WFH 封控後遺症

累計抗原快篩45次  核酸24次。

開放後上海疫情多點零星散發，像是上海靜安、浦東、黃浦、徐匯、寶山等區陸續有社會面陽性感染者的報告，對上海來說疫情反彈風險依然存在。但大家擔心的是萬一出現大規模反彈，上海是不是又要重演六月之前的荒謬劇。

微信圈群有傳言稱“6月20日上海再封一個月，沒快遞沒外賣……信息來源是美團、滴滴公司內部通知”。上海闢謠平台向上海市新冠肺炎疫情防控工作領導小組辦公室（簡稱“市防控辦”）求證獲悉，傳言不實。全市目前沒有這個安排。

市防控辦這澄清很好笑，因為上海不承認封城阿，哪會"再"封一個月。但是大部分上海居民都有封控後遺症，曾經食物短缺過，現在都沒安全感了，不敢讓家裡沒物資，繼續屯糧。

後遺症不只屯糧，還有焦慮核酸過期，擔心搭不了車，進不了商場，甚至去不了公共廁所，到處找核酸採檢點。擔心去商場買個東西，就被關在裡面，因為上場有羊。看到熱搜裡的闢謠下意識地心慌慌，因為之前種種闢謠，都成真的。

希望鬧劇別再重演，盡快恢復到2019以前，這願望會不會太貪心。

人文書吧

作品名称：Fish (Still Life).艺术家：Édouard Manet.材料：oil on canvas.尺寸：73.5x92.4cm.创作年代：1864.

現在的生活就像畫裡的魚，人為刀俎我為魚肉.....

Although still-life ensembles were an important element in many of the major paintings of the avant-garde artist Édouard Manet, his most sustained interest in the genre itself was from 1864 to 1865, when Fish was painted. Manet’s focus on still lifes coincided with the gradual reacceptance of the genre during the 19th century, due in part to the growth of the middle class, whose tastes ran to intimate, moderately priced works. This painting, like many of Manet’s still life compositions, recalls 17th-century Dutch models. The directness of execution, bold brushwork, and immediacy of vision displayed in the canvas, however, suggest why the public found Manet’s work so unorthodox and confrontational. While Fish is indeed an image of “dead nature” (nature morte is the French term for still life), there is nothing still about the work: the produce seems fresh and the handling of paint vigorous. Further enlivening the composition is the placement of the carp, which offsets the strong diagonal of the other elements. Manet never submitted his still lifes to the official French Salon but rather sold them through the burgeoning network of art galleries in Paris and gave them to friends.