有种的

When we are designing a webpage, sure meeting considers the issue of resolution, science and technology develops what we use normally now is the resolution of 1024*768 and 800*600, now the width that is used to 778 to resemble element is more very on the network, often make whole webpage very depressive below the resolution of 800, have kind of airtight feeling, actually this width is the widest width that points to the webpage on the resolution in 800*600, do not represent optimal visual sense, might as well the elephantine element that tries 760~770, no matter be in 1024 still can achieve below the resolution of 800 relatively the visual effect of beautiful.

我们在设计网页的时候必定会考虑到分辨率的问题，科技发展到现在我们通常用的是1024*768和800*600的分辨率，现在网络上很多都是用到778个象素的宽度，在800的分辨率下面往往使整个网页很压抑，有种不透气的感觉，其实这个宽度是指在800*600的分辨率上网页的最宽宽度，不代表最佳视觉，不妨试试760~770的象素，不管在1024还是800的分辨率下都可以达到较佳的视觉效果。

"Hazy" Good ambiguous name, yesterday in a rare fog enveloped the entire City, a very silly sense of visibility below 10 meters, just go out would be a kind of very exciting feeling, in that space of the Mist stay for a long time, feeling a boring person can not see anything, can only be seen a few zero-Mist dilute the flashing lights of the cars, you do not know what the status outside the 10 meters, or even the traffic lights, you do not know what you will face is how the situation, everything is unknown, that Mende feeling may just be time for everyone to face the unknown of a mind's instinctive reaction to fear.

"雾蒙蒙"好暧昧的一个名字，昨天一场罕见的大雾笼罩整个岛城，很懵懂的感觉，能见度低于十米，刚刚外出会有种很兴奋的感觉，在那种蒙蒙的空间里呆久了，感觉很闷，看不见任何东西，只能蒙蒙中见到几个零稀的车灯在闪烁，你可以不知道十米以外是怎样的状况，甚至是红绿灯，你也不知道你将面临的是怎样的状况，一切都是未知，那种闷得感觉，可能只是每个人面临未知时的一种内心恐惧的本能反应。

Shen Yi has been living in America and Europe for many years. Her works are like a dairy of a traveler, a journey without origin or destination. She uses an old manual camera which gives the photos a lo-fi roughness, clarity and exposure. The untechnical nature of the photos provides them with the realist drama and glamour that Shen Yi craves. These blue scenes record what she has seen and thought. It is like time has been ground down into a fine powder giving us a feeling of its subjective nature.

对于徜徉欧美多年的沈怡来说她的作品有时更像是一个旅行者的日记，好像只有过程而没有起点和终点，她常常随身带一些简易的、旧的甚至自制的相机，作品也常常有着较低的清晰度、较粗的颗粒、失真的色彩、曝光不足以及各种低技术的弊病，但其中却有着沈怡所痴迷的那种戏剧感和魅力，那些偏蓝调子的风景定格了一些她在旅程中的所见和所想，如同把时间碾磨成粉末般有种荒诞的不真实感。

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。

I XiongGuPo if you don't; I would have turned up; you and the lion roar; I dare say; ah; your compliment; luo base; is only ugly luo; but also not ugly; recognize your person; thought you gene mutations;"Funky" this word is somebody else for you; the British; once; I still think you are childish; school of a flower; then; just know you but is the huge slag; didn't see you again; eat; sleep all food and sleep; but when I want to see some of you; because the - can reduce weight; rolling... The rolling... SB batch; the tart; cheap; hammer; just a teacher talk; or finished suo; have what amazing suo; Sue; Sue; Sue; oh; not to have testified against 30; well; good batch laozi; Lao tze want to talk show you hammer son; pipe noise; and you are not cheap; you have the tube Lao technical qualifications; you exactly want to shout; to shout; you have sinned against you; and the benefits of your talk against us and benefits; melon hammer into one partner; we also cried; waste you nearly three years; humiliated you people dead; for there is futile; undead living waste land; air or early death waste dead... Ha ha; my friends at the turn to remember: oh;Don't try to guess who is that man; perhaps is next to you.

我如果你不是熊家婆、我早就和你翻脸咯、你的那个狮子吼、我、实在不敢恭维啊、你、除咯贱、就只剩丑咯、而且还不是一般的丑、认不到你的人、还以为你基因突变的、&Funky&这个词就是人家英国人、为你整出来的、曾经、我还幼稚的认为、你是学校的一枝花、后来、才晓得你不过是人海中的一粒渣、没看你一次，饭都吃不下、觉都睡不好、但是、有些时候我多想看见你、因为－可以减肥、滚…马不停蹄的滚… SB 批，骚货，贱货，锤子嗦，区区一个老师嘛，要不完了嗦，有啥子了不起嗦，告、告、告，日哦，有种不要告卅，给老子明说嘛，好批骚嗦，老子要杂子，管你锤子事啊，贱批，你还不配管老子的，你有资格嗦，你到底想杂嘛，要杂嘛，得罪完人有你的好处嗦，得罪我们对你又有锤子好处嗦，就是瓜婆娘一个，，枉我们还喊了你快三年了哦，丢脸死了，你这样的人还不死留着有啥用哦，活着浪费空气死了浪费土地，还是早点死了算了……呵呵，朋友们看了的要记得转哦、千万不要去猜那个人是谁，或许下一个就是你

Contact found in 80 works will impose upon space and the norm of thinking seems to exist faults and barriers, ahead of fashion conscious consumers continue to derive more imaginative ideas to make their work a kind of weightlessness a sense of unconscious, self-desire expansion and to meet the Gengrang has become such a vague sense of, when hidden, at times, a lot of 80, after describing himself as an artist is not weight of objects, flying freely in the air, floating, this subjective state of consciousness driven by the description of means that the objective mental states, disorders and emptiness, extreme inflation and a good self-concept of a serious departure from the idealism and sense of reality, greatly outstrips reality, a feeling based on fantasy or fantasy thinking.

在我们接触的作品中会无形中发现80后的思维空间与常态似乎存在着断层和隔阂，超前时尚的消费意识不断派生出更有想象力的观念使他们的作品有种无意识的失重感，自我欲望的膨胀和满足更让这样的意识变得虚无飘渺、时隐时现，很多80后艺术家将自己描述成没有重量的物体，在空中自由自在的飞行、飘浮，这种主观意识状态驱使下的描述，意味着客观精神状态的失常和空虚，极度膨胀和自我良好的唯心意识观严重背离了现实，凌驾于现实之上的感觉建立在空想或幻想的思维中。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。