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重庆一般做无痛人流多少钱啊重庆治疗宫外孕专业医院重庆三峡中心医院百安分院输卵管价格 The Supermarket Numbers GameHave you ever gone to the store just for milk, but walked out with eight sale-priced cans of something you’d never tasted and eight candy bars? How does that happen?Dr. Brian Wansink of the University of Illinois Food amp; Brand Lab studied how people make decisions in stores.The results are interesting not only for merchandisers hoping to increase sales, but customers trying to resist the temptation.One way stores increase sales is that standby of merchandising, the multiple unit price. That’s when a sign lists the price for several items, instead of one, say, 4 cans for .Of course, you could buy one, but it’s hard to resist the suggestion to buy more. Wansink found that multiple unit pricing increased sales by almost a third.Here’s an even more astounding technique. When Wansink put up a sign that said, “Buy Snickers Bars for your Freezer,” people tended to buy one.Next though, he changed the sign to , “Buy 18 Snickers Bars for Your Freezer.”It probably sounded ridiculous to customers too, but they tripled their purchases to three candy bars, on average.The limit sign is another trick of the numbers that increases sales, even though stores usually intend it to do just the opposite. Let’s say soup is marked way down, to bring in customers.The addition of a sign limiting purchase to 12 cans had a dramatic effect in Wansink’s study, increasing sales by 112%!To resist the power of supermarket suggestion, write a grocery list at home, including how much you need. At the store, remember how the numbers games work! /201205/183870Business The revival of independent film Scripts, not effects商业 独立电影的复兴 剧本是关键,资金不成问题Independent films are at last recovering from the slump最终,独立电影在走出低谷THE Toronto film festival, which ends this week, marks the start of the serious-film season. Out—at least until Thanksgiving, in late November—go the superhero spectaculars. In come the foreign films and the dining-room dramas. The autumn crop is far more prone to failure than the summer one. But highbrow films now come with higher hopes.本周结束的多伦多电影节,标志着严肃题材电影季节拉开了帷幕。依靠超级英雄来取票房的电影至少要持续播映到十一月末的感恩节。外国电影和文艺影片将走向舞台。可以预计的是秋季票房收入比夏季还要惨淡。但高格调电影迎来了更高的期许。For the past few years the independent film business has resembled a low-budget horror movie. Outside financing was brutally killed in 2008, as banks stopped lending. Three of the six major studios axed subsidiaries that had specialised in buying independent films. Consumers struck another blow by switching from buying DVDs to renting them.过去几年间,独立电影产业的遭遇堪于一部低成本恐怖电影并论。随着停止给提供贷款,在2008年,外界融资渠道也中断了。六大电影工作室中的三个停止了之前专门购买独立电影的子公司。消费者接着又补上一记重拳,他们开始租赁光碟而不再购买DVD了。Yet sales at film festivals this year have been brisk. New buyers such as CBS Films and Open Road Films have emerged to replace the departed studios. The larger independent outfits have steadied. The Weinstein Company, which almost collapsed two years ago, is basking in the success of ;The Kings Speech; (pictured). Lionsgate has shaken off an activist investor, Carl Icahn, who had argued it should get out of film production. Summit Entertainment, maker of the popular ;Twilight; films, closed a large financing deal in March.