欲说忘言

有很多话想说，但是打开web，却无处说起。

在没有连载的日子里?你们好吗？

《流行阅·幻世》新书发布会

《流行阅·幻世》新书发布会
时间：9月28日下午1时
地点：杭州晓风书屋浙江大学西溪校区店
参加人员：南派三叔 沧月 曹三公子 夏烈 傅晓晨 夜摩 潘海天

生活态度

网络是一个很可怕的东西，不上网一个星期，看看报纸电视，感觉世界很美好。歌舞升平，一片祥和，除了股票红红绿绿发神经之外，好像世界没什么大问题。

可之后上网，满眼都是不想看到的东西，负面的新闻，黑社会，贪官，家庭矛盾，色情的标题党帖子，食品危机，网络暴民，经济衰退......看着就感觉好像中国已经进入到上海滩时代。

总结了一下，就知道报纸上都是gcd的仆人，网络上都是gcd的敌人。报纸告诉我们，我们生活在天堂，网络告诉我们，我们生活在地狱。

每个人都为自己的利益说话，而不是真理。

所以我们到底生活在那里呢？还是靠自己的眼睛看吧。

广告：我朋友的书《有若见鬼》

我朋友老墨的新书《有若见鬼》即将出版，特此为他宣传一下。
起点的链接是：http://www.qidian.com/book/129800.aspx

中秋快乐

中秋快乐

吾妹发来短信：中秋快乐，家乡的月亮像荷包蛋。
我抬头看天，乌云盖顶，遂回短信：不好意思，我这里的这个全焦了。

当斯蒂芬·金遇见“LOST”之父们……

When Stephen King met the “Lost” boys...
当斯蒂芬·金遇见“LOST”之父们……

What happened when J.J. Abrams, Carlton Cuse, and Damon Lindelof met their idol
By Jeff Jensen

Friday, Aug. 11, Stephen King unexpectedly found himself beset for autographs by three of his biggest fans. Fortunately, fulfilling their request fell far short of the author’s notorious definition of Misery. After all, he was a fan of these guys, too. “I give your DVDs to everybody,” King, 59, told the executive producers of ABC’s trippy mystery drama Lost, after EW brought the foursome together for a lively chat in King’s office in Bangor, Maine. “You guys could buy Cadillacs just on the royalties from me!” Carlton Cuse, 47, brought his copy of On Writing for King to sign. Damon Lindelof, 33, brought a rare first edition of The Gunslinger, inherited from his late father. And J.J. Abrams, 40, brought...nothing. “I didn’t know we could!” lamented the Mission: Impossible III director. No worries: King had copies of his new novel, Lisey’s Story, for each of them.

8月11日（2006年）星期五，斯蒂芬·金意外地见到了三名他的超级粉丝，向他所要签名。还好满足这三名粉丝的愿望不用像这位作家笔下作品《一号书迷》（珠海出版社）中描述的那样恐怖。而且，他本人也是这三名粉丝的粉丝。EW（娱乐周刊）促成了这次他们四个人的面谈。“我见人就送你们的DVD当礼物，”59岁的金在他位于缅因州班戈的工作室里，对ABC热播剧集的三名制作人说道，“单用我付的版税你们都够买辆凯迪拉克了！”47岁的Carlton Cuse带来了他收藏的《论写作》（《抚摸恐怖》珠海出版社）请金签名。33岁的Damon Lindeolf则带来已近绝版的第一版《黑暗塔：枪侠》（人民文学出版社），是他已故的父亲留给他的。而40岁的J.J. Abrams……什么也没带。“我没想到真能见到他！”《碟中谍3》的导演悔恨交加。但没关系，金为他们每个人准备了礼物：最新的小说《丽赛的故事》。

After the signing session was over, King asked the Lost boys if they’d like to grab some dinner and see a movie. A horror movie, of course — The Descent. Afterward, King wished them well with season 3 and left them standing in the theater parking lot frozen with pinch-me wonder. “did that just happen?” marveled Abrams.

