一件作品

We are mature enough now to stand the shock of learning that much of what we were taught in our youth was wrong, or improperly understood by those who were teaching it, or perhaps shaded a bit, the shading resulting from the personal needs of the teachers, who as human beings had a tendency to introduce some of their heart's blood into their work, and sometimes this may not have been of the first water, this heart's blood, and even if they thought they were moving the "knowledge" out, as the Board of Education had mandated, they could have noticed that their sentences weren't having the knockdown power of the new weapons whose bullets tumble end-over-end (but it is true that we didn't have these weapons at that time) and they might have taken into account the fundamental dubiousness of their project (but all the intelligently conceived projects have been eaten up already, like the moon and the stars) leaving us, in our best clothes, with only things to do like conducting vigorous wars of attrition against our wives, who have now thoroughly come awake, and slipped into their striped bells, and pulled sweaters over their torsi, and adamantly refused to wear any bras under the sweaters, carefully explaining the political significance of this refusal to anyone who will listen, or look, but not touch, because that has nothing to do with it, so they say; leaving us, as it were, with only things to do like floating sheets of Reynolds Wrap around the room, trying to find out how many we can keep in the air at the same time, which at least gives us a sense of participation, as though we were Buddha, looking down at the mystery of your smile, which needs to be investigated, and I think I'll do that right now, while there's still enough light, if you'll sit down over there, in the best chair, and take off all your clothes, and put your feet in that electric toe caddy and slip into this permanent press hospital gown, to cover your nakedness-why, if you do all that, we'll be ready to begin!

现在我们已经足够成熟来承受学习的震撼，以此我们来嘲笑我们年轻时候的错误，或者错误地理解教我们的人，或者也许掩饰掉它，掩饰将使得我们更需要老师，他们就像人类的趋向来将他们的一些心血用在工作上，有些时候这些已经不是第一点水了，这是心血，甚至他们是在想他们把"知识"搬了出去，广泛教育形成，他们也许已经认识到他们的句子已经没有新武器的那样的震撼力了，新武器的子弹击倒了一个又一个（但是的确哪个时候我们没有那样的武器），他们也许会被考虑进基础性不确定的留给我们的项目（但是所有构思高明的项目早就被吃光了，就像星星之于月亮），在我们最好的衣服中，只有一件事情可以做，就像操纵有力的战争摩擦来反对我们的妻子一样，她正在完全醒来，滑进有斑纹的闹钟中，扯下羊毛衫，放在为完成的作品上，坚决拒绝在羊毛衫里穿任何凶罩，小心翼翼地想任何听众解释这个拒绝政治上的重大意义，或者观众，但不包括触抹者，因为这没有任何意义，所以他们说，不要管我，只有一件事情要做，就像雷诺茨？

We are mature enough now to stand the shock of learning that much of what we were taught in our youth was wrong, or improperly understood by those who were teaching it, or perhaps shaded a bit, the shading resulting from the personal needs of the teachers, who as human beings had a tendency to introduce some of their heart's blood into their work, and sometimes this may not h39e been of the first water, this heart's blood, and even if they thought they were moving the "knowledge" out, as the Board of Education had mandated, they could h39e noticed that their sentences weren't h39ing the knockdown power of the new weapons whose bullets tumble end-over-end (but it is true that we didn't h39e these weapons at that time) and they might h39e taken into account the fundamental dubiousness of their project (but all the intelligently conceived projects h39e been eaten up already, like the moon and the stars) le39ing us, in our best clothes, with only things to do like conducting vigorous wars of attrition against our wives, who h39e now thoroughly come awake, and slipped into their striped bells, and pulled sweaters over their torsi, and adamantly refused to wear any bras under the sweaters, carefully explaining the political significance of this refusal to anyone who will listen, or look, but not touch, because that has nothing to do with it, so they say; le39ing us, as it were, with only things to do like floating sheets of Reynolds Wrap around the room, trying to find out how many we can keep in the air at the same time, which at least gives us a sense of participation, as though we were Buddha, looking down at the mystery of your 56ile, which needs to be investigated, and I think I'll do that right now, while there's still enough light, if you'll sit down over there, in the best chair, and take off all your clothes, and put your feet in that electric toe caddy and slip into this permanent press hospital gown, to cover your nakedness-why, if you do all that, we'll be ready to begin!

现在我们已经足够成熟来承受学习的震撼，以此我们来嘲笑我们年轻时候的错误，或者错误地理解教我们的人，或者也许掩饰掉它，掩饰将使得我们更需要老师，他们就像人类的趋向来将他们的一些心血用在工作上，有些时候这些已经不是第一点水了，这是心血，甚至他们是在想他们把"知识"搬了出去，广泛教育形成，他们也许已经认识到他们的句子已经没有新武器的那样的震撼力了，新武器的子弹击倒了一个又一个（但是的确哪个时候我们没有那样的武器），他们也许会被考虑进基础性不确定的留给我们的项目（但是所有构思高明的项目早就被吃光了，就像星星之于月亮），在我们最好的衣服中，只有一件事情可以做，就像操纵有力的战争摩擦来反对我们的妻子一样，她正在完全醒来，滑进有斑纹的闹钟中，扯下羊毛衫，放在为完成的作品上，坚决拒绝在羊毛衫里穿任何凶罩，小心翼翼地想任何听众解释这个拒绝政治上的重大意义，或者观众，但不包括触抹者，因为这没有任何意义，所以他们说，不要管我，只有一件事情要做，就像雷诺茨？

The Palais Stoclet is an immortal and significant work in the history of architecture, and also, it is a masterpiece of the Art Nouveau, it is completely embodied the concept of the Gesamtkunstwerk.

