The handmade beauty of Machine Age data visualizations
I spent last week at Harvard doing research in the archives of William James, the psychologist, philosopher, psychical researcher, brother of Henry James, and all around interesting person.
上周我在哈佛大学研究了威廉·詹姆斯的档案，威廉·詹姆斯是一位心理学家、哲学家、心理研究员、亨利·詹姆斯的兄弟，也是一位有趣的人。
He was a brilliant, charming, self-defeating, deeply strange man (exhibit A: he believed taking a high dose of nitrous oxide helped him finally understand Hegel ).
他是一个才华横溢、迷人、自暴自弃、极其奇怪的人（证据A：他相信服用高剂量的一氧化二氮帮助他最终理解了黑格尔）。
That mixture of qualities comes across vividly in his papers.
这种品质的混合在他的论文中生动地体现出来。
What doesn’t, at least at first, is that he was a talented visual artist.
但至少在一开始，他是一位才华横溢的视觉艺术家。
In fact, before he became a psychologist, William James dreamed of being a professional painter.
事实上，在成为心理学家之前，威廉·詹姆斯就梦想成为一名职业画家。
He studied for several years in his late teens and early twenties under the painter William Morris Hunt.
他在十几岁和二十出头的时候在画家威廉·莫里斯·亨特的指导下学习了几年。
Although none of William’s paintings appear to survive, a careful reader of his archive will find evidence that he continued to draw throughout his life.
尽管威廉的画作似乎都没有保存下来，但仔细阅读他的档案的人会发现他一生都在继续绘画的证据。
Here he is, for instance, doodling on an envelope addressed to him from Geneva:
例如，他在一封从日内瓦寄给他的信封上涂鸦：
Readers of The Metaphysical Club, Louis Menand’s wonderful book about James and his circle, will recognize the image below as William’s sensitive drawing of his brother Wilkie while he was recovering from being shot during the Civil War.
路易斯·梅南德（Louis Menand）关于詹姆斯及其圈子的精彩著作《形而上学俱乐部》（The Metaphysical Club）的读者会认出下面的图片是威廉在内战期间被枪杀后正在恢复过程中为他的兄弟威尔基（Wilkie）绘制的敏感画作。
The visual creativity of James is not just a clue about how his own mind worked.
詹姆斯的视觉创造力不仅仅是关于他自己的思维如何运作的线索。
It’s also part of a larger shift in the culture of science during his generation: in the nineteenth century, design and the nascent world of big data came together, for the first time, to create the modern concept of data visualization.
这也是他这一代科学文化更大转变的一部分：在十九世纪，设计和新兴的大数据世界第一次结合在一起，创造了数据可视化的现代概念。
Res Obscura is a reader-supported publication.
Res Obscura 是一本由读者支持的出版物。
To receive new posts and support my work, consider becoming a free or paid subscriber.
要接收新帖子并支持我的工作，请考虑成为免费或付费订阅者。
Although James and his collaborators are rarely mentioned in discussions of the origins of data visualization, they actually played a very important role in shaping it.
尽管詹姆斯和他的合作者在数据可视化起源的讨论中很少被提及，但他们实际上在塑造数据可视化方面发挥了非常重要的作用。
They were the consolidators and extenders of a new paradigm — the generation after the famous names in the field like William Playfair and Florence Nightingale.
他们是新范式的巩固者和扩展者——继威廉·普莱费尔和弗洛伦斯·南丁格尔等该领域著名人物之后的一代人。
The generation of William James came into adulthood in the Machine Age of the 1870s, ‘80s and ‘90s.
威廉·詹姆斯这一代人在 1870 年代、80 年代和 90 年代的机器时代步入成年。
Information buffeted the human brain like never before.
信息对人类大脑的冲击是前所未有的。
And the new technique of data visualization pushed into new domains: the mapping of the mind, the sociology of race, and the pursuit of explicit political ends.
数据可视化的新技术进入了新的领域：思维映射、种族社会学以及对明确政治目标的追求。
James is famous among historians of science for what Francesca Bordogna calls “boundary work” — he moves across disciplines and fields with a manic, restless energy that makes it hard to figure out exactly what he was.