签完名后，金邀请LOST的三位主创一起吃顿饭，然后去看部电影。当然是恐怖电影啦——《黑暗侵袭》。看完电影，金祝他们在第三季一切顺利后就回家了，留下三人傻站在影院停车场，好像刚从梦中醒来似的。“刚才的事是真的吗？”一脸茫然的JJ问。

It did. But just as surprising as the greatest geek date ever was the revealing conversation that preceded it, in which the Lost creators were passionately pursued by their writing hero for an answer to a burning Lost question. Not “What is the Monster?” Not “do you guys know what you’re doing?” Instead, it was this: “Will you be able to end Lost on your terms?” The creative conundrum, which the producers confessed colors their current storytelling choices, became the central focus of the sprawling 90-minute discussion. Let’s listen in.

的确是真的。但和这次见面同样令人惊喜的是之前他们之间的一次精彩谈话，在谈话中，斯蒂芬·金——LOST制作人心目中的写作之王——热情追问了他们有关LOST的最让人揪心的问题。这问题不是“怪物究竟是什么？”，也不是“你们到底知不知道自己在干什么？”，而是：“你们能够按自己的计划结束LOST吗？”对此，三名制作人给出了并不确定的回答，但在其中也揭示了他们目前对故事走向的选择。这个话题成为了这次90分钟漫谈的中心。我们来听听：

Stephen King: How much did you know when you started?
你们刚开始的时候，〔对整个故事〕了解多少了？

J.J. Abrams: I was going to ask you that about The Dark Tower.
我本来想问你关于《黑暗塔》的同样问题的。 (陆续拖稿30年)

King: Not a whole lot.
不是很多。

Abrams: We didn’t have much time to know anything, because it began the way it will end, which is...
我们根本没时间去想太多，怎么开始的就怎么结束呗，就是……

Damon Lindelof: In chaos. [Laughter]
糊里糊涂地。（笑）

Abrams: Well, no — as commerce. It was a network saying, “We want a show about people who survive a plane crash, and we want the final product in 12 weeks.” Damon and I, who had never met until ABC brought us together, began writing an outline. After five days, there was one. They greenlit it, and we started writing scenes just to cast the thing. We would meet actors. We would write characters based on the actors, and it went from there. During the period of preproduction, production, and postproduction, we worked on a bible of the series. Ideas have fallen by the wayside or haven’t happened; some ideas actually have. But for the most part, it was a leap of faith. It was beginning something that had a lot of big ideas, and believing in an ending.
不——看市场的。公司说了，“我们想要一部戏，讲坠毁飞机的幸存者的，给你12周的时间做出成片来。”就这样，ABC把Damon和我牵到一起，之前我们从没见过。5天后，我们鼓捣出个东东。上头审核通过，我们就开始写些场景，开始建组。我们选演员，然后按演员的特质来创造角色，再发挥下去。整个前期，摄制和后期制作期间，我们都是以拍剧集的方式来工作的，各种想法，有的放弃了，有的还没用到，有的已经用上了。但说来说去，其实就是跟着感觉走。就像是去做一件你知道很有意义的大事，而且相信一定会有个结果。


King: That’s the way I work. I just start writing a story. It doesn’t make any f---ing sense to me.
我写书也是这样的。我开始一个故事的时候，所写的东西对我来说一点意义都没有。

Abrams: I’m so happy to hear you say that! A leap of faith — that, to me, is the essence of the show. Just embrace the absolutely over-the-top absurd nature of the story. Because when that kind of story is told with respect for the characters, the story, and the audience, you’ll buy into it. That’s my favorite thing about your work. You could argue that it’s pulp stuff, but told with conviction.
听你这样说我很开心！ 对我来说，跟着感觉走，正是（制作）这部戏的精髓所在。我爱故事蕴含的荒诞色彩。因为一旦认真对待其中的人物和情节，诚心诚意地对观众讲述这么一个故事，你就会入迷。这也是我喜欢你的作品的原因。人们会说这只不过是虚构的东东罢了，但仍然真实可信。

