科技使我们的生活素质提高了不止一倍，这可以举很多例子比如：有了电灯，晚上不再漆黑；有了飞机，咫尺天涯不再是梦想。科技的益处是我们无法否认的，但科技如果应用不当，便会给社会造成危害，给人类带来灾难。
就如《隐身人》所说的那样：化学家格里芬经过一番苦心研究，他有一种可以使身体隐设的方法，并在自己身上试验成功。可是成为隐身人的他自我意识膨胀，想在一个地方称王称帝，之后用自己的.隐身技术统治人类，称霸全球。最后在一次追捕中被人活活打死。由此可见把一种科技运用好了，比发明它更加重要。就如DDT，那时人们滥用这种农药，使现在很多生态系统收到破坏，而且这DDT也会通过食物链最终进入人们的口中，最后危害人类自身。就像蛇的毒液一样，如果应用得当，有时会成为救命的一帖良药。药也有三分毒。科技是好的，是有益处的，关键在于人们如何去应用它；应用得好，造福万家；应用得不好，危害自身。
运用好科技，自身也要有良好的心态，在发明科技时，想的是为老百姓造福，而不是怎样为自己谋利，这样才可以算是一个好的发明家。
让我们一起运用好科技吧。
The narrator begins telling his story with the claim that he is an “invisible man.” His invisibility, he says, is not a physical condition—he is not literally invisible—but is rather the result of the refusal of others to see him. He says that because of his invisibility, he has been hiding from the world, living underground and stealing electricity from the Monopolated Light & Power Company. He burns 1,36一9 light bulbs simultaneously and listens to Louis Armstrong’s “（What Did I Do to Be So） Black and Blue” on a phonograph. He says that he has gone underground in order to write the story of his life and invisibility.
As a young man, in the late 1920s or early 1930s, the narrator lived in the South. Because he is a gifted public speaker, he is invited to give a speech to a group of important white men in his town. The men reward him with a briefcase containing a scholarship to a prestigious black college, but only after humiliating him by forcing him to fight in a “battle royal” in which he is pitted against other young black men, all blindfolded, in a boxing ring. After the battle royal, the white men force the youths to scramble over an electrified rug in order to snatch at fake gold coins. Three years later, the narrator is a student at the college. He is asked to drive a wealthy white trustee of the college, Mr. Norton, around the campus. Norton talks incessantly about his daughter, then shows an undue interest in the narrative of Jim Trueblood, a poor, uneducated black man who impregnated his own daughter. After hearing this story, Norton needs a drink, and the narrator takes him to the Golden Day, a saloon and brothel that normally serves black men. A fight breaks out among a group of mentally imbalanced black veterans at the bar, and Norton passes out during the chaos. He is tended by one of the veterans, who claims to be a doctor and who taunts both Norton and the narrator for their blindness regarding race relations.
The narrator says that he has stayed underground ever since; the end of his story is also the beginning. He states that he finally has realized that he must honor his individual complexity and remain true to his own identity without sacrificing his responsibility to the community. He says that he finally feels ready to emerge from underground.
As the narrator of Invisible Man struggles to arrive at a conception of his own identity, he finds his efforts complicated by the fact that he is a black man living in a racist American society. Throughout the novel, the narrator finds himself passing through a series of communities, from the Liberty Paints plant to the Brotherhood, with each microcosm endorsing a different idea of how blacks should beha一ve in society. As the narrator attempts to define himself through the values and expectations imposed on him, he finds that, in each case, the prescribed role limits his complexity as an individual and forces him to play an inauthentic part.
Upon arriving in New York, the narrator enters the world of the Liberty Paints plant, which achieves financial success by subverting blackness in the service of a brighter white. There, the narrator finds himself involved in a process in which white depends hea一vily on black—both in terms of the mixing of the paint tones and in terms of the racial makeup of the workforce. Yet the factory denies this dependence in the final presentation of its product, and the narrator, as a black man, ends up stifled. Later, when the narrator joins the Brotherhood, he believes that he can fight for racial equality by working within the ideology of the organization, but he then finds that the Brotherhood seeks to use him as a token black man in its abstract project.
Ultimately, the narrator realizes that the racial prejudice of others causes them to see him only as they want to see him, and their limitations of vision in turn place limitations on his ability to act. He concludes that he is invisible, in the sense that the world is filled with blind people who cannot or will not see his real nature. Correspondingly, he remains unable to act according to his own personality and becomes literally unable to be himself. Although the narrator initially embraces his invisibility in an attempt to throw off the limiting nature of stereotype, in the end he finds this tactic too passive. He determines to emerge from his underground “hibernation,” to make his own contributions to society as a complex individual. He will attempt to exert his power on the world outside of society’s system of prescribed roles. By making proactive contributions to society, he will force others to acknowledge him, to acknowledge the existence of beliefs and beha一viors outside of their prejudiced expectations.