然而,今年各个电影节的影片销售却一路高歌猛进。新的买家如CBS和Open Road Films公司开始取代离开此领域的工作室。更大规模的独立摄制组运作也趋于平稳。两年前处于破产边缘的韦恩斯坦公司,依靠着《国王的演讲》,咸鱼翻身。狮门公司摆脱了它那位激进的投资商卡尔?伊坎,他曾主张狮门公司应该关闭其电影业务。《暮色》系列电影的制造商,顶峰公司在三月拒绝了一笔数额巨大的收购提议,决定不出售公司。It helps that films have become cheaper to make. Actors salaries remain depressed, and indies have become expert at exploiting competition between states and countries, which lavish subsidies on them. Most important, says Morris Ruskin, the head of Shoreline Entertainment, a glut of films commissioned in the era of loose credit has at last worked its way through the pipeline. ;Weve gone from a market that was saturated with films to a market that is hungry for them,; he says.电影制作成本的下降对独立电影业的发展有着推波助澜的效果。演员们的薪水依然不高,各独立电影制作公司精于利用州与州,国与国之间的竞争关系,从中获取慷慨的补助。海岸的老板 莫里斯.若斯金表示,最重要的是,信贷宽松时期充斥着被委托制作的电影,如今终于熬出头了。他谈到:;那个供应饱和的市场已经远去,现在市场对电影变得趋之若鹜。;The post-financial-crisis independent film business is both more independent and more focused on film than before. The three major studios that got out of indie films—Disney, Paramount and Warner Bros—have not returned and are concentrating on a few expensive blockbusters. And the collapse of DVD sales means it is more important to drive people to cinemas. Richard Abramowitz, who is distributing the racing film ;Senna; in America, says the sp of Blu-ray cinema projectors has cut costs dramatically.后金融危机的独立电影业较之以往,即更为独立,也更注重电影本身。退出独立电影行列的三大电影工作室——迪斯尼、派拉蒙和华纳兄弟——并没有重返独立电影业,而是将重心放在了花费高昂的大成本影片当中。光盘销售业的凋零使得把观众请到电影院变得尤为重要。正在负责赛车题材电影《塞纳》营销工作的理查德?阿布拉莫威茨谈到,蓝光播放器的普及使得其制造成本大大降低了。The business is more international, too. Roman Polanskis latest film, ;Carnage;, was financed by Europeans, with American distribution added almost as an after-thought. Total sales of cinema tickets fell slightly in America last year. But they were up in Europe, and soared in Russia. Talky dramas are harder to export than cartoons or action flicks, which is partly why the major studios now concentrate on such things. But independent horror films sometimes travel well.独立电影业也更趋于国际化。罗曼波兰斯基的最新力作《杀戮》由欧洲电影公司投资。美国的发行商随后也加入进来,虽然有马后炮的嫌疑。去年,美国电影的总票房收入略有下降。但在欧洲电影票房喜人,在俄罗斯则称的上是一路飙升。对话比重多的电影比卡通片和动作片出口要困难,这部分说明了为何现在大的电影巨头把后两者视为重心。但独立电影业出品的恐怖电影有时在海外票房堪佳。It is still a harsh business. No fewer than 3,812 full-length movies were submitted to the 2011 Sundance film festival. Yet only 550 films open in American cinemas each year, and most lose money. The business runs on hope. But there is, finally, enough money to keep the projectors running.电影业的竞争依旧激励。多达3812部长篇电影提交参审2011年的圣丹斯电影节。然而美国影院每年放映影片的数量却只有550部,大部分电影的投资打了水漂。独立电影业前景看好,发展显著。但说到底,是足够的资金持着拍摄项目的运作。 /201301/219741重庆治疗功血哪家医院好

