不现实的

In its reflection over the reality, art comes as a mirror with a certain angle of reflection, and image and the depth of focus depending on the angle; the reflection is always accompanied with persistent blind spots which I would like to leave to my viewers.

艺术若反映现实，艺术便是一种镜效，它有呈现的角度，以及因角度而产生的观照和景深，它会有死角，有永远观照不到的空间，我把这个空间留给了观众。

The new is not the opposite of the old, it is not the antithesis of what is.

新的并不是旧的反面，它不是现实的对立。

A little of this, but not much, I have achieved. Love and knowledge, so far as they were possible, led upward toward the he avens. But always pity brought me back to earth.

仅此一点点不多的对爱知识的探究，至今总可以引领我到天堂的境界，但对人类苦难的同情却经常又把我带回现实世界。

All young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.- Roland Barthes

那些在世界各地工作，一门心思想要截取所谓"现实的片断"的年轻的摄影师，他们根本不知道自己是死亡的代言人。

The lamentable resource of war is not authorized for evils of imagination, but for those actual injuries only, which would be more destructive of our well-being than war itself.

战争的可悲结局不是由于魔鬼的想象，是因为那些现实的伤害。

It is impossible to carry out monetary cooperation without benignly and practicably political basis.

任何形式的货币合作离开政治合作都是不可能的，货币合作必须具备良好的、现实的政治基础。

This new strategic reality may be understood as another form of the bipolarity of global powers seen during the Cold War.

新的战略现实可以被理解为冷战期间世界两极力量的另一种表现形式，世界现在不是被分割为两个超级大国所控制下的区域，而是被分割为相对稳定的、有秩序的、繁荣的、相互联系和相互依赖的区域--也就是主要在欧亚大陆的大部分地区、亚洲的东北和东南部以及北美地区的所谓全球化国家--和相对不稳定的、无秩序的、经济衰退的、国家之间较少相互联系或相互依赖的地区，包括亚洲的东南部一部分、南亚和中亚、中东的大部分地区，撒哈拉以南非洲，以及加勒比海和拉丁美洲的部分地区。

Then the article starting from the activity, which relates the person with exterior nature,namely the human society work practice, elaborates the nature which worked as the foundation of humanity labor,and the human could not leave it and are bringing it into line with the nature as the work essential factor of labor process; The realistic nature similarly also cannot leave human as persons work creation, and this is the question of two aspects.The thesis has analyzed the work and natural relations in the agricultural society and in modern industry society ,and obtains the conclusion that the different ecology values can form under the different production method. This article criticizes disassimilation work in the capitalist society not only causes the disassimilation relationship between the human, but also creats the disassimilation which human and nature related, and proposes the communism society not only is the society in which the contradictory exploitation between human and nature is solved, and the contradictory relation between human and nature is also solved.

的结论；其次从人与外部自然相联系起来的是活动，即人类社会劳动实践出发，论述了自然界作为人类劳动的基础，人类须臾离不开它，人是把自然界作为劳动的要素而纳入自己的劳动过程的；现实的自然界作为人的劳动创造同样也离不开人，这一个问题的两个方面，并分析了在农业社会中劳动与自然的关系和近现代工业社会中劳动与自然的关系，得出在不同的生产方式下会形成不同的生态价值观的结论，批判了资本主义社会的异化劳动不仅造成了人与人之间关系的异化，还造成了人与自然之间关系的异化，提出共产主义社会不仅是人与人之间对立矛盾的剥削与被剥削关系真正解决的社会，也是人与自然之间破坏与被破坏的矛盾关系真正解决的社会的论断。

The people and objects floating through Gao Bo's works are without roots - perhaps they come from a momentary memory or a spark of interest. Looking at Gao Bo's works brings pictorial information stored deep in the mind to light, yet within a second these mind-images fade again, leaving behind a memory of all the images that lie underneath Gao Bo's warm and languid sketching. In Gao Bo's consciousness, these images don't stop at realism or simply exposit like some historical legend - in the end they reach towards the fringes of nothingness.These images can call up rich associations in our minds yet often these are false associations. For example, in "Gray Face" this is not the mystical dog of the god Erlang in Journey to the West; the rickety bridge in "River Bed" is certainly not a reference to a rainbow in Heaven; the story of "Contest" is not about two dogs running and pretending to be in love but a story of race dogs controlled by humans.

散漫在高波作品中的人与物没有根源，也许它们是源于个人瞬间的兴趣和记忆，有关知识的、情感的和在脑子里存储的图象信息随之而来，也可以随之而去，只是在温和缓慢的描绘背后还有一丝对所有形象匆匆停留过后的怀念，它们在高波的意识之中并不是一次停留于现实或者历史神话般司空见惯的陈述，它们的结果最终都是通向虚无的边缘，尽管那些形象似乎可以唤起我们丰富的联想，比如《灰色的脸》，它绝不是西游记中二郎神的天犬，在《河床》中不牢靠的拱桥，肯定不是寓指天堂里的彩虹，《竞赛》讲述的故事并不是两只在假装为爱情奔跑的狗，而是被人为所驱使的赛狗。

The ancients, he said, held that Tethys the God of the ocean had made the world from water; Anaximenes and Diogenes made air prior to water, while Hippasus of Metapontium and Heraclitus of Ephesus said that fire was the ultimate substance of the world, and Empedocles added a fourth, earth, and said that these four elements were together the substance of reality; Anaxagoras of Clazomenae, said that the principles are infinite in number, and are not in any sense generated or destroyed, but remain eternally.

他说，古代人相信世界是海神Tethys用水造的；阿那克西米尼和第欧根尼使气先于水，而Metapontium的喜帕索斯和埃菲索斯的赫拉克利特说火是世界的最初substance，而恩培多克勒添加了第四个，土，并说这四个元素一起是现实的substance；Clazomenae的阿那克萨哥拉，说本原在数上是无限的，且在任何意义上不被生成或毁灭，而永远保持不变。

For a big chunk of credit-card losses; the number of filings (and thus charge-off rates) would be rising again, whether

年美国个人破产法的一个改动使得破产登记急速下降，而后引起了信用卡大规模的亏损。

Eph. 4:23 And that you be renewed in the spirit of your mind

弗四23 而在你们心思的灵里得以更新