平面化

But the exaggerated pursuit of mechanization will lead to the shallowness and numb rigidness of the research, and it will lead to the simplification and trivializing of scholarship.

但是过于追求技术化也会造成研究的平面化与僵硬化，从而导致研究的简单化与琐碎化。

In order to adapt the expression of screen shadow in the Shadow Play, it employs the combined practices

它为了适应皮影戏的幕影表现形式，采取了抽象与写实相结合的手法，对人物及场面景物进行了大胆的平面化、艺术化、卡通化、戏曲化的综合处理。

Time, space and memories were compressed into one single frame and became a purchasable, feigned object at the moment. I chose wood engraving to re-produce these images in order to show "depth" out of the plane surface, because I didn't want these fragments of memories became completely flat and commercialized at the end.

那当下时间、空间和回忆都被压缩、凝结在一张小小的平面上，记忆成了一个可被捏造、消费的部分，我选择以绘画来再制影像，在平面影像中追求深度，我不希望这些记忆片段被完全平面化地一路消费到底。

Nowadays art is often applied as an avenue of philosophical realization - what's said and the unsaid remain a game of wordplay.

而在平面化的时代，艺术行为成了哲学的具现，基本上仍脱离不开文字语言，说出和没说出的。

That's why diagnosticians are also diagnosed, diagnosticians and the one who are diagnosed are all in the complanate blank state, becoming gray people whose incline are not certain.

无怪乎尚扬作品中诊断者也被诊断，诊断者和被诊断者都处于平面化的空白状态中，成为倾向不明的灰色人群。

Although the use of X ray film implied finished products and equipments, it assorted with complanate paintings. There were not too stiff popping out, revealing conscious feeling of vision form and the total grasp capability of compositive materials.

而X光胶片的运用，虽然有现成品和装置的意味，但却与平面化的绘画十分协调，没有过分生硬的突兀，这显示出尚扬对于视觉形式的自觉意识和对于综合材料运用的整体把握能力。

The primary significance for diversifying the hiberarchy is that it requires pupils' Chinese reading ability is a logical "theory structure", and it means that pupils' Chinese reading ability is not complanate enumeration, but tridimensional knowledge.

划分小学语文阅读能力层次结构的首要意义在于，它赋予小学语文阅读能力要求以一种合乎逻辑的&理论结构&，它使得过去人们关于小学生语文阅读能力的&平面化&罗列，成为一种&立体化&的界说。

To persisit in the dignified realistic style of Russian predecessors in the local practice, Wang Dong Chun is sparing no efforts in glamorizing the national characters and transforming it into the outstanding style which is thick as usual and complanate.

王东春把俄罗斯先辈艺术家那种厚重的写实风格，在本土油画实践中继续延续的同时，着意于民族化特质的渲染，将其转化成平面化而不失厚重的一种特殊的风格。

When American Pop art met the Chinese modernism in that very context, a certain mystery was produced: Pop art was readily understood as a Dadaist destructive art, while its cultural deconstructive property seemed to be ignored. By the early 1990s, due to the political reason, China had undergone its rapid social and cultural transition from Enlightenment era to consumerist era, while artists, who were still in despair because of the failure of cultural Enlightenment movement, found themselves confronted with a completely new economic market and their ideas mingled with those of modernist Enlightenment and post-modern deconstruction.

它以风格上挪用、平面化、去意义、去价值这类语言策略解构和消除现代主义的启蒙神话，成为与后现代主义哲学同构的文化思潮。80年代初沃霍尔访华，尤其是1985年劳申伯在北京和拉萨举办个展开始了美国波普主义在中国的传播，而这时正值中国85现代主义运动的高潮，启蒙和反叛是这一运动的主题，正是这种语境使这种传播产生了十分吊诡的意义落差：波普主义很轻易地被理解为一种达达式的破坏性艺术，而它的文化解构主义色彩反倒不易被体会。90年代初中国社会由于政治的原因急促地完成了由启蒙文化向消费文化的转型，艺术家们还沉迷在文化启蒙运动失败的悲壮气氛中却突然发现自己已深陷在一个一完全陌生的经济世界中，理想的失落和批判身份的丧失使他们的思想开始混杂于现代主义的启蒙建设和后现代主义的解构观念之间，于是，波普主义成为这个时代的一种自然的风格选择。

This paper holds that the imagination of Sartre, the spectacle society of Debord, the simulacra of Baudrillard, and the lack-of-depth of Jameson, altogether constitute the main line of development of the theory of visual society in the west.

本文认为，由萨特想象说、德博尔&景象社会&说、波德里亚&类象&说、杰姆逊&平面化&说共同构成了西方主流&形象社会&理论的基本谱系。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。