艺术

Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上，当我们想认真的讨论"现代性"时，就会发现这一问题在中国有着极其尴尬的处境，且不谈社会学角度，从视觉艺术这个很小的角度切入，将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术，是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术，而被带入中国本土后却被称为"现代艺术"，直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语，这其间"错位"一直存在着，或许这是一种有创造性的误读，但误读的主体是否具有独立消化能力的系统值得商榷。

In the first charter , the development of Art of Using Concepts is stated in order to make readers know its proceedment. In the second charter ,the difference between the Art of Using Concepts and Apriorism and Expiricism in order to make readers understand the disparaty of Kant's Apriorism and Expiricism. In the third charter, the relation between true thinking and the Art of Using Concepts so that it's necessary that the Art of Using Concepts needs true thinking. In the former charter, the relation between practice and the Art of Using Concepts which indicates that the Art of Using Concepts is based on the practice.

在第一章中，阐述了"运用概念的艺术"的演化过程，主要是让读者了解一下"运用概念的艺术"的发展变化；第二章阐述了"运用概念的艺术"与先验论和经验论是根本对立的，这一章是为了让读者了解"运用概念的艺术"与康德的先验论，经验主义的区别；第三章主要阐述"运用概念的艺术"与"真实的思维"的关系，说明"运用概念的艺术"需要"真实的思维"；第四章主要阐述"运用概念的艺术"与实践的关系，说明"运用概念的艺术"是建立在实践的基础上的。

Art Psychology briefly introduces the artistic theories of some great psychologists such as Arnheim, Freud, Adler, and Jung. Students will explore the principles of artistic creation, as well as a variety of psychological phenomena in artistic appreciation and creation. The course also teaches the relations between artistic design and consumer psychology, environment and art psychology, design ideas and designer's psychology, as well as the application of art psychology.

艺术心理学将简要介绍 Arnheim 、 Freud 、 Adler 、 Jung 等心理学大师的艺术思想和艺术理论，探讨艺术创作和设计的规律，以及艺术欣赏和设计产品使用过程中的各种心理现象，介绍设计艺术与消费者心理的关系、环境与设计艺术心理、设计思维与设计师心理、设计艺术心理学的运用等相关内容

"Monkey Boys" remade the Monkey King Ming dynasty in Beijing 2006, they rebuild Monkey King which in subversion institutional feudalism dynasty into the background of globalization and electronic Monkey King post technology. No matter what games of their art is unthinkable, but the subject of Havocing in the welkin is also clear at a glance,"Monkey Boys" only increase a great many of entertainment and readability for new Monkey King that set up with the contemporary social background of consume, this generation can be seen as independent art students in a sign of China's rise, this generation of artists even see the network integration of this information, more use information itself, they let you feel the zooty and unclean art, also outpouring disdain with tradition art, or just make the tradition art become a back ground of art creative with themselves, only child artist is the first generation artist of the gibberish. This"control+n"group exhibition of artists forced to make fun of the lies about a monkey hero of the ancient Chinese legends and modern society link, trying to create a contemporary, and even is the pop cultural hero of network game.

公猿男孩'在2006年的北京重新制造了明版的孙悟空，他们将颠覆封建王朝制度的孙悟空改造成一个在全球化背景下的、在后科技背景下的电子版的孙悟空，不管他们的艺术游戏怎样的不可思议，但传统大闹天宫的主题还是一目了然，只不过'公猿男孩'他们增加了新孙悟空很多建立在当代社会消费背景下的娱乐性和可读性，这也可以被看作是独生一代艺术在中国崛起的一个标志，这一代艺术家更加看中网络上的这种信息整合，也更加利用资讯本身，他们就想让大家感觉到艺术的花里胡哨、艺术的模棱两可，甚至也流露出对传统艺术的不屑一顾，或者只是将传统艺术变为他们自己艺术创作的一个背景，独生一代艺术家首先是无厘头的一代艺术家，此次'control+n'群展的好玩之处还在于使艺术家强行的将一个中国古代的传说中的猴子英雄和现代社会链接，力图打造一个当代版的、甚至是网络游戏版的流行文化英雄。

