今天重讀這篇懸崖上的廢棄贬养，看到這幾句話权烧，內(nèi)心忽然生出許多感慨。
“榮譽(yù)剝奪輕松檐束，名聲增加煩惱辫秧，這對(duì)一個(gè)人和一個(gè)城市都是一樣，今天的薩爾茨堡不得不滿臉笑容的一次次承辦規(guī)模巨大的世界音樂活動(dòng)厢塘，為了方便外人購(gòu)置禮品茶没，大量的品牌標(biāo)徽都是莫扎特。這使我警覺晚碾，一種高層文化的過度張揚(yáng)抓半，也會(huì)使廣大民眾失去審美自由，使世俗文化失去原創(chuàng)活力”
歐洲如此格嘁，國(guó)內(nèi)大多數(shù)標(biāo)簽城市亦有此煩惱笛求，抑或慶幸。
城市的標(biāo)簽是有利于文化的傳承亦或是剝奪了文化的多樣性糕簿。如桂林山水探入，洛陽牡丹，上有天堂下有蘇杭懂诗。 城市規(guī)劃及城市文化營(yíng)銷中的簡(jiǎn)單標(biāo)簽對(duì)城市本身是利還是弊蜂嗽？
人們所追求的，為之心馳神往的又是什么呢殃恒？大多數(shù)人滿懷期待的去植旧，是否又真的滿懷期待的歸呢？ 文化的淺嘗輒止离唐，是否就體現(xiàn)在粗制濫造的紀(jì)念品亦或是到此一游的游客照片呢病附？
幾年旅游業(yè)的蓬勃發(fā)展，讓太多的人為了旅游而旅游亥鬓，網(wǎng)上大批的旅行攻略完沪，美食攻略，住宿攻略嵌戈，但是真正的文化歷史攻略卻鮮有提及覆积，我們匆匆的來，拍完照就走熟呛，真正帶走的又有些什么呢技健？
古人云： 讀萬卷書，行萬里路惰拱。也許是社會(huì)的進(jìn)步讓出行變得方便雌贱，人們開始崇尚所謂說走就走的旅途啊送，然這倉(cāng)促的行程中，究竟收獲了什么呢欣孤？
如果旅行的意義在于馋没， 去追尋內(nèi)心的文化圣地，那么旅途中的機(jī)票降传，住宿篷朵，遇到的人，繁瑣的經(jīng)歷婆排，被瑣事抹去的熱情中堅(jiān)持的動(dòng)力如果是對(duì)文化的向往声旺，那么真正身臨其境之后，看到當(dāng)?shù)厍宦傻募o(jì)念品以及浮于其表的宣傳時(shí)段只，是否會(huì)有些名不副實(shí)的失落于文化傳承中浮躁功利的痛心呢腮猖？
這就不難理解Alain de Botton 筆下的老者滿懷期待的開始了旅途，卻在火車站小酒館中呆了一個(gè)下午之后帶上行李折返家中赞枕，從此之后再不曾遠(yuǎn)游澈缺。一如Popper 界定了world 1,2 和world 3. 也許在老者心中，他已經(jīng)在精神上隔著時(shí)空走進(jìn)了作者的時(shí)間和空間炕婶，激發(fā)了思想上的交流姐赡，那么是否真的跋山涉水前往，真的重要么柠掂？
Popper's three worlds
Worlds 1, 2 and 3[edit]
Popper split the world into three categories:
World 1: the world of physical objects and events, including biological entities
World 2: the world of mental objects and events
World 3: objective knowledge
The interaction of World 1 and World 2[edit]
The theory of interaction between World 1 and World 2 is an alternative theory to Cartesian dualism, which is based on the theory that the universe is composed of two essential substances: Res Cogitans and Res Extensa. Popperian cosmology rejects this essentialism, but maintains the common sense view that physical and mental states exist, and they interact.
World 3[edit]
Popper's World 3 contains the products of thought. This includes abstract objects such as scientific theories, stories, myths, tools, social institutions, and works of art.[2] World 3 is not to be conceived as a Platonic realm, because it is created by humans.[3]
The interaction of World 2 and World 3[edit]
The interaction of World 2 and World 3 is based on the theory that World 3 is partially autonomous. For example, the development of scientific theories in World 3 leads to unintended consequences, in that problems and contradictions are discovered by World 2. Another example is that the process of learning causes World 3 to change World 2.
The interaction of World 1 and World 3[edit]
Other entities are contained in World 3, such as feats of engineering and art. The World 3 objects, although they exist in World 1, are embodied and given extra meaning by World 3. For example, the intrinsic value of Hamlet as a World 3 object is embodied many times in World 1, the physical world. This idea would be something along the lines of a meta-object, or a form of being.
https://en.wikipedia.org/wiki/Popper's_three_worlds
城市文化病
http://baike.baidu.com/item/%E5%9F%8E%E5%B8%82%E6%96%87%E5%8C%96%E7%97%85
城市文化病主要表現(xiàn)為城市規(guī)劃的過度化项滑、城市品牌的低俗化與都市主體的離心化，有專家認(rèn)為涯贞。這些問題已成為影響中國(guó)都市化進(jìn)程可持續(xù)發(fā)展的深層矛盾枪狂。
在城市品牌營(yíng)銷上，國(guó)內(nèi)城市眼下普遍存在粗制濫造肩狂、缺乏創(chuàng)意和低俗雷人的傾向。有媒體曾將國(guó)內(nèi)城市打造的品牌歸為四種基本模式：一是某某之都或某某之城姥饰，有什么資源傻谁，有什么產(chǎn)業(yè)，填上就得列粪；二是由蘇杭領(lǐng)隊(duì)的“天堂在人間”审磁，使天堂、仙境岂座、伊甸園成了許多城市的標(biāo)簽态蒂；三是以“桂林山水甲天下”為主題的“山水類”口號(hào)；四是給西方做“二房”费什，曾喊出“東方日內(nèi)瓦”口號(hào)的就有石家莊钾恢、秦皇島、肇慶、昆明瘩蚪、大理泉懦、巢湖、無錫疹瘦、上海崇明等崩哩。以“色相”為主題的城市品牌營(yíng)銷和形象傳播也流行一時(shí)，如山東某地的“西門慶”文化旅游規(guī)劃言沐、江西某地的“一座叫春的城市”等邓嘹，表明一些城市在經(jīng)濟(jì)利益誘惑下已喪失基本的文化底線。