Carlton Cuse: For us, The Stand has been a model. Lost is about a bunch of people stranded on an island. It’s compelling, but kind of tiny. But what sustains you are the characters. In The Stand, I was completely gripped by everyone you introduced in that story — how they come together, what their individual stories are, how they face the premise. That was such a good model for Lost.
对我们来说，《末日逼近》（大众文艺出版社）是个典范。LOST讲的是一群人受困在一个小岛上。这比较吸引人，但格局未免偏小。真正能撑起来的就是人物了。我看《末日逼近》的时候，你在故事中带入的每一个角色都抓住了我——他们如何走到一起，他们每个人的故事，他们是如何面对危机的等等。LOST对此好好借鉴了一番。

Lindelof: The first meeting I had with J.J. about Lost, we talked about The Stand, and it kept suggesting ideas throughout the process. The character of Charlie was always going to be a druggie rocker, but when Dominic Monaghan came in to audition we started saying, “What if he was a one-hit wonder?” I said, “Like the guy in The Stand! The guy with just this one song.”
我第一次为LOST的制作和JJ会面的时候，我们就讨论起《末日逼近》，之后它一直都在启发着我们的创作。Charlie这个角色本来一直是个吸毒摇滚歌星，但当Dominic Monaghan来试镜的时候，我们就想，“假如他是个只有一首歌名气的人呢？” 我说，“就像《末日逼近》里面那个家伙一样！吃一首歌老本的家伙。”

King: Yeah. “Baby, Can You Dig Your Man?”
对。“宝贝，你了解你的男人吗？”

Lindelof: His entire character sort of is constructed around that. The thing about The Stand is that there are all the archetypes, and we embraced the same thing. The strong, silent, heroic type. The nerdy guy. The techie. The pregnant girl. All those characters exist in The Stand, too.
他的整个人物个性基本上就围绕着这方面展开。《末日逼近》里面到处都是这样的原型，我们爱死了。有强健、沉默的英雄；有卑鄙小人；有技术人才；也有怀孕女孩，尽在《末日逼近》中。

King: Well, Lost has done a great thing in developing these characters — like opening a fan of cards with all these faces on it. People have gotten to know and enjoy these characters in a way only TV can do. Now, if you start to narrow the deck — kill them off — you have a chance to do something that’s probably never been done on TV before, which is to really grip an audience and wring them like a dishrag. [Laughter] Maybe I’m a sadist, but I think that’s part of the dramatic experience. Networks don’t like it. They want those characters to be there forever.
嗯，LOST在发展人物角色方面做得非常漂亮——就像排开了一把画着他们脸谱的牌。人们认识了这些人物，也喜欢上了他们，这是只有电视才能办到的。而现在，如果你们开始弃牌——除掉他们——你们就能有机会真正牢牢抓住观众，像拧抹布一样拧动他们的心，这也许在电视史上都是前无古人的。（笑）可能我就是个虐待狂，但我认为这也是戏剧体验的一部分。电视公司肯定不会喜欢。他们想让这些角色永远都在。

Cuse: But the show’s already violated a lot of conventional wisdom about television.
这部戏已经打破了很多电视界的常规了。

Lindelof: It had to. The storytelling choices [the fan of characters, the flashbacks, the mystery] were an evolution of “s---! We have to do this 24 times a year!”
没办法的事。故事情节的走向（人物谱，闪回，秘密）是不断演化的，原动力就是：“靠！我们每年要这么干24次！”

Abrams: Do you ever make big shifts in your writing, Stephen? Or do you map out enough so you kind of know what you’re going to be doing? Because in our show, Kate wasn’t originally going to be “the convict,” and Jack was supposed to die.
斯蒂芬，在你写作的过程中，会在情节上做出什么大的转变吗？或者说，你会不会先想出个概要来，这样在你写的时候就能多少知道下一步如何前进？在我们的戏里，Kate本来并非“有罪”的，Jack本来也应该死掉。

