最近有好多人問我我的實習具體是干什么的，那么我就在這里整理一下。
我的公司叫做BOENING-CONSULT，人不多，是20多年的家族式企業。
做的東西有幾塊，具體是COACHING、MANAGEMENT AUDIT、REORGANISATION和CHANGE MANAGEMENT，也就基本是在軟性的變量上落實企業的戰略。比如有企業因為市場需求的變化（比如次貸危機）或者原材料漲價（比如汽車制造業）需要調整組織的策略、企業文化、溝通模式或是內部流程，那么就可以找我們了。
我們工作的模式基本是和其它戰略咨詢合作，做TOP-MANAGEMENT的管理咨詢服務。
我的工作就有那么幾塊：
1) 做市場調查的問卷、圖表還有分析。一塊是關于COACHING市場的研究論文，已經到了最后的評估階段，我覺得挺有意思的因為在做圖表之余同事還經常會問我的想法。另一塊是和CDC合作關于跨國企業員工回派的重新融入過程研究，為了開發新的產品，這個問卷正在做。
2) 給一個大型的汽車制造商（其實就是我一月面試的那個）做CHANGE PROJECT，是他們提升利潤的一個環節。當然輪不到我做概念，所以我基本是在找理論，分析之前的方案和案例，并做成PPT。
3) 一個跨文化管理的產品。已經有的是日本的部分，那么我要做很多關于中國的東西，并負責尋找潛在的客戶，寫推銷信件和產品描述等等（老板說我寫的德文不羅嗦特別簡單明了……）。這個部分我可能還會通過別的合作方式在實習之后繼續下去。
4) 公司還有一份旬刊，會提供和工作領域有關的資訊和公司員工的文章，那么我也有寫一篇關于人際溝通的……此外還負責挑選紙媒里關于CHANGE，COMMUNICATION和STRESS的文章與研究成果。
5) 再就是學習COACHING和MANAGEMENT AUDIT了。這兩個領域基本都有賴于咨詢師的個人能力，所以輪不上實習生插手。但是總可以聽一聽這樣，有旁聽的機會就都特別寶貴。
6) 每禮拜三中午公司吃壽司，那么我就負責訂取壽司……帶著驕傲的眼神。
總之這是一個暴利的行業，資歷和人際關系都特別重要，因為至今都沒有硬性的評估標準吧。
還有兩個星期實習就結束了，我覺得我還是學到了很多東西的，特別是EXCEL和PPT的實踐經驗。
阅读网志，SODACHI 猪胖年... in 波鸿
我的實習
@1969-12-31 16:00 -08:00
WE ARE ZA WORLD
@1969-12-31 16:00 -08:00
我从小就觉得《WE'RE THE WORLD》是一首特别神的歌，那么多人那么多的唱法，还有无数的装饰音，居然主旋律还可以那样坚挺那样的脍炙人口，一下就把BAND AID比了下去。其实我一直也都想唱卡拉OK的时候唱这个歌，可是得有好多人一块唱，要不根本唱不出来。
那么有这么一个日本版本的COS，看了四五十遍以后我终于想放上来，还要点评一下儿，因为对这首歌确实太熟悉了。
主持是山口智允，一开始就提升了我的期待。剩下的按顺序说：
- LIONEL RICHIE非常非常的像，尤其是噘起来的大厚嘴唇，还有最后竖大拇指的动作也惟妙惟肖的。
- STEVIE WONDER太胖，基本是最不成功的角色，尤其是找麦克风的动作完全没有顾及到STEVIE是瞎子……
- TINA TURNER一般，声音挺像。
- BILLY JOEL演的有点过，声音没有那么破，而且基本上弄了一个黑人头……
- BRUCE SPRINGSTEEN虽然非常夸张，但他本人就是这样的。看看广东版《WE ARE WORLD》里陈奕迅唱同一个部分就知道BRUCE有多么难学了。这里是相当经典的表演。
- DIANA ROSS的眼神非常到位，很恰当的气质。
- MICHAEL JACKSON……当时唱《WE ARE THE WORLD》的时候是很深情地，没有打嗝的声音。
- CINDY LAUPER是TOMMY演的，和原版出奇一致，完全进入角色细致到挥手和扭腰的动作，声音更是没话说。TOMMY你是我的神，让人热泪盈眶。
- RAY CHARLES，晃来晃去，完全看不出来是COS的，听着看着都觉得真的。结果歌词唱错了……
WE ARE THE WORLD。
那么有这么一个日本版本的COS，看了四五十遍以后我终于想放上来，还要点评一下儿，因为对这首歌确实太熟悉了。
主持是山口智允，一开始就提升了我的期待。剩下的按顺序说：
- LIONEL RICHIE非常非常的像，尤其是噘起来的大厚嘴唇，还有最后竖大拇指的动作也惟妙惟肖的。
- STEVIE WONDER太胖，基本是最不成功的角色，尤其是找麦克风的动作完全没有顾及到STEVIE是瞎子……
- TINA TURNER一般，声音挺像。
- BILLY JOEL演的有点过，声音没有那么破，而且基本上弄了一个黑人头……
- BRUCE SPRINGSTEEN虽然非常夸张，但他本人就是这样的。看看广东版《WE ARE WORLD》里陈奕迅唱同一个部分就知道BRUCE有多么难学了。这里是相当经典的表演。
- DIANA ROSS的眼神非常到位，很恰当的气质。
- MICHAEL JACKSON……当时唱《WE ARE THE WORLD》的时候是很深情地，没有打嗝的声音。
- CINDY LAUPER是TOMMY演的，和原版出奇一致，完全进入角色细致到挥手和扭腰的动作，声音更是没话说。TOMMY你是我的神，让人热泪盈眶。
- RAY CHARLES，晃来晃去，完全看不出来是COS的，听着看着都觉得真的。结果歌词唱错了……
WE ARE THE WORLD。
布鲁塞尔
@1969-12-31 16:00 -08:00
上周末去了趟布鲁塞尔，这是一个双语的城市，但是大部分人都说法语。
布鲁塞尔有很多世界中的权利机构，车站名字看起来让人毛骨悚然的。
这是一个比利时很典型的食品，名字我没记住。
晚上碰见一个特别职业的狂欢游行，我坐在二楼的一个店里，看的正好。
布鲁塞尔的这种街里有好些小店，特别像后海，买什么的都有。有好些TOTE BAG。
