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.

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.

Gates as a means of access through the walls of fortified cities have ancient origins, but it wasn’t until the Etruscans and the Romans that they acquired their own deity, notably in the Roman god Janus with his two faces. His association with gates, and the start and end of war, gave rise to an interesting tradition in classical Rome: the gates at each end of an open enclosure associated with the god were kept open in times of war, and closed when the city and empire was at peace. Opening the gates of the temple of Janus was therefore a mark of starting a war.

In Rubens’ Temple of Janus from 1634, those gates, here imagined to be those of a temple, are being opened to let a warrior through to battle. Above that doorway is a statue of Janus with his two faces.

In Biblical narratives, the prominent account involving gates, other than those of heaven or hell, occurs at the start of the Passion of Jesus, in his triumphal entry into Jerusalem riding a donkey, since celebrated by Palm Sunday. This has been depicted in two significant works in the late nineteenth century.

Gustave Doré painted several versions of Christ’s Entry into Jerusalem including this preparatory sketch, in preparation for his final huge version exhibited at the Salon in 1876, measuring 6 by 10 metres.

In 1897 Jean-Léon Gérôme painted his account of The Entry of Christ into Jerusalem. According to all four gospels, Jesus descended from the Mount of Olives, and as he proceeded towards Jerusalem, crowds laid their clothes on the ground to welcome his triumphal entry into the city. Aside from being one of the major events in the Passion to be shown in paintings, for Gérôme this may have had another reading. Just a few years earlier, his paintings were being welcomed by throngs at the Salon, and commanded huge sums when sold. A short time later, his work was largely ignored, and he may have seen himself as being prepared for crucifixion in public.

The gate of hell is featured in two of the major Christian literary works of the early modern period: Dante’s Divine Comedy (c 1308-1321) and John Milton’s Paradise Lost (1667).

At the start of Dante’s Inferno, the ghost of Virgil leads the author to the gate of Hell. Inscribed above it is a forbidding series of lines leaving the traveller in no doubt that they’re going to a place of everlasting pain and tortured souls. This culminates in the most famous line of the whole of the Divine Comedy:
Lasciate ogne speranza, voi ch’intrate
traditionally translated as Abandon hope all ye who enter here, but perhaps more faithfully as Leave behind all hope, you who enter, and is seen written in William Blake’s own hand below.

It’s also William Blake who depicts Satan at the gates of hell in his paintings to accompany the second book of Milton’s epic.

Two versions, that from the Thomas set above, and below that from the Butts set, show Satan at the gate of hell, on his way out and heading for heaven.

Although the phrase pearly gates, derived from a description of the gate to heaven in the book of Revelation, has been in common use, few if any paintings have depicted them literally. However, in paintings of secular life they can have symbolic significance.

James Tissot painted The Farewells soon after his flight to London in the summer of 1871. This couple, separated by the iron rails of a closed gate, are in late eighteenth century dress. The man stares intently at the woman, his gloved left hand resting on the spikes along the top of the gate, and his ungloved right hand grasps her left. She plays idly with her clothing with her other hand, and looks down, towards their hands.

Reading her clothing, she is plainly dressed, implying she was a governess, perhaps. A pair of scissors suspended by string on her left side would fit with that, and they’re also symbols of the parting taking place. This is reinforced by the autumn season, and dead leaves at the lower edge of the canvas. However, there is some hope if the floral symbols are accurate: ivy in the lower left is indicative of fidelity and marriage, while holly at the right invokes hope and passion.

Edmund Blair Leighton’s Regency scene of The Elopement from 1893, shows a woman leaving home to run away with her lover, the oarsman in the boat. She closes the gate on her old life as she looks back and reflects, before boarding the boat in which she will start the journey of her new life.

Once the ripe grain had been cut, the crop had to be gathered into sheaves, then those were assembled into stooks for transport by cart to await threshing, mechanical separation of the precious grain from straw. The latter was an important building material, and was used as thatch for the roof of most country buildings across Europe.

Anna Ancher, wife of Danish painter Michael Ancher, caught this procession of Harvesters on their way to their work in 1905, near her home in Skagen on the north tip of Jylland (Jutland). The leader carries his scythe high as they pass through a field of ripe wheat.

Léon Augustin Lhermitte’s famous Harvesters’ Pay from 1882 shows four harvesters bearing their heavy-duty scythes, at the end of the day. They are awaiting payment by the farmer’s factor, who holds a bag of coins for the purpose. In the right foreground are two tied sheaves of cut wheat, with a lightweight sickle resting on them.

Adrian Stokes had further to travel for this golden view of Harvest Time in Transylvania (c 1909), one of many paintings that he and his wife made of their protracted visits to Eastern Europe.

By tradition on Norwegian farms, cut cereal wasn’t left to dry in low stooks, as in most of Europe and America, but built onto poles. In a series of paintings and prints, Nikolai Astrup developed these Corn Stooks (1920) into ghostly armies standing on parade in the fields, the rugged hills behind enhancing their strangeness.

John Linnell’s Harvest Home, Sunset: The Last Load (1853) shows the final wagonload of cut grain leaving the fields at dusk, as the harvest is completed.

Félix Vallotton’s The Sheaves from 1915 is one of his moving and symbolic images of the Great War. It’s late summer in 1914, harvest time, and the ripe corn is being cut and stacked in sheaves. But where are all those farmworkers, whose rakes rest against the sheaves, and whose lunch-basket sits on the ground ready to be eaten? Where is the wagon collecting the harvest, and why is the white gate in the distance closed?

In PS Krøyer’s Threshing in the Abruzzi from 1890, teams of oxen are trampling the crop to thresh it.

Jean-Léon Gérôme’s The Grain Threshers, Egypt (1859) also shows this as one of the more traditional employments for animals, here drawing a threshing sledge.

By the end of the nineteenth century, animals were being used as a source of power, as shown in Albert Rigolot’s painting of The Threshing Machine, Loiret from 1893. One of the early uses for steam engines was to power similar machines before they were made mobile under their own power, as traction engines.

Lovis Corinth wasn’t the only artist to have his own suit of armour. Rembrandt apparently bought at least one, while Jean-Léon Gérôme seems to have kept a suit hanging in his studio.

The End of the Pose (1886) is the first of Gérôme’s series of unusual compound paintings, which are at once self-portraits of him as a sculptor, studies in the relationship between a model and their sculpted double, and further forays into issues of what is seen, visual revelation, and truth.

Here, while Gérôme cleans up, his model is seen covering up her sculpted double with sheets, as she remains naked. Hanging against the wall behind is a complete suit of armour, and there is a single red rose on the wooden platform on which the model and statue stand.

Armour has occasionally been purely symbolic, most famously in the collaborative painting of Touch by Jan Brueghel the Elder and Peter Paul Rubens in their series The Five Senses from 1618.

Touch extends beyond its title to encompass other tactile sensory modalities. Heat is associated with a brazier, fine touch with brushes nearby. Much of the panel is devoted to a collection of armour, weapons, and their manufacture by gunsmiths and armourers. The many suits on display, seen in the detail below, appear to be equipment that isolates rather than stimulates the sense of touch.

During the nineteenth century, many painters looked back at the age of knights and chivalry, which inspired German Romantics, Pre-Raphaelites, and some of the last academic artists of the century.

