海外「天国への階段」

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Stairway to heaven
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海外の反応
・さび付いてる階段を信用しすぎ
・ズボンのポケットに両手を入れ余裕をかます
・頑丈な普通の階段であっても私はポケットに手を入れたまま降りたりはしません
・ハイヒール履いて大雨が降ってたら
・そしてバナナの皮が落ちてたら
・汗だくの手を隠すためにポケットに手を入れていました
・お願い、やめて
・最後のステップは脚ガクガクです
・階段がなぜそこにあるのですか?
・慎重に一歩一歩降りてるけど彼は両手をポケットに入れている。足を滑らせたら手すりを掴むのが遅れるでしょう
・せめて手すりを使ってくれ
・僕だったら絶対NOです
・この階段はちゃんと支えられてるのですか?
・天国は逆方向にあるんだけど
・ここはどこですか??
・ロシアかデトロイトのどちらか
・地獄への高速道路
・ここは地獄の階段ではないか?
・絶対に無理です…
・いや、いや、いや、いや、いや
・あと一歩で彼は天国に行ける
・これが女性が男性よりも長生きする理由です
・最後のステップに注意してください.

I’m not sure how to explain the charm of ruins. Every building is built to serve some purpose, and when its role is finished (or if its original purpose is not fulfilled), it will make way for the next best use, but the ruins have not been realized. For a normal unemployment, this is equivalent to just an empty house or an empty building, and you can wait for the next person to enter, but ruins are not even unemployed. It can no longer even be used, it needs investment to be used, and it already has only negative value. That shouldn’t happen from economic rational values, but it does. The reason why this occurs varies from irrationality as a human individual to imperfections in the market, but it is a surprise that it exists specifically in front of us. or perhaps it is simply the feeling of marveling at the foolishness and recklessness of the owner who had made it out of conceit that there was no way he could succeed in the first place.

 Of course, there are many books about ruins, but I like Nakata, Sekine, and Nakasuji’s “The Exploration of Ruins” (Nimi Shobo), which is far more important than many of the books. This is a monograph of a series once serialized in “GON!” which is overwhelmingly more people don’t know (in a good way) than a third-rate comedy subcarlo magazine. It was a strange magazine. Many of the photo albums in ruins are strangely pretentious. It’s inorganic. Only steel frames, only walls. Organic materials have already corroded, and it seems that only a part of the wooden pillar or wall remains, and there are many cases where things such as an impermanent view or artistic view of ruins are clearly presented. And obviously, t

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