吃了好些华芙饼，一般是一块五一个，特别好吃。
建筑。
大城市这样子。
街上有相对干净的DIXI厕所，适合撒尿。
眺望，展望。
从高出下到低处是电梯的说。
总之是一个非常有活力的城市。
布鲁塞尔有很多世界中的权利机构，车站名字看起来让人毛骨悚然的。
这是一个比利时很典型的食品，名字我没记住。
晚上碰见一个特别职业的狂欢游行，我坐在二楼的一个店里，看的正好。
布鲁塞尔的这种街里有好些小店，特别像后海，买什么的都有。有好些TOTE BAG。
吃了好些华芙饼，一般是一块五一个，特别好吃。
建筑。
大城市这样子。
街上有相对干净的DIXI厕所，适合撒尿。
眺望，展望。
从高出下到低处是电梯的说。
总之是一个非常有活力的城市。
论文连载PART2
@1969-12-31 16:00 -08:00
Dimmu Borgir - The Serpentine Offering
2. The Scandinavian Black Metal Scene
“The product of an unholy union between death-metal churn and Viking bloodlust”, a vivid definition of black metal by the American journalist Darcey Steinke, which may not be applicable to the Californian black metal band Leviathan, but definitely finds its place in the Scandinavian black metal scene. In this chapter we’ll see to the music, the subculture and events within the scene that make Scandinavian black metal a controversial social issue.
2.1. The music, symbols and beyond
Different black metal forms vary a lot, while the croaking vocal is the most noticeable and uniform symbol. The music itself is played fast in distorted guitar sound, often with dissonance on purpose. As black metallers share a common belief against the conventional blues-oriented metal music, guitar solo skills are seldom used. Interestingly, music critics believe that black metal stands nearer to classical music because of its adoption of classical instruments and the “story-telling” arrangement , which make up a strong contrast to the its fundamentalist nature.
Black metal as a music genre was named after the 1982 album Black Metal from the English band Venom, which achieved significant success for its extremist music concept and serves as a major foundation of black metal music thereafter. However, the scene didn’t draw as much attention as today until it came across the North Sea, where it met the pagan air from Odin’s land.
Following the success of the Swedish band Bathory, who was famous for the low-fi sound combined with satanic lyrics, a group of Norwegian bands in early 1990s brought black metal to its golden years, among them Burzum, Emperor, Mayhem and Darkthrone. From late 1990s on, the digitalization of music producing and promoting took Scandinavian black metal to a new stage. However, though the Nordic black metal scene attracts lots of attention from mass media and the publicity for its ideological activities, the music per se has never made it to be commercial success and still stays away from MTV, for which certain alternative music genres are generally acceptable.
