艺术的

Actually, if we want to seriously discuss about 'Modernity', we'll find out that this issue has an awkward situation in China. Let's forget about the sociological issues and let's simply start from visual arts. The old generation of artists who brought western arts to China, actually brought along western classic arts academism that is just small part of western classic art, and it's far of being exhaustive. Furthermore, what they brought along went through many changes due to the contact with revolutionary realism and local culture. The result of this process was what was called "Modern Art" in China. After having arrived in China, a part of the western artistic academicism became "Chinese Modern Arts" and this misplacement still exists. Perhaps it comes from a creative misreading, however whether it has the capability of becoming an independent system or not, still remains uncertain.

事实上，当我们想认真的讨论"现代性"时，就会发现这一问题在中国有着极其尴尬的处境，且不谈社会学角度，从视觉艺术这个很小的角度切入，将西方艺术带入中国本土的老一代艺术家们带来的其实是西方学院派的艺术，是西方古典艺术的尾巴或被革命现实主义化了的西方古典艺术，而被带入中国本土后却被称为"现代艺术"，直至今日当代艺术在西方的学理支撑到了中国本土变成了被断章取义的只言片语，这其间"错位"一直存在着，或许这是一种有创造性的误读，但误读的主体是否具有独立消化能力的系统值得商榷。

Computer art is composed of computer technology and art. Computer art is a rush of art from analog to virtual, and it breaks the ambit of traditional art.

电脑技术与艺术的结合形成了电脑艺术，电脑艺术是艺术由模拟向虚拟的一次飞跃，突破了传统艺术的界限。

In the first charter , the development of Art of Using Concepts is stated in order to make readers know its proceedment. In the second charter ,the difference between the Art of Using Concepts and Apriorism and Expiricism in order to make readers understand the disparaty of Kant's Apriorism and Expiricism. In the third charter, the relation between true thinking and the Art of Using Concepts so that it's necessary that the Art of Using Concepts needs true thinking. In the former charter, the relation between practice and the Art of Using Concepts which indicates that the Art of Using Concepts is based on the practice.

在第一章中，阐述了"运用概念的艺术"的演化过程，主要是让读者了解一下"运用概念的艺术"的发展变化；第二章阐述了"运用概念的艺术"与先验论和经验论是根本对立的，这一章是为了让读者了解"运用概念的艺术"与康德的先验论，经验主义的区别；第三章主要阐述"运用概念的艺术"与"真实的思维"的关系，说明"运用概念的艺术"需要"真实的思维"；第四章主要阐述"运用概念的艺术"与实践的关系，说明"运用概念的艺术"是建立在实践的基础上的。

The cry of "art for art's sake" locked artists within the ivory tower of pure art, which caused the relationship between the public and contemporary art to become distant and remote.

艺术为艺术而艺术的口号，将艺术家锁进了纯艺术的象牙塔内，使得群众和当代艺术的关系变得遥远而疏离。

Although Science of Design Art and the education of design art of the time have made a rapid progress in China, the faculty construct and theory research of design art keep developing tardily, furthermore the object of the research of Science of Design Art is not very legible and the academic frame of the Science of Design Art research still has not been built.

一、设计艺术学释义设计艺术学是一门关于设计艺术的科学。设计艺术具有物质和非物质两个层面。在物质层面上，它是人类造物的艺术方式，它创建艺术质的人造物系列；非物质层面，它同样采用艺术设计方式，对事物进行筹划、安排，如社会发展规划、城市发展规划等等。

The primary character of vulgar sociology is that the art should serve the politics as a propagandistic tool;the research on art is mainly oriented to the relationship between art and society,art and politics,art and classes.

