在场的

A work of great difficulty to himself, requiring much prudence, zeal and meditation, and to the natural and corrupt man will be very unpleasant ; yet he is to endeavour to perform it in such a manner, that his auditors may fell the word of God to be quick and powerful, and a discerner of the thoughts and intents of the heart; and that, if any unbeliever or ignorant person be present, he may have the secrets of his heart made manifest, and give glory to God.

应用经文必须现实﹕解经者必须留意，有没有使经文向人们实际的情况说话。昨日的应用，不一定能向今天的情况说话。…「若只是指责古老的错误，或过时的生活，做事方式，这种的热诚是卑贱的。我们必须考虑现今一代需要的是什麼。」解经者能适切地应用《圣经》，刺透人心，造就生命（有别於不适切，混乱的应用），无疑是非常不容易的，需要智慧，热心和默想，而对属血气和败坏的人来说是非常不舒服的事（考虑到这一点，可能诱惑上帝的仆人失去控制，因为平常人都喜欢受到爱戴）。可是他必须努力履行这任务，好叫听众能感觉到上帝的话语是大能有力的，使人苏醒的，查验人的心思意念的；若有非信徒或无知的人在场，他们心中隐秘的事就必显露，叫荣耀归给上帝。

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。

Liu Jin is one of the young and active artists now. His latest art experiments are all used his body as medium. His opuses aspire after feelings of releasing for using his body with pleasant sensation of being presence in the foreland of art experiments. Although his opuses contain some behavior art, I slide over to say that his art exploration is only the behavior art, it doesn't mean that behavior art is the wicked way for artists to get high reputation and flubdub, also it doesn't mean that the actual behavior art is target of public criticism in the government art criticism circles, we can say that because of many people just pay their attention to the Chinese meaning of "behavior". For this reason, it is similar to the performing art.

刘瑾是目前较活跃的年轻艺术家之一，他最近的艺术实验均以自己的身体为媒介，他的作品追求身体在执行作品的过程中的释放感和在场于艺术实验前沿的亢奋，尽管他的作品包含了许多的行为艺术因素，但我还是回避了以行为艺术来简单化的指称他的艺术探索，这既非是行为艺术在某些人眼里已成为哗众取宠，沽名钓誉的恶俗行径，也不是因为目前行为艺术在官方的艺术批评界已成为众矢之的，而是因为行为艺术这一名词本身在中文语境中过于看中行为本身，在这一点上，又同表演艺术相差不远。

Here, the artist's body and his prepared acting role are presence in the magnific background (e.g. the buildings and flags show us the deep feeling of ideology background). He releases the depression from his heart by the Passion of Jesus, so he get the pleasant and ultramundane sensation from the release.

在这里艺术家的身体及自我设定的角色在场于庄严的体制背景下（如背景那意识形态味道极浓的建筑与旗帜）以受难的方式宣泄内心积郁已久的压力，从而获得释放的快感与升华时的超脱。

What lead to this dilemma could be the enthusiastic beliefs in individual rights and isocratic rights, which arouse the enthusiasm of fundamental democracy in the public and motivate them to participate in. The other possible explanation comes from the confusing discourses. Behind the identical discourse of a representative, there are quite contentious values.

困境产生的原因首先是，高涨的个人权利意识和平权观念，唤醒了公民&在场&和&出场&的原教旨民主情绪，激活了代表观念的内在悖论；使局面混乱的另一个原因来自话语的迷惑，在同一性&代表&的语词背后，暗藏着截然不同的价值偏好。

By using a fictitious presence, some work plays the role of a person visiting a place for the memories of the past. Standing alone in a Chinese scene which experiences rapid social change, this person numbly stares at the ebbing of tradition. Again, this type of work would be interpreted differently in a different cultural context.

有的以虚拟的在场，来扮演一个凭吊者的角色，伫立于急剧变化中的中国现场，木然地凝视正在远逝的传统（同样的，角色置身于不同的环境，以及这类作品被放在不同的语境，我们会有着不同的解读方式）。

As for the first, I think that Plato claims a kind of ontology, which has numerical character, in the second part of the Parmenides. This ontology provides deliberately the cosmogony of the Timaeus and the theory of the Principles in the Unwritten Doctrines that could justify the possibility of the phenomena that are saved by Forms. This possibility lies in the god's nous and will, i.e. the world that has numerical character is fashioned by the god with Forms as model, and then the becoming phenomena that cling to the receptacle are saved and intelligible.

关於第一个论题，笔者认为，柏拉图在《巴曼尼德斯篇》第二部分的八组推论当中提出一种具有数特徵的存有论，这个存有论绵密、细致地论说《蒂迈欧篇》里的宇宙生成论以及「未成书研究」里的原理论，在这当中，相拯救现象的可能性乃在於---神以其意愿与睿智将相形塑於这个数存有的世界并因此使那些在场域里生灭变化的现象获得一致性，如此，神的意愿

Psychic powers and extra-sensory perception rank among the top ten unexplained phenomena if for no other reason than that belief in them is so widespread. Many people believe that intuition is a form of psychic power, a way of accessing arcane or special knowledge about the world or the future. Researchers have tested people who claim to have psychic powers, though the results under controlled scientific conditions have so far been negative or ambiguous. Some have argued that psychic powers cannot be tested, or for some reason diminish in the presence of skeptics or scientists. If this is true, science will never be able to prove or disprove the existence of psychic powers

对灵力和超感知觉的信仰流布甚广，就凭这一点，这两样东西也应该进入十大未解之谜的行列许多人相信，直觉就是灵力的一种表现形式、一种获取有关世界或未来的特异知识的方法研究人员已经对一些自称拥有灵力的人进行了测试，但是迄今为止，他们在受控实验室条件下得到的都还是否定或含糊的结果有些人辩称灵力不可测试，因为它会因怀疑论者或科学家的在场而莫名其妙地减弱如果这是真的，科学就永远无法证明或驳斥灵力的存在

" Shouted Miloradovitch in his loud, self-confident, and cheery voice. He was apparently so excited by the sounds of the firing, the anticipation of battle, and the sight of the gallant Apsheron men, his old comrades with Suvorov, that he forgot the Tsar's presence."Lads! it's not the first village you've had to take!

&米洛拉多维奇用那洪亮、充满自信而且愉快的嗓音高喊了一声，显然，这一阵阵的射击声、战斗的期待、英姿飒爽的阿普舍龙兵团官兵的外表、以及动作敏捷地从两位皇帝身边经过的苏沃洛夫式的战友们的外貌，使他感到极度兴奋，以致忘记了国王在场，&伙伴们，你们现在要攻占的不是第一个村庄啊！

However, as the name（read－only memory）implies, CD disks cannot be written onorchanged in any way.

然而，正如其名字所指出的那样，CD盘不能写，也不能用任何方式改变其内容。

Galvanizes steel pallet is mainly export which suits standard packing of European Union, the North America. galvanizes steel pallet is suitable to heavy rack. Pallet surface can design plate type, corrugated and the gap form, satisfies the different requirements.

镀锌钢托盘多用于出口，替代木托盘，免薰蒸，符合欧盟、北美各国对出口货物包装材料的法令要求；喷涂钢托盘适用于重载上货架之用，托盘表面根据需要制作成平板状、波纹状及间隔形式，满足不同的使用要求。