© Kacper Pempel/Reuters
© Julia Gartland for The New York Times
In yesterday’s article, I looked at how William Blake’s late painted etching of The Ancient of Days isn’t what it seems, and tells a story unique to Blake’s personal mythology. This article looks an earlier work that until relatively recently was misidentified as a painting of Hecate.
According to Blake’s mythology, Enitharmon is partner, twin, and inspiration to Los, and mother of Orc. She is spiritual beauty, and her image here was most probably modelled on the artist’s wife Catherine. In The Night of Enitharmon’s Joy (c 1795), she establishes her Woman’s World, with a false religion of chastity and vengeance, which is Blake’s view of the 1800 year history of the ‘official’ Christian church.
As the moon to the sun of Los, she is accompanied by symbols of night, such as the owl and bat. She also plays the role of Eve, which may explain the head of a snake peering out towards her. The donkey eating thistles underlines Blake’s rejection of the ‘official’ church, and the two figures behind Enitharmon face in and bow their heads in guilt. The book on which Enitharmon’s left hand rests is Urizen’s ‘Book of brass’, in which his repressive laws are laid down.
If you didn’t know Blake’s mythology, identifying her as Hecate seems reasonable.
Stéphane Mallarmé’s drawing of a classical sculpture of Hecate, Greek Goddess of the Crossroads was engraved for his illustrated account of classical mythology published in 1880. This is her most conventional representation: fully triple-bodied, holding a key at the left, and torches to the left and right, with a symbol of the moon on her forehead.
Hecate has also been depicted more like Eve with a serpent, as seen in Francesco de’ Rossi’s fresco of her from 1543-45. He hints at her triple body with the heads on which she is standing, and she wears a coronet of the moon, her association with night, hence with the owl in Blake’s painting.
William-Adolphe Bouguereau flies his owls in support of a personification of the mythical Night (1883), as do others painting similar motifs. But the owl is also famously associated with Minerva.
Hendrik Goltzius shows a classical and fairly complete set of her attributes in his Minerva (as the Personification of Wisdom) from 1611: the owl, her distinctive helmet, here decorated with olive leaves, a spear, books, and great beauty.
Blake’s mythology has an elaborate and sometimes opaque genealogy. Los and his emanation Enitharmon have children, the first of whom is Orc. As Los is spiritual revolution, so Orc is revolution in the material world. Orc hates his father Los in an Oedipus complex of love for his mother Enitharmon. As shown in Los and Orc (c 1792–3) above, Los is driven to bind Orc to a rock on the top of Mount Atlas, using the chain of jealousy. Orc’s limbs then become rooted in the rock, pinning him there. This cannot prevent Orc’s imagination from raging, though, and permeating everything.
One of the fundamental concepts in Blake’s mythology is that of pairings: there are many elements with both male and female counterparts, the latter being termed emanations. These might take the generation of Eve from Adam as their prototype. Nowhere does Blake envisage a pantheon of gods, but stretches the Jewish and Christian concepts of a single God, going far beyond the Christian Trinity. These include expressions of God associated with particular eras, such as the vengeful God of the Old Testament, and those of particular interpretations that Blake deprecates.
William Blake wasn’t the only artist in Britain at the time who painted new stories. Henry Fuseli did too.
Fuseli’s painting of Percival Delivering Belisane from the Enchantment of Urma (1783) shows a narrative that the artist had invented for this painting. It appears to be one of a series, although only one other work has been identified as part of that, and that is only known from a print of 1782. He also preceded this series with a single painting of Ezzelin and Meduna (1779), referring to another unique narrative, which doesn’t appear to have any associated works.
Fuseli provides the viewer with a rich array of ‘Gothic’ narrative elements to form their own account of the story. There are visions of faces in the distance on the left, chains leading to an unseen figure apparently manacled into a bed at the right, Percival swinging a sword above his head, to strike the cloaked figure of Urma in the left foreground, and a beautiful young woman, presumably Belisane, embraced by Percival’s left arm, kneeling on the floor.
References
Blunt, A (1959) The Art of William Blake, Oxford UP.
Butlin, M (1981) The Paintings and Drawings of William Blake, 2 vols, Yale UP. ISBN 978 0 300 02550 7.
Damon, S Foster (2013) A Blake Dictionary, the Ideas and Symbols of William Blake, updated edn., Dartmouth College Press. ISBN 978 1 61168 443 8.