它是建筑史上一件具有不朽价值的作品，也是新艺术运动中的一件杰作，完满地展现了总体艺术的理念。

In an amusing chapter entitled "L' poque des Duchesses", he recounts with relish the fancy-dress balls given by Count tienne de Beaumont, who "encouraged exhibitionism and transvestism" and "always managed to upstage his guests by appearing in one spectacularly androgynous costume after another, designed by himself."

在一个名为"公爵的时代（L' poque des Duchesses）"的有趣章节中，他津津乐道地叙述了艾蒂安纳·德·博蒙特伯爵举行的一场化装舞会，也就是这位伯爵鼓励了毕加索作品中的"裸露癖与异性装扮癖"，他也总是穿着一件又一件由自己设计的引人入胜的两性服装，以设法无礼地对待他的客人。

Wind is a very important media in this work, but I present it in a documental way, what I wanna give to the audience is no longer the work itself but a transformed memory.

这一次我将用一种以文件的方式呈现作品，我要给观众的已不是这件作品本身，而是已转换过的记忆格式。

This week, my castaways are two remarkable brothers who between them have taken the music world by storm.

这个广播史上最长寿的节目，每周邀请被假设将流落荒岛的来宾，挑选八首最钟爱的音乐作品，一本圣经与莎士比亚作品以外的著作，以及一件毫无实用性的奢侈品相伴，藉此与听众分享自己的价值世界。

For he was an artist of everything that survived in the disorder of his own works: pastel seascapes, photographs of children on birthdays and First Communions, copies of Asian jewels, figures made of cow horn, furniture of disparate periods and styles, one piece stacked on the other.

因为他是个艺术家，所有从他杂乱无章的作品中存留下来的艺术成果：彩色蜡笔画的海景画，孩子们过生日或者初次领圣餐的照片，亚洲珠宝首饰的仿制品，牛角做的造型，时代和样式各异的家具，一件迭着一件。

In an amusing chapter entitled "L' poque des Duchesses", he recounts with relish the fancy-dress balls given by Count tienne de Beaumont, who "encouraged exhibitionism and transvestism" and "always managed to upstage his guests by appearing in one spectacularly androgynous costume after another, designed by himself."

在一个名为&公爵的时代（L' poque des Duchesses）&的有趣章节中，他津津乐道地叙述了艾蒂安纳·德·博蒙特伯爵举行的一场化装舞会，也就是这位伯爵鼓励了毕加索作品中的&裸露癖与异性装扮癖&，他也总是穿着一件又一件由自己设计的引人入胜的两性服装，以设法无礼地对待他的客人。

Once again each piece of our fossilised wood furniture and sculptures is a naturally unique and individual creation that remains millions of years old.

值得强调的是，每一件木化石制作的家具与雕塑在自然界都是独一无二的，也都是充满个性化的作品，每一件都经历了数百万年的历史。

Pak's travels, apart from being processes of meeting new things, are also rediscoveries about himself. For this exhibition he created a new work on Guangzhou, where he stayed in a soon-to-be-disappeared Cheng Zhong Cun ("Village in the City").

这次展览他特意做了一件关于广州的作品，他居住在快要从广州消失的城中村创作，让他的作品见证这个城市草根一面的变迁。

Cynanchum Lingtai apricot production in the average weight 65 grams, the brightly-colored fruit, juicy rich, sweet-sour taste, sweet from the nucleolus, when the late Qing Dynasty famous Shaanxi, Gansu provinces, the Qing imperial court Tongzhi tribute for years.

灵台生产的牛心杏平均单果重65克，果实色泽鲜艳，汁多味浓，甜酸适口，离核仁甜，清末时就驰名陕、甘两省，清同治年间曾为朝廷贡品。

Chenopodium album,Solanum nigrum, and Amaranthus retroflexus were very susceptible to the herbicides. Polygonum persicaria and Abutilon theophrasti were relatively less susceptible to the herbicides, and Lycopersicon esculentum was not susceptible to it. The relationship between reduction rates of weed biomass and PPM values of weed leaves 2,4, and 6 days after treatment was established.

供试的6种杂草对该混剂的敏感性存在显著差异：红心藜Chenopodium album、龙葵Solanum nigrum和反枝苋Amaranthus retroflexus对该混剂最敏感，ED90值分别为47.65、71.67和29.17g/hm2；春蓼Polygonum persicaria和苘麻Abutilon theophrasti敏感，ED90值分别为96.91、114.20g/hm2；而番茄不敏感。