詹姆斯因弗朗西斯卡·博尔多尼亚（Francesca Bordogna）所说的“边界工作”而在科学史学家中闻名——他以一种狂躁、不安的能量跨越学科和领域，让人很难弄清楚他究竟是什么。
As we’ll see, this included an unusual approach to visualizing mental activity that yielded significant firsts, including the first schematic of a neural network.
正如我们将看到的，这包括一种不寻常的可视化心理活动的方法，该方法产生了重大的第一，包括第一个神经网络原理图。
Along the way, James also had important relationships with two pioneers of modern data visualization who are rarely put in the same sentence: Francis Galton and W.E.B.
在此过程中，詹姆斯还与现代数据可视化的两位先驱建立了重要的关系，这两位先驱很少被放在同一个句子中：Francis Galton 和 W.E.B.
du Bois.
杜波依斯。
Francis Galton (center) was a sort of intellectual frenemy for James, initially a mentor and influence, then later — in his guise as a founder of eugenics and ardent imperialist — as an exemplar of the dangers of scientific hubris.
弗朗西斯·高尔顿（中）是詹姆斯的知识分子亦敌亦友，最初是他的导师和影响力，后来以优生学创始人和狂热的帝国主义者的名义，成为科学傲慢危险的典范。
Du Bois (pictured at right) studied with James at Harvard and was deeply influenced by his philosophy of pluralism.
杜波依斯（右图）在哈佛大学师从詹姆斯，深受其多元主义哲学的影响。
What they shared is a conviction that drawing, diagramming, and composing images was not a decorative step added after the thinking was done.
他们共同的信念是，绘画、图表和构图并不是在思考完成后添加的装饰步骤。
It was how the thinking got done.
这就是想法的完成方式。
This seems to me a crucial point in light of new AI tools like Claude Design, which automates the design process (on which more below).
在我看来，鉴于 Claude Design 等新的人工智能工具，这似乎是一个关键点，它可以自动化设计过程（下文将详细介绍）。
Quite a few people have pointed out that writing is a form of thought (my favorite entry in this genre is this 2025 essay by Derek Thompson ).
不少人指出写作是一种思维形式（我最喜欢的此类文章是德里克·汤普森 (Derek Thompson) 在 2025 年撰写的这篇文章）。
But it’s worth thinking more about what else counts as thinking too — specifically, the sorts of important, creative thinking we don’t want to accidentally mislabel as “drudgery that we are happy to let AI take over for us.”
但值得更多地思考什么也算作思考——具体来说，就是那些我们不想意外地被错误地贴上“我们乐于让人工智能接管的苦差事”的重要的、创造性的思维。
The images below also remind us how handmade data visualization once was.
下面的图片也提醒我们手工制作的数据可视化曾经是怎样的。
W.E.B.
W.E.B.
du Bois’s visualizations from the 1900 World’s Fair are rightfully famous online, and they look great as compressed jpgs shared on social media.
du Bois 对 1900 年世界博览会的可视化在网上名声大噪，在社交媒体上分享的压缩 jpg 看起来非常棒。
But it’s important to remember that these are large, hand-drawn, hand-lettered posters.
但重要的是要记住，这些是大型手绘、手写的海报。
These are not just the product of mental work but manual work, too.
这些不仅是脑力劳动的产物，也是体力劳动的产物。
That link between the hand and mind is harder to come by in a world where all research is digital, but it can be fun and important to access when doing serious research.
在所有研究都是数字化的世界中，手与思想之间的联系很难实现，但在进行认真的研究时，这种联系可能很有趣也很重要。
When I was deepest in researching the history of 20th century psychedelic science for Tripping on Utopia , I filled up a yellow notebook with collaged images and primary source snippets from my archival research.
当我在《乌托邦之旅》中最深入地研究 20 世纪迷幻科学的历史时，我在一个黄色笔记本上写满了拼贴图像和来自我的档案研究的主要来源片段。
I started it as a sideline, almost a hobby to distract me from what I saw as the “real” work of actually writing the book.
我一开始只是把它当作副业，几乎是一种爱好，目的是分散我对真正写书的“真正”工作的注意力。
It turned out to be one of the most significant forms of research I did, precisely because it was so freeform and undirected.
事实证明，这是我所做的最重要的研究形式之一，正是因为它是如此自由和无方向。
I started noticing links between different documents, and thinking more deeply about the motives (public, private, and even subconscious) of the people I was writing about.
