表象的

By metaphorically invoking the photographic terminology in the spirit of Bergsonian / Deleuzian time-movement interpretation as inspiration, the exhibition Timelapse in which a dozen artists from both Switzerland and China will participate, attempts to examine the fundamental constituent of digital media: the concept of time and its embodiment in space, its evocation of passage and memory, its movement of differentiation and its state of representation in diverse formal grammars to reveal the social implications of the fast in the disguise of the slow, the multiplicity in temporality and disparity in spatiality, both psychologically and geographically, stirring up a desire to scrutinize the nuances and ramifications in regards to the construct of cultural being in the disparate framework of time in distance and space in locality and the potential collapse of such time-space duality.

本次展览以柏格森以及德卢兹（ Deleuze，均为法国哲学家）有关时间－运动的解释为契机，含蓄地缓引"延时"这一摄影术语，在瑞士和中国两国艺术家的参与中，试图检验数字媒体的根本构成因数，及时间的概念以及其在空间中的体现，其对于过程和记忆的启示，其运动所产生的差异，以及其在运用形式语言时所呈现的不同表象，从而揭示被缓慢所遮掩的亟速之社会内蕴，其在时空中之心理与地理间的多样化和差异性，激起我们对于细察在不同的时空概念的框架下文化的构建，以及对于这种时空二元性之崩溃的可能性的欲念。

Bergson makes a thorough analysis to the comedy produce——"smile" and "farcicality" from the point of social activities and mental idea and etc. He thinks that leading a life to machine appearance is the basic reason of "smile" or "farcicality"——the purpose of "smile" is rectification, and as a the kind of social means it still has the function in castigation,"farcicality" is attributed to man, who lacks go-aheadism is similar to things and it can constituted the main factor comedy result. So, in Bergsons view, the essence of comedic taste can comprehend a consciousness which the true estate of life falls into mechanize appearance in the space by chance.

柏氏主要从社会生活和心理表象等方面对喜剧所产生的效果——"笑"和"滑稽"作了细致深入的分析，他认为把生活导引到机械状态是"笑"或"滑稽"的根本原因，"笑"的目的是纠正，作为一种社会手段它还具有制裁作用，"滑稽"是属人的，人的缺乏能动性和主动性的僵硬与物类似的性质构成了喜剧效果的要素，所以，在柏格森看来，喜剧的审美本质可以理解为人的生命本真状态对偶然落入的空间化或机械化状态的意识。

The transcendental concept of appearances in space, on the other hand, is a critical reminder that nothing intuited in space is a thing in itself, that space is not a form inhering in things in themselves [74] as their intrinsic property, that objects in themselves are quite unknown to us, and that what we call outer objects are nothing but mere representations of our sensibility, the form of which is space.

表象在空间中的超验的表述，则表明在空间中本能得到的确知识并不是事物内在的。空间并不是属于物体本身的一种形式。这些物体本身则不可知，那么所有外在的物体都仅仅是我们感觉的表达形式罢了，这些表达的形式就是空间。

In the sense-representation of external things, the quality of space in which we intuite them is the merely subjective side of my representation of them (by which what the things are in themselves as objects is left quite open), and it is on account of that reference that the object in being intuited in space is also thought merely as phenomenon.

在我们感知外物的表象时，我们在这个空间中（也就是我们得以直观外物的空间）所获得的感受是全然主观的（而物体的真相在此则维持一个非常开放的状态），也就是因为这样主观的指涉，被我们在空间中所直观的客体才会被认为只不过是一种「现象」。

Behind the glamorous facade of a highly globalized, controlled and mobile urban landscape of this megacity supported by high-technological infrastructures, there lies another highly localized, diversified and territorialized urban landscape based on grass-root social networking.

在基于高技术基础系统支持的、高度全球化的，控制良好的、机动的城市景观的迷人表象之下，同时存在另外一些高度本土化、多样化、地域化的城市景观，它们建立在草根社会体系的基础上。

However, as the artist at present, and since the creation of landscape paintings are quite different from those classic ones for a long time, Yin Chaoyu does not take the palette and the easels to carry out the so-called sketch of the landscape like the classic landscape painting artists, but weaves the "private landscape" in the atelier.

然而作为当下的创作者，有关风景画的创作又早已迥异于古典，尹朝宇不再像古典的风景画家那样拿着画板画架而对着风景进行所谓的写生，而是在画室中对着画布编织着&私自的风景&，如果要找到这些作品与古典的表象联系的话，那就是那条似乎遥不可及且又异常明确的&地平线&。

We may more understand how character of grass hand to be watched is on earth.so that we must check our tentative via experiment.in other words,we contact relevant theory with concept about grass hand experience.but so that we must create idea of grass hand with this or that theory.

我们进一步阐明，草书可观察的特性的根据实际上究竟是如何的。为此必须通过实验对每个假说进行检验。换句话说，就是把相应的理论概念与前面所说的关于草书的经验概念联系起来。但是，为此必须创立与这个或哪个理论概念相应的关于草书的表象。

As a senior American team arrived in Beijing on Sunday for climate talks, the standoff was taking on the trappings of cold-war arms control negotiations, with gigatons of greenhouse gas emissions replacing megatons of nuclear might as a looming risk for people across the globe.

于星期日到达北京，赴气候会谈的一组高级美国访问团队，在看起来像是在协商关于冷战武器的控制的表象下，用十几亿吨的温室气体的排放量来取代核武器百万单位的威力，其实这对于全球的人来说，这场风险像蜃景一般。

Ernst eagerly intended to break through the new vision effect, created by Giorgio De Chirico, which was similar to Freud's "unconscious theory". After all, Ernst created a brand new combination style of philosophic theory, which was not only limited in "dream" but a all new theory combined with psychology, philosophy, and Freud's theory. Simply speaking, Ernst owned unique thought which was free from the limitation of logic and traditional esthetics thinking.

恩斯特野心勃勃的在艺术界全力以赴，企图超越基里诃所创造的一种新的视觉效果，一种接近佛洛伊德所描绘的潜意识理论，最后恩斯特不仅跨越佛洛伊德所发现的潜意识理论，进而创造一种全新的哲学风貌混合意象，这新的混合意象不再只限于梦的单纯表象而已，这全新的意象是结合心理学、哲学以及佛洛伊德学说三者而成。

Ernst eagerly intended to break through the new vision effect, created by Giorgio De Chirico, which was similar to Freud's "unconscious theory". After all, Ernst created a brand new combination style of philosophic theory, which was not only limited in "dream" but a all new theory combined with psychology, philosophy, and Freud's theory. Simply speaking, Ernst owned unique thought which was free from the limitation of logic and traditional esthetics thinking.

恩斯特野心勃勃的在艺术界全力以赴，企图超越基里诃所创造的一种新的视觉效果，一种接近佛洛伊德所描绘的潜意识理论，最后恩斯特不仅跨越佛洛伊德所发现的潜意识理论，进而创造一种全新的哲学风貌混合意象，这新的混合意象不再只限於梦的单纯表象而已，这全新的意象是结合心理学、哲学以及佛洛伊德学说三者而成。

She gently rebuff ed him, but agreed that they could be friends

她婉言拒绝了，但同意作为朋友相处。

If in the penal farm, you were sure to be criticized.

要是在劳改农场，你等着挨绳子吧！