Vaughan, William (1999) William Blake, British Artists, Tate Publishing. ISBN 978 1 84976 190 1.
今天凌晨，特斯拉公布了他们的《宏图计划第四篇章》。
与以往聚焦汽车或能源产品的蓝图不同，特斯拉这次描绘了一个更遥远、也更理想化的终点：一个由 AI 和机器人主导的「可持续富足」的社会。是的，特斯拉的战略重心已经从「可持续发展」，转向了对未来社会形态的构想。
这个构想的核心，不再是车，而是生产力本身。马斯克说：
特斯拉 80% 的价值，将来自 Optimus（人形机器人）。
回顾特斯拉宏图计划的第一篇和第二篇，它们的逻辑清晰而务实：
2006 年的第一篇章，为特斯拉画出了一条从高端小众市场切入、最终走向大众化车型的产品路线图，解答了电动汽车的生存和市场定位问题。十年后的第二篇章，则围绕已经站稳脚跟的汽车产品，构建了一个包含太阳能、储能、自动驾驶乃至共享出行在内的完整生态。
这两份计划的共同点，是它们都聚焦于特斯拉自身的产品与商业战略，回答的是「特斯拉要做什么」。
转折点出现在 2023 年的宏图计划三。
它看起来不再是特斯拉的一份商业计划，而是一份面向全球经济的分析报告。特斯拉用海量数据，试图从物理学和经济学的第一性原理出发，去论证全球全面转向可持续能源的可行性。
果不其然，这份报告换来的是特斯拉的股价大跌——
它描绘了一个极其宏伟的，需要大量工业产能才能实现的目标，却也因此暴露了，依靠现有生产方式，根本无法填补的巨大生产力鸿沟。这是一个系统性的问题，远非特斯拉一家公司所能改变。
而在最新的第四篇章中，马斯克似乎还是没能给出更务实的答案。它没有选择回归到更具体的商业或产品规划，反而将蓝图的尺度再一次放大，从改造全球能源体系，升级到了重塑人类社会本身的生产力结构。
这使得第四篇章看起来同样不像一份「商业计划」，而更像是一份关于未来的「愿景」。
在这份新的蓝图中，人工智能（AI）被提升至驱动一切的底层技术，成为整个系统的大脑；而人形机器人（Optimus），则是负责执行所有生产任务的物理实体。而汽车、储能等特斯拉现有的硬件业务，都将成为其 AI 能力的下游应用场景。
这一切的前提，是机器人本身必须能够被大规模制造。
特斯拉认为，通过借鉴汽车行业的规模化生产经验，快速地大规模生产机器人来替代人类劳动力，在逻辑上是可行的。它们的最终目标，是建立一个全新的、由机器驱动的生产体系，从而实现生产力的指数级增长。
这样一个由机器驱动的生产体系，必然需要一套全新的社会经济来与之匹配。在马斯克的 X 平台上，被讨论得最多的问题是：
当机器人取代人类劳动力时，那些失业的人该如何维持生计。
马斯克是这样回答的：
未来将实现普遍的高收入（而不仅是基本收入）。每个人都将拥有最好的医疗、食物、住所、交通和其它一切。
这是一种「可持续的富足」。
马斯克提出的这套「普遍高收入（UHI）」的构想，核心机制是通过对机器人创造的巨大生产价值进行征税（例如以消费税形式），再由政府以高额收入的形式分配给所有公民。
X 上有支持者认为，生产力的提升还会伴随着物价的下降，这份「收入」的购买力也会大幅提高。
然而，这一构想的实施路径、政治阻力以及对社会结构的冲击，都是悬而未决的难题，特斯拉并没有在他们的「宏图计划」里提到这些。甚至当我们把这套构想置于具体的国家情境下审视，它的复杂性还会更加突出，尤其是在中国。
抛开这些，特斯拉自身也正面临诸多现实问题。
前不久，被马斯克寄予厚望的 Dojo 超级计算机团队宣告解散，团队的负责人彼得·班农（Peter Bannon）也将离职。Dojo 曾被定位为特斯拉在人工智能竞赛中获取算力的核心，马斯克对此的解释是「整合资源发展 AI5、AI 6 以及后续的芯片」。与此同时，特斯拉的汽车业务在欧洲和中国也没有那么顺风顺水了。2025 年上半年，特斯拉中国市场销量同比下降约 5.4%，其中二季度更是同比下滑了 13.5%。
这些内部的动荡与外部的挑战，都与第四篇章所描绘的指数级增长和「富足的未来」，形成了鲜明对比。
总之，从这份「宏图计划」来看，特斯拉已经对他们的战略方向作出了重大调整，它们的雄心，已经远远超出了商业的范畴。
只是，一家科技公司可以设计和制造改变世界的工具，但要实现马斯克口中的「可持续富足」，远非一家公司之力所能及。
以下是特斯拉宏图计划第四篇章全文：
自特斯拉成立以来，我们每一版的宏图计划都聚焦于我们的北极星：实现不受约束、毫不妥协的可持续性。
人类是工具的创造者。在特斯拉，我们大规模、低成本地制造实体产品，目标是让每个人的生活变得更美好。
随着人工智能（AI）技术的影响力与日俱增，《宏图计划第四篇章》所阐明的使命，也就不足为奇了。
特斯拉故事的下一个篇章，将帮助我们创造一个我们刚刚开始想象的世界，其规模将前所未见。我们正在打造能将人工智能带入物理世界的产品与服务。
近二十年来，我们孜孜不倦地努力，通过发展电动汽车、能源产品和人形机器人，为这场技术复兴奠定基础。
现在，我们将我们的制造能力与自动驾驶技术实力相结合，以提供全新的产品与服务，它们将通过由全人类共享的经济增长，来加速全球繁荣与人类的兴盛。我们正在大规模地统一我们的硬件和软件，并在此过程中，创造一个更安全、更清洁、更愉悦的世界。
这就是可持续的富足 (sustainable abundance)。
1. 增长是无限的
一个领域的增长，并不需要以另一个领域的衰退为代价。资源的短缺可以通过技术的进步、更强的创新和新的思想来弥补。
那些赋予我们驱动机器能力的技术，引发了工业革命，拓宽了我们的经济格局，为所有人创造了更多机会。半导体和互联网等突破性发明，在人类体验的方方面面——从创造更多就业、提供更广泛的信息渠道，到实现更深层的人际连接——都扩大了社会和经济机遇，而非削弱。
我们渴望超越所谓的「可能」，这将促进实现真正可持续丰裕所必需的增长。