我开始注意到不同文档之间的联系，并更深入地思考我所写的人的动机（公共的、私人的，甚至是潜意识的）。
The rest of this post is a gallery of some of the ways that James, Galton, and Du Bois visualized data along with some desultory commentary.
这篇文章的其余部分是詹姆斯、高尔顿和杜波依斯可视化数据的一些方法的画廊，以及一些杂乱的评论。
I end by experimenting a bit with Claude Design to see what gets lost when we automate this type of exploratory visual thinking with data.
最后，我对克劳德设计进行了一些实验，看看当我们用数据自动化这种类型的探索性视觉思维时会丢失什么。
You’d be hard-pressed to find any reference to James in books about the history of data visualizations or design.
你很难在有关数据可视化或设计历史的书籍中找到任何对詹姆斯的提及。
But I think he deserves a page or two.
但我认为他值得一两页。
For one thing, his Principles of Psychology (1890) contains what I believe to be the earliest ever visual representation of a neural network:
一方面，他的《心理学原理》（1890）包含了我认为是神经网络最早的视觉表示：
The most interesting data visualization in James’s work is this however, IMO:
然而，在我看来，詹姆斯作品中最有趣的数据可视化是这样的：
James intends the image above as a representation of how consciousness “moves through” the process of uttering of a simple sentence over time.
詹姆斯希望上面的图像能够代表意识如何随着时间的推移“移动”说出一个简单句子的过程。
The numbers on one axis are showing moments in time, and the other axis shows the words being said or thought.
一个轴上的数字显示时间点，另一轴显示所说或所想的词语。
The Joy Division-esque crest running through the middle is the changing attention we pay to each word over time.
贯穿中间的 Joy Division 式的徽章代表了我们随着时间的推移对每个单词的关注度的变化。
It is really striking to me how much this looks like a computer rendering — but it’s from 1890!
令我惊讶的是，这看起来多么像计算机渲染——但它是 1890 年的！
For this attempt at a sort of faux-four-dimensional modeling of thought, plus the neural network chart alone, I think James deserves a lot of credit for his data visualization.
对于这种人造四维思维建模的尝试，加上单独的神经网络图，我认为詹姆斯的数据可视化值得很多赞誉。
There are other interesting images in Principles of Psychology, especially in chapter two which you can read here , although they are a bit more familiar.
《心理学原理》中还有其他有趣的图像，尤其是第二章，您可以在这里阅读，尽管它们有点熟悉。
For instance, here is a schematic of how a child perceives a candle flame:
例如，以下是孩子如何感知蜡烛火焰的示意图：
And an early attempt to map which parts of the brain correspond to specific body regions and sensations:
早期尝试绘制大脑的哪些部分对应于特定的身体区域和感觉：
James read Galton closely, and cited him throughout Principles of Psychology — especially on questions of mental imagery and visual perception.
詹姆斯仔细阅读了高尔顿，并在《心理学原理》中引用了他的著作，尤其是在心理意象和视觉感知的问题上。
Galton’s famous “breakfast-table questionnaire,” which asked hundreds of correspondents to describe how vividly they could picture the objects on their breakfast table that morning, was one of the first systematic attempts to gather data on subjective visual experience at scale.
高尔顿著名的“早餐桌调查问卷”要求数百名记者描述他们能多么生动地描绘当天早上早餐桌上的物体，这是大规模收集主观视觉体验数据的第一个系统尝试之一。
James was fascinated by it.
詹姆斯对此着迷。
He replicated versions of Galton’s mental-imagery surveys in his own classes and used the results in his writing.
他在自己的课堂上复制了高尔顿心理意象调查的版本，并将结果用于他的写作中。
Galton was also a pioneer of meteorology and produced many, many beautiful charts relating to weather phenomena — things like this:
高尔顿也是气象学的先驱，并制作了许多许多与天气现象相关的漂亮图表，例如：
But the visualization that appears to have most interested James (and which I find most striking too) is this jam-packed color plate about mental imagery and synesthesia which comes at the end of Galton’s book Inquiries into Human Faculty and Its Development (1883):
但詹姆斯最感兴趣的可视化（我也觉得最引人注目）是这个关于心理意象和联觉的彩色板，它出现在高尔顿的《人类能力及其发展的探究》（1883）一书中的结尾处：
The big idea that linked Galton and James was not just that inner life could be represented as data, but that this data could be rendered as pictures.