The crusades presented Carl Friedrich Lessing with an ideal combination of mediaeval history, romance, and chivalry. In The Return of the Crusader from 1835, he shows a lone knight in full armour dozing as his horse plods its way up a path from the coast. Although his armour is still shiny, a tattered battle pennant hangs limply from his lance. This is based on a Romantic poem by the writer Karl Leberecht Immermann (1796-1840).

Edmund Blair Leighton’s Conquest from 1884 shows a stereotype knight in shining armour walking through an arch with its portcullis raised, a fair maiden walking behind him, as this victor enters the castle he has just conquered. The knight appears to be an idealised self-portrait.

Leighton’s The Accolade (1901) apparently shows Henry VI the Good – of Poland, not the British Henry VI – being dubbed a knight. Every link in his chain mail has been crafted individually.

Manuel García Hispaleto’s Don Quixote’s Speech of Arms and Letters (1884) shows the hero, his squire Sancho Panza behind, delivering one of his many orations after dinner, in a full suit of armour, as you would.

Eugène Delacroix visited tales of chivalry in his Combat Between Two Horsemen in Armour, painted at some time between 1825-30.

Plate armour continued to be worn by soldiers well into the twentieth century, and appears in some paintings of contemporary history.

Paul-Émile Boutigny’s undated Scene from the Franco-Prussian War shows soldiers from both sides of this short war in 1870-71. The soldier on the left is French, and holds a French Chassepot musketon with a long yataghan bayonet, while his colleague on the right appears to be Prussian, with his pickelhaube spiked helmet and a heavy cavalry cuirass that’s essentially modernised armour. (I’m grateful to Boris for his expert interpretation of this motif.)

François Flameng’s undated scene of Germans from the First World War shows the odd combination of archaic plate armour with modern gas masks.

Finally, as everyone knows, a knight goes to their grave in their armour.

Briton Rivière’s Requiescat from 1888 epitomises the faithful relationship between a dog and its master. As the knight’s body is laid out clad in armour, so his dog sits pining by the side of his body.

未来，吉利将不再开发不具备 AI 能力的传统智能座舱。

在吉利 AI 座舱技术发布会上听到这句话时，我一时有点恍惚，似乎不久前在哪里听过一句类似的话。

魅族将停止传统智能手机新项目的开发，全力投入「明日设备」，迈入前景广阔的AI科技新浪潮。

原来都和魅族有点关系，只不过和魅族目前迟迟未到的 22 系列新机相比，Flyme Auto 倒是借着吉利的东风扶摇直上，成为了最快突破百万用户的汽车智能座舱操作系统，目前一共有 28 种车型搭载。

不过，不同于魅族后来把 Flyme 11 改名叫 Flyme AIOS，Flyme Auto 这次升级只是更新到了 Flyme Auto 2。

Flyme Auto 2 这次的升级主要有两个方面，分别是交互效果优化和全维沉浸感提升。

交互效果主要优化了如下几个方面：

• 实况桌面：提升了车模的精细渲染与环境实时感知能力，配合更智能的时光引擎和超自然引擎，让车辆状态、外部天气一目了然；

• Alive壁纸：可以伴随车辆的电量状态，呈现数字花朵的绽放，还会根据驾驶速度的变化，为用户呈现沉浸式的驾驶场景。或者根据用户喜好创造数字孪生投影。

• 桌面大卡片： 主副驾快捷触达音乐、座椅、车况、无界互联等常用功能。音乐卡片可直接管理播放音乐，并快捷选择如“我的收藏”、“今日推荐”、“个性电台”等更丰富功能模块，更加实用；座椅卡片可以快捷实现全车常用座椅功能（加热、通风、按摩等）。

• 全新小窗：升级支持多任务小窗，双小窗随心切换智能贴边；小窗支持多屏自由流转，全车前后排屏幕均可使用；小窗不小，升级实现全屏显示能力（15.4寸全屏）；音乐小窗增加更多沉浸感，支持逐字歌词模式随时开唱 。

全维沉浸方面则主要优化了车机在行车、泊车等动态场景下的功能和体验，主要是借助小窗等形式实现了千里浩瀚辅助驾驶与车道级导航的无缝融合，以及携手高德地图，在银河 M9 首发借道超车预警、汇入汇出口预警、前方急刹车预警等守护预警功能、导航多路口红绿灯等用户痛点场景功能。

Flyme Auto 2 在应用生态和车手互联方面也在持续发力，后续会逐步完成 HiCar \ Carlink \ Carplay \ Flymelink 的全协议支持，实现支持市面上 90% 以上的手机品牌，并通过移动空间、浏览器、投屏等应用功能，最大程度开放座舱娱乐体验。

在车机系统外，吉利也为旗下各车型带来了一位超拟人情感智能体——EVA。

传统的座舱语音助手只是一个工具，是指令的承接者。而基于底层能力的进化，Eva已经能够自我判断、规划、和执行任务，这是两者的本质区别。

吉利说他们目前对语音助手的期望已经超越了「语音识别率」、「响应速度」等冰冷的参数，而是上升到了「情感」、「智慧」、「默契」等很高的纬度，他们希望 EVA 能成为一位有温度的「灵魂伴侣」。

那么，这位 EVA 都能做到什么事呢？吉利展示了如下几个场景。

• 倾听用户情绪：当用户说 「快点快点」，TA 会用急促但清晰的语气说：「已切换运动模式，导航推荐最快路线，预计提前 5 分钟到达」。
• 行业首发的流动记忆功能：当用户上周说「喜欢靠窗座位」，下次选餐厅时 Eva 会主动备注：「优先推荐有街景可以欣赏的餐厅」
• 领先的全场景 AI Agent 多功能应用：后排自动识别儿童音区，以儿童友好风格与小朋友互动，讲故事、百科问答。

为了能够让 EVA 更加拟真化，吉利还为其提供了可定制的音色方案，借助统一后的吉利 ID，用户可以在一次设置后，在其他吉利品牌车上都接触到同样的 EVA。

此外吉利还预告了后续智能座舱将陆续更新 AI 体感座舱、AI 哨兵报告、可视盲区辅助等功能。

在具体更新计划上，领克10 EM-P将成为 Flyme Auto 2 的首搭车型，在9月份正式上市。吉利银河 M9 将首搭 30 寸 6K 天际屏超级体验，于 8 月 23 号将正式开启预售。其他车型则将在后续发出公告。

回想起来，Flyme Auto 或许是苹果 Carplay、华为 Hicar 之外，为数不多的能被认为是智能车机代名词的车机系统。

究其原因，除了 Flyme OS 的珠玉在前外，吉利这几年在底层建设上的投入也功不可没。从 2021 年开始，吉利定下了要在电动智能化领域实现全面领先，通过算力、算法、数据「三驾马车」+模型生态+系统架构+信息安全守护，支撑吉利全域 AI 快速落地，也让智能化成果第一时间量产上车。

目前吉利已经建成了星睿智算中心 2.0，综合算力达到 23.5 EFLOPS，在中国车企算力中排名第一；数据层面也已经积累了积累 10T 的token数据和 40B的 汽车领域垂类数据，能够为大模型训练提供支持。