2. 创新消除限制
几个世纪以来，人类的主要交通工具是马。而后，在过去五十多年里，由化石燃料驱动的内燃机汽车成为了标准且理所当然的交通方式。那种认为电池可以被经济地、大规模地生产，足以让交通行业摆脱化石燃料的想法，在当时看来似乎是痴人说梦——直到特斯拉引领了前进的道路。
通过持续创新，我们克服了电池发展的技术限制，并建立了一个由可再生资源驱动的产业。
3. 技术解决实际问题
在向可持续丰裕加速迈进的过程中诞生的产品和服务，将通过解决真实世界的问题来推动人类进步。为了进一步加速创新，我们让每一款产品的制造都比上一款更高效、更可持续。
太阳能发电和大规模电池储能正在提高我们社区清洁电力的可用性和可靠性——并且是以更经济、更可持续的方式。
自动驾驶汽车有能力极大地提升交通的经济性、可用性和安全性，同时减少污染，尤其是在我们日益密集的国际化大都市中。
Optimus——我们的自主型人形机器人——不仅在改变人们对劳动本身的认知，也在改变其可用性和能力。那些尤其单调或危险的工作和任务，现在可以通过其他方式来完成。通过这种方式，Optimus 的使命是把更多时间还给人们，让他们去做自己热爱的事情。
4. 自主性必须惠及全人类
我们在特斯拉制造的工具，帮助我们打造能够促进人类繁荣的产品。
我们如何开发和使用自主性——以及它为我们带来的新能力——都应以其提升人类福祉的能力为指导。通过我们的自主技术，让所有人的日常生活变得更美好、更安全，这一直是、且仍将是我们关注的焦点。
5. 更广泛的普及推动更强劲的增长
要建立一个繁荣且不受约束的社会，就必须能大规模地制造出价格亲民、技术先进的产品。这有助于进一步推动社会的民主化，并在此过程中提高每个人的生活质量。精英制度（Meritocracy）的标志在于创造机会，让每个人都能利用自己的技能去实现他们所想象的一切。
每个人都应该获得这些机会，而技术的增长可以帮助确保我们每个人都能最大限度地利用我们最有限的资源：时间。
我们必须明确一点：要克服这一挑战将是极其困难的。消除稀缺性需要不懈的努力和精湛的执行。有些人会认为这不可能实现。还有很多人会为我们在此过程中不可避免遇到的每一个障碍和挫折而喝彩。但一旦我们克服了这一挑战，我们的批评者们终将看到，他们曾经认为不可能的事情，确实是可能的。而这对我们来说没关系，因为最重要的是，我们能共同为子孙后代创造一个可持续且真正富足的未来。
所有值得的旅程都是漫长的。而它们都始于第一步。
我们的第一步是制造一款激动人心的跑车——Roadster。接着，我们利用这些利润来资助更亲民、但同样激动人心的产品——Model S 和 Model X 的研发与生产。然后我们重复了这个过程，带来了 Model 3 和 Model Y 以及后续车型。
这个过程要求我们走出许多步，其中有些是小步，有些则是大步。但最终，每一次胜利都引向了下一次胜利，即使经历了失败，我们也能不断积蓄势头。我们的势头让我们得以构建出一个全面整合的可持续产品生态系统，涵盖从交通到能源生产、电池存储和机器人技术。
今天，我们正处在一个革命性时期的风口浪尖，为前所未有的增长做好了准备。而这一次，对特斯拉和全人类而言，它将不再是单一的一步，而是一次飞跃。我们将要开发的工具，将通过重新定义劳动力、出行和能源这三大基本构成要素的规模和普惠性，帮助我们建立一个我们一直梦想的世界——
一个可持续富足的世界。
#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。
In the first article of this pair looking at paintings of windmills, I covered traditional views up to the first of the pre-Impressionists. This article takes this account from around 1850 up to the period between the two World Wars. Although the development of steam power during the nineteenth century brought great changes to many industries, windmills continued to flourish until the middle of the century, and even then they only declined gradually until the Second World War.
Samuel Palmer’s Summer Storm near Pulborough, Sussex from about 1851 refers to Dutch landscape painting, in a very Kentish context. A storm is seen approaching the rolling countryside near Pulborough, now in West Sussex. On the left, in the middle distance, a small bridge leads across to a hamlet set around a prominent windmill, whose blades are blurred as they are being driven by the rising wind.