Compared with other black metal scenes elsewhere, bands from Scandinavian are believed to share a common Viking-heritage dating back to the pre-Christian era, which can be told from their warrior-like stage out-fit, Nordic folklore influence in both melody and lyrics, as well as their daily behaviours. On the other side, Scandinavian black metallers also stick to the heavy metal tradition in terms of hairstyle, clothing and stage performance. Interestingly, this Viking style is not only adopted in other metal scenes with Germanic traditions, but also by bands and fans in Asian and Southern European countries taking Nordic black metallers as role models.
2. The Scandinavian Black Metal Scene
“The product of an unholy union between death-metal churn and Viking bloodlust”, a vivid definition of black metal by the American journalist Darcey Steinke, which may not be applicable to the Californian black metal band Leviathan, but definitely finds its place in the Scandinavian black metal scene. In this chapter we’ll see to the music, the subculture and events within the scene that make Scandinavian black metal a controversial social issue.
2.1. The music, symbols and beyond
Different black metal forms vary a lot, while the croaking vocal is the most noticeable and uniform symbol. The music itself is played fast in distorted guitar sound, often with dissonance on purpose. As black metallers share a common belief against the conventional blues-oriented metal music, guitar solo skills are seldom used. Interestingly, music critics believe that black metal stands nearer to classical music because of its adoption of classical instruments and the “story-telling” arrangement , which make up a strong contrast to the its fundamentalist nature.
Black metal as a music genre was named after the 1982 album Black Metal from the English band Venom, which achieved significant success for its extremist music concept and serves as a major foundation of black metal music thereafter. However, the scene didn’t draw as much attention as today until it came across the North Sea, where it met the pagan air from Odin’s land.
Following the success of the Swedish band Bathory, who was famous for the low-fi sound combined with satanic lyrics, a group of Norwegian bands in early 1990s brought black metal to its golden years, among them Burzum, Emperor, Mayhem and Darkthrone. From late 1990s on, the digitalization of music producing and promoting took Scandinavian black metal to a new stage. However, though the Nordic black metal scene attracts lots of attention from mass media and the publicity for its ideological activities, the music per se has never made it to be commercial success and still stays away from MTV, for which certain alternative music genres are generally acceptable.
Compared with other black metal scenes elsewhere, bands from Scandinavian are believed to share a common Viking-heritage dating back to the pre-Christian era, which can be told from their warrior-like stage out-fit, Nordic folklore influence in both melody and lyrics, as well as their daily behaviours. On the other side, Scandinavian black metallers also stick to the heavy metal tradition in terms of hairstyle, clothing and stage performance. Interestingly, this Viking style is not only adopted in other metal scenes with Germanic traditions, but also by bands and fans in Asian and Southern European countries taking Nordic black metallers as role models.
论文连载PART1
@1969-12-31 16:00 -08:00
今天开始写KEINER的论文，每天只能写大概一页，希望到月底可以写完。总共要20页。
1. Introduction
It is not difficult to capture a typical image of heavy metal music simply by viewing the discography of the British metal band Iron Maiden, where album titles like Killers (1981), No Prayer for the Dying (1990), Fear of the Dark (1992) and Dance of Death (2003) illustrate a world of devil, darkness and despair. Such image, often associated with long hair, black leather and head banging, has been radicalized further by extreme metal, a subgenre of heavy metal emerged in the 1980s which takes the mainstream metal music as a “pop” counterpart.
Black metal has been taking the lead among various extreme metal genres. Though this “extreme” form of extreme metal, together with death metal, never gained a wide audience in its three decades of existence, it’s been keeping a small, dedicated cult group in the 1990s and until 21st Century. On the other side, it also took the music-based socio-politics to an extreme never seen before . Though a British invented term, black metal gained its first fame through the Norwegian scene and achieved remarkable successes in Scandinavian countries, where conflicts like church-burnings, racist activities and murders among black metallers are not neglectable. At the same time, black metal also takes a deep root in the Nordic history and tradition, which makes itself even more controversial as a music-oriented subculture.