King: I don’t really map anything out. I just let it happen. But once it happens, it’s always there. If it’s laid, it’s played. If I get to page 300 and it’s not working, I junk it. But it’s just paper; it’s not like a TV network giving you millions of dollars. But for you guys, you’re at a point where it doesn’t matter whether this jazzes you or not, you’ve got a responsibility to roll with this thing, right? To your fans, to the cast, to your network.
我不怎么制定概要什么的。我就让情节顺其自然。一旦情节发生了，它就一直在那儿了。买定离手，愿赌服输。如果我写了300页还是没什么东西出来，我就扔了它。不过这说的是码字，不是拍电视剧，电视公司可给了你们上百万。其实你们处在这样一个位置上，就是不管你们有没有兴趣了，你们还是要肩负责任去运作这件事，对不？为了影迷们，为了演员们，为了公司。

Cuse: We have an obligation to do that, absolutely.
我们绝对有这个义务的，没错。

Abrams: But it’s also about the business. It has nothing to do with creativity.
但这也只是关乎于生意。跟创作无关了。

King: You are three of the most creative guys I know, and you sit there and say, “It has nothing to do with creativity”?!
你们仨是我认识的最有创意的人了，而你们竟然坐在这里说“这跟创作无关”！？

Abrams: No, I’m saying that the reason they would want the show to continue isn’t because they care about the characters. It’s because there’s an economic model that says the show must go on for five years. Twin Peaks did not make them money. We love it because it was cool...
不，我的意思是，他们之所以想让这部戏继续下去，不是因为他们在乎剧中的人物。而是经济市场在告诉他们这部戏还应该再拍个五年。《双峰》没有赚钱，但我们还是喜欢，因为这部戏很酷……

Cuse: ...but it was a cult thing.
……《双峰》是邪典片来着。

Abrams: And a cult doesn’t pay for it.
所以被砍掉了啊。

King: Obviously, ABC wants it to go on forever, and at this point, it becomes a struggle for the soul of the show. And by transference, it becomes a struggle for your souls as artists of integrity. Obviously, it can go on forever — are you going to let that happen?
ABC很明显是想让LOST永远拍下去，这便造成了这部戏现在所处的挣扎状态；这种状态自然也转嫁到了你们身上，做为有诚信的创作者——显然，戏是能够永远拍下去的，而你们该如何去做呢？

Lindelof: It’s a bit more complicated for us. An artist such as yourself, you basically have total control over your characters. But we don’t own Lost. While the network is committed to the show creatively, their job is to develop shows and hope that they become hits and then support them so that they stay hits. When we pitched Lost, part of it was convincing ABC we could keep it on the air for as long as they wanted. If we told them we could only do the show if we ended it after 100 episodes, they never would’ve agreed to it. And who could blame them?
状况多少有些复杂。一名像你一样的作者，基本上是可以全权掌控自己的人物的。但LOST并不是我们的。当公司认为一部戏很有创意，他们的工作就是推广这部戏，希望它能热播，然后他们再继续支持，为了让它持续热播。当初我们能让ABC接受LOST，部分原因就是让他们相信，我们是能够让这部戏想播多久就能拍多久的。如果我们告诉他们，我们要做这个戏就必须在100集之后结束它，他们是绝对不会答应的。谁又能怪他们呢？

EW: How does not knowing when Lost could end affect your current storytelling choices?
对LOST什么时候能结束心里没数，会对当前的故事发展有什么影响？

Lindelof: We’re proceeding as if they are going to allow us to do what we plan, which is a four- or five-season arc with potentially a movie to wrap it up. My guess is they’ll realize that the endgame is in play when major characters start getting bumped off.
我们是假设他们会答应我们按自己的计划来做，在这个基础上进行现在的创作的，也就是说四～五个季度，可能再加一部电影来交代一切。我猜想，当剧中的主要角色开始被干掉时，他们会意识到结束已经势在必行了。

King: Unless, of course, you run into the kind of situation I had at this [August] event in New York with J.K. Rowling and John Irving. This kid said, “You can’t kill Harry [Potter]! We, the fans, don’t want him to be dead!” You could run up against that too.
除非，当然了，你们碰上我在（八月份）纽约与JK. 罗琳和John Irving见面时遇到的情况。那个孩子说：“你不能杀死哈里·波特！我们，粉丝们，不想让他死！”你们也很可能碰上这种事儿的。