想要把 AI 和硬件更好的结合起来的，除了手机厂商之外，就属车企们最积极了，甚至座舱这种使用场景更偏私人和封闭的空间天生就比手机更适合使用语音交互。

Flyme Auto 的进化和 EVA 的升级也再次验证了一个趋势——无论是 AI 应用、手机还是智能座舱都已经走出了参数和配置的比拼，进入到了进入到体验与温度的竞争中。

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我们还年轻，可不想看到这个世界处在毫无自由、隐私的边缘。

在 Pixel 设备上打开 Google app 的新闻链接，或在 Windows 设备上通过开始菜单访问网络搜索结果，这两种情况都存在一个共同点：系统会忽略你的默认浏览器设置，强行使用自家的浏览器（Chrome 或 Edge）进行访问。

对此，似乎大家并没有太大反应，正如人们对欧盟地区用户在数字生活中享有选择而感到无奈似的。

今天我们就来探讨一个问题：如何成为一名数字意义上的欧盟地区 Windows 用户。

受《数字市场法案》影响，微软在欧盟地区针对用户做出了很多让步，包括：

关于 Windows 的地区设置，你可以在「系统设置 > 时间和语言 > 语言和区域」中找到几个选项：

不过，今天的重点是一个新加入的、不可更改的选项——设备设置区域。将其更改为欧盟地区是个不错的切入点。

我最初想到的是去年推出的 Edge 重定向工具 MSEdgeRedirect，但不久后发现该模式在 2024 年 3 月后将失效，原因是微软的 UCPD 驱动³。

UCPD（用户选择守护驱动）利用内置的黑白名单机制，屏蔽非微软签名的进程，阻止第三方工具对系统的修改。这不仅影响到一些文件协议的处理，而且更难被禁用。微软还设置了一个名为 UCPD velocity 的自动化任务，每次用户登录时都会恢复被禁用的系统文件和设置。

因此，想要使用 MSEdgeRedirect 开启「欧盟模式」的用户，首先可以按照 SetUserFTA 开发者的思路摆脱微软的干预。

彻底解决方案：直接删除 UCPD 驱动。以管理员权限运行 CMD，执行命令 sc.exe delete UCPD，然后重启。需要注意的是，该驱动可能会在系统更新后复活。

温和解决方案：禁用 UCPD 驱动，以管理员权限在 CMD 下执行：

完成后，便可以正常使用 MSEdgeRedirect 修改地区设置。

成功更改设备设置区域后，不仅能享受之前提到的「权益」，更能在各类设置中拥有更多自由，成为一个选择上的欧洲人、商店里的美国人、文本习惯上的中国人——这份灵活，值得我们珍惜。

参考链接：

This is the last of four articles providing brief summaries and contents for this series of paintings telling myths from Ovid’s Metamorphoses, and covers parts 55-74, from the foundation of Troy to the age of Augustus.

The foundation of Troy by Laomedon who failed to repay Apollo and Neptune for their help, so Neptune floods the city. Peleus marries the Nereid Thetis, with their wedding banquet on Mount Pelion, attended by the gods. Eris, goddess of discord, throws a golden apple into the group as a reward for the fairest, setting up the Judgement of Paris and leading to the war against Troy. Thetis gives birth to Achilles.

55 The Wedding of Peleus and Thetis

Chione boasts she is fairer than Diana, so the goddess shoots an arrow through her tongue, and she bleeds to death. Her father is turned into a hawk. Ceyx and Halcyone are turned into kingfishers. Aesacus is turned into a seabird after the death of Hesperia from a snake bite.

56 The hawk, kingfishers and a diver

After his judgement, Paris abducts Helen and triggers the war against Troy. The thousand ships of the Greeks gather at Aulis, where they’re delayed by storms. Their leader Agamemnon had offended Diana, so has to sacrifice his daughter Iphigenia to propitiate the goddess. At the last moment, Diana may have substituted a deer.

57 The sacrifice of Iphigenia

The Greek fleet sets sail against Troy, and when it arrives Protesilaus, the first to land, is killed by Hector. Achilles kills Cycnus, who is transformed into a swan. Caeneus was born a woman and raped by Neptune, for which she was turned into a male warrior. Nestor tells of the battle between Lapiths and Centaurs at the wedding of Pirithous and Hippodame.

58 A wedding ruined by centaurs

Neptune’s hatred for Achilles leads to the warrior’s death from an arrow shot by Paris.

59 The death of Achilles

Ajax and Ulysses contest for the armour of Achilles, but Ajax loses and falls on his sword. His blood is turned into the purple hyacinth flower. Troy falls, Priam is killed, Hector’s son Astyanax is thrown from a tower, and Troy is sacked by the Greeks.

60 The sack of Troy

Queen Hecuba’s youngest son is murdered, and her daughter Polyxena is sacrificed to gain fair winds for the departing Greek fleet. Hecuba blinds Polymestor and is transformed into a dog. Aurora laments the death of her son Memnon.

61 Sacrifice of Polyxena

Aeneas flees Troy with his father Anchises and son Ascanius, but his wife Creusa dies before she can escape. They sail with a fleet of Trojan survivors to Delos, then on to Crete.

62 Aeneas flees Troy

Aeneas sails on to land on Sicily. Galatea tells the story of her love for Acis, and the jealousy of Polyphemus the Cyclops, who killed Acis, whose blood was turned into a stream.

63 The tragedy of Galatea

Glaucus pursues Scylla, and is refused, so he visits Circe, who turns the lower part of Scylla’s body into a pack of dogs, then finally into a rock in the Straits of Messina. Together with Charybdis the whirlpool, they pose a threat to Odysseus’ ship.

64 Scylla meets Glaucus

Aeneas is rowed through the straits only to be blown south to Carthage, where he has an affair with Queen Dido. When he departs she falls on a sword he gave her and dies on her funeral pyre. Aeneas returns north to land at Cumae to visit its Sibyl. The pair visit the underworld, where they meet the ghost of Anchises.

65 The Cumaean Sibyl

A survivor left from Ulysses’ crew tells of their encounter with the Cyclops Polyphemus, who had held them captive. Ulysses got him drunk and blinded his single eye. The crew escaped tied under a flock of sheep. As they fled in their ship, the Cyclops threw a huge rock at them.

66 The tale of Polyphemus

A second of Ulysses’ crew tells of their time on Circe’s island. She turned them into pigs, but they were transformed back after Ulysses and Circe married.

67 Circe and her swine

Circe transforms Picus, King of Latium, into a woodpecker. Aeneas arrives at Latium, where he has to fight Turnus for the throne. Aeneas’ ships are burned and transformed into sea nymphs. As the end of Aeneas’ life draws near, he undergoes apotheosis to become Indiges.

68 Apotheosis of Aeneas

Pomona, a dedicated gardener who shuns men, is courted unsuccessfully by Vertumnus, god of the seasons. He assumes the guise of an old woman to try to persuade her, and tells her the tragic story of Iphis and Anaxarete, who was transformed into a statue. Vertumnus finally succeeds.

69 Vertumnus and Pomona

Rome is founded by Romulus. Its war with the Sabines, the death of the Sabine King Tatius, and Romulus becomes ruler of both peoples. Romulus is transformed into the god Quirinus, with his wife Hersilia as the goddess Hora.

