The idea behind the Kinesis Form Split Touchpad Keyboard is pretty ergonomic: put the trackpad between the two halves and minimize travel for your mouse hand. The distance between the two puts your elbows at a comfortable distance and keeps your wrist nearly in-line with your forearms. The build is excellent, with low profile mechanical switches that feel smooth and just the right amount of clacky. The trackpad is responsive, but gestures only work with Windows computers. Even dragging and dropping doesn’t work on a Mac here, so I don’t see Apple users getting much use out of the board. I also found myself wishing for the slightest rotation of the keys — though they’re a good distance apart, a slight angle would keep my wrists fully unbent. There’s no tenting or negative tilt either, both of which could help a bit more, ergonomically speaking.
《乡愁》是日记中浓墨重彩的一笔,也是塔可夫斯基人生的重要转折点。拍摄期间是勃列日涅夫执政后期,苏联的改革趋于保守,经济发展陷于停滞,文化政策一再缩紧,艺术被视作服务于政治的宣传工具。莫斯科电影制片厂的体制化管理和官僚化做派,让塔可夫斯基的创作空间被不断挤压。他在1973年10月的日记中写下的压抑和不甘,成为那段岁月的写照:“在我们国家,人们沉默不语。就好像我不存在,是个空白……做一个无用之人太难受了。我不想碌碌无为。我想完全填满生活,让生命完整。可我觉得局促,灵魂在身体里憋得慌,我需要一个容身之地。”在日记中,他多次记录与制片厂领导层的尖锐矛盾,尤其是与苏联国家电影委员会主席菲利普・叶尔马什的对立——叶尔马什梦想打造“苏维埃好莱坞”,偏爱擅长宏大叙事、创作立场鲜明的导演,而追求艺术本真、不向政治妥协的塔可夫斯基从未入他的眼。
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