Windmill styles differ outside northern Europe. When Jean-Léon Gérôme travelled down the River Danube in about 1855, he claimed to have witnessed this moving scene of Recreation in a Russian Camp, Remembering Moldavia (1855). A group of Russian soldiers in low spirits is being uplifted by making music, under the direction of their superior. Gérôme has captured an atmosphere which few of his other paintings achieved: the marvellous light of the sky, the skein of geese on the wing, and the parade of windmills in the distance, all draw together with the soldiers in their sombre greatcoats.
The following year, JC Dahl’s Burning Windmill at Stege is an unusual fire-painting following a traditional sub-genre of the Dutch Golden Age. Although painted well before Impressionism, Dahl echoes the red of the flames in the field and trees to the left of the windmill, and even in his signature.
During the winter of 1864, Johan Jongkind returned to the Netherlands, where he painted this Winter View with Skaters, which is more overtly pre-Impressionist.
Jongkind’s watercolour sketch of a Windmill at Antwerp of 1866 is even more painterly.
Claude Monet’s second visit to the Netherlands in 1874 ensured that The Windmill on the Onbekende Gracht, Amsterdam (1874) became a part of the history of Impressionism. This shows a windmill known as Het Land van Beloften, De Eendracht or De Binnen Tuchthuismolen, which was built in the late seventeenth century, and was moved from there to Utrecht just a couple of years after Monet painted it on the banks of the River Amstel.
Frits Thaulow’s painstakingly detailed View of Amerikavej in Copenhagen (1881) shows a windmill in the background, where it’s being used to provide power to the adjacent industrial site.
Volodymyr Orlovsky’s Ukrainian Landscape from 1882 shows one of the distinctive windmills on the elevated bank alongside a major river and its more populated floodplain to the right.
It may not have been Monet who first made the visual association between Dutch windmills and fields of tulips in flower, but his 1886 painting of Tulip Field in Holland must be its best-known depiction.
When Vincent van Gogh moved to Paris in 1886, he stayed with his brother Theo in Montmartre. He painted a series of marvellous views of the remaining windmills there, including the most famous of them all, Le Moulin de la Galette (1887), in whose gardens Renoir had painted his Bal du moulin de la Galette a decade earlier.
Paul Signac’s Rotterdam. The Windmill. The Canal. Morning (1906) is a Divisionist view of a windmill in the centre of this major port.