70 Romulus and the founding of Rome

Myscelus is saved from death and goes on to found Crotona, where Pythagoras lived in exile. Pythagoras expounds change and transformation underlying everything in nature, and the central theme of Metamorphoses. The virtues of vegetarianism. King Numa returns to Rome and establishes its laws.

71 Pythagoras and Numa

Plague strikes Rome. The oracle at Delphi tells the Romans to bring the god Aesculapius to the city. He is taken as a snake from Epidaurus to his temple on Tiber Island, and the Romans are saved from plague.

72 Plague and Aesculapius

The assassination of Julius Caesar, who then undergoes apotheosis.

73 Julius Caesar

Jupiter foretells the accomplishments of Augustus, including success in battle, the fall of Cleopatra, and growth of the empire. The fate of Ovid in banishment to Tomis on the Black Sea.

74 The Age of Augustus

This is the third of four articles providing brief summaries and contents for this series of paintings telling myths from Ovid’s Metamorphoses, and covers parts 37-54, from the fall of Icarus to King Midas.

Daedalus and his son Icarus try to escape Crete using wings of feathers and wax. Icarus flies too near the sun, his wings melt and he falls to his death. Daedalus’ nephew is transformed into a partridge.

37 The fall of Icarus

Calydon troubled by a wild boar. Many heroes hunt the animal, and Meleager is successful. He shares the glory of his prize with Atalanta, but his uncles take the prize, so Meleager kills them both.

38 The Calydonian Boar Hunt

Meleager’s mother Althaea avenges the deaths of her brothers by throwing a log on the fire, causing her son’s death. His sisters are turned into birds. Theseus travels home from the boar hunt and is entertained by Achelous, who explains how nymphs were transformed into the islands of the Echinades.

39 The feast of Achelous

Lelex tells of Jupiter and Mercury seeking hospitality when visiting Phrygia. Only the humble and poor couple Philemon and Baucis entertain them. The gods save them from a flood that drowns everyone else. They’re later transformed into intertwining oak and lime trees.

40 Hospitality to strangers and virtue rewarded

Achelous tells those at his banquet of three shape-shifters: Proteus the old man of the sea, Erysichthon who sold his daughter to assuage his hunger until he consumed his own body, and Achelous himself.

41 Shape-shifters and the Old Man of the Sea

Achelous and Hercules wrestle for the hand of Deianira. Achelous turns himself into a bull, and Hercules wrenches off one of his horns, which becomes cornucopia, the Horn of Plenty.

42 Wrestling for the Horn of Plenty

Hercules marries Deianira, but the centaur Nessus tries to abduct her, so Hercules kills him. Nessus gives Deianira some of his blood, and tricks her later into impregnating one of Hercules’ shirts with it, causing him to incinerate himself on a pyre. He is then turned into a god.

43 The death of Hercules

The birth of Hercules made difficult by Juno and Lucina. Other myths of Hercules as an infant.

44 The birth of Hercules

Dryope picks lotus flowers, and is punished by transformation into a Lotus Tree. Byblis dissolves into a spring after falling in love with her twin brother. A daughter raised as Iphis, a boy, who was transformed into a man immediately before marrying the woman Ianthe.

45 Dryope, Byblis and Iphis

Orpheus marries Eurydice, who is bitten by a snake and dies. He travels to the underworld and pleads for her to be allowed to return with him. That’s approved, provided he doesn’t look back. Near the end of their return journey, he does look back, and she fades away back into the underworld. He then shuns women for three years in his grief.

46 Orpheus and Eurydice

Cyparissus befriends a stag, then accidentally kills it, and in his grief is transformed into a cypress tree, now grown near cemeteries. Orpheus tells of the young Ganymede, who was abducted by Jupiter and taken to Mount Olympus to be cupbearer to the gods.

47 The cypress tree, and the abduction of Ganymede

Hyacinthus, lover of Apollo, is killed by the god’s discus, and transformed into the purple hyacinth flower.

48 Killed by Apollo’s discus

Pygmalion rejects libidinous behaviour in women, and remains celibate. He carves a statue of a woman in ivory, and asks Venus for a bride like her. His statue is transformed into a woman, they marry, and have a daughter Paphos.

49 Galatea transformed from a statue

Myrrha is made pregnant by her father following a deception. He tries to kill her, but she flees and calls on the gods, who transform her into a myrrh tree. Nevertheless, her baby is born, and becomes Adonis.

50 The making of myrrh and birth of Adonis

Venus tells Adonis of the story of Atalanta, who had been told not to marry, and became a fast runner. Hippomenes challenges her to a race for her hand in marriage. He tricks her during that by dropping three golden apples provided by Venus, and beats her to the finish as a result. He didn’t thank Venus for her help, so the couple make love in a shrine to Cybele. As punishment they are transformed into lions to draw Cybele’s chariot.

51 The race between Hippomenes and Atalanta

Despite the warnings of his lover Venus, Adonis goes hunting, is gored in the groin by a wild boar, and dies. His blood is turned into the red anemone.

52 Death of Adonis

Orpheus is attacked by a mob of Bacchantes, torn limb from limb, and dies. His remains are dispersed into rivers, and his soul reunited with Eurydice. The Bacchantes are transformed into an oak wood.

53 The death of Orpheus

Bacchus grants the wish of King Midas, and everything he touches is transformed into gold. This proves a disaster, so Bacchus removes that gift. Midas loses a music contest with Apollo, for which he is given ass’s ears.

54 How Midas got his touch and his ears

膝盖骨乐队 Kneecap，8.5/10

评分给高了一点，是因为我部分地代入了音乐教师 Dj Próvai 的角色，于是它似乎成为了对我而言最好的中年电影之一。

不再是那种俗套的中年电影：在生活压力或者虚无中产生情绪，寄情于（事业 or 自然 or 某种兴趣爱好 or 性爱）之中，最终（成功 or 不成功）的故事。

而是，在碌碌生活中，仍然坚信自己的某些想法是对的（譬如怎样普及爱尔兰语），尽管无力去做什么，却仍然保持着心底的理念，不让屁股决定自己的脑袋。然后，某一天，恰逢其会，遇到了更有天赋和激情的小朋友们，就可以随时行动起来，为他们提供支持，用自己的经验和技术，让那些 idea 更有机会实现。

同时，一方面，在社群中维持某种程度而又不喧宾夺主的 ego；另一方面，在自己原有的社会连接中，纠结而微妙地平衡着，和各种被动或主动地岁月静好的人们、为你好但理念非常不兼容的人们、以及用非无政府主义的态度搞事情的人们，或者试探、或者坦承、若即若离。

以及，经常遇到小朋友们听不懂年代梗的尴尬。

：我这个录音棚比不上 Abbey Road 啦。
：Abbey 啥玩意？
：……

：大家看啊，Roland 808 鼓机！
：这是啥？看着像 80 年代的垃圾？
：……是我们要用来录音的设备。

（Update，才发现这两个梗都被放到官方预告片里了 lol

距离我上次推荐 Chrome 新扩展已经过去了四个月时间，商店里也出现了一大波新选手。在本文中，我将介绍其中 10 款实力玩家，包括新标签页、剪藏工具、外语学习、时间追踪、下载增强等，希望你能找到自己心仪的扩展。