This paper seeks to find the connection between Scandinavian black metal music and the identity it creates. I will argue that Black Metal, being deeply rooted in the traditional Nordic culture, has constructed a collective identity of paganism, Satanism and racism within the Scandinavian scenes. The first section will present an overview of black metal music in Scandinavian countries, as well as its controversies. In the second section I’ll go over some theoretical approaches and definitions which are applied in my analysis. A systematic analysis will be carried out in the last part of this paper to explain the conformation of “black metal identity” in both aesthetic and ethic aspects regarding different ideologies the music genre presents.
1. Introduction
It is not difficult to capture a typical image of heavy metal music simply by viewing the discography of the British metal band Iron Maiden, where album titles like Killers (1981), No Prayer for the Dying (1990), Fear of the Dark (1992) and Dance of Death (2003) illustrate a world of devil, darkness and despair. Such image, often associated with long hair, black leather and head banging, has been radicalized further by extreme metal, a subgenre of heavy metal emerged in the 1980s which takes the mainstream metal music as a “pop” counterpart.
Black metal has been taking the lead among various extreme metal genres. Though this “extreme” form of extreme metal, together with death metal, never gained a wide audience in its three decades of existence, it’s been keeping a small, dedicated cult group in the 1990s and until 21st Century. On the other side, it also took the music-based socio-politics to an extreme never seen before . Though a British invented term, black metal gained its first fame through the Norwegian scene and achieved remarkable successes in Scandinavian countries, where conflicts like church-burnings, racist activities and murders among black metallers are not neglectable. At the same time, black metal also takes a deep root in the Nordic history and tradition, which makes itself even more controversial as a music-oriented subculture.
This paper seeks to find the connection between Scandinavian black metal music and the identity it creates. I will argue that Black Metal, being deeply rooted in the traditional Nordic culture, has constructed a collective identity of paganism, Satanism and racism within the Scandinavian scenes. The first section will present an overview of black metal music in Scandinavian countries, as well as its controversies. In the second section I’ll go over some theoretical approaches and definitions which are applied in my analysis. A systematic analysis will be carried out in the last part of this paper to explain the conformation of “black metal identity” in both aesthetic and ethic aspects regarding different ideologies the music genre presents.
THE ALERT
@1969-12-31 16:00 -08:00
我的电脑坏了。这周末回去波鸿。
My computer doesn't work. I'll be back to Bochum this weekend.
Mein Rechner funktioniert nicht. Ich fahre dieses Wochenende zurück nach Bochum.
僕のラプトプは故障した。僕はこの週末ボフムへ帰ります。
My computer doesn't work. I'll be back to Bochum this weekend.
Mein Rechner funktioniert nicht. Ich fahre dieses Wochenende zurück nach Bochum.
僕のラプトプは故障した。僕はこの週末ボフムへ帰ります。
M/A/R/R/S - PUMP UP THE VOLUME
@1969-12-31 16:00 -08:00
重新下了4AD的BOOTLEG合輯聽，對很多歌的感覺都跟以前不一樣了。SWALLOW的《TASTES LIKE HONEY》還是很動人，應該家里還有SWALLOW的CD這樣子。再就是M/A/R/R/S的這首《PUMP UP THE VOLUME》，HOUSE樂曲的至尊作，充滿了濃郁的布魯克林味，REMIX版又透著早期科技舞曲的糙勁。
理應周你在哪里
理應周你在哪里
寧壽司
@1969-12-31 16:00 -08:00
三文魚是在E PLUS買的冰凍的。
壽司醋不是自己調的，是買的現成的，熱了一下。
米用的是壽司米，非常粘。降溫真是用扇子手扇的。
魚的形狀不太對，切不好。米飯也抓大了。
三手。寧壽司……
新闻学
@1969-12-31 16:00 -08:00
最近发生的一系列政治事件里，媒体是一个很强大的因素。
这里有三批人，中国人觉得西方媒体特别不好，西方人觉得中国人都被洗脑，西方记者就都觉得自己特清白无辜。
针对这三个方面说一下我的观察：
A.
1. 火炬顺利传递是狗咬人，有人抗议是人咬狗。我要是西方媒体的话，我对ZD示威也比对刘德华跑步感兴趣得多。
2. 记者都是带着特定的意识形态去工作的，这种事前的假设很难改变，因为采访的深度就到那儿了。这个在电视媒体身上特别明显，技术因素让你没法调查性地工作下去。
3. 媒体上的东西也都是受众爱看的，因为你得对广告商负责。在国内的时候每天中午我就喜欢买份环球时报坐在肯德鸡里看，为什么呢，因为那里边都写的是中国多好多好，中国人多好多好。说中国坏话的咱都不太爱看，可是外国人爱看。
4. 另外，媒体还得对后台的政治集团负责。说BBC就代表了整个英国的舆论的话，就有点太绝对了。媒体不是慈善组织，大家都得吃饭，自然谁给钱你就得听谁的。
B.
