重做

Speak's aim at present is to express the results of some this research in a new composition for the radically different musical line up of Schubert's Octet (Violin, Clarinet, Viola, Cello, Double-Bass, Bassoon and French Horn).

Speak针对一篇将舒伯特八重奏（包括小提琴、单簧管、中提琴、大提琴、低音提琴、低音管和法国号）进行截然不同的音乐排列而写成的新乐曲做了一些这方面的研究，他目前的目标就是将一部分研究成果表达出来。

Whilest our adorable Alec was always on the side.........a little awkward......not to mention "off-tune dancing"sincerely.....Nicky was really wowing the fans.......drawing the crowds and adorations......

所以我就做那个慈善基会，很多人希望我们小虎队重聚首，其实我们平时也会见面，只是，每个人工作都很忙，我最大的愿望是能再以小虎队的名义作一个大型的公益活动，这也是小虎队现在最大的意义。

The film editing shall be done in accordance has an altruistic and with my own way and manner （2004/51; Cambridge） Facing the film editing, I have to convince considerably my intuition and inner aesthesia; do not rely on someone else, and trust yourself the inner guidance （2004/5/2） Attentions between teacher and child, mother and child, as well as child and child…children have to grow up under an environment of Love, so as to be healthy and happy, spilling only if his inner mind were full of compassionate and altruistic conception.

剪接须按照自己的方法，去做，走自己的路（2004/5/1于剑桥）面对剪接，我要很信任自己的直觉和内在的知觉，不要依赖别人，信任自己内在的引导（2004/5/2）老师与小孩、母亲与小孩、小孩与小孩之间的照顾，小孩必须在爱的环境中长大，才会健康、快乐，也才能内满而外溢，建立慈悲、利他人之心计算机当机，幸好初剪带已经输出，1/2的档案不见，须重剪，打击很大，整天失魂落魄，很想逃亡（2004/8/10）接到来自喜马拉雅山的电话告知（2004/8/20）交付陈晓东最后的修剪，原片长73分剪为64分，最后的定剪，心力已尽（2004/11/6）作纪录片的感觉就像吃一个美好的果实，吃了还想再吃，像是吃石榴，有些石榴的外表不一定好看，但内在鲜艳多汁，但必须很有耐性，慢慢的剥，而且不能弄得满手都是，这样才能品尝到它甜甜酸酸的美味与美感。

When she played her final Carnegie Hall performance — the chamber version of Mozart's Concerto No. 12 in A (K. 414), with the Tokyo String Quartet, in November 2002 — The New York Times reported that,"The small details — the trills and turns that adorn the score — as well as the more expansive pianism in the cadenzas and the glowing Andante, had considerable energy behind them."

当她在卡耐基音乐厅做最后的演出时——在2002年和东京弦乐四重一起演绎的莫扎特第12协奏曲（A调K414总谱）室内音乐厅版——纽约时报如是报道，&颤音和转音——这些装点乐曲的细节，以及在句尾更具扩张性的钢琴演奏技巧和洋溢着的舒缓节拍，这些背后有着强大的能量。&

When she played her final Carnegie Hall performance — the chamber version of Mozart's Concerto No. 12 in A (K. 414), with the Tokyo String Quartet, in November 2002 — The New York Times reported that,"The small details — the trills and turns that adorn the score — as well as the more expansive pianism in the cadenzas and the glowing Andante, had considerable energy behind them."

当她在卡耐基音乐厅做最后的演出时——在2002年和东京弦乐四重一起演绎的莫扎特第12协奏曲（A调K414总谱）室内音乐厅版——纽约时报如是报道，&颤音和转音这些装点乐曲的细节，在句尾更赋张力的钢琴演奏技巧和洋溢着的舒缓节拍，所有这些背后都蕴藏着强大的能量。&

In one type of conching machine, big heavy rollers mash the ingredients over and over again on a granite slab. The goal is to break up the sugar crystals and cocoa solids to the point where the chocolate is absolutely smooth.

有一款巧克力搅拌揉压机（译注：搅拌揉压机是「瑞士莲」巧克力创始者Rodolphe Lindt於一八七九年首创，由於机形类似海螺而以之命名）的设计，是让巨大沈重的滚轮在花岗石板上一再来回碾压研磨原料，这样做的目的是为了要磨碎糖的结晶体和可可中的固体物质，一直到巧克力变得全然平顺柔滑为止。

Even Lawrence, who became in later years the main driving force of big-machine physics, had similar problems when he started to build cyclotrons. In 1931 he had acquired for his newest cyclotron a huge magnet that weighed eighty-five tons, but he had no building big enough for it and so the cyclotron remained unfinished.

甚至劳伦斯这位后来的巨型加速器物理学领头雁在开始建造回旋加速器时也遇到同样的问题，1931年，他最新一代回旋加速器要求装配一块85吨重的巨型磁铁，但他做的不够大，因此那台回旋加速器一直没有完工。

Wang Mai has made an extremely large palace lantern. German artist Frank P. Palmer, who has immigrated to Shanghai and has adopted many local customs in his own life, spent several months creating the astonishingly sized Ultimate Earthmover, which stands in contrast to Kao Chungli's extremely small film Water in Paper.

王迈做了一个超大宫灯，移居上海的德国艺术家姜伟立入境随俗，花了数月制作惊人尺幅的《极致推土机》，相对于高重黎极小的小电影《纸中水》。

Editor this segment Culture, Galileo's free fallers experiment Legend, was born in 1590 Pisa's Italian physicist Galileo, once in Pisa in free fall, two experiments of different weights from the same height and ball down, the ball at the same time, two of free fall, and found that the overthrow Aristotle first heavy objects will reach the ground with its head, the speed is proportional to the mass of the view.

编辑本段文化伽利略的自由落体实验传说1590年，出生在比萨城的意大利物理学家伽利略，曾在比萨斜塔上做自由落体实验，将两个重量不同的球体从相同的高度同时扔下，结果两个铅球同时落地，由此发现了自由落体定律，推翻了此前亚里士多德认为的重的物体会先到达地面，落体的速度同它的质量成正比的观点。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

On the other hand, the more important thing is because the urban housing is a kind of heterogeneity products.

另一方面，更重要的是由于城市住房是一种异质性产品。

Climate histogram is the fall that collects place measure calm value, cent serves as cross axle for a few equal interval, the area that the frequency that the value appears according to place is accumulated and becomes will be determined inside each interval, discharge the graph that rise with post, also be called histogram.

气候直方图是将所收集的降水量测定值，分为几个相等的区间作为横轴，并将各区间内所测定值依所出现的次数累积而成的面积，用柱子排起来的图形，也叫做柱状图。