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// console.log(spanner.next(85)); // 输出6（正确）
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创作的压抑，让塔可夫斯基最终选择远赴意大利，接受西方制片人的邀约拍摄《乡愁》。他将对民族性的无穷追问糅进了《乡愁》的镜头里。剧情从来都不是这部影片的核心，漂泊、回忆、孤独，还有对故土深入骨髓的怀念，共同交织成如雾霭般难以散去的哀愁。在日记中，他记录着在意大利的创作心境，也写下了对这部作品的期许，而影片中那个戈尔恰科夫手持蜡烛缓缓走过水池的漫长镜头，不仅成为电影艺术史上不可复制的经典，更成为塔可夫斯基的“自我画像”，照见了一个异乡人的精神漂泊。
I suspect rather strongly that premodern people, too, experienced the physical world more acutely than I do, simply because my brain has been stewing in dopamine-spiking stimuli for four decades now, rarely pausing to touch the proverbial grass. Don’t get me wrong: I like the outdoors a lot. But my waking existence is spent mostly indoors in highly artificial spaces, whereas humans have typically spent the vast majority of their time outdoors in nature. Consider my ancestors, who, as best I can tell, were primarily illiterate peasants and smallhold farmers. They spent a significant proportion of their waking hours literally touching grass.
В России ответили на имитирующие высадку на Украине учения НАТО18:04