重庆市爱德华医院怀孕检测多少钱男人备孕前需要注意哪些 Books and Arts; Book Review;Meditations on love;Truly, madly, deeply;文艺;书评;爱的沉思;爱得真挚,疯狂,深刻;Plato described love as a serious mental disease. Aristotle saw it as a single soul inhabiting two bodies. Tina Turner dismissed the feeling as a second-hand emotion. The nature of love—how and when and why and with whom humans fall for each other—has preoccupied thinkers through the ages. Now a philosopher and a scientist have a go in two new and markedly different books.柏拉图曾经将爱描述为严重的心理疾病。亚里士多德认为爱是一灵栖两躯。蒂娜·特纳并不认为这种感觉是种二手情感。爱的本质便是人们怎样,何时,为何,与谁共浴爱河,而这种本质已让思想家们研究了好几个世纪。如今,一位哲学家和一位科学家在其两本截然不同的新书中尝试着探求爱的本质。In his latest work, “In Praise of Love”, Alain Badiou, a French philosopher, identifies three prevailing philosophical views of love. It can be an ecstatic encounter; an unsentimental contract; or an illusion, best treated with scepticism. He rejects all three. For Mr Badiou, love is the decision to live life through two perspectives, that of both the lover and the beloved. As such, it is more than the sum of its parts. Love “is a construction,” he writes, “a life that is being made, no longer from the perspective of One but from the perspective of Two.”法国哲学家阿兰·巴迪欧在其新作《爱的礼赞》中指出,关于爱,有3种被普遍认同的哲学观点:爱是一种令人欣喜的邂逅;一种理性的维系;一种与怀疑主义共存的幻觉。不过,这三种观点都被巴迪欧否定了。对他而言,爱是决定在以后的生命中,同时拥有两个人的思想。因此,爱,不止于是部分的叠加而已。“爱是建造,”他写道,“爱不再是一个人的思想能够育出的生命,它需要两个人。”Mr Badiou sees risk as central to love. A loving relationship demands multiple and shared perspectives, which always give rise to incongruences and tensions. He reserves special scorn for dabblers in internet dating, who evidently believe that the search for “a photo, details of his or her tastes, date of birth, horoscope sign, etc” will ultimately net “a risk-free option”. This is to neglect the very essence of love, according to Mr Badiou, which involves the presence of risk, the possibility of failure and the need for vulnerability.巴迪欧认为爱的核心便是风险。一段恋爱关系讲求既多样又相同的思想,这便总会让两人感觉不合适,导致关系紧张。他一直都鄙视婚恋网上马虎配对的人。显然,这些人相信只需搜集未来另一半的“照片,喜好,生日,星座之类的”,终会成功地筛选出一个“零风险的选项”。他认为,这样做忽视了爱的本质——爱中存在着风险,有可能以分手告终,它也需要其中一方的示弱。The books chatty style (it is based on a conversation with Nicolas Truong, a French journalist) lends a deceptive simplicity to the ideas within. Get to work unpicking these concepts and it soon becomes plain that, like many French philosophers, Mr Badiou sacrifices clarity for linguistic zip and sparkle. Nonetheless, he leaves the er with an incisive overview of philosophical thinking on love, from Plato to Kierkegaard to Lacan.该书的闲谈式风格(它以作者与一位法国记者尼古拉斯·特罗翁的谈话为基础)会让人误以为:书中的思想都很简单。先得摒弃掉这些观点,之后,明显可以看到,巴迪欧与许多法国哲学家一样,追求的不是清晰明确,而是语言上的表现力与闪光点。不过,对于从柏拉图到克尔凯郭尔再到拉康关于爱的哲学思想,他的概述可谓鞭辟入里。Robin Dunbars book, “The Science of Love and Betrayal”, is—perhaps surprisingly—easier to get to grips with. Dr Dunbar, a professor of evolutionary anthropology with a study in this weeks science section (see article), is best known for “Dunbars number”, the limit to the number of people with whom one can maintain stable social relationships. He laments that scientists have largely ignored the concept of love. In this book he bridges the gap between the biological explanations for humans romantic behaviour and the psychological, historical, social and evolu- tionary contexts that help to shape it.罗宾·邓巴的新书《爱与背叛的科学》更容易理解,或许这有点令人惊讶。邓巴士是进化人类学的教授,本期科学专栏刊登了一篇他的研究。令他广为人知的是“邓巴数字”,即一个人最多可以拥有的稳定社交关系的人数。