感觉上的

The first input, in this case with the left hand, will look and feel just like the start of a Half Axel.

第一个动作，在这个例子中是左手，看起来并且在感觉上都如同Half Axel的开始动作。

The view was bewitching: Cadaqu s glowed with lights below us, the stars meeting the sea; boats looked like bathtub toys bobbling far away, but sound traveling across the water collapsed the distance between us.

这里的景色令人陶醉。晚上的卡达克斯灯火辉煌，星海交相辉映。远处海面上的船只犹如浴缸上漂浮的玩具随波荡漾，不过海浪声穿过海面让我们感觉船只就在近边。

Feel the shoes on your feet, the clothes on your body, the air on your skin.

感觉上你的脚的鞋，你身上的衣服，皮肤上的空气。

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。

Recent studies suggested that the active reposition acuity reflects the degree of joint position sense deficit. However, they are limited in measuring single joint motion in single plane.

过去的研究发现测量关节主动复位的准确度最能代表本体感觉缺损程度，然而此类研究最大限制在於只测量单一关节单一平面上的动作，无法应用在功能性动作上。

The experimental results revealed that the visual sensory memory not only registered stimulus, which were presented in rapid succession, but also summated and weakened the brightness information of sensory representations of these stimuli.

实验证明：对于相继呈现在相同空间位置上的信号，视觉感觉记忆并非只是登记，还要对它们进行亮度上的叠加、衰减加工；TCE效应和Broca-Sulzer效应都是这种加工的结果。

The Fisheye FIX Wide Air Lens designed specifically for the WP-DC34 offers 100 degrees of coverage, but the bungee attachment system feels a little awkward.

Fisheye FIX Wide Air Lens广角是专门为了WP-DC34潜水壳设计的，能提供100度的广角。不过这个广角镜是用橡筋固定在潜水壳上的，这个固定方式感觉上很古怪。

It was lucky that I pulled on a drip-dry shirt in the cold morning just now, it was more and more hot when we climbed the mountain, my backpack seemed not to be such heavy as beginning, perhaps the muscles of my back had been numb.

庆幸自己刚才在出发点顶着料峭晨寒穿了件快干衣，上山的路，越走越热，背上的包经过了时间的磨合，已经没有了当初沉重的感觉，许是背上肌肉已已开始麻木。

It was lucky that I pulled on a drip-dry shirt in the cold morning just now, it was more and more hot when we climbed the mountain, my backpack seemed not as heavy as beginning, perhaps the muscles of my back had been numb.

庆幸自己刚才在出发点顶着料峭晨寒穿了件快干衣，上山的路，越走越热，背上的包经过了时间的磨合，已经没有了当初沉重的感觉，许是背上肌肉已已开始麻木。

Higgins, which we ordered to be burnt by the common hangman, as it well deserved, though we have no more to do with his Grace of Canterbury, than you have with the Archbishop of Dublin, whom you suffer to be abused openly, and by name, by that paltry rascal of an observatory; and lately upon an affair, wherein he had no concern; I mean, the business of the missionary of Drogheda, wherein our excellent primate was engaged, and did nothing but according to law and discretion

句子的意义可能在逻辑上很清晰，句子的节奏也还容易，但是句子的长度已经超过了我们的耐心或是违反了我们的感觉能力。在主语和谓语之间是需要一种比例的，或是在主谓以及动词之间是需要一种比例的——这个比例倒不是视觉上的那种比例，那么理解的话就闹笑话了，而是一种句子结构上的比例，就是简单与复杂、迂回与直接之间的比例关系。

The labia have now been sutured together almost completely.The drains and the Foley catheter come out at the top.

此刻阴唇已经几乎完全的缝在一起了，排除多余淤血体液的管子和Foley导管从顶端冒出来。

To get the business done, I suggest we split the difference in price.

为了做成这笔生意，我建议我们在价格上大家各让一半。