Lindelof: It’s the Sherlock Holmes-and-Moriarty scenario, the perfect example of artistic integrity. That was Arthur Conan Doyle saying, “I’m done. Holmes has solved enough mysteries.” What better ending than to have your hands around the neck of your mortal enemy, and both of you fall to your death?
这是福尔摩斯－莫里亚蒂情节，关于创作者诚信的绝好案例。阿瑟·柯南·道尔说：“够了。福尔摩斯已经解开了足够多的谜题。”让主角亲手扼住宿敌的脖颈，然后同归于尽，还有什么样的结局能更胜一筹呢？

King: Right! Over the falls you go!
对！来吧，坠入瀑布！

Lindelof: But he cheated. Doyle brought him back. The fans demanded it. Everybody says that they want answers and an ending — but do they? When book seven of Harry Potter comes out, I’ll be the same way I was at the end of The Dark Tower. I didn’t want it to end, and I started to read it much slower and started feeling a sense of depression as all roads sort of inevitably lead to the end. The fact is, once our characters are no longer “lost,” the show is over.
但他食言了。柯南道尔又让福尔摩斯回来了。粉丝们的需求。人人都说他们要答案，要个结果——但他们真的要吗？等《哈里·波特》第七集出来的时候，我会像看《黑暗塔》最后一本时一样：我不想要故事结束，于是我会读得很慢，当旅程不可避免地走向终点时，感到沮丧不已。说真的，当LOST中的人物角色们不再“迷失”了，这个剧也就结束了。

King: But my point is just...if you decided to end it, I don’t see how the network could stop you.
我想说的就是……如果你决心要结束，电视公司也束手无策的。

EW: Could they veto a script? Could they say they’re just not going to produce it?
他们有权否决剧本吗？他们可以随时终止制作吗？

Lindelof: Absolutely. We wrote a script last year called “dave.” It plays out a version of the idea that all of this is happening in Hurley’s head. The original draft was a great cause of concern; ABC felt it was advancing an idea that offered an explanation for the entire show.
完全可以。我们去年写了一稿剧本叫“戴夫”。里面提出了一个想法，就是所有岛上发生的一切其实都发生在Hurley的头脑里。原稿里有重要的事件根据。但ABC觉得这样会提前透露涉及整部剧的关键信息。

King: The story’s the boss. And one of the great pleasures of Lost is how things happen you don’t expect. I was shocked when Ana Lucia got shot — and then Michael turned around and shot Libby. That got in under my gaw — and I’ve got a trained gaw. One of the other great pleasures is the way that those Numbers have been worked in over and over again in ways that seem completely inexplicable.
故事才是老大。看LOST最大的乐趣之一，就是出乎意料的事件。当Ana Lucia中枪，然后Michael转身又击中了Libby的时候，我都惊了。那真是完全出乎我的意料——想想我是谁啊！另一个津津乐道的地方就是那些数字，它们一次又一次的出现在貌似毫无关联的事物当中，又起了很大的作用。

Cuse: We didn’t expect that to have as much resonance as it did!
我们没想到这个设置会有这么大反响的！

Lindelof: My father was into the Illuminati and the number 23, so he was a big reader of Robert Anton Wilson. So there was some intentionality behind it, but we had no idea, no grand design behind the Numbers. But suddenly, the No. 1 question stopped being “What is the Monster?” and went to being “What do the Numbers mean?” This isn’t to say that the Numbers don’t mean anything. We just had no idea it had this potential to get totally out of control.
我爸爸痴迷于光照派和数字23，他是Robert Anton Wilson的忠实读者。就算那些数字背后有什么意义，我们其实也不清楚，我们没有特意去设计。但突然之间，头号问题不再是“那些怪物是什么？”，而变成了“那些数字有什么含义？”我并不是说这些数字毫无意义，只是我们根本没预料到它们的影响竟会如此之巨大。