他感到惋惜的是,科学家几乎忽略了爱的概念。生物学上对人类浪漫行为做出了解释,这与有助于塑造这种行为的心理,历史,社会,及进化因素本毫无关联,但在该书中,他将两者联系了起来。In particular, he is interested in why humans have developed such an affinity for “pairbonding”, despite the fact that strictly monogamous mating and rearing systems are not terribly advantageous in evolutionary terms. Monogamy is not unique to humans. What is unique, however, is the intensity with which the species falls in love. Nearly every human culture in history exhibits this complex sense of longing, Dr Dunbar observes.邓巴士尤为感兴趣的是,虽然就进化角度而言,严格的一夫一妻制及养育制并不占多大优势,但为何人类还如此热衷于“培养两个人的情侣关系”。一夫一妻制并不只是人类特有。不过,人类特有的是这个物种爱火燃烧的炽热。邓巴士观察到,历史上,几乎人类的每种文化都表现出了这种复杂的渴望。To understand this predisposition for monogamy, he takes ers through the myriad feelings of love, from the heady, breathless exhilaration of falling, to the stubborn persistence of familial affection, to the bitterness of betrayal. Throughout the book Dr Dunbar excels at taking obvious and familiar information—men prefer curvy women; women prefer men who dance well; older women rarely reveal their ages in lonely-hearts columns—and explaining the complex and often unexpected evolutionary science that lies behind it all.为了理解一夫一妻制的偏向,邓巴士带领读者体味了爱的各种感觉,从初坠爱河时忘乎所以,呼吸困难的兴奋,到义无反顾地维持家庭关系,再到遭到背叛时的心如刀割。纵观全书,邓巴的高超之处在于利用人们常见且熟悉的信息——男人偏好曲线玲珑的女人;女人喜欢舞技出众的男人;年龄稍大的女人很少在征友专栏揭露自己的年龄——同时解释了这些现象背后复杂且常出人意料的进化科学。Love is a journey, a game, a many-splendoured thing. Though some give it a bad name (if Jon Bon Jovi is to be believed), the rest of us find the subject endlessly fascinating. The struggle to understand such a mystifying phenomenon invariably requires the help of philosophers and scientists, and others besides. Good news for Mr Badiou and Dr Dunbar.爱是一次旅行,一场游戏,一件美妙的事。尽管有人给予爱很低的评价(如果人们愿意相信乔恩·邦·乔维的话),但是其余人都认为爱是一个永恒迷人的主题。当人们竭尽全力理解这迷一样的现象时,总是需要哲学家,科学家,及其他专家的帮助。这对巴迪欧和邓巴来说,是个好消息。 /201211/211180沙坪坝检查不孕不育医院

重庆市妇保医院输卵管价格 Books and Arts;Artists and photographers;Point and paint文艺;书评;艺术家和摄影师;瞬间与永恒;A long overdue study of the influence early photography had on painting;早期摄影对绘画的影响,一项迟来的研究;“I have all my subjects to hand”, Pierre Bonnard, a French post-impressionist painter, once wrote. “I go to see them. I take notes. Then I go home. And before I start painting I reflect, I dream.” At the turn of the 19th century, the “notes” Bonnard made included snapshots that he took with his flexible hand-held Kodak camera, which had first been introduced in 1888.“我手头上有全部素材”,法国后印象主义画家皮埃尔·波纳尔曾经写道。“我去采风。做记录。然后回到家。开始作画前我会在脑中回想,让思绪放飞。”在19世纪之交,柯达推出第一台相机(1888年),这里波纳尔所说的“记录”就包括用轻巧便携的柯达相机拍的快照。Unhampered by hefty equipment (the Kodak was held at waist level and had an arrow marked on top to help point the lens) or long exposures, Bonnard and his fellow painters from the Nabi group, Edouard Vuillard and Félix Vallotton, were among the first artists to use the camera to observe fine details, perspectives and light effects too fleeting to see with the naked eye. A painstakingly curated new show juxtaposes 220 mostly unpublished vintage snapshots by seven fin-de-siècle artists along with their paintings, prints and drawings in an effort to demonstrate how this new way of seeing inspired and expanded the painters creative vision.