DashOne

作为 Android 的特色亮点之一，桌面小部件（Widget）可以帮助我们在不打开应用的情况下了解最新动向、完成各种操作，而 DashOne 则将其搬到了你的 Chrome 新标签页上。它预置了天气、新闻、笔记、书签、快速启动及多种效率工具，允许你阅读 RSS 订阅文章、查看 Gmail 未读邮件、速览 GitHub 通知、处理 Todoist 任务，甚至玩一局打砖块或连连看，还支持自由排列和暗色模式。

你可以在 Chrome 网上应用店 获取 DashOne，免费用户仅可以添加 10 个 Widget，如果你想添加更多，需要订阅 3 美元/月的专业版。

几枝

不论是为了提高自己的姿势水平，还是单纯想在聊天时彰显文采，多背几首诗词总是没错的。而几枝这款扩展，就会在你每次打开新标签页时展示一句经典古诗词，配合层叠涌动的波浪或气泡背景，婉约如江南山水，让你的 Chrome 与众不同。如果你想了解更多，只需点击页面中间的词句，就可以调用 Google、百度等引擎搜索相关背景知识，探索古韵之美。

你可以在 Chrome 网上应用店、Firefox Add-ons 和 GitHub 免费获取几枝。

Web Clipper

正如其名，Web Clipper 的主要功能是将网页上的内容「剪辑」下来，并一键保存至数种云笔记服务。与印象笔记剪藏等工具相比，Web Clipper 支持智能提取、手动框选及自由编辑选中区域，还允许你将网页转换为 Markdown 格式，满足多种需求。目前，Web Clipper 已支持 Bear、GitHub、Notion、OneNote、有道云笔记和语雀 6 种在线笔记服务，值得一试。

你可以在 Chrome 网上应用店 和 GitHub 免费获取 Web Clipper，Firefox 版本也正在开发中。

TenWords

我曾经介绍过不少划词翻译扩展，而 TenWords 可能是最特别的那个。只需点击工具栏上的图标进入学习模式，你就可以通过鼠标轻点查询不认识的单词释义，并标注生词为「已掌握」或「不认识」，在 TenWords 的练习页面中温习。TenWords 支持定时提醒、进度管理、单词卡片及学习成就统计等，帮助你快速掌握一门新语言。除了英语外，TenWords 还针对法语、德语、俄语等数种语言做了相应优化，适用范围更广。

你可以在 Chrome 网上应用店 免费获取 TenWords，由于网络原因，登录账户可能需要科学手段，敬请留意。

Dualsub

要想掌握一门新语言，观看外语原版视频是快速提升自己的好方法，为了兼顾初学者和进阶用户的需要，不少字幕组都会提供双语版本的字幕文件，便于对照学习。其实，不少 YouTube 视频也会提供多种语言版本的字幕，但默认只能显示一种，为了解决这一问题，Dualsub 诞生了。它支持同时显示两种不同语言的字幕，还允许你将字幕以 ASS 文件的形式保存至本地，啃生肉更轻松。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Dualsub。

Summary Box

在信息高度碎片化、呈爆炸式增长的今天，「一目十行」几乎成了快速汲取新知的必修课。不过，我们可以比较轻松地精炼母语文章的中心思想，却很难高效阅读外语新闻，往往需要一个个单词逐字在脑中翻译，效率低下。Summary Box 则利用 AI 技术，帮助你一键生成所选文章的要点梗概，还支持自动提取正文内容，是速览英语文章的好帮手。

你可以在 Chrome 网上应用店 免费获取 Summary Box。

Worklog Tracker

时间量化管理是一项容易被忽视、却相当重要的提升效率法门，可以帮助我们厘清工作时长分配，更好地安排自己的一天。Worklog Tracker 就是一款相当出色的时间记录扩展，它支持在本地创建并追踪工作动态，自动同步至 Toggl、Jira、Keen 和 Yandex.Tracker 等主流服务。你还可以利用它导入及导出不同时间追踪平台中的个人数据，在多种服务间自由切换。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Worklog Tracker。

DownThemAll!

DownThemAll! 是 Firefox 平台的老牌下载增强扩展，近期移植到了 Chrome 上。与原生下载管理器相比，DownThemAll! 支持自动嗅探网页上的元素，并按照预设规则进行分类。你可以轻松筛选当前页面上所有的链接、图片、音频、视频、文件等，并一键下载至本地。此外，DownThemAll! 还允许你创建自定义规则，利用正则表达式过滤要下载的项目。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 DownThemAll!。

FasterChrome

Chrome 之所以能够在短短数年时间内超越 IE，独霸浏览器市场，很大程度上是凭借其无出其右的响应速度，而 FasterChrome 这款扩展想让它变得更快。其原理十分简单，当你的鼠标指针停留在一个链接上超过 65 毫秒时，FasterChrome 就会假定你即将点击它，并在后台预先加载。由于正常人从移动鼠标到手指按下间隔 300 毫秒以上，两者之间的时间差就会造成网速更快的错觉。

你可以在 Chrome 网上应用店 免费获取 FasterChrome。

ClearURLs

点击广告或其它链接跳转至第三方网站时，你或许会注意到地址栏后缀着一串看似无意义的字符，其主要作用是标识你的身份，包括设备信息、用户资料等，便于追踪和定位。如果你比较在意自己的隐私安全，或许会希望删去这些跟踪字段，而 ClearURLs 就能派上用场。它能够自动净化主流网站的追踪字段，还支持提交自定义模板，保护你的个人数据。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 ClearURLs。

前几天写了一篇小众 App 合辑推荐，有些出人意料的是，评论区的读者更感兴趣的反而是我 Chrome 里都装了哪些扩展。为了满足各位读者的好奇心，今天，我就来介绍一下自己正在使用的一部分扩展，希望你会满意。

让网页焕新颜

浏览器的本职工作，当然是访问网页。不过，总有一些网站的设计让我们心生不快：铺天盖地的广告、陈旧过时的 UI、繁复难用的交互……而本节介绍的 8 款扩展，就能解决这些问题。

Stylus

Stylus 是一款基于知名网页美化工具 Stylish 1.5.2 版本开发的开源扩展，允许你通过编辑 CSS 为网页创建自定义样式、主题等。安装后，Stylus 便会智能提示适用于当前网站的用户样式，可以轻松安装使用。如果你略懂编程，还可以自己修改或创建样式，将网页调教为自己喜欢的模样。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Stylus。

P.S. 如果你正在使用 Stylish，其已被原开发者出售，曾被曝光后台窃取用户隐私数据，建议卸载。Stylus 则基于由原作者维护的最后一个版本，并删除了所有追踪功能，更好地保护隐私。

关联阅读：

• 这款网页美化扩展跟 Stylish 一样好用，但它不会偷看你的浏览历史：Stylus

简悦

尽管 Chrome 75 已经为我们带来了原生的阅读模式，但其仍有诸多不足：入口深、选项少、适配差……简悦则完美解决了这些问题，它手动适配了数百个常用网站，支持颜色主题、字体、间距等多种样式切换。对于未适配的网站，简悦还提供了临时聚焦模式，帮助你只关注内容，不受其它元素干扰。

简悦更强大的地方，在于丰富的动作和插件支持。你可以将网页内容一键分享至微博、Twitter，也可以发送至印象笔记、Pocket 暂存，或者干脆直接推送至 Kindle 继续阅读。还是没有你想要的功能？简悦支持安装第三方插件，实现无图模式、划词搜索、全文翻译等更多特性，等你发掘。