King: However you end it, based on my experience with The Dark Tower, you will hear from thousands of people who f---ing hate it.
不管你们将如何结束，根据我写《黑暗塔》的经验来看，你们肯定会听到无数人骂娘。

Cuse: No question. There were many complaints about The X-Files, which in the minds of many faltered in its last two years and tainted the whole thing. That’s a profound lesson for us.
肯定会的。《X档案》在它最后两年步履艰难的行进中也遭到了非常多的抱怨，落得个晚节不保。这对我们来说是深刻的教训。

EW: Last year, Stephen, you wrote in EW that you were a big believer in the popular Lost theory that the island is purgatory. Now that the producers have said it’s not purgatory, do you have a new theory?
斯蒂芬，去年你给我们娱乐周刊撰稿说，你非常拥护流行的一个关于LOST之谜的猜想，说整个小岛其实就是炼狱。现在制作人已经否认了这个说法，那你有什么新的猜想了吗？

King: Well, I don’t really have a theory. But if somebody put a gun to my head and said I had to end this series or they would shoot me or shoot my dog, this is what I would do. I would take the main guy, Jack — the first shot of the whole series is his eyeball close up, right? What that always said to me was that from now on, everything that I see, Jack’s the eye of the beholder. So I would do something at the end where I flashback to the airport when they were getting on the plane, and I would have him taken away by people who wanted information out of him. I would have them hook him up to a machine or something, or feed him drugs, and reveal that the whole series had been Jack’s hallucination, built out of fragments of his real life — people from his past, people in the airport, his father, of course, and the Numbers. The whole thing would be a lot of shuck and jive. I’d make it work somehow. It would creak, but I’d make it work.
我其实还没什么猜想。但假如有人拿把枪指着我的头，威胁我必须给这部戏一个结局，否则就杀了我或者杀了我的狗，那么我会这么编：我会用到剧中的主要人物Jack——这部戏的第一个镜头是他闭着眼镜，对吧？这个场景告诉我，从那以后，我看到的一切，都是以Jack的视角展现的。所以在结尾的时候，我让故事闪回到他们登机的机场，让一些人来绑架了Jack，他们想要从他身上获得一些信息。他们把Jack驾到某种机器上，或者喂给他某种药物，这就揭示出其实整个剧集都是Jack的幻象，来源于他真实生活的点点滴滴——他过去认识的人啊，在机场的人啊，他父亲啊，当然，还有哪些数字啊等等。整个事情都是一场误导的骗局。我会想办法让这个情节运作起来。有些靠不住，但我能想出个法子。

Cuse: You figured it out! [Laughter]
你解决啦！（笑）

Abrams: Actually, we did an episode of Alias just like that. I love your idea, though!
我们其实在Alias的一集用过这个桥段。不过我很喜欢你的主意！

Lindelof: Do you want a job?
你想要份工作吗？

King: Believe me, I couldn’t. I wouldn’t be good enough.
我干不了，相信我。我不够好。

Lindelof: Please. Anytime.
来吧。随时欢迎你。

Why so serious?

Why so serious?en?

Jajaja......

生物学启迪 群体智能＋蚁群算法（ant colony optimization, ACO）

很多人都认为，如果上帝是一个程序员，那么他的工作量将大的惊人。
单一一个细胞的运行结构，编程工作量就可能超过天文数字的概念，其中光一个脱氧脱糖核酸的组合，就够微软的技术组干一百多年。
然而，事实上，现在越来越多的科学家和程序员发现，也许我们的世界，并没有建立在如此复杂的理论基础上，而是基于一些十分简单的规则。
这里有一个典型的例子，就是蚁群算法。

名词解释：
蚁群算法(ant colony optimization, ACO)，又称蚂蚁算法，是一种用来在图中寻找优化路径的机率型技术。它由Marco Dorigo于1992年在他的博士论文中引入，其灵感来源于蚂蚁在寻找食物过程中发现路径的行为。蚁群算法是一种模拟进化算法,初步的研究表明该算法具有许多优良的性质.针对PID控制器参数优化设计问题,将蚁群算法设计的结果与遗传算法设计的结果进行了比较,数值仿真结果表明,蚁群算法具有一种新的模拟进化优化方法的有效性和应用价值。

