 SUV，是完全地反原 smart 教旨主义的产品，不仅大，而且野。双电机智能四驱、AT 全地形轮胎、全地形驾驶模式（Off-road，沙地，雪地，泥地，岩石），这意味着 smart 正往城市边缘开，走向野外。

今年 4 月北京车展的时候，smart 就官宣了这款 smart 精灵#5 概念车，然后随着时间推移，它概念车的后缀也被去掉，宣发也越来越密集，这意味着它离消费者越来越近了。

然后这两天 smart 宣布，smart 精灵#5 将于 8 月 28 日在澳大利亚布里斯班全球首秀，全新 smart 精灵#5 也将成为全球首款搭载字节跳动自研豆包 AI 大模型的量产车，smart OS 也会迎来 2.0 版本。

另外，为了更突出 smart 精灵#5「野」的气质，smart 还表示将会推出为它量身定制的「户外奇旅探险包」，整合了多种车载户外装备。

X 型涂装车顶平台采用模块化设计，具有灵活性和未来升级空间，双层可拆卸结构则预留空间，容纳更多户外装备并满足多种使用场景。另外，车顶平台侧面还预留了四个便捷的标准安装口，为运动相机或其它扩展配件提供了更多可能。

和整车设计相呼应，便捷进出侧踏板采用了半哑光金属，并使用错落有致的胶囊圆防滑垫加以点缀，具备防滑耐磨等特性，在视觉上让这款车更显硬派。

安装在车身左侧的 D 柱的小书包除了收纳功能之外，主要是凸显一点时尚感。

车身右侧的 D 柱这里则可以安装通向车顶的自由侧爬梯，采用了折叠设计。

底盘安全装甲则为车辆提供更周全保护。

除此之外，不管是概念车阶段的宣传物料，还是量产版的示意图，都突出了户外露营观影娱乐的场景，这些种种都呼应了标题：野起来的 smart，和之前的 smart 完全不一样了。

在国内市场，现今 smart 有两款车型在售：小型 SUV 精灵#1，基本上月售一两千辆；紧凑型 SUV 精灵#3，月售几百两，这样的销量显然没法撑起一个独立的品牌。

事实也证明，精品小 SUV 在国内就是卖不好，大五座才是王道。

而坦克品牌的崛起，以及方程豹的跟进，以及福特烈马国产等诸多现象叠加，也意味着，硬派越野是一个潜力巨大的细分领域。

从这些因素出发，smart 精灵#5 其实瞄准的还是国内市场，虽然重返欧洲已经被 smart 提上日程，但目前来看，国内才是这个品牌的主阵地，为了适应这个残酷的市场，smart 必须要和过去挥别，变大，变野，变硬派。

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If you’ve never visited a remote Scottish beach, now is the time to do so. To give you a taste of those in Kintyre, on the west coast, this article shows a small selection of the paintings of William McTaggart (1835–1910). I’m sure if you looked hard enough around his favourite haunts there, you’ll still find him painting briskly on another canvas.

He was born into a Scottish Gaelic-speaking family of crofters, in the tiny village of Aros, on the western side of the Kintyre peninsula. Like many of the best Scottish artists of the day, he studied at the Trustees’ Academy in Edinburgh, now the Edinburgh College of Art. He was very successful there, winning prizes, and started his career in figurative painting. After he was admitted as a full member of the Royal Scottish Academy (the Scottish sister organisation to the Royal Academy in London) in 1870, he turned to concentrate on painting the rugged west coast.

Machrihanish Bay (1878) shows one of his favourite locations near his childhood home, on the west coast of Kintyre where it’s exposed to the full might of the North Atlantic Ocean. This bay is noted for its long unbroken stretch of sand, here being pounded by a moderate sea. His brushwork is far looser than in his earlier figurative paintings, and captures the variety of surfaces and textures.

During the summer, McTaggart stayed in the tiny fishing village of Machrihanish to capture its fleeting light conditions, as in his Summer Sundown – Tir-nan-og (1880). The name Tir-nan-og in its title refers to the legendary Celtic paradise in the west. McTaggart would almost certainly have been aware of the French Impressionists at this time, but probably didn’t see any of their paintings for another three years. Instead, it’s usually considered that he was influenced more by Whistler, the Hague School, and Joseph Israels in particular.

