观众

When audience face these images, it is natural to invoke the memory of source images, and it is such basic memory or source images intention that produce the reaction and confrontation to Xus works, spur his works to enter audiences habitual recognition of images, and combine thinking with image cognition to form new interpretation of images, as to highlight the dubiety of source images and to increase the possible reinterpretation of source images, but the artists conceptual interference is not close-ended but discloses the mechanism of contemporary image reading: i.e. the interaction between image and audience, as result such works are the presence of artistic conception but the absence of artist and that artist doesnt stress the input of personal experience into the work, but looks for the methodology of image-construction and the combination of thinking methods for creating the entity of joint between image and language.

当观众面对这些图像时，很自然地唤起对原有图像的记忆，正是这种基本记忆或原图像意图的捕捉对许昌昌的作品产生了反作用和对抗，促使作品图像进入到观众的图像识别习惯中，将思考与图像认知结合，形成新的图像阐释，既是突出原图像的可疑性，又增加了对原图像的重新解释的可能性，但艺术家的观念介入并不是封闭的，而是敞开了当代图像阅读的机制：即图像与观众的互动性，这样的作品是艺术观念在场而艺术家缺席，艺术家不强调个人生活经验进入作品，而是寻求图像构成的方法论和思维方法论的结合，创造图像与语言切合的实体。

But when he stands at the top of the empery building and fight with the battle plane, I think all the audience stand at King Kong's side, when he catch hold of the plan, I even feel some audience's applause, why all of us ratify his action?

但是当他站在帝国大厦的顶端和战斗机搏斗的时候，我想所有的观众都站在了金刚这边，但他抓住了一只飞机，我甚至可以感觉到观众的掌声，为什么观众会认可他的行为呢？

Sociologist Erving Goffman (1922-1982) used the concept of the theater metaphor to analyze how people interact in everyday performance He examined the roles taken on by individuals, different aspects of these roles, how individuals interpret these roles, and how individuals distance themselves from the roles. He explained how individuals go through their lives like actors on the stage playing out their roles for others. In the theatre, the front-of-house staffs are the obvious, most easily recognized representatives of the Service.

社会学家尔文高夫曼(Erving Goffman，1922-1982)运用戏剧分析模式来解读平日习以为常的互动秩序，其认为人们都是舞台上的演员，在观众面前必须竭尽所能，将最完美的演出行为加以呈现并发展出套独特的戏剧论，将社会互动比喻成一连串的表演或戏剧，行为比喻成戏剧演出，而人们在观众面前扮演各种不同角色，一切的行为举止都试图符合他人期待，因此人们会随著不同的情境或观众的要求，自我改变而呈现多种面貌，并调整形象来强化演出。

My thesis explores a phenomenology of bodies that concerns artists and audience in the process of art, using such concepts as described in Merleau-Ponty and Experientialist writings. It is meant as a deeper look into the complicit connections that exist in between the artist, the work of art and the spectator, which I argue constitute a shared matrix for what we know as experiences of creation and reception.

本研究由梅洛庞蒂(Maurice Merleau-Ponty)与体验论对於身体的概念出发，探究艺术家与观众於艺术活动中的身体现象；研究的主旨在於建立艺术家、观众与艺术品之间的联系，并且探究艺术家与观众於艺术创作与观赏经验中的基础。

Therefore, she intentionally reserves some extempore and interactive spaces for the audience.

并且思考观众会一直在这个空间流动进出，由於空间的特殊性，观众的视线是多焦点、切割的，所以整个表演保留了即兴成分和与观众互动的空间。

The post-modern museology in mid-twenty century emphasizes the participation, perception and experience of audiences.

随著时代的转变，在后现代博物馆学概念中，开始重视观众的感觉，强调观众的与，与观众进沟通，达成好互动。

The post-modern museology in mid-twenty century emphasizes the participation, perception and experience of audiences. This respect for audience is very close to Web 2.0's human-centered concept.

随著时代的转变，在后现代博物馆学概念中，开始重视观众的感觉，强调观众的与，与观众进沟通，达成好互动。

The work establishes the interplaying relationship between the author and audience by the modern creating mathod of embezzling, alluding, symbolizing, superrealism and magic.

此系列以史论风格而非纪实手法来处理重大历史题材，通过大量挪用、讽喻、象征、超现实或魔幻等现代创作手法来建立一种作者与观众的互动关系，吸引观众进入欣赏状态并引导观众对历史进行思考。

The televiewer of 200 million included a lot of passive audiences and random audience, and this 6 million netizen is at least after be informed this concert, get online actively in light of.

2亿的电视观众包括了很多被动观众和随机观众，而这600万网民至少都是得知这个演唱会后，主动上网来看的。

National power of horse of official of presiding operation of Olympic Games BOB moves by force:"The audience feels the regret is less and less, the thing that the audience thinks to look guides sow can conceivable, the final person that be benefited is televiewer ".

奥运BOB首席运营官马国力强调："观众觉得遗憾越来越少，观众想看的东西导播都能够想得到，最终的受益者是电视观众"。

The absorption and distribution of chromium were studied in ryeusing nutrient culture technique and pot experiment.

采用不同浓度K2CrO4(0，0.4，0.8和1.2 mmol/L)的Hoagland营养液处理黑麦幼苗，测定铬在黑麦体内的亚细胞分布、铬化学形态及不同部位的积累。

By analyzing theory foundation of mathematical morphology in the digital image processing, researching morphology arithmetic of the binary Image, discussing two basic forms for the least structure element: dilation and erosion.

通过分析数学形态学在图像中的理论基础，研究二值图像的形态分析算法，探讨最小结构元素的两种基本形态：膨胀和腐蚀；分析了数学形态学复杂算法的基本原理，把数学形态学的部分并行处理理念引入到家实际应用中。