College School of the existing form (including the Chinese Painting Department,油画系, line engraving, sculpture department, the Department of Fine Arts Foundation), School of Design (including construction and the environment, Department of Art and Design, Visual Communication Design, Digital Art Design, Fashion Design Department, Decorative Art and Design University, Department of Industrial Design, Design Arts, textile art and design department, furniture, Department of Art and Design, Ceramics Art and Design Department, Design Department), College of Arts and Humanities (including the Department of Art History, Art Institute, the public Teaching Department of the Ministry of Social Science Teaching), Department of Education and Fine Arts College of Continuing Education.

学院现有造型学院（包括中国画系、油画系、版画系、雕塑系、美术学基础部）、设计学院（包括建筑与环境艺术设计系、视觉传达设计系、数码艺术设计系、服装设计系、装饰艺术设计系、工业设计系、设计艺术学系、染织艺术设计系、家具艺术设计教研室、陶瓷艺术设计教研室、设计基础部）、艺术与人文学院（包括美术史系、美术研究所、公共课教学部、社会科学教学部）、美术教育系和继续教育学院。

It is well known that we have been using the classical and typical artworks that are already popular with people to enhance kids'morality, merits and percipient of beauty.

在这个背景下，我们基础美术学科教育遇到了新的难题：在以往的美术教学中，欣赏评述内容更倾向于对传统艺术形式和经典作品的理解和欣赏，而且大多是以经过历史筛选、久为人们所熟知的、正面积极的作品来感染学生、提高他们的审美能力和对艺术的感知力，而目前这些尚处在蓬勃发展中的艺术形式对于广大中小学学生来说是令人迷惑而高深莫测的，他们很容易象接受书本知识和教师讲解一样去接受一切在艺术杂志、展览馆、画廊中所看到的充满刺激的新艺术作品，而这种反应大多是本能的、不带批评性的，与他们对摇滚乐和青年文化等方面的反应类似(《艺术批评与艺术教育》ArtCritics and Art Education沃尔夫吉伊根著)。

But thedigital art design have got what oneself the magic power's art design of the specialkind manifestation, lack the perfect and emollient theories system of oneself over along period of time, and not set up to adapt to the digital art design characteristicwith the development's idea and thought, not these ideas with thought the guideinto to the digital art design's artistic with enjoy the inside and go to, digital artdesign can't break the mode of the traditional art design with old mt, can't developthe advantage of the arithmetic figure to sink into the mimicry with magic power,It is not difficult with plagiary predicaments.

但数字化艺术设计是有着自身独特性质的魅力的艺术设计表现形式，长期缺乏自己完善有力的理论体系，不树立适应数字化艺术设计特征和发展的观念与思想，不将这些观念和思想引入到数字化艺术设计的创作和欣赏中去，数字化艺术设计就无法突破传统艺术设计的模式和窠臼，无法发挥数字化的优势和魅力，难免陷入模仿和抄袭的困境，无法进一步的前进和深入，这无论是对数字化艺术设计本身还是对整个艺术设计的发展都是不利的。

