记忆的

This kind of images has made the city become a forest of cement and mechanical moving objects.Those who have created and are living in this atmosphere are,at the same time,enjoying the curiosities,strangeness,dissepiment and insecuritie .All these feelings are hard to be described in one scenario.This is no doubt the feeling of Feng jie,therefore he has adopted a kind of mural painting,used some images that are not interrelated and organized these pieces of memories into a container.Feng jie has a good skill to paint realitically,so he is able to express this kind of absurdness as truly as photographs.He can organize the reality like pieces of cards into an ordered space of images.

环路、高速路、红灯、绿灯、黄灯，——从过街桥上看街道，街道是车的河床，流动着过来的白灯，过去的红灯——这种印象把城市变成了水泥的森林，机械物的运动场，——造成，并生活在其间的人，也同时"享受"这期间的"新奇感"、"陌生感"、"隔膜感"和"不安全感"——这种感受，很难在一个情节剧中叙述，——这就是作者的感觉，他采用一种壁画的篇幅，用一些互不相关的图像，把这些"记忆的碎片"组织在一个"集装箱"中——作者有很强的写实能力，因此能把这种潜在的荒诞感，做得如照片映像般的真实，能把这些碎片似的真实，潜在结构成一个有序的图示的空间中，——一种可沟通的"惶惑"，可感知的冷处理的客观性以及他的批判立场。

The daughter getting farther away in the Greyhound Is beyond where I can imagine. Interior running lights of phosphor-green Show a faint shape of her head, reflected on the glass, Against the Dakota night. I try to resolve the picture, but the Badland darkness Empties her silhouette. If she had to leave, it should have been in a perfect vehicle, But she rides that dirigible of the road, Dispatched by a breakdown scab corporation Into a triangle my wavelength will not reach. The sealed-off revolutions of engines Are faster propelling souls at night-time Than my sorting of memories Can fix a negative under ruby light. Yet right here I have a template that strained for her form Among a crowd of children at the schoolyard gate.

长途车上的女儿越来越远地驶出了我想象的范围仪表盘上绿色的微光和玻璃另一面达科达州的夜色拖显出她模糊的头型我想拉近她的形象但荒原的黑暗吞噬了轮廓里面的所有细节既然要走就该有更好的载体来迎接她的献出但破落的黄牛公司所派出那辆路上的飞艇把她载到我频道无法达到的三角区域这马达无情转动的悲凉在夜间输送灵魂时用更快的速度超越我对记忆的显影我用由她配制出来的烙印呼唤就像曾经在那群涌出校园门口的孩子中间我怎能不去努力搜索她所踏入的陌生区域的电波？

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。

Notable findings include a theory to explain the extended ontogenetic and brain development periods of big-brained organisms, fMRI research on the neural correlates of romantic attraction, an evolutionary view of sex differences in spatial cognition, a theory of language evolution that draws on recent research on mirror neurons, and evidence for a rudimentary theory of mind in nonhuman primates.

值得注意的结论包括一个理论解释大打死的生物体的被延长的ontogenetic 和大脑开发周期， fMRI对浪漫的吸引力的神经的相关数的研究，性空间认知的差别的进化的意见，一个动用新近的对镜神经元的研究的语言演化，以及一个在非人类的大主教里的记忆的初步的理论的证据的理论。

The only definite sexual events that I can remember as having occurred before my thirteenth birthday (that is, before I first saw my little Annabel) were: a solemn, decorous and purely theoretical talk about pubertal surprises in the rose garden of the school with an American kid, the son of a then celebrated motion-picture actress whom he seldom saw in the three-dimensional world; and some interesting reactions on the part of my organism to certain photographs, pearl and umbra, with infinitely soft partings, in Pichon's sumptuous Le Beauté Humaine that that I had filched from under a mountain of marble-bound Graphics in the hotel library.

我有记忆的，十三岁生日之前（也就是在认识安娜贝尔之前）有关性方面的事件仅有如下：在学校的玫瑰园与一个美国男孩进行的一次严肃而有分寸的关于青春期反应的纯理论的讨论——那个男孩的母亲是一位当时极其著名的电影演员，他们之间的交流常常不是在三维世界进行的（引申义：只有书信，电话等间接交流，译者注）；还有就是，我从旅馆图书馆中成堆的装订成册的《图形学》底下偷出来皮雄的那本装帧精美的《人性之美》中的有些照片、"珍珠"和有着柔和裂缝的影子引起过我的某些器官的有趣反应。

The only definite sexual events that I can remember as having occurred before my thirteenth birthday (that is, before I first saw my little Annabel) were: a solemn, decorous and purely theoretical talk about pubertal surprises in the rose garden of the school with an American kid, the son of a then celebrated motion-picture actress whom he seldom saw in the three-dimensional world; and some interesting reactions on the part of my organism to certain photographs, pearl and umbra, with infinitely soft partings, in Pichon's sumptuous Le Beauté Humaine that that I had filched from under a mountain of marble-bound Graphics in the hotel library.

