语言艺术家

基本解释 (translations)

wordsmith

与语言艺术家相关的网络例句 [注：此内容来源于网络，仅供参考]

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xu's works, spur his works to enter audience's habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artist's conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesn't stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

This is a correlation between a means of spiritual existence and art language, resulted from the artist's continuous revealment of new cultural scenarios.

这就是艺术家在不断地揭示新的文化场景中，以一种精神存活的方式与艺术语言发生着某种关系，也是艺术家一种内心化的保存，通过不断的文化积累，对自身艺术语言的一种校正。

True artists, according to Nabokov, can jump out of the solipsist prison and create an art that would restore the past in artistic harmony and would make the artists inner world accessible to readers through the subtle manipulation of words.

在纳博科夫眼中，真正的艺术家能够跳出本我的牢狱去创造艺术，在艺术的和谐中重建过去，使读者能够通过精心锤炼的语言领略到艺术家的内心世界。

Learning, thinking and creating will be exhibited, including his important sketches as well as literatures about his inspiration and actions at each critical juncture of mindset transformation. This part will be organized according to three key clues: the changing times in China and its great impact on personal existence; the influence of Mr. Fang's experience in such an era on his art creation, and how he has developed his self identity; discussion of the "process" and "back end" of his art creation, revealing his observation of and reflection on the era, his in-depth thoughts about art, and unquantifiable language changes, etc.

展览包括两个部分，一是文献部分，展览精选了艺术家在不同阶段，如学习、积累过程和创作实践中的关键资料，全面介绍和展示艺术家重要的创作手稿，各个思想转折点上的作品构思和行动的重要文献；此部分的内容将按照三条重要的线索进行：即中国面临的时代变迁的巨大背景和时代对于个人生存的深刻影响；时代境遇对艺术创作的影响和艺术家自我身份的建立进行梳理和展示；旨在讨论艺术家创作中的"过程"和"后台"——在其中隐现着的艺术家对时代的观察和思考，对艺术的真知灼见以及不可量化的语言变化等等。

Whether you're an aspiring actor, artist, data hound, or wordsmith, Cranium gives you and your team a moment to shine!....

您是否是一名令人想往的演员，艺术家，数据追逐，或者语言艺术家，头盖骨给您和您的队每片刻亮光！。。。。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

Thus calypsonians, African novelists, African American poets and reggae singers have all been seen as wordsmiths who perform roles analogous to those of the traditional griot.

因此，唱卡里普索小调的人、非洲小说家、非裔美国诗人，以及西印度洋流行歌手，都被视作语言艺术家，都扮演着与那些传统的西非职业讲故事者相似的角色。

Rather than hire established wordsmiths, Ric and Yanni turned them loose, encouraging the four to write lyrics for the melodies that moved them most.

且胜于一些已确定要雇佣的语言艺术家，Ric Wake和 Yanni 放任自由的，鼓励四位年轻人深有感触的写出这些曲子的歌词。

In the "Touch Spot" series, the artist shows us the thing that excites people's nerves most in a figurative way.

触点》系列中艺术家抓住了当代社会最能刺激艺术家神经的地方，并运用具象的艺术语言呈现出来。

与语言艺术家相关的网络解释 [注：此内容来源于网络，仅供参考]

WIT Wordsmith In Training：训练中的语言艺术家

WIIFM What's In It For Me? 這對我來說到底是什麼呢? | WIT Wordsmith In Training 训练中的语言艺术家 | WITFITS What in the Fuck is this Shit 粗话

kara walker：卡拉.沃克

从非洲艺术对于艺术家现代主义形式的影响到像Ellen Gallagher,克里斯.奥菲利(Chris Ofili),卡拉.沃克(Kara Walker)这种当代艺术家的作品,展览将反映大西洋周边的艺术家是把现代主义的"语言"如何作为一个探索,

Nice：好

就像艺术家本人说的,他们不是很"美好"(nice)的视觉化的作品,而是一件比较观念化的作品,其目的在于实现对于日常生活话语的梳理. 这些词汇的普遍流传,得意于其不断的重复,他们不光是人们在面对日常交流中时的一种机械的语言反应,

READY-MADE：成品

而以原创性表现出来的独立思维才是最重要的. 视觉艺术不再复制性的(REPRODUTIONAL)而是代表性的(REPRESENTATIONAL). 当代视觉艺术允许艺术家运用现成品(READY MADE)作为形象符号来构成其独特的艺术语言来做自己的表述.

wordsmith：语言艺术家

voyeux: n. 窥淫狂 | wordsmith: 语言艺术家 | aphasia 失语症

See, I'm thinking Iegendary British wordsmith：当我心里想着 英国传奇语言艺术家的时候

Even chose the name specially. Took me ages.|特别是... | See, I'm thinking Iegendary British wordsmith.|当我心里想着 英国传奇语言艺术家的时候 | My enemies and crew are thinking, "Shake! Spear!"|我的船员...

Volkslied：民歌

歌德从他学到了触觉在精神成长过程中所具的作用;学到了艺术家是铸造表现感情的种种形式的创造者这个新观点;学到了诗是人类固有的最富于生命力的语言这种新理论;学到了一种新风格的优点,那就是民歌(Volkslied)的风格,珍藏在<<圣经>>中的"原始"民族的诗歌风格,