1. 西方人有资讯获取上的优越感，所以他跟中国人谈中国的时候是居高临下的，显得他比咱知道的多似的。中国人不喜欢外国人跟自己来这套，可是你越反驳呢，外国人就越觉得你像是被洗过脑的。
2. 有外国人跟我说：“你们觉得社会主义好是因为你们从小受的教育造成的。”我说是的，可是呢，你们觉得社会主义不好也是从小受的教育洗脑造成的。这话让他受刺激很大。虽然西方人也都不会100%相信媒体播报的内容，但洗脑这个概念会使他们彻底丧失安全感，是他们无法接受的。
C.
1. 西方驻中国记者的职业素养是参差不齐的，具体表现在语言能力和新闻素养上。比如BBC的JAMES REYNOLDS著名的预言事件。华尔街日报的稿子都特别好，这种给上等人看的报纸笔法都特专业、冷静。
2. 这次的事情也是西方记者针对中国当局新闻管制的一次集体爆发，但这种复仇性的行为是有悖新闻道德的。
3. 外国记者因为拿不到一手材料就抱怨中国当局封锁西藏，这让我感到悲哀：新闻记者难道不应该是冒着枪林弹雨前赴后继的么？比如柏林TAZ的GEORG BLUME就在暴动两天后进入了拉萨，后来人家还是好端端地带着稿子出来了。
这里有三批人，中国人觉得西方媒体特别不好，西方人觉得中国人都被洗脑，西方记者就都觉得自己特清白无辜。
针对这三个方面说一下我的观察：
A.
1. 火炬顺利传递是狗咬人，有人抗议是人咬狗。我要是西方媒体的话，我对ZD示威也比对刘德华跑步感兴趣得多。
2. 记者都是带着特定的意识形态去工作的，这种事前的假设很难改变，因为采访的深度就到那儿了。这个在电视媒体身上特别明显，技术因素让你没法调查性地工作下去。
3. 媒体上的东西也都是受众爱看的，因为你得对广告商负责。在国内的时候每天中午我就喜欢买份环球时报坐在肯德鸡里看，为什么呢，因为那里边都写的是中国多好多好，中国人多好多好。说中国坏话的咱都不太爱看，可是外国人爱看。
4. 另外，媒体还得对后台的政治集团负责。说BBC就代表了整个英国的舆论的话，就有点太绝对了。媒体不是慈善组织，大家都得吃饭，自然谁给钱你就得听谁的。
B.
1. 西方人有资讯获取上的优越感，所以他跟中国人谈中国的时候是居高临下的，显得他比咱知道的多似的。中国人不喜欢外国人跟自己来这套，可是你越反驳呢，外国人就越觉得你像是被洗过脑的。
2. 有外国人跟我说：“你们觉得社会主义好是因为你们从小受的教育造成的。”我说是的，可是呢，你们觉得社会主义不好也是从小受的教育洗脑造成的。这话让他受刺激很大。虽然西方人也都不会100%相信媒体播报的内容，但洗脑这个概念会使他们彻底丧失安全感，是他们无法接受的。
C.
1. 西方驻中国记者的职业素养是参差不齐的，具体表现在语言能力和新闻素养上。比如BBC的JAMES REYNOLDS著名的预言事件。华尔街日报的稿子都特别好，这种给上等人看的报纸笔法都特专业、冷静。
2. 这次的事情也是西方记者针对中国当局新闻管制的一次集体爆发，但这种复仇性的行为是有悖新闻道德的。
3. 外国记者因为拿不到一手材料就抱怨中国当局封锁西藏，这让我感到悲哀：新闻记者难道不应该是冒着枪林弹雨前赴后继的么？比如柏林TAZ的GEORG BLUME就在暴动两天后进入了拉萨，后来人家还是好端端地带着稿子出来了。
THE LIFE OF TOTAL LONELINESS
@1969-12-31 16:00 -08:00
我住的地方叫做狼海姆，环境很好。
离法兰克福机场10分钟，每天几百架飞机从300米左右的高度上飞过。非常响。据说这个镇上的建筑全部都是隔音的。
可是你在这种地方住着吧，就特别想回归城市。