将高尔顿和詹姆斯联系在一起的重要思想不仅在于内心生活可以用数据来表示，而且可以将这些数据呈现为图片。
Galton, obsessed as he was by measurement and averages, took this in a novel and discomfiting direction.
高尔顿虽然痴迷于测量和平均值，却以一种新颖且令人不安的方式看待这一问题。
Elsewhere in the same book that the beautifully strange image above comes from, Galton introduced composite portraits — photographs of criminals, tubercular patients, “types” of any kind — layered individual faces on top of each other to produce a kind of statistical average in visual form.
在上面这张美丽而奇怪的图像出自同一本书的其他地方，高尔顿介绍了合成肖像——罪犯、肺结核患者、任何类型的“类型”的照片——将个人面孔叠加在一起，以产生一种视觉形式的统计平均值。
The project was inseparable from his invention of eugenics — a term which Galton coined in the same 1883 book.
该项目与他发明的优生学密不可分——优生学是高尔顿在 1883 年的同一本书中创造的术语。
Galton’s visualizations encoded his conviction that human variation could be sorted, ranked, and ultimately improved through selective breeding.
高尔顿的可视化表达了他的信念，即人类变异可以通过选择性育种进行分类、排序并最终得到改进。
In this work, to a large extent, the visual was the argument.
在这部作品中，很大程度上，视觉是争论的焦点。
Later, Galton even used his own photographs and biometric measurements as an example to encourage others to submit to biometric data collection.
后来，高尔顿甚至以自己的照片和生物识别测量结果为例，鼓励其他人接受生物识别数据收集。
He wanted to visually model not just a new approach to data but a new mode of life in which all aspects of the human were reducible to data.
他不仅想要直观地模拟一种新的数据方法，而且还想要一种新的生活方式，在这种生活方式中，人类的各个方面都可以简化为数据。
Reading his work from the perspective of the 2020s — with our turn toward “post-literate,” image and video based apps powered by mass data collection — it’s hard not to conclude that in this, he was hugely successful.
从 2020 年代的角度来阅读他的作品——随着我们转向“后文学”、由海量数据收集支持的基于图像和视频的应用程序——很难不得出这样的结论：他在这方面取得了巨大的成功。
William James, who prized pluralism and unconventionality, could not follow Galton on his journey into the world of averages and biometric data.
重视多元化和非传统性的威廉·詹姆斯无法追随高尔顿进入平均值和生物识别数据世界的旅程。
But one of James’s most talented students, a young W.E.B.
但詹姆斯最有才华的学生之一、年轻的 W.E.B.
Du Bois, did.
杜波依斯做到了。
Sort of.
有点像。
As the philosopher Colin Koopman writes , Du Bois took Galton’s obsession with measurement and flipped it on its head.
正如哲学家科林·库普曼（Colin Koopman）所写，杜波依斯颠覆了高尔顿对测量的痴迷。
W.E.B.
W.E.B.
Du Bois — the first African-American to earn a Harvard PhD, and later one of the most important sociologists and civil rights thinkers of all time — studied philosophy with James in the late 1880s.
杜波依斯是第一位获得哈佛大学博士学位的非裔美国人，后来成为有史以来最重要的社会学家和民权思想家之一，他在 1880 年代末与詹姆斯一起学习哲学。
Du Bois had a remarkably visual mind, with an approach to imagery that verged on the synesthetic.
杜波依斯拥有非凡的视觉思维，他的图像处理方法近乎联觉。
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Du Bois absorbed James’s insistence that human experience could not be flattened into a single scale.
杜波依斯吸收了詹姆斯的观点，即人类经验不能被扁平化为单一尺度。
But he also absorbed Galton’s conviction that the world could be made legible (and changeable) through creative use of data visualization.
但他也吸收了高尔顿的信念，即通过创造性地使用数据可视化，世界可以变得清晰（并且可以改变）。
What he did with this combination was something neither of his predecessors had quite imagined.
他用这个组合所做的事情是他的前任们都没有想象到的。
Below are some of the charts that Du Bois made for the 1900 Paris Exposition Universelle — the same world’s fair that gave us the first public moving walkway, Rudolf Diesel’s engine, and the Art Nouveau métro entrances that still dot Paris today.