具体的实现过程不累述，只提一点，就是整个蚁群算法只有100多行代码，但是它完美的再现了蚂蚁寻找食物的运行方式，包括寻找最短路径，避免走回头路以及如何最大范围内的扩大搜索面。

在观看这段代码的时候，很多方面，能发现上帝当时在编程的思维痕迹，比如说信息素变量运用（《蚂蚁革命》中被称为费尔蒙的东西），蚁群算法算是一种对世界的反编译，复杂无比的蚁群搜索系统，被简单的解析成原始的小块。

这个程序现在被广泛用于电力系统，火车系统，路由系统以及搜索引擎的抓取程序。

由此，我们可以引申的思考一些问题，比如说世界的复杂本源背后的运行规律，是否和蚂蚁算法一样简单？

很多专家提出的“小世界”概念中就可以发现了端倪，原来我们所在的整个生物系统，其实是类似于蚁群算法这种简单程序叠加而产生的。

也就是说，复杂的行为，不是本质，而是现象，简单程序控制下的个体的简单行为，互相影响，从而演化成非常复杂的行为，甚至构成极端复杂的社会体系，甚至是思维。

我相信这就是爱迪生研究思维之后，所得出的结论的真相：我们的思维产生，是因为“无数小人在我们头脑里活动。”

这里引进另一个概念，叫做群体思维来阐述这个问题。这也是研究蚂蚁，蜜蜂等社会昆虫得出的经典结论之一。

概念的核心是：单一的蚂蚁，是不具有思维性的，它只对环境产生反应，而发生一些行为，单一的蚂蚁的生存能力非常弱小，然而，100万只蚂蚁互相作用形成的行为，就变得非常复杂，蚂蚁的繁殖，食物的搜集，它们甚至能通过细菌的发酵，控制窝里的温度，在泥土中修建复杂无比，极端准确的通道，控制整个蚁巢的建筑结构，不会因为巢穴的扩大而崩塌。

这些行为体现的智力，是大型哺乳动物无法达到的，就算是黑猩猩，你也无法教会他通过细菌发酵去调节泥土的温度，单一一只蚂蚁，同样也无法做到这一点，但是一窝蚂蚁，却完成的近乎完美。

这种单一个体智力底下，但是群体拥有极高智力的现象，被称呼为群体智能。同样的东西，包括蜜蜂，真菌复合体，白蚁等等。

群体智能是一个很多人不敢触及的话题，因为它可以非常容易的复制到很多学科中去。比如说我举一个最简单的例子。

人的脑细胞，单个脑细胞不具有任何的智力，他只运行一些接受神经电流然后转发的人物，但是120亿个人的脑细胞，互相运作，可以产生这个世界上最伟大的东西——“思维”。

也许有人认为这比蚂蚁要复杂多了，其实，你可以发现如果一窝蚂蚁有100万只，则一只蚂蚁必须和另外99万只蚂蚁建立链接，而人的脑细胞现在所开发的10%活跃细胞中，每个细胞也只有2万条对外的神经联系，就是说，从运行效率来说，蚂蚁远远高于人脑。

那你也许要问，如果是这样的话，为什么蚂蚁窝的群体智力低于人的智力呢？

群体智慧理论里，最大的争议就是这一点，大部分人认为，群体的数量，和信息的传播速度，决定着群体的智慧程度。

可以这么说，如果一窝蚂蚁的数量达到120亿只，且他们可以用电流的速度交谈，则这窝蚂蚁只要有10%在活动，就能够达到人的智力水平，甚至，它会产生“思维”，一种凌驾于个体上的思维，一只蚂蚁没有“我”概念，但是这窝蚂蚁可能就会产生“我”的自我认知。但是事实上，这不可能达到。因为蚂蚁社会结构太松散了。