你可以在 官网、Chrome 网上应用店 和 Firefox Add-ons 免费获取简悦。

关联阅读：

• 为了完美阅读模式这个小目标 ，我适配了 160+ 个网站，因此诞生了它 - 简悦
• 不只是「完美」阅读模式，他想用这款阅读工具帮你更好获取知识：专访简悦 | 幕后

Dark Reader

继 macOS Mojave 后，刚亮相的 iOS 13 也为我们带来了原生的黑暗模式。如果你希望在全平台获得一致的浏览体验，Dark Reader 就能帮上忙。它可以智能反转网页主体颜色，保证图片辨识度的情况下将背景设为深色，呵护眼部。在设置中，你还可以手动调整颜色、对比度、滤镜等。如果你是高级玩家，还可以在开发者工具中直接编写 CSS，可玩性极高。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Dark Reader。

uBlock Origin

uBlock Origin 是一款极其强大的广告屏蔽和反追踪扩展，与更广为人知的 AdBlock Plus 相比，它仅默认加载匹配当前网页的规则，因此性能更强、占用资源更低。你可以直接添加由他人维护的广告屏蔽规则列表，或者通过元素拾取器准确屏蔽不想看到的部分，也可以为想要支持的网站（例：sspai.com）启用白名单，方法多样。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 uBlock Origin。

哔哩哔哩助手

哔哩哔哩助手可能是资历最老的 B 站辅助扩展之一，时至今日，已经拥有了关注内容更新推送、画中画、视频下载、自动签到、过滤直播广告等数项涵盖全站板块的功能。此外，你还可以利用哔哩哔哩助手反查具体弹幕发送者，方便屏蔽喷子们。

你可以在 官网 或 Chrome 网上应用店 免费获取哔哩哔哩助手。

pakku

弹幕可以说是众多 B 站视频的灵魂，但有时，过于密集的弹幕刷屏也会使人心生厌烦，而 Pakku 则可以近乎完美地解决这一问题。启用后，它便会将短时间内集中出现的相似弹幕自动合并为一条，并在后方注明出现次数。在不遮挡画面主要内容的同时，达到欣赏优质弹幕的目的。你还可以调整弹幕合并样式、相似度算法等，或者用正则表达式预先过滤弹幕，自由度较高。

你可以在 官网、Chrome 网上应用店 和 Firefox Add-ons 免费获取 pakku。

Simplify Gmail

为了完成 KPI，Google 大刀部把广受欢迎的 Inbox 砍掉了，如果你曾是其忠实用户，可能会对陈旧的 Gmail 界面感到不适应。为了拯救你的收件箱，前 Inbox 设计师 Michael Leggett 开发了 Simplify Gmail 扩展，重新设计了按钮和元素的摆放位置，并隐藏了侧边栏，让界面更加清爽干净。

你可以在 Chrome 网上应用店 免费获取 Simplify Gmail。

Augmented Steam

一入蒸汽深似海，从此钱包是路人。看着满屏的 -90%，唯有 Augmented Steam 能阻止剁手的冲动。它可以帮助你查看游戏的历史价格、各区售价，隐藏或高亮显示已购买游戏和愿望单项目，在商店页面显示成就、媒体打分和相关文章介绍等，是喜加一前的好帮手。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Augmented Steam。

P.S. Augmented Steam 基于名气更大的 Enhanced Steam 扩展，但由于后者已停止维护，故推荐此扩展。

让功能更贴心

网页要颜值，更要实用。有的网站精简功能引流 App、有的网站拒不兼容最新标准、还有的网站总是加载出错……要想好好上网，本节推荐的 7 款扩展必不可少。

Tampermonkey

Tampermonkey 是一款用户脚本管理器，其与 Stylus 类似，但功能更加强大。从内容屏蔽到样式美化、从功能增强到精简提速，用户脚本几乎无所不能。如果你厌倦了原始网页的诸多不便，不妨试试能否从 Greasy Fork 中找到其他用户编写好的优化脚本，或者干脆自己创建一个，并分享给大家。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Tampermonkey。

关联阅读：

• 用 Chrome 的人都需要知道的「神器」扩展：「油猴」使用详解
• 全方位强化你的浏览器，我们推荐多达 40+ 款实用的油猴脚本

Infinity 新标签页

Infinity 也许不是最美观或最实用的新标签页扩展，但很有可能是将两者平衡最优秀的那一个。它内置了上万张风景和插画壁纸，提供 Unsplash、Bing、Life Of Pix 等壁纸源，支持自动切换、遮罩和模糊效果。为了保证 UI 的一致性，Infinity 新标签页重绘了数百个常用网站图标，可以按分类筛选和搜索。你还可以自定义图标布局、形状等，随心定制主界面的显示元素。

你可以在 官网、Chrome 网上应用店 和 Firefox Add-ons 免费获取 Infinity 新标签页。

二管家

对于装了 94 个 Chrome 扩展的我来说，如何管理调教它们是件烦心事。而二管家则允许你在一处快速管理所有已安装扩展，通过正则表达式自定义规则，在打开特定网站时自动开启或禁用一组扩展。此外，二管家还能记录所有扩展的安装、卸载等活动记录，并依据云端数据为你推荐适合当前网站的扩展。

你可以在 Chrome 网上应用店 免费获取二管家。

二箱

二箱与二管家来自同一位开发者，是一款整合了 Google、百度、必应、TinyEye、SauceNAO 等多个引擎的图片搜索扩展，允许你在一个页面中查看全部相关结果，并按尺寸、相关度等排序。你也可以使用二箱直接截图，或手动上传本地图片搜索，并查看此前的搜索记录。

你可以在 Chrome 网上应用店 免费获取二箱。

IE Tab

互联网的辞旧迎新速度愈发迅捷，却总有教务系统和网银页面被甩在身后。如果你不想每次登录网银都要从角落请 Internet Explorer 出山，IE Tab 就是个好选择。它可以在不离开 Chrome 的情况下调用 IE 内核浏览网页，从此告别「不兼容」对话框。

你可以在 Chrome 网上应用店 获取 IE Tab，免费版仅支持 Windows，macOS 和 Chrome OS 使用需要订阅高级版。

Go to Tab

一次打开众多网页时，Chrome 就会把所有标签页都缩成一团，完全无法辨识。而 Go to Tab 则可以将当前打开的网页和窗口标题展示为列表，点击即可跳转或关闭。如果标签页实在过多，你还可以用键盘快捷键快速操作，并搜索 URL 和标题，提高浏览效率。

你可以在 Chrome 网上应用店 免费获取 Go to Tab。

AHA Music

用浏览器观看视频时，你的注意力可能会被背景音乐所吸引。而 AHA Music 这款扩展就可以自动识别当前正在播放的音乐，并给出 Spotify、YouTube、Deezer 等流媒体服务链接。由于采用了 ACRCloud 作为曲库提供方，AHA Music 基本覆盖了所有时下流行歌曲，让你无后顾之忧。

你可以在 Chrome 网上应用店 免费获取 AHA Music。

让工作更高效

在少数派写推荐文，必不可少的关键词之一就是「生产力」了。在本文中，我也不能免俗，将为大家介绍 7 款可以加速你的工作效率的 Chrome 扩展，从此告别「996」。