不受笨重机器的束缚(这款柯达相机可以挎在腰部,相机顶端的箭头帮助对准镜头),不用拍长曝光的照片,波纳尔和其他两位纳比派画家——爱德华·维亚尔和菲利克斯·瓦洛通,首开先河利用照相机观察景物的细枝末节、透视图像和光影效果,这些转瞬即逝的景象很难用肉眼观察。最近一个新的作品展展出了由7位“世纪末”艺术家拍摄的220幅老式照片(大部分未曾公开),同时展出的还有他们的油画、印刷品和素描作品。此次展览的举办颇费周折,目的在于向人们展示这种全新的观察方法如何激发和拓宽了画家的创作视角。Henri Rivière, a French printmaker and designer, climbed the soaring Eiffel Tower before it was completed in 1889 to photograph the exhilarating lines and angles of its iron girders set against the Paris sky for a series of 36 lithographs. Vuillard and a gifted, yet little-known, Belgian painter named Henri Evenepoel used the camera as a sketch book and aide-mémoire to capture everyday moments with family and friends. Bonnard in turn photographed his slender, round-faced mistress and muse, Marthe de Méligny, naked in a glade, as inspiration for his illustrations of “Daphnis and Chloé” by a second-century Greek novelist and romancer, Longus.亨利·里维埃,法国版画家和设计师,为了完成由36个石版画组成的一系列作品,曾爬上还未竣工的高耸的艾菲尔铁塔(铁塔于1889年落成),拍摄下了以巴黎的天空为背景,铁塔的钢筋铁架纵横交错构成的振奋人心的画面。维亚尔和另一位才华横溢但名不见经传的比利时画家亨利·埃费内普尔把照相机当作素描本和备忘录,用以扑捉和家人朋友的日常生活瞬间。而波纳尔拍摄的则是他那身材苗条脸盘很圆的情妇,以及他灵感的源泉玛莎·Méligny在树林中一丝不挂的照片。他在给公元2世纪希腊传奇小说家隆古斯的小说《达佛涅斯和克洛伊》做插图时,灵感就来自这些照片。Neither Vuillard nor Bonnard, with whom he shared a studio, actually copied photographs in their resonant, small-scale paintings of domestic interiors. Instead, both tried to replicate the immediacy of snapshots (or instantanés as they were called in France) often catching their subjects mid-gesture. Using his photographs only as an occasional reference point, or to reflect a mood, Vuillard recomposed his subjects at will. “At Table, Lunch” and “In Front of the Tapestry: Misia and Thadée Natanson” both show abbreviated figures, whether absorbed in eating a meal, or with their backs to the viewer. Vuillards figures, who are almost swallowed up by the vibrant decor, have an apparitional quality that appealed to the 20th-century French photographer, Henri Cartier-Bresson, who described Vuillard and Bonnard as among the artists he most admired.波纳尔和维亚尔共用一个画室,两人的小幅装饰画均有一定反响,但实际上这些画并非选自他们拍摄的照片。他们想要尝试的是重现快照(法语为instantanés)中被瞬间定格的运动中的人物。对于维亚尔来说照片仅是一种临时的参考或某种情感的反应,他会随心所欲地对主题进行重塑。《餐桌边的午餐》和《在挂毯前:米西亚和塔德·纳坦松》呈现的都是缩影式的人物,或是在全神贯注的用餐,或是背对着观众。维亚尔画中的人物几乎会被色鲜明的画面所淹没,有种若隐若现的效果。20世纪法国摄影师亨利·卡帝尔·布烈松对这种画风极为欣赏,他把维亚尔和波纳尔视为偶像。A Dutch painter, George Hendrik Breitner, also seizes a moment in time in a bustling Amsterdam street scene that is dominated by a veiled figure holding a fur muff up to her face, looking blurred and fugitive, as in real life. Now acknowledged as a gifted photographer in his own right, Breitner used his camera for “Girl in Red Kimono” (pictured right above with its photographic model, left). This precise yet atmospheric re-creation of his snapshot of a girl curled up on a divan, shows her intricately patterned kimono in sharp contrast with the design of the Persian carpet at her feet.与此同时,荷兰画家乔治·亨德里克·布赖特纳也抓住时机记录下来阿姆斯特丹川流不息的街景,画面突显了一位头戴面纱的女子,身上包裹着毛皮披肩,只露出脸,神情隐约难辨,整幅画作看起来非常逼真。布赖特纳凭借自己的努力被公认为天才摄影师,他利用相机绘制出《穿红色和的女子》(右上图为画作,左图为模特照片)。