累計抗原快篩46次 核酸31次。
看到CDC公告了好消息，入境不用PCR紙本報告，入境人數總量也拉高了! 但回家的路還是好難! 因為上海的航班計畫限制了回家路，同事在六月初訂了7/1、7/16、7/18的航班回台灣，但是不論是台灣航空公司還是中國的航空公司的航班都被取消了，沒有說明沒有解釋，就是取消然後退費。
在華航工作的同學也證實了，如果要訂機位，建議訂週四的航班，因為週四的航班目前是核准華航與長榮隔週飛。台灣入境人數增加也沒多大變化，要看上海的航空政策，上海除管制航班數量，還限制座位數。同學還說8月目前上海開放程度不明，仍建議訂週四航班。如果八月還是管制，起碼週四可能還是兩航共飛的情況，訂週四的機位成行機率高。
機票難求，大家搶都搶不到，要回家要買貴一倍的機票去廈門轉機，但廈門轉機也是有風險，航班風險，跟時不時爆疫情被隔離的風險。看到有些回到台灣又抱怨台灣的的一些人，納悶它們是怎麼回事?
抱怨台灣行動支付落後，抱怨等垃圾車倒垃圾不便利...，我覺得台灣就是很便利所以行動支付才沒這麼發達，到處有ATM可領錢，走沒幾步路都可以解決五臟廟的問題，附近就有24小時的超商甚至是小商品百貨，不會因為手機支付APP限制了你的購物慾，沒有行動支付似乎也沒影響生活。逛實體店不方便嗎? 在台灣應該不會啊，還可以有比較好的服務，另外不用因為網路上名不符實的貨品而處理退貨問題，還不用處理很多快遞包裝減少污染。
追垃圾車也許讓你有不便的地方，但垃圾車總是定時定點的路線，你可以安排好時間，而且能保市容不髒亂，減少傳染病，不好嗎? 還有也不是所有人都需要追車，許多大樓是有垃圾收集室的，可以集中處理垃圾的，如果你在上海買的房子是附帶垃圾處理的，在台灣你也可以找到這樣的居住環境。
想讓人留在中國的原因不會是因為方便的手機支付、跟方便倒垃圾，這兩理由也不會減低想逃回台灣的心! 讓人想逃離中國這個國家，是因為嚴厲的防疫手段，是讓人心生恐懼跟不確定的環境，你不知道你的隨身碼變紅的原因是甚麼? (隨身碼變紅表示你的行動自由會被完全箝制) 不是因為染意疫或是因為要隔離，是因為不讓你去銀行領你戶頭裡的錢。
印象中只有發生戰亂或是古裝電視劇中因為飢荒才會逃離搬遷的景象，卻在一直以國際都市的上海發生。年輕人逃離上海，因為很多生意沒法正常復工復產，沒法在上海生存，只好選擇逃離。有能力的人逃離上海，因為沒法接受非人性的對待，害怕突如其來被剝削到自由跟財富。還有些人想逃但還走不掉，因為買不到機票，因為還沒法一走了之，希望我買的機票能順利地飛。
人文書吧
記得有次看個問答的綜藝節目，謝哲青解題時說道 當時的婦女流行臉部潔淨無毛，連臉上汗毛跟髮際汗毛都要剃除乾淨。
Petrus Christus’s elegant portrait of an unknown woman is a highlight of Flemish painting. The young lady is dressed in the Burgundian style that was popular in both France and the Low Countries around 1470. Her blue dress has a deep V-neck, revealing a black stomacher. The contemporary Flemish chronicler Jacques Du Clercq described the deep neckline and the striking truncated cone-shaped headdress as the main features of a new fashion which made its debut in 1467.
In Flanders and Italy, the actual physical rendition of this ideal beauty differed. The northern silhouette with the deep V-neck and the tall headdress was far more elongated than in the south. Moreover, Flemish painters were renowned for their hyperrealism above all else. As a result, the white fur that lines the dress of Petrus Christus’s young woman is painted in such detail that it can be identified as létisse, the fur of a type of weasel. Another precisely reproduced detail is the tiny golden pin with which the sheer neckerchief, the veil covering her cleavage, is fastened to the stomacher. Despite this, the painter has stylized the woman’s facial features. Furrows and lines have been omitted, creating an almost porcelain-like mask of mysterious beauty. This combination of physical perfection and inapproachability strongly recalls the enigmatic women worshipped by courtly poets.
Italian artists and art lovers were fascinated by the Northern manner of painting, and Flemish painting was collected from an early date. The 1492 inventory of the Florentine ruler Lorenzo de’ Medici lists "a head of a French lady painted in oil" by Petrus Christus. It is tempting to identify this as the work just discussed, Christus’s only surviving painted women’s portrait. It bears a striking resemblance to the likeness of Ginevra de’ Benci, the earliest portrait by Leonardo da Vinci, who certainly had access to the Medici collection. The women have similar mouths and the same gaze and detached expression. But there is no evidence that this painting by Petrus Christus was in Florence. Since he is famous for his strong idealization of women, there is good chance that this was a portrait with similar features that has since perished.
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