Full Band Festival, Macao Solo at Sugar Jar, Beijing Germany Night, Beijing Tie Guan Yin at UMWEG BER CHINA Festival, Berlin Qianhai Kwanyin, Beijing Waterland Kwanyin, Beijing More Less More project, Beijing Solo at Mini Midi 2007, Beijing Bu Yi Yang post Shanghai, Shanghai 2006 Bu Yi Yang Shangbu Nanshan,Shenzhen 12th Kolkata Film Festival, Kolkata Borderline International Film Art Exhibition, Beijing The Third China Independent Film Festival, Nanjing Moscow Biennale, Moscow The Voice Of The Other Shore, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Art Beijing, Beijing Waterland Guanyin Series, Beijing Qianhai Guanyin Series, Beijing 2005 Holland Chinese Festival, Amsterdam Most Electronics, Xiamen Waterland Guanyin Series, Beijing Midi Music Festival, Beijing Dashanzi International Art Festival, Beijing Don't Break My Core, Shanghai 2004 Nuit Blanche Festival (With fm3 and Yan Jun) Paris 1000 Revolutions Per Second, Brussels Shanghai Biennale, Shanghai 2pi Music Festival, Hangzhou Dashanzi International Art Festival, Beijing OUT THE WINDOW (China, Japan, and South Korea multimedia art unites exhibition) Tokyo, Seoul, Beijing Discography: Support the umbrella to stand in dust that float float CD 2006 Kwanyin Records The Microwave DVD 2006 Kwanyin Records Tie Guanyin Duo-viva la vaches, wuquan + yan jun CD 2006 Kwanyin Records Tie Guanyin Duo-Live at 798Cubic Art Center, wuquan + yan jun CD 2006 Kwanyin Records View DVD 2005 Kwanyin Records http://www.myspace.com/wuquan http://www.neocha.com/wuquan ———————————————————————————— Xiao He Third son of Tian Qiaoyun and He Pingsuo.

主要艺术活动： 2007 参与不一定乐队乐巡演上海、芜湖、杭州、义乌、珠海、深圳、广州"不一定·愚公移山"北京"不一定·798"北京"武王文窦·澳门国际马拉松国际摇滚音乐节"澳门"白糖罐·声场"北京"德国之夜"北京"迂回中国"柏林"前海观音"北京"水陆观音"北京"马恩列斯毛"系列演出北京"第八届迷笛音乐节"北京"不一样·后上海"上海 2006 "不一样·上步南山"深圳"第12届加尔格达电影节"加尔格达"边界线国际影像艺术展"北京"第三届中国独立影像年展"北京"莫斯科双年展"莫斯科"彼岸之声"北京"第七届迷笛音乐节"北京"第三届大山子国际艺术节" 798艺术工厂北京"艺术北京2006"北京"水陆观音"北京"前海观音"北京 2005 策划/组织电影短片集《色！》"荷兰中国文化节，实验中国"阿姆斯特丹"最电子"厦门"水陆观音"北京"第六届迷笛音乐节"北京"第二届大山子国际艺术节" 798艺术工厂北京"don't break my core"上海"湿森林实验电子现场"长沙"workshop"大理 2003-2004 "Nuit Blanche"艺术节（与fm3、颜峻）巴黎"1000 revolutions per second"布鲁塞尔"第五届上海双年展"上海 2004 "第二层皮音乐节"杭州"第一届大山子国际艺术节"798艺术工厂北京《十夜谈》（与颜峻、fm3、王凡）北京"OUT THE WINDOW"（中、日、韩多媒体艺术联展）东京、汉城、北京 2003 《三国·四记》上海《水煮黄昏》（与fm3、颜峻）北京《不可能》（与颜峻、fm3）北京 2002 "丽江雪山音乐节"（与窦唯、fm3）丽江"点亮长城音乐节"北京发表作品：《打着伞在浮沉中站立》 CD 2006 观音唱片《微波》DVD 2006 观音唱片《铁观音二重奏-杀不死的牛》CD 2006 观音唱片《铁观音二重奏-立方艺术中心现场》CD 2006 观音唱片《观》DVD 2005 观音唱片

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

One theoretical premise that we study the variation of television artistic aesthetics is to admit that the television art bears with the relation between the traditional artistic form existing to pass, and admit that the main body of television art is the transformation and innovation of traditional art forms. Besides some relatively mature TV artistic patterns like TV plays and the documentary films, that TV novels, TV prose, TV reportages. MTV and TV traditional operas are still major in the category of tradition art form.

研究电视艺术美学变异的一个理论前提就是承认电视艺术与传统艺术形态之间存在着传承关系，承认电视艺术的主体构成是对传统艺术形态的改造和创新，除了像电视剧、纪录片这样相对成熟的电视艺术样式之外的其他艺术样式，诸如电视小说、电视散文、电视报告文学、电视音乐、电视戏曲……他们事实上都主要还在传统艺术形态的范畴之内。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。