照片中的女孩蜷曲在沙发上,身上的和花纹精致复杂,与脚下的波斯地毯的图案对比鲜明,布赖特纳根据这张照片进行的再创作描绘精确,完美的再现了原照的氛围。Unlike their official work, none of this exhibitions seven artists ever intended their photographs to go on public display. Photography, for them, was a mechanical process rather than an art form. Some of the images come from the attics and albums of the artists families; Rivières photographs, now at the Musée dOrsay, were catalogued only in 1988. Vallotton, who left just 20 images, compared with 2,000 left by Vuillard, may even have destroyed the evidence following accusations that he copied a central figure from a photograph published in a French magazine in 1908. Snapshot studies for two of his paintings, “Beach at Etretat” and a portrait of his wife entitled “Red Room, Etretat”, show how he worked from photographs, eliminating extraneous details and grey shadows. He used this pared-down style to create powerful groups of figures or psychological portraits.此次展览涉及的7位艺术家从未打算把这些照片作为正式作品公布于众。对于他们来说摄影只是一个机械加工过程,并非艺术。许多图片是他们的家人从阁楼上或是影集里找到的。里维尔拍摄的照片现在展览于奥赛物馆,但也只是在1988年才被收入物馆。而瓦洛东仅留下20幅图片,相比维亚尔的2000幅照片,他的数量就少多了。他曾被指责抄袭了1908年出版的一本法国杂志里的照片——照片中的一个主要人物,但如今从这些少量留存的照片中已找不到任何据。瓦洛东有两幅画作,《埃特尔塔的沙滩》以及他为妻子画的题为《红色房间,埃特尔塔》的肖像画,对照相片进行研究,可以发现他如何利用照片学习去除冗余的细节和不必要的阴影。采用这种简洁的风格瓦洛东创作出很多场面宏大的画作以及心理肖像描写。Vallotton and Vuillard liked to exchange photographs. Evenepoel, a pupil of Gustave Moreau who took almost 900 photographs, including a series of searching self-portraits, in the two years before he died of typhoid aged 27, described his camera as a “real gem”. A photograph of his hesitant family about to cross the Place de la Concorde recalls Edgar Degass famous portrait of Vicomte Lepic and his daughters, while images of his cousin Louise de Mey and their son Charles embody the emotion he invested in his portraits.瓦洛东和维亚尔喜欢交换照片。另一位艺术家埃费内普尔,师从古斯塔夫·莫罗,在短短2年间拍摄了近900幅照片,包括一系列探索式的自画像,但他随后不幸死于伤寒,年仅27岁。他曾描述他的相机是“真正的宝物”。埃费内普尔有一张照片记录了他的家人踯躅着准备穿过协和广场,这张照片让人想起埃德加德加著名的肖像画《会计师和女儿们》。另一张画像描绘了他的表路易丝·梅伊和儿子查尔斯,画面体现出他作画时的情感投入。“I savour them all [my snapshots] with the slightly sad joy of reflecting that all this good time is past”, Evenepoel wrote to his father in 1897. These images, like most in the exhibition, are startlingly small. But close inspection reveals a finely detailed portrait of how this group of artists lived and worked, and it conveys the real sense of the excitement they felt as they experimented with their seemingly miraculous new gadget.“我细细地品味它们(我的照片),但一想到照片中美好的时光都已逝去,喜悦中不免略带感伤”,1897年埃费内普尔在写给父亲的信中说到。这些图片和其他展出的作品一样画幅都非常小。但经过细细观察,这些艺术家生活和工作的细节便详尽地呈现在眼前,同时艺术家们在用这个看似不可思议的新型小玩意儿做尝试时的喜悦和兴奋也流露无余。“Snapshot: Painters and Photography 1888-1915” is at the Van Gogh Museum, Amsterdam, until January 8th 2012. It will be displayed at the Phillips Collection in Washington, DC, from February 4th until May 6th and at the Indianapolis Museum of Art from June 3rd until September 2nd.“照片:画家与摄影师 1888-1915”在阿姆斯特丹梵高物馆展出,结束日期2012年1月8日。该展览还将于2月4日至5月6日在华盛顿菲利普斯陈列馆展出,6月3日至9月2日在印第安纳波利斯艺术物馆展出。 /201303/230985万州孕前体检巴南专科不孕不育医院

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