磊磊

Ding Lei is very sturdy:"I believe a Chinese or want to eat porky!"

丁磊非常坚定："我相信中国人还是要吃猪肉的！"

I believe a Chinese or want to eat porky!!

尽管有媒体报道称，今年广东两会上高调宣称要投资数千万到浙江湖州和金华等地养猪的计划未见成行，但身为网易创始人兼首席执行官的丁磊5月11日依然在四川绵阳坚定地宣布，即使在猪流感加剧扩散背景下自己的养猪计划也没有改变，"扯蛋，我相信中国人还是要吃猪肉的！"

Probably, just about this kind became Ding Lei to porky is being sold to not be at ease on the market the primitive inducement when swineherd, but the pig farm infuse that this Netease author of enterprise of high-tech of one's previous experience holds presiding apparitor concurrently to still give his a lot of and contemporary colour.

或许，正是这种对市场上销售猪肉的不放心成为了丁磊当猪倌的原始诱因，但出身高科技企业的这位网易创始人兼首席执行官仍然给自己的猪场注入了诸多现代色彩。

Excluded the News report, Leslie is a public – spirited volunteer, who won the prize of " the first salvation postulant in Beijing". He is accomplished in Literature Art and Ancient Chinese.

新闻报道之外，朱磊还是一名热心的公益志愿者，曾获得"北京市首批救助义工称号"，在照顾残障儿童方面体现出难能可贵的爱心和耐心，《人民日报》曾对其进行专门报道。

Excluded the News report, Leslie is a public – spirited volunteer, who won the prize of " the first salvation postulant in Beijing".

新闻报道之外，朱磊还是一名热心的公益志愿者，曾获得"北京市首批救助义工称号"，在照顾残障儿童方面体现出难能可贵的爱心和耐心，《人民日报》曾对其进行专门报道。

In Li-lei's recent works, such "mixture of two tendencies" has the tendency of preinstall, then the mixture become more harmonious.

而在李磊的近期作品中，这种"两极融合"的倾向更加带有预设性，也因此使两者的结合更加和谐融洽。

Xiao Ming's uncle is a righteous public prosecutor.

小磊的叔叔是名检察官，为人十分正直。

Among Li-lei's painting works, there are not only full of strong expressionism which get rid of all the steady forms in the representative world and to express the aesthetic standards by the self-life language and form, but also to present the pure and aesthetic idealism complex, to create the moderate, noble and graceful, refined state by the further spiritual pursuit.

在李磊的作品中，既充斥着强烈的表现性，冲破表象世界所有稳定不变的形式，以本我生命不断呈现的语言和形式轨迹，体现其审美价值；而且更进一步以一种超然出世的精神追求，表现出一种纯洁唯美的理想主义情结，营造出温和高雅、出凡脱俗的境界。

For those who were born in the late 1970s, electronic devices were something exciting and inspiring back then. In the integrated installation "Goodbye Semiconductor", there are dozens of semiconductor radiogram, television, electronic organ, and synthesizer. They are all Peng Lei's personal collection. He enjoys the simple carnival feeling and the sense of security embedded in the design style. These products made in a transitional period are displaced on the floor of a separate room. When all these devices were turned on, the noises from the old days mixed up together and integrated into an "individual happiness", while the revolving color light and mirror-like wall created a chaotic visual effect for the noises.

对于出生于70年代末的人而言，电器机械在当时是让人兴奋和充满想象力的物质，在综合装置作品"再见半导体"中，十几件八十年代出产的半导体收音机、电视、电子琴、合成器都是彭磊的收藏，他喜欢它们简朴的狂欢气息和设计形式下的安全感；这些过渡时期的产品摆放在一个独立的小屋地上，当它们同时打开，来自旧时代的混音彼此嘈杂着组合而成了一件"私人乐事"，彩色旋转灯球和镜反射般的墙面增加了声场的视觉混乱效果。

In the images created by Hong Lei, Ma Liang, and Dong Wensheng, there undoubtedly exists a dual subjectivity of self and art. Given this assumption, and through their unceasing self-doubt and self-completion, they succeed in playing the part of genuinely constructive artists.

在洪磊、马良、董文胜这样的影象创作里无疑存在着自我和艺术的双重主体意识，于这样的前提之下，同时也是在他们不断的自我怀疑与自我完善之中，他们得以扮演真正的建构者。

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。