It was a Dutch painter who took windmills from Impressionism to the modernist styles of the twentieth century: Piet Mondrian.
Piet Mondrian’s gentle nocturne of Oostzijdse Mill on the River Gein by Moonlight from about 1903 is one of several views of windmills that he painted in Impressionist and post-Impressionist style.
When he started experimenting with vibrant colour and patterned brushstrokes in about 1908, this painting of a Mill in Sunlight marks his point of departure.
The Red Mill (1911) continues Mondrian’s move towards areas of flat colour. That year he left the windmills of Amsterdam and moved to Paris. To mark his move into the avant garde of that city, he dropped the second ‘a’ from his surname, going from Mondriaan to Mondrian. He became increasingly influenced by Georges Bracque and the Cubist works of Pablo Picasso, and the purely abstract paintings for which he remains well-known today.
Serhii Svitoslavskyi’s Ukrainian Landscape with Windmills, probably from about 1911, shows a small cluster of windmills with grazing livestock.
By the end of the First World War, milling grain had become more centralised, and the hundreds of thousands of small windmills across northern Europe lost their business. A few have been preserved, and some are still used for specialist products such as stoneground flour. But the unmistakable sight of a windmill on the skyline had been lost from much of the land.
During the 1930s, the Raviliouses started spending time in Sussex, where they became close friends with Peggy Angus, whose house The Furlongs at Beddingham, East Sussex, became a second home. Eric Ravilious became particularly fond of painting the chalk downs there, as in his Windmill (1934). This isn’t a windmill in the traditional sense, but a smaller wind-driven pump to extract water from the chalk, mainly for irrigation.
Elon Musk 真是个讲故事的好手。
The future should look like the future.
虽然看着有些冰冷，虽然还有一段时间，但把这么激进的设计落地，真的令人佩服。
尤其那只手，和那辆大车。
我要收回之前的话，Tesla 不是下一个丰田，丰田太小了。
它更像「通用」，即是 GE，也是 GM。
在西西弗里偶遇这本书，随手翻了一下，被设定吸引了，就一下看了前九章。
二十三天后回到书店里把余下的二十二章看完了，满足的同时又觉得很失望。
满足的是，这个下午是我近一年来完整读完了一本书的时刻；失望的是，前半截一直吊着我胃口的摆渡世界的故事，最后居然演变成了俗气的爱情故事和死而复生的怪诞情节。我不喜欢这样的收尾。
但是，迪伦凭着自己的信念从死亡的世界回到人间这段路，这一路的勇气，是我愿意把第三颗星打上来的原因。书里的男女角色我都不怎么喜欢，无辜枉死的三十六岁女士也很莫名其妙，但对于此刻低气压的我而言，我喜欢迪伦一路冲过去的那份勇气和冒险的决心。
对多数人而言，读这本书是浪费时间。但我之所以感觉还行，是因为我太久没有体会到「完成」一件事时「结束」的那一刻了。哪怕这一刻并不欢欣鼓舞，但我完成了。
相对应的，前两天看完的两部片子，让我感到心里非常的舒坦。一个是贾玲的新电影《热辣滚烫YOLO》，另外一个是 Casey 最新的一条 vlog《Sisyphus and the Impossible Dream》。
一方面惊叹于贾玲真的一年瘦下来一百斤，练成了可以和职业拳击运动员打几下的状态；二来佩服于她为了实现这个目标所做的一切努力，一切向生活挥拳而做的事情。她不是瘦了，而是变了一个人，瘦下来只是一个副产品。
Casey 的 vlog 时间跨度长达 17 年。从大腿骨折，到跑进三小时以内，从二十来岁到四十多，一切的付出，就像西西弗斯一次次推石头上山，不仅过程令我震动，结果更是让我感受到了希望！
他俩是我 2024 年初的第一束光。
每年都拆一些东西，今年拆的比较少，今天拆一台相机。
奥林巴斯EP2是2009年上市的一台M43画幅相机，伴随了我好几年，像素只有1200w，画质以现在眼光来看，可以说惨不忍睹，不过影像就是这样，能记住的就是好的。
相机使用到后期因为被海水溅到过，所以有些生锈，今天拆解里面也有螺丝生锈了，液晶显示屏也坏了，但凑合还能用，去年搬家充电器也不知道放哪儿了，这样看TA具备了被拆的要素，拆吧。
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