往回看，也许认为这很无稽，因为蚂蚁是分散的个体，而人的大脑是一个整体。

然而，人的大脑真的是整体吗？

不，把人类放大10亿倍，你就会发现人的大脑也是由无数个单独的个体悬浮组成的，就好比一个充满脑细胞的宇宙一样。

好了到了这里，可以总结一下了。

结合上边所说的东西，加上简单规则的概念，我们是否可以这样认为，假如单个脑细胞的运行规则能够被解码，当然我不奢望是100行代码，然后将这个程式做成病毒，在全球计算机网络里传播，等到传播的数量达到一个数量级，我们会否拥有一个巨大的电子虚拟生命？电子“自我”意识，会否在全球互联网中苏醒？

那么，实现这个“苏醒”的数量是多少，就是接入全球互联网带毒电脑的临界数量？

这里面能够思考的东西，还很长很长，很深很深。

名词解释2：
群体智能(Swarm intelligence):
群体智能这个概念来自对自然界中昆虫群体的观察，群居性生物通过协作表现出的宏观智能行为特征被称为群体智能。群体智能应该遵循五条基本原则:
(1) 邻近原则( Proximity Principle) ,群体能够进行简单的空间和时间计算;
(2) 品质原则(Quality Principle) ,群体能够响应环境中的品质因子;
(3) 多样性反应原则( Principle of Diverse Re2sponse) ,群体的行动范围不应该太窄;
(4) 稳定性原则(Stability Principle) ,群体不应在每次环境变化时都改变自身的行为;
(5) 适应性原则(Adaptability Principle) ,在所需代价不太高的情况下,群体能够在适当的时候改变自身的行为。

群体智能具有如下特点:
(1) 控制是分布式的,不存在中心控制。因而它更能够适应当前网络环境下的工作状态,并且具有较强的鲁棒性,即不会由于某一个或几个个体出现故障而影响群体对整个问题的求解。
(2) 群体中的每个个体都能够改变环境,这是个体之间间接通信的一种方式,这种方式被称为“激发工作”(Stigmergy) 。由于群体智能可以通过非直接通信的方式进行信息的传输与合作,因而随着个体数目的增加,通信开销的增幅较小,因此,它具有较好的可扩充性。
(3) 群体中每个个体的能力或遵循的行为规则非常简单,因而群体智能的实现比较方便,具有简单性的特点。
(4) 群体表现出来的复杂行为是通过简单个体的交互过程突现出来的智能( Emergent Intelli2gence) ,因此,群体具有自组织性。

PS.当时我现在感兴趣的是，编写一个蚂蚁病毒，让互联网变成一个巨大的蚁巢。
呵呵，可惜，我只会php。本文的写作动机，来自《终结者3》，《猎物》和《蚂蚁革命》

The dark knight 2008(batman)

Great Movie......needn't talk more,Just go and see......
The JOKER is right,The Bat is sad,And the Dent is dead.

Dent=Joker+Bat.

I like him so much.

回复：茉悸泠，天之汐颜

回复：茉悸泠，天之汐颜

谢谢你们的关心。

人总是要成长的，人也总是在不断的沉淀，每一个决定，都有它背后的理由。

换一个博客，寻一个清净地，是我考虑了很久的想法，也是到了一个阶段必须要做的事情。这是我对之前的浮躁的舍弃，是新的生活状态的开始，我现在经历的挫折和纷争，每一个写手都经历过，大浪淘沙，看透了，到头来，一切都是空谈。唯有作品，才是让别人记住你的关键。

所以，我选择了这里，让一切归于本源，这确实是一种逃避，但是我只有这个选择，才能够让一切回到轨道——安静，但是激情的享受写作给我的乐趣。

在这里，我是一个业余的写手，我写作业余的文章，并且深深的思考那些我应该去思考的东西。

广告 《流行阅》

这是朋友做的一本mook第一期,一帮朋友搞的合集。
盗墓笔记4的老版本在上面连载。应朋友之约做个广告。
几个人是流潋紫，沧月，安意如，张小娴。

样书还没收到，不知道其他人写的是什么，祝这本mook大卖。