Over the course of the novel, the narrator realizes that the complexity of his inner self is limited not only by people’s racism but also by their more general ideologies. He finds that the ideologies advanced by institutions prove too simplistic and one-dimensional to serve something as complex and multidimensional as human identity. The novel contains many examples of ideology, from the tamer, ingratiating ideology of Booker T. Washington subscribed to at the narrator’s college to the more violent, separatist ideology voiced by Ras the Exhorter. But the text makes its point most strongly in its discussion of the Brotherhood. Among the Brotherhood, Because he has decided that the world is full of blind men and sleepwalkers who cannot see him for what he is, the narrator describes himself as an “invisible man.” The motif of invisibility pervades the novel, often manifesting itself hand in hand with the motif of blindness—one person becomes invisible because another is blind. While the novel almost always portrays blindness in a negative light, it treats invisibility much more ambiguously. Invisibility can bring disempowerment, but it can also bring freedom and mobility. Indeed, it is the freedom the narrator derives from his anonymity that enables him to tell his story. Moreover, both the veteran at the Golden Day and the narrator’s grandfather seem to endorse invisibility as a position from which one may safely exert power over others, or at least undermine others’ power, without being caught. The narrator demonstrates this power in the Prologue, when he literally draws upon electrical power from his hiding place underground; the electric company is aware of its losses but cannot locate their source. At the end of the novel, however, the narrator has decided that while invisibility may bring safety, actions undertaken in secrecy cannot ultimately ha一ve any meaningful impact. One may undermine one’s enemies from a position of invisibility, but one cannot make significant changes to the world. Accordingly, in the Epilogue the narrator decides to emerge from his hibernation, resolved to face society and make a visible difference.
杨德昌故去有一年多了，他的《一一》这部电影问世至今近九年的时间，九年的时光这世界变了吗？
一个家庭几个角色的一段情感光阴，近三小时长度的影片涵盖了人的生老病死，种种情感，这世上的眼见到的种种无一不在故事里，在这个家庭的不同人身上上演。
人至中年的男主人公简南俊，面临踏实的做事业还是凭一张老实的面孔去投机取巧的选择，同时他又遇到三十年未见的初恋女友。
简南俊的妻子敏敏遵医嘱对昏迷的母亲说话，发现每一天向母亲描述的生活都相同，她忽然间无法接受自己几乎是空白的生活，唯有选择上山用宗教静修来反省自己。
读中学的女儿婷婷不确定是否因自己的原因致使婆婆跌倒，她生活在无人知晓的自责中，同时旁观着邻居女孩莉莉的爱情。
读小学的儿子洋洋是个懦弱的总被欺负的小男孩，他矮小的身影发现每个人都只能看到事物的前一面而不知后一面，他用像机去拍摄每个人的背影。同时他幼小的心灵初次萌生了对另一个小女孩的美丽痴迷。
还有欠男主人钱的`小舅子阿弟，离婚后再婚生活在两个女人间的纠葛间，一个喧闹的世俗综合体。
影片的镜头如同角落里的隐形人平视着每个人物在自己的生活里进出。这是一个台北的普通中产家庭，他们平静的生活在他人激进的情感和大事件旁。
影片一步一个悬念的向下发展。
小舅子阿弟喜得贵子，酒席上因前妻到场，引发客人间的大打出手，新婚妻儿被带回娘家，小舅子嘴里念道着无意中的一句“什么事都没了”呆住，第二天被抱着孩子回家的妻子发现裸倒在浴室里。
女儿婷婷目睹邻居同龄女孩莉莉的爱情变迁，并接受了被其抛弃的男生的感情，尝试约会，尝试初吻，他们站在宾馆房间的大床前，男生却退缩逃走。
男主人与初恋女友凑巧共赴日本，他们一起追忆三十年前的情感曾经的岁月，当年的不辞而别也是个悬念。他们一起推开宾馆的房门，转身却有各自的房间钥匙。入夜她来找他，说可以结束现有的婚姻再一次开始。儿子洋洋痴迷的远望着总是欺负他的小女生，到小女生游过的无人的泳池，取下书包跳下去，一声惊呼后再无声息。
生活中的每天都在面临着断裂，明天还能继续吗？
小舅子阿弟并没有出事，仅仅是洗澡时没有开窗被煤气打倒。婷婷的初恋只是个充当了莉莉的替代品，他们又旧情复和。儿子洋洋一身水湿静悄悄地安然回家。男主人三十年前为爱情选择不喜欢的人生事业，同时他也选择了悲哀的离开爱情。面临再一次的机会，他道出他从没爱过别人，当年的她却不辞而别。
故事由意外昏迷的婆婆引起，在她一直无法苏醒中延续。每个人的生活都在绝望与希望间交替着前行。
投机失败的小舅子阿弟又意外发财。婷婷去安慰男生不必为他们的复合而对自己心存介意，男生歇斯底里的哭骂起来。第二日男生杀了疑似与莉莉有关系的英文老师。
婆婆给了婷婷一个自我救赎的梦境后离开人世。故事至此也将终结。
婷婷的妈妈经过宗教的静修反省，发现其他人的生活同她并没有什么不同。男主人的日本之旅也让他省悟，倘若能再有一次人生的机会，一切并不会有什么不同。
一个可以闻得到空气味道的故事，一部与我们有同等高度的电影，熟悉的身影相同的情怀，你甚至会怀疑自己的声音他们听得到，如此的近。
简南俊对昏迷中的婆婆说，此刻我对你说的话有多少是真心，我并没有多少把握。对初恋的她说，人是不可能让另外一个人教他该怎样活下去，那会很悲哀。
婷婷对婆婆说，为什么这个世界和我们想象的不一样，我闭上眼睛看到的世界好美。
洋洋在婆婆的灵前说，我不是不想同你说话，只是觉着我说过的话，你老早就知道，不然你不会总是对我说，听话。我好想你。尤其是当我看到那个，还没有名字的小表弟，就会想起你常跟我说：“你老了。我很想跟他说我觉得……我也老了。”
风清云淡的剖开我们人生一个个横断面，童年的洋洋，少年的婷婷，年轻的小舅子阿弟，中年的简南俊和敏敏，老年的婆婆。理性与宗教，感情与生活，梦想与现实，生与死，爱与恨，无数个结点碰撞出真实的生活。这部影片是静夜泡起的一杯茶，浸入肺腑回味自知。