以下是杜波依斯为 1900 年巴黎世界博览会制作的一些图表——在同一届世界博览会上，我们看到了第一条公共自动人行道、鲁道夫·柴油机的发动机，以及至今仍遍布巴黎的新艺术风格地铁入口。
Du Bois was there as the lead curator of the “American Negro Exhibit,” a small pavilion aiming to show a European audience what Black Americans had made of themselves in the thirty-five years since emancipation.
杜波依斯作为“美国黑人展览”的首席策展人在那里，这是一个小展馆，旨在向欧洲观众展示美国黑人在解放后三十五年里的成就。
The roughly sixty charts he produced, hand-drawn and hand-lettered on large poster boards by Du Bois and his students at Atlanta University, are some of the most arresting data visualizations ever made.
他制作了大约六十张图表，由杜波依斯和他在亚特兰大大学的学生在大型海报板上手绘和手写，是有史以来最引人注目的数据可视化作品之一。
Like Galton’s charts, they visually plot the result of careful statistical investigation using idiosyncratic and arrestingly odd formats; also like Galton, they are using data visualization to pursue political goals.
与高尔顿的图表一样，它们使用特殊且极其奇怪的格式直观地绘制了仔细统计调查的结果；也像高尔顿一样，他们正在使用数据可视化来追求政治目标。
But where Galton leveraged his visualizations to argue for the lasting, ahistorical superiority of people who resembled him (Protestant, British, scientific, and from “good families”), Du Bois was charting the rapidly changing role of Black people in American society.
但是，高尔顿利用他的想象来论证与他相似的人（新教徒、英国人、科学家、来自“良好家庭”）具有持久的、非历史的优越性，而杜波依斯则描绘了黑人在美国社会中迅速变化的角色。
Change over time runs through virtually all of his charts from 1900 , a few of which are reproduced below:
随着时间的推移而发生的变化几乎贯穿了他自 1900 年以来的所有图表，其中一些图表转载如下：
Writing this post got me thinking about a question which we are figuring out the answer to in the 2020s: by automating away the design process, do we also cede away our ability to use design itself (and not just writing) as an act of thinking?
写这篇文章让我思考了一个我们正在 2020 年代寻找答案的问题：通过自动化设计过程，我们是否也放弃了使用设计本身（而不仅仅是写作）作为一种思考行为的能力？
Using Anthropic’s new Claude Design feature , I wanted to see what happened when I asked Claude to make something in the style of these nineteenth-century visuals.
使用 Anthropic 的新克劳德设计功能，我想看看当我要求克劳德以这些 19 世纪视觉效果的风格制作一些东西时会发生什么。
Here’s what I got for a Du Bois pastiche (my prompt is available at this footnote): 2
这是我从杜波依斯仿制品中得到的东西（我的提示可以在这个脚注中找到）：2
Asking for Galton-style charts yielded a similar stew of serif fonts and faux-aged paper effects, but in more of a Victorian bric-a-brac style which, on closer inspection, adds up to nothing much at all:
要求高尔顿风格的图表产生了类似的衬线字体和仿旧纸张效果的混合，但更多的是维多利亚时代的小摆设风格，仔细观察，根本没有什么意义：
These failed attempts to capture a distinctly Victorian data visualization style should not be surprising.
这些试图捕捉明显的维多利亚时代数据可视化风格的失败尝试不足为奇。
Claude Design is optimized to make slides and other data visualizations that suit modern sensibilities, and we can guess that there wasn’t much Du Bois or Galton in its training data.
Claude Design 经过优化，可以制作适合现代情感的幻灯片和其他数据可视化，我们可以猜测其训练数据中没有太多 Du Bois 或 Galton。
But aside from the by-now-familiar fact that AI models tend toward the median and the expected, there is the larger absence here: these charts don’t have a perspective .
但除了目前众所周知的人工智能模型倾向于中值和预期的事实之外，这里还存在着更大的缺陷：这些图表没有视角。
James, Du Bois, and Galton, different as they were, had one big thing in common, and this thing is part of why we are still thinking and debating them today: they were deeply idiosyncratic, deeply personal.
詹姆斯、杜波依斯和高尔顿虽然各不相同，但有一个很大的共同点，这也是我们今天仍在思考和辩论他们的部分原因：他们都非常独特，非常个人化。
You see in their visualizations not just raw data but an odd, distinctive intellect at work.