我有记忆的，十三岁生日之前（也就是在认识安娜贝尔之前）有关性方面的事件仅有如下：在学校的玫瑰园与一个美国男孩进行的一次严肃而有分寸的关于青春期反应的纯理论的讨论——那个男孩的母亲是一位当时极其著名的电影演员，他们之间的交流常常不是在三维世界进行的（引申义：只有书信，电话等间接交流，译者注）；还有就是，我从旅馆图书馆中成堆的装订成册的《图形学》底下偷出来皮雄的那本装帧精美的《人性之美》中的有些照片、&珍珠&和有着柔和裂缝的影子引起过我的某些器官的有趣反应。

Rochester: Well, then Jane, call to aid your fancy—suppose you were no longer a girl well reared and disciplined, but a wild boy indulged from childhood upwards; imagine yourself in a remote foreign land; conceive that you there commit a capital error, no matter of what nature or from what motives, but one whose consequences must follow you through life and taint all your Mind I don't say a CRIME; I am not speaking of shedding of blood or any other guilty act, which might make the perpetrator amenable to the law: my word is The results of what you have done become in time to you utterly insupportable; you take measures to obtain relief: unusual measures, but neither unlawful nor Still you are miserable; for the hope has quitted you on the very confines of life: your sun at noon darkens in an eclipse, which you feel will not leave it till the time of Bitter and base associations have become the sole food of your memory: you wander here and there, seeking rest in exile: happiness in pleasure—I mean in heartless, sensual pleasure—such as dulls intellect and blights Heart-weary and soul-withered, you come home after years of voluntary banishment: you make a new acquaintance—how or where no matter: you find in this stranger much of the good and bright qualities which you have sought for twenty years, and never before encountered; and they are all fresh, healthy, without soil and without Such society revives, regenerates; you feel better days come back—higher wishes, purer feelings; you desire to recommence your life, and to spend what remains to you of days in a way more worthy of an immortal To attain this end, are you justified in overleaping an obstacle of custom—a mere conventional impediment which neither your conscience sanctifies nor your judgement approves?

罗切斯特：&那么好吧，简，发挥你的想象力吧——设想你不再是受过精心培养和教导的姑娘，而是从幼年时代起就是一个放纵任性的男孩。-------浏览器上打上-WwW.69ΖW.CoM看最新更新想象你身处遥远的异国，假设你在那里铸成了大错，不管其性质如何，出于什么动机，它的后果殃及你一生，玷污你的生活。注意，我没有说'犯罪'，不是说流血或是其他犯罪行为，那样的话肇事者会被绳之以法，我用的字是'错误'。你行为的恶果，到头来使你绝对无法忍受。你采取措施以求获得解脱，非正常的措施，但既不是非法，也并非有罪。而你仍然感到不幸，因为希望在生活的边缘离你而去，你的太阳遇上日食，在正午就开始暗淡，你觉得不到日落不会有所改变，痛苦和卑贱的联想，成了你记忆的唯一食品。你到处游荡，在放逐中寻求安逸，在享乐中寻觅幸福——我的意思是沉湎于无情的肉欲——它销蚀才智，摧残情感。在几年的自愿放逐以后，你心力交瘁地回到了家里，结识了一位新知——何时结识，如何结识，都无关紧要。在这位陌生人身上，你看到了很多出类拔萃的品质，为它们你已经寻寻觅觅二十来年，却终不可得。这些品质新鲜健康，没有污渍，没有斑点，这种交往使人复活，催人新生。你觉得好日子又回来了——志更高，情更真。你渴望重新开始生活，以一种更配得上不朽的灵魂的方式度过余生。为了达到这个目的，你是不是有理由越过习俗的藩篱——那种既没有得到你良心的认可，也不为你的识见所赞同的、纯粹因袭的障碍？&

My very photogenic mother died in a freak accident when I was three, and, save for a pocket of warmth in the darkest past, nothing of her subsists within the hollows and dells of memory, over which, if you can still stand my style, the sun of my infancy had set: surely, you all know those redolent remnants of day suspended, with the midges, about some hedge in bloom or suddenly entered and traversed by the rambler, at the bottom of a hill, in the summer dusk; a furry warmth, golden midges.

在我3岁的时候，我那非常上相的母亲死于一次奇特的事故，除了黑暗的往昔中一小袋温暖，她没有在我记忆的空穴与幽谷中留下任何印象，而在这一切之上，我幼年的太阳已经沉落——如果你还能忍受我的文风的话——相信你们都了解悬浮的白日那芬芳的余辉（在夏日的暮霭中，在山谷的谷底处），盘旋在开花的树篱周围，或者被突然出现的漫游者闯入和越过；此外还有柔软而温暖的金色小虫四处飞舞。

They were characterized by vivid racial elements, the adoration of force and the trend of revanchism, all of which obviously reflected a tension between nationalism and liberalism. It can be attributed to the radical political context and the ideal context affected by the blend of traditional ethnic consciousness and the external theories of state and nationalism, both of which lead to the tension between nationalism and liberalism in modern China.

本文从民族话语的传播媒介和作为话语构建主体的知识分子的分化与组合入手，分析拒俄事件中知识分子对民族主义的学理性阐释，对民族共同的敌人的塑造以及民族集体记忆的搭建和民族情绪的渲染，归纳其民族话语建构中种族因素突出，强力崇拜和复仇主义倾向明显的集体主义种族民族主义特质，进而由知识分子深陷的激进政治语境、边缘化过程中的群体特质，以及传统族群意识与外来进化理念、人种学说、国家观念、民族主义理论交汇而成的观念语境出发，结合经世致用与道德取向的知识人传统，探讨知识精英民族话语建构中种族民族主义倾向掩盖自由主义价值追求的缘由。

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。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。