Sun on the Waters, Fishing from the Rocks at Carradale (1882) shows fine weather on the east coast of Kintyre, opposite the western coast of the Isle of Arran, which is just visible at the left edge. McTaggart often hired local children to model for his paintings, and these three appear to be taking great pleasure in their activity.

Even on the more sheltered side of Kintyre, squally showers can be frequent, as shown in Wind and Rain, Carradale from 1883.

The Storm (1890) shows the same area at the height of a severe gale, figures clad in sou’westers and clinging to the rocks as land, sea and air merge into one continuum. This painting was first purchased by the Scottish-American industrialist Andrew Carnegie.

Most of his larger paintings including this were made in his studio from smaller oil sketches made in front of the motif, following the classic process for landscape painting. Sometimes he and other Scottish landscape artists worked directly en plein air on large canvases, and there are photographs showing them doggedly painting the coast with their canvases lashed to the ground to prevent them from blowing away.

Noontide, Jovie’s Neuk (1894) is a more peaceful scene at the northern end of Aberlady Bay, a picturesque section of coastline to the east of Edinburgh, on the east coast of Scotland.

McTaggart also set historical scenes into his coastal landscapes, here The Coming of Saint Columba from 1895. This Irish abbot and missionary is generally believed to have brought Christianity to Scotland around 563 CE. Although most strongly associated with the first abbey on the remote island of Iona, Columba initially crossed to Kintyre before travelling north. The artist chose The Gauldrons, a rocky bay west of Machrihanish, as the scene, and is believed to have painted the landscape en plein air, later completing the figures and boats back in the studio.

During the middle and latter part of the nineteenth century, large numbers of Scots from the Hebridean islands emigrated, many under duress, to America and Canada, in the hope that they would prosper there rather than starving on their crofts. McTaggart was deeply moved by these events, and his own sister and her husband were among those to emigrate. He painted three major works, and numerous copies and variants, marking the emigrations.

The Emigrants Leaving the Hebrides was started in 1883, when McTaggart painted the headland from which the emigrants left at Carradale, on the east side of Kintyre, but he didn’t complete its details until 1889. This shows migrants loading their few possessions into rowing boats in the foreground, then being rowed out to the waiting ship in the distance. He shows several influences here, particularly that of Constable in the sky and his scattered highlights. By this time he’s likely to have seen Impressionist paintings when they were exhibited in London in 1883, although this work shows little influence from the likes of Monet.

The Sailing of the Emigrant Ship (1895) shows a later stage in the process, with the emigrants all aboard the ship which is now sailing off to cross the Atlantic. Left behind on the rocky coast are those who were too old and infirm to travel, and are now left without the support of their younger family members. McTaggart’s handling of the sky in particular is here much rougher and more vigorous, with just a glimpse of a fragment of a rainbow, symbolising the hopes of the emigrants.

A Westerly Gale, Machrahanish (1897) is another superb rendering of rough conditions in this bay on the west coast of Kintyre.

Scotland’s beaches are many and varied, and wonderfully depicted by William McTaggart.

Lawmakers expressed openness to withholding funding from the agency after reports that Chinese swimmers were allowed to compete in the 2021 Games after testing positive for a banned drug.

其实有点出乎我意料，除了 Apple Vision Pro 那期，最受欢迎的居然是聊《九龙城寨》和《暗恋桃花源》的这两期。而且，刚发的《谈判专家》这期的收听量也在稳定上涨。聊 AI 那期尽管内容很多，但收听量比这些都少得多。

从博客后台数据能看到，最近一周的主要收听量中，三分之二都来自这三期聊戏聊剧的节目。

我原本以为，收听我节目的主要人群，是过去在知乎和 B站看我讲设计的读者和观众。

这么看下来，我有一个猜测：收听我播客的人群当中，有很大一部分比例，可能是此前并不认识我的路人，他们对科技类话题的兴趣，没有对娱乐类型的话题高。

挺好的，这也挺符合我最初对播客的预期，这样我就可以不用老聊设计和产品了！

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Spotify：荒野楼阁 WildloG

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