Toby

查询资料时，我们可能会同时打开许多标签页，如果这时突然来了其它紧要工作，只有关闭所有页面下次重新搜索么？有了 Toby，你就可以一键保存当前的标签页组，随时恢复此前的进度。Toby 支持暂存多个标签页组，并通过标签、笔记和备注整理归纳，还能跨设备同步收藏记录。

你可以在 Chrome 网上应用店 免费获取 Toby。

关联阅读：

• 如何更好地管理「标签页」，我选择 Toby

Spider

工作和学习中，你可能会有批量抓取网站内容的需求：商品介绍、新闻标题、表格数据……如果只是单纯的复制粘贴，之后还要费心整理，想要写个爬虫又考验编程水平。这时，不妨试试 Spider，它可以一键抓取网页上的结构化数据，并导出为 JSON 和 CSV 文件，轻松高效。

你可以在 Chrome 网上应用店 免费获取 Spider。

Forest

如果你总是在工作中分心，干正事的时候鼠标却不由自主地点开了摸鱼网站，Forest 就能帮到你。只需设置网站白名单和黑名单，再点击 Forest 的图标，它就会督促你专注于眼前的工作。你可以设置专注时长和树的种类，在结束时收获绿树如荫。如果期间访问了不该上的网站，就只有枯萎的树苗了哦。

你可以在 Chrome 网上应用店 免费获取 Forest，应用同时提供 iOS 和 Android 版本。

关联阅读：

• 你要专心工作，这棵树才能茁壮成长：Forest for Chrome | App+1

WorldBrain’s Memex

我们每天都会访问数不清的网站，却很少归纳整理。于是，当某一天你突然回想起曾经看到过什么内容时，用尽一切办法，也很难翻到当初的那个页面了。为了解决这一问题，WorldBrain’s Memex 诞生了。它可以快速索引网页正文内容，而非标题和链接，还支持自然语言检索，读过哪些文章一清二楚。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 WorldBrain’s Memex。

关联阅读：

• 在数千条历史记录中找到已经忘记标题的网页，你可以试试 Memex

达达划词翻译

单词翻译扩展可能是竞争压力最大的领域之一，少数派此前也曾推出过一篇 专题介绍。而尝试过诸多作品后，我的最终选择是达达划词翻译。它的 UI 设计简约美观，释义来自牛津词典，支持发音和词根词缀。此外，达达划词翻译还内置了生词本功能，基于艾宾浩斯记忆曲线进行温习提醒，帮助你科学掌握外文词汇。

你可以在 Chrome 网上应用店 免费获取达达划词翻译。

书签侧边栏

为了追求更大的有效显示面积，不少人会选择隐藏 Chrome 书签栏，但这也会带来一个新问题，那就是如何方便快捷的点击书签。而书签侧边栏则可以将 Chrome 的书签栏移动至浏览器两侧，并通过滑动或点击等方式唤出，还可以自定义其外观、位置、行为等，自由度较高。

你可以在 Chrome 网上应用店 免费获取书签侧边栏。

Unpaywall

尽管科学无国界，但部分知识却有壁垒。如果你需要参考一篇期刊论文，学校却没有购买相关授权，或许会看到下图所示的提示，只能另觅他处或自掏腰包了。其实，有相当一部分付费论文都可以从互联网免费获取，Unpaywall 就可以帮助我们找到它。启用后，Unpaywall 会在论文网页提示是否有免费版本，可以一键直达。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Unpaywall。

P.S. 与 Sci-Hub 不同，Unpaywall 由一家名为 Impactstroy 的非盈利机构出品，检索到的论文均来自正规合法渠道，如 Green Open Access 和作者个人网站等，请放心食用。

让代码更直观

要想代码没 bug，除了祭祖女装 996 外，好看实用的浏览器扩展也能增分不少。在本节，我就为大家推荐 4 款程序员必备的 Chrome 扩展，希望能帮助你码途一路顺风。

GayHub

作为全球最大的同性交友平台，GitHub 是不少程序员的工作必备网站，而 GayHub 就能让它更好用。它解决了 GitHub 浏览项目时的几个痛点，如在项目左侧显示文件目录树方便跳转、在右侧为 Markdown 说明文件添加 ToC 目录以供查看等。此外，你还可以用它全屏查看图片、快速复制代码，让 GitHub 更好用。

你可以在 Chrome 网上应用店 免费获取 GayHub。

Refined GitHub

Refined GitHub 为 GitHub 带来了数个 UI 及细节改进，如将 issues 通知设为未读、一键修复 merge 冲突、pull request 前二次确认、issue 原链接跳转、显示表态者头像等。如果你觉得原生 GitHub 还有哪些不便，不妨到 Refined GitHub 主页 提交新请求吧。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Refined GitHub。

OctoLinker

在 GitHub 上在线查看代码时，纵使你可一目十行，也难免会被某个复杂的逻辑绕晕。这时，就到了请 OctoLinker 出场的时间。它可以识别包括 Java、Python、Node.js、Haskell 等在内的数十种语言在内的代码逻辑，将 include、require、import 等模块加载语句转换为可点击的链接，一键跳转至引用页。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 OctoLinker。

JavaScript and CSS Code Beautifier

顾名思义，JavaScript and CSS Code Beautifier 是一款可以美化网页 JS 、CSS 及 JSON 代码文件的 Chrome 扩展。只需打开任意一个源代码页，它就会提示你是否显示格式化后的代码，并支持多种主题切换及自定义样式效果，再也不用复制到 IDE 查看了。

你可以在 Chrome 网上应用店 免费获取 JavaScript and CSS Code Beautifier。

让设计更简单

如果你靠设计混饭吃，在日常工作中可能会遇到这些问题：想下载当前页面中的全部图片又懒得依次点击、看到一组不错的配色想保存又不知具体色值、觉得网页用的字体超赞却难觅具体名称……而本节介绍的 6 款扩展就能满足你的需求。

图片助手

在 Dribbble、Pinterest、花瓣等网站看到一组设计素材时，你可能会想要将其保存至本地备用，而图片助手则可以帮助你将其一网打尽。它能够一键提取当前页面中的所有图片，允许你按尺寸、类型、URL 等筛选，还支持一次提取多个网页中的图片、加载当前页面中的链接以获取更多图片。

你可以在 Chrome 网上应用店、Firefox Add-ons 和 官网 免费获取图片助手。

P.S. 如果你曾搜索过 Chrome 图片批量下载扩展，可能会看到不少推荐 Fatkun 的文章。它此前很长一段时间也是我的首选，但在一次更新后出现了静默弹窗、劫持搜索引擎、后台访问推广网页等行为，建议大家移除。

Color by Fardos

无论是平面设计还是幻灯片演示，一套优秀的色彩方案都可以起到锦上添花的作用，而 Color by Fardos 就可以承包从取色到配色的全部流程。安装扩展后，只需输入名称，你就能找到相关颜色及其互补色、三色调等方案。你还可以点击屏幕上的任意颜色，实时预览调色效果，并保存至调色盘备用。

你可以在 Chrome 网上应用店 免费获取 Color by Fardos。

Site Palette

偶遇一个设计精美的网站，想将其配色方案应用至自己的作品，Site Palette 就能帮上忙。它可以智能分析任意网页的主色调和配色方案，生成调色板，并按照 Material Design 等设计语言给出近似的颜色方案，方便后续设计工作。