你在他们的可视化中看到的不仅仅是原始数据，还有一种奇怪的、独特的智慧在起作用。
And more importantly, an intellect working through an argument that is both mental and physical.
更重要的是，通过精神和身体上的论证来发挥智力。
They are instantiating the act of thought in the mechanical work of their hands.
他们正在用手中的机械工作实例化思想行为。
Claude Design is appealing for those of us (like myself!) who find themselves having to make fiddly tweaks to Powerpoint slides.
克劳德设计对于我们这些发现自己必须对 Powerpoint 幻灯片进行繁琐调整的人（比如我自己！）很有吸引力。
It is, in this sense, just one more step in a process of design automation and abstraction that has been happening for centuries: from hand-lettered to printed book, from drawing to photograph, from scissors and glue to “desktop publishing,” and now from humans designing things to humans telling AI designers what to make.
从这个意义上说，这只是几个世纪以来发生的设计自动化和抽象过程中的又一步：从手写到印刷书籍，从绘图到照片，从剪刀和胶水到“桌面出版”，现在从人类设计东西到人类告诉人工智能设计师要做什么。
As the act of thought gets more and more removed from the union of human mind with human hands, the new ideas, the palpable jolt , that you get from designing something by hand gets rarer, and thus more valuable.
随着思想行为越来越远离人脑与人手的结合，你从手工设计的东西中获得的新想法和明显的震动变得越来越稀有，因此也更有价值。
This is why I am going to be making more scrapbooks and weird collages on yellow legal pads as I embark on my new book project about the Machine Age.
这就是为什么当我开始我关于机器时代的新书项目时，我将在黄色便笺簿上制作更多剪贴簿和奇怪的拼贴画。
For instance, here is how he describes his own conception of beauty in a 1926 lecture , remembering “four beautiful things”:
例如，他在 1926 年的一次演讲中描述了自己对美的概念，并回忆起“四件美丽的事情”：
The Cathedral at Cologne, a forest in stone, set in light and changing shadow, echoing with sunlight and solemn song; a village of the Veys in West Africa, a little thing of mauve and purple, quiet, lying content and shining in the sun; a black and velvet room where on a throne rests, in old and yellowing marble, the broken curves of the Venus of Milo; a single phrase of music in the Southern South—utter melody, haunting and appealing, suddenly arising out of night and eternity, beneath the moon.
科隆大教堂，一座石头森林，置身于光影变幻之中，回荡着阳光和庄严的歌声；西非韦斯人的一个村庄，一个紫红色和紫色的小村庄，安静，满足地躺着，在阳光下闪闪发光；一间黑色天鹅绒房间，王座上放置着古老泛黄大理石制成的米洛维纳斯的破碎曲线。南方音乐的一个乐句——纯正的旋律，令人难以忘怀、引人入胜，突然从月光下的黑夜和永恒中升起。
It has been noted that Du Bois is mixing different senses freely here: a cathedral that “echoes” with sunlight, for instance.
人们注意到，杜波依斯在这里自由地混合了不同的感官：例如，一座与阳光“回响”的大教堂。
The prompt: “Create a data visualization in the style of W.
提示：“创建 W.
E.
E.
B.
B.
du Bois’ famous infographics for the 1900 world’s fair.
杜波依斯 (du Bois) 为 1900 年世界博览会制作的著名信息图表。
Use a data source of your choice.
使用您选择的数据源。
Make it great and very true to Du Bois’ style but not the same content and not a copy.”
让它变得很棒，非常符合杜波依斯的风格，但内容不同，也不是抄袭。”
Make an evidence board.
制作一个证据板。
Use a Burroughs adding machine.
使用巴勒斯加法机。
What else could you do to empathize with the Age of Machines?
您还可以做些什么来同情机器时代？
I would how exposed people like Geoff Hinton were to William James work?
我想知道像杰夫·辛顿这样的人对威廉·詹姆斯的作品有多大的接触？
And /or was there another "layer" in early 20th century that amplified and propogate William's ideas further?
和/或 20 世纪初是否存在另一个“层面”进一步放大和传播威廉的想法？
I'm guessing there were a lot of different people working on similar ideas and it would be hard to track any direct lineages :D
我猜有很多不同的人在研究类似的想法，并且很难追踪任何直接的血统：D