最新报道：It is not about rejecting organizations, but about giving everyone who participates the right to organize; it is not about not having a focus, but about every focus having a turn. Author: Bruce Have you ever thought about how an era is remembered? Not by war, not by the monuments left by the victors, but by those moments that seemed insignificant at the time: a blooming cherry blossom, a figure passing through the alley, a child looking up at the sky. Ukiyo-e depicts these. In many people's minds, Ukiyo-e is a style, a decoration, and a colorful old Japanese small painting. But it is actually a "mirror" of an era. Look at Hokusai Katsushika's "The Great Wave off Kanagawa", the rising waves seem to swallow the boat, but if you look at it for a few more seconds, you will find that the waves are not a disaster, but a broad and spacious momentary feeling. It does not want to conquer you, it just comes to show you - "the hugeness of the moment". Look at Hiroshige Utagawa's "One Hundred Famous Views of Edo" series. There are no palaces or dignitaries. What are in the paintings are fishing lights by the bridge, pedestrians in the rain, ferries at dusk, or fluttering carp streamers. You can feel a wonderful quietness, which is not indifference, not silence, but the quietness of "living truly". There are also the paintings of beauties by Kitagawa Utamaro. They are not eternal like sculptures, but fresh, soft, and fleeting, like you see a face with gentle eyes in the crowd, and then disappear in the next second. The themes of these paintings are not grand, and the scenes are not crowded. They are obsessed with "the present" - obsessed with the dimness of the morning light through the window, the elegance of the weak wind blowing the willows, the laziness of the tired cat taking a nap, and obsessed with themselves at that moment. Compare it with Western paintings: Since the Renaissance, Western paintings have always pursued "eternity" - the composition has a focus, the light source has logic, the characters have symbols, and the picture is to "explain a meaning." The viewer stands outside the painting, gazing at the arranged world in the painting. In Leonardo da Vinci's "The Last Supper" and Raphael's "The School of Athens", the position of each character is like a designed script, and each beam of light has a "master-slave relationship". However, Ukiyo-e goes the other way - it does not tell you where to look, does not arrange the protagonist, and even refuses perspective. The painting is spread out flat, and every place is important. Wherever you look, it is naturally the focus. The word "floating world" was not a compliment in ancient times. It is a Buddhist term, referring to this world of misfortunes, ups and downs, and mixed sorrows and joys. But in the Edo period, it was reinterpreted. People no longer just lament impermanence, but began to think - since everything will pass, why not seize the moment that is happening. So "Ukiyo-e" began to flourish - a skill that uses images to record daily life, an art that uses an equal perspective to condense the flow of time. Ukiyo-e paintings do not have a protagonist, nor do they hold up a certain viewpoint. You cannot see who is standing in the center of the stage and who is retreating to the corner. You can only follow your own gaze and wander freely in the picture, like you walk into a city at dusk, an undecorated street evening. It tells you: there is no "absolute focus" in this world. Every element has its own position, and every existence is shining, even if it is only for a moment. This concept sounds like aesthetics, but it is actually close to philosophy. It is an acknowledgment of "impermanence": acknowledging that everything will eventually disappear, not depicting eternity, and cherishing the present; it is an insistence on "level vision": you do not need to climb high to be seen, you stand where you are, and you also have your meaning; it is a gentle "decentralized composition": no one stipulates where you should look, and no one stipulates who you are a foil for. Later I realized that I like Ukiyo-e because it is not just a way of painting, it is actually the way we should live. Not everyone has to stand in the spotlight, and not everything has to have "meaning". As long as you are at that time and in that position, you appear and feel it, then everything about you has been established, and even this is the greatest meaning to you. Does my text have any practical significance? Which one is the meaning of my writing, your reading, the algorithm's recommendation, and the system's retention? Nowadays, the screen has changed, the carrier has changed, but this decentralized feeling has been picked up again in the world of Web3. We are no longer simple users, no longer arranged audiences, but a node in the system, a composition point, with our own visibility, and our own tiny and definite position. Everyone is no longer just watching the paintings, but participating: signing an agreement, minting an NFT, and leaving a Tx. Even if it is very light, it will be packaged into the block, become part of the consensus, and become a cornerstone for constructing this huge world from the future. Web3 is not to make you a "star", but to let you know that "you are a stroke of the picture", which is enough. No noise, no absence, no need to define meaning, it is also worth staying. The world will continue to flow, and we will continue to change, but we are standing in this moment, with a name, an action, and a position, like a clear bright spot in the fiber of time, gently recorded. At that moment, at that coordinate, when the gas was burned, you were recognized: you contributed a piece of data on the chain, and you are really there. The canvas structure of this world is changing. From looking up to looking straight, from being organized to self-organizing, from the center illuminating the whole scene to each stroke shining. You don’t need to be "someone who can change the system", you just need to be one of those who are willing to participate in this system. Even a small action is a kind of "presence". If you regard each interaction as a stroke of painting, you will find that: Web3 is not a script with a "main plot", it is more like an endless scroll. Everyone is a point in the composition, and each point is not repeated. This is a very humanistic structure. It does not ask who you are, but asks you: which stroke do you want to be? Perhaps this is the most gentle expression of "decentralization". Not rejecting the organizationIt is to give everyone involved the right to organize; it is not that there is no focus, but that each focus can be rotated once. We are all here. We are not standing outside the painting, but living in the painting. Even if you only appear for a second, you are already a part of it. And this is the best evidence that you have appeared in this era. Which part do you think you are in the Web3 painting?