你可以在 Chrome 网上应用店 获取 Site Palette，其专业版支持通过终端调用 API，但需按请求次数付费。

Dribbble Color Generator

Dribbble 是世界著名的设计师交流网站，可以从上面发掘出许多优秀作品。而 Dribbble Color Generator 则可以帮助你下载任意作品的调色板，并保存为 .aco 或 .sketchpalette 文件，让你从此不再为配色担忧。

你可以在 Chrome 网上应用店 和 Firefox Add-ons 免费获取 Dribble Color Generator。

Eagle

Eagle 是一款集实用与美观于一体的设计素材管理工具，少数派此前也曾多次介绍过。而其官方 Chrome 扩展则允许你一键批量导入当前网页中的图片，或者直接截图保存。其抓取能力十分强大，支持按尺寸、格式等筛选，并自动识别重复图片，是设计师的好帮手。

你可以在 Chrome 网上应用店、Firefox Add-ons 和 官网 获取 Eagle 浏览器扩展，需要配合主应用才能使用，欢迎前往 少数派正版软件商城 选购。

关联阅读：

• Eagle 1.9 更新：新增字体管理、以图搜图等，发现素材管理的更多可能
• 保持热情与创新，他开发出了这款图片管理工具中的「印象笔记」：专访 Eagle | 幕后

WhatFont

在网页上看到了好看的字体，怎么才能应用到自己的作品中？此前，我一直是右键「审查元素」，再细细搜寻，效率低下。而 WhatFont 则允许我们通过一次点击查看对应文本采用的字体、字重、字号、颜色等，还能预览字体样式和跳转至字体来源出处，让海报设计更容易。

你可以在 Chrome 网上应用店 免费获取 WhatFont。

我好久都没睡好了，值得记录一下。

从半年前手术开始，接连着出差、二次手术、年前的忙、过年的烦、年后的忙，一直到前几天的连续熬夜和通宵工作，我真的很长一段时间里都没有这么深的睡眠了。

前几天为了最后出方案，熬了两个通宵，公司内部的野心和追求都令我感到很失望，复杂的情绪交融在一起，非常难过。但最后还是用我的方式，引导大家选择了我想要的那个。尽管看上去我在力推另一个方案，但是人呐，对于自己没有概念的事情，靠嘴说是没有用的，对于他们来说，打出高中低来，选中间的，是他们能理解的方式。更好的那个，谈不上多超前，仅仅只是不值得而已。算了，以后总会有机会。

昨晚九点半，终于把所有设计文件、模型和工艺文件、USDZ 文件分别发送到了各个下一环节手中。接下来，不用我熬夜，轮到我监督他们干活交东西了。算是阶段性的胜利吧。

心情一好，我就看了半部《无间道3》。

前段时间跟筱烨一起看《无限超越班》，心里的戏瘾就痒痒，但是现在没有机会上舞台了，就上 Netflix 找了无间道三部曲开始看。之前分两周陆续看完了前两部，昨晚难得松懈一下，一口气看了半部三。

为了帮我补熬夜的气血，筱烨给我买了两次西洋参。第一盒前几天喝完了，前天又到了一盒，昨晚睡前温热地喝了一杯。

大概是工作的疲惫 + 阶段胜利的松懈 + 看电影的愉悦 + 西洋参补的气，一起让我睡了一顿好觉吧？

健身課表/課表中，除了動作選擇外，最重要的就是訓練強度和訓練量了。但訓練量有許多不同的定義，本文即是來解釋訓練量的定義方法及理由（原文請見 ig @vin_training）

簡介

訓練量，是大家耳熟能詳的名詞，是安排課表時重要的變因之一。

我自己最初接觸這個名詞時，學到的是「訓練量=次數x組數x重量」。但後來慢慢發現，不是所有人都這樣定義的。

譬如，許多健力、健美課表上的每日「volume」欄位就是指當天的「sets (組數）」。而台灣人應該也不陌生的 Juggernaut Training System 的 「訓練量專家」 Mike Isratel （水肥哥翻譯過他的「練胸完全指南」）也把訓練量定義為組數。

那訓練量到底該怎麼定義呢？本文整理了近幾年的研究並給出我個人的推論，但這並不是學界公認的定義，也不是每個健身者都認同的定義。事實上，有些專家會用更複雜的計算方式來定義訓練量（例如，考慮自覺強度或 1RM 百分比）。

因此本文主要目的是分享訓練量的「簡易定義方式」，以供大家參考，並不是說這就是唯一的正解。

For 肌肉量成長：訓練量=組數

傳統上，我們常用「次數x組數x重量」當作訓練量的定義，但就出現了一個問題：為什麼研究（1）會發現，當訓練量相同時，大重量訓練比小重量訓練能得到更多的肌肉量成長？之後，科學家發現，若把訓練量定義為「達到力竭的組數」的話，大重量訓練就跟小重量訓練有同樣的肌肥大效果（研究2，研究3）。

[實際應用]

在設計課表時，訓練量是我們常常要操作或控制的變因。許多人把訓練量視為「次數x組數x重量」，但或許把訓練量視為「足夠難的組數」會是更好的方法。

For 肌力：訓練量=組數

關於訓練量與肌力的研究相對不一致。有研究（4，5）發現訓練的組數越多，肌力成長就越高；但也有研究（6，7）得出高組數與低組數對肌力成長的效果沒有差別。

但不變的是，大重量對最大肌力的成長一定比低重量大。此外因重量跟次數是互相影響的，所以大重量必伴隨低次數。因此，以肌力為目標的話，將訓練量定義為「組數」即可。

[實際應用]

若目標是最大肌力，那一定要練大重量(>75% 1RM 夠的重量)，且時不時需要練>90% 1RM 的重量。但訓練量是不是重點呢？短期可能不是，因此比賽前減少訓練量是不會影響肌力成長的。但長期而言，因肌肉量愈高則肌力成長的潛力越大，所以高訓練量仍會比較好。

For 熱量消耗：訓練量=次數x組數x重量

當訓練量=「次數x組數x量」時，相同的訓練量會有類似的熱量消耗。

因為熱量消耗取決於做功，而做功等於「力x距離x總次數」。所以在距離相同的情況下（也就是你深蹲不會越蹲越高），熱量消耗就可以用「重量x總次數」來預測，而總次數就是次數x組數。

[實際應用]

如果你重訓的目標就是「熱量消耗」的話，那挑選較輕的重量確實能較有效累積一個訓練日的熱量消耗。但我仍會推薦重訓就以肌力、肌肉量、或肌耐力為目標，熱量方面靠飲食更有效。

另一個能觀察到的現象是，初學者通常深蹲或硬舉個 10 下後仍臉不紅氣不喘，但若是能蹲 200 公斤 10 下的人，蹲完肯定會攤死在地板上，因為熱量消耗實在太大了，所以休息時有氧系統需要火力全開提供能量。

結論

若你想尋求最簡單的方法來追蹤訓練量，那用「組數」算是不錯的選擇。但一組三下 vs 一組 15 下對身體的感覺確實不同，所以心中也要記得「組數」只是個訓練量的估算而已，最終還是要檢測自己的身體反應。