庸俗社会学长时间占据了中国的学术界，其基本特点是强调艺术为政治服务的，艺术简单地充当宣传的工具，对艺术的研究主要围绕艺术与社会、艺术与政治、艺术与阶级的关系。

The thesis probes into Schoenberg' thinkings about music history, music nationalism, music education, music criticism, and music creation, respectively. There are some important viewpoints in Schoenberg's music thought: Firstly, Schoenberg's ideas of music history, he believes relationship of tradition and revolution in art is dialectical in nature, and argues that evolution in music was determined by natural law, obviously influenced by Hegel's philosophical history idea. Secondly, the thesis sums up his viewpoints of music nationalism, such as "lay stress on art music, look down on folk music","lay stress on western European music, look down on non- western European music" by Schoenberg's account about the reasons of the formation of national art, the dominant of national art and nationality in music; in fact, this viewpoint of western cultural centricity is one of his i mportant viewpoints throughout his life; Thirdly, Schoenberg's concept of music education: in his thought a composing teacher should teach the students how to master "the tool of art", train them for their ability of "one major and various kinds of techniques", try his best to nourish the student's personality; Fourthly, Schoenberg set forth some opinions about modern music critics and the method of music criticism: a music critic must be equipped with the quality of a music expert, and render composer's idea to the public by his art imagination, but not his personal opinion,and Schoenberg stress the areas of music criticism on style and idea ; Lastly, Schoenberg's concept of music creation: Expressionism and organism are two important issues in Schoenberg's thinking about music creation.

本文通过对勋伯格各类论文、书信、演讲、专著等文稿的评述，分别探讨了作为音乐思想家的勋柏格的音乐历史观、民族主义音乐观、音乐教育观、音乐批评观与音乐刨作观，并在此基础上总结了折射在勋柏格音乐思想中的几个重要观点：一，勋柏格对于音乐历史的认识：通过德奥音乐界前辈给予他的创作启示，以及勋伯格对自己几个创作阶段的发展历程的总结，阐述了他对于艺术中的传统与革新之间的关系的辩证认识，并通过这些问题总结出音乐的演进与黑格尔倡导的&历史发展必然性&哲学观念之间存在着必然联系；二，勋柏格的民族主义音乐观：通过勋柏格对于形成民族艺术特征的根本原因、民族艺术中的支配现象、民间音乐与艺术音乐之间的比较、音乐刨作中的&民族性&问题的意识等方面问题的剖析与认识，总结了他的&重艺术音乐，轻民间音乐&、&重西欧音乐，轻非西欧音乐&的观点，从而突出了他的精神领域中的根深蒂固的&德奥音乐中心论&，这是一个浸润着浓厚的西欧文化中心论色彩的观点，也是贯串他毕生的音乐思想的重要观点之一；三，勋柏格对音乐教育问题的见解：勋柏格认为作曲教师应该教会学生掌握&艺术的工具&、在教学中努力做到&一专多能&、注重个性培养；四，勋柏格对当代音乐批评家与音乐批评方法提出的要求：音乐批评家必须具备作为一名音乐家的专业修养，要以真实、客观的态度对待音乐批评这门神圣的职业，充分运用内心的艺术联想向公众再现作曲家的意图，而不是将个人见解强加于受众；同时，批评家需要对艺术的过去与未来拥有全面的了解与较准确的预测，在音乐批评的具体范畴中，应将重心角度置于探讨音乐作品的风格与思想之间的关系方面。

Then we should re-explain art.

文章把现代主义艺术的抽象化进程作为第一部分：印象主义的崛起，后印象主义，现代主义的发展，这是一个艺术逐渐抽象的过程；杜尚以后的艺术作为第二部分：杜尚与达达主义，超现实主义，装置与新达达主义，波普艺术，从极少艺术到观念艺术，新具象艺术，这是一个以具象形式对抽象主义的反拨。

Visitors can give photograph dissatisfactions or proposals owing to these are too nasty and erotic. But All of those insult, slander or disrespectful remarks will be despised, even isn't welcomed, and who are simultaneously condemned by all the arts-loving colleagues, Because they are not for me or you, but it belongs to everyone who is fond the body art in the world.

但是所有对这些艺术相片的凌辱、毁谤或不敬的言谈将被小望鄙视，甚至不受欢迎，人体艺术图片与淫秽图片的区别；并同时受到所有酷爱人体艺术的同仁们的谴责，因为她们不是属于你的或我的，而是属于世界上暖爱女性人体艺术的人；如果面对女性人体艺术，你怀着不是一颗赤诚的心，请马上分开本空间，至少请务必尊敬艺术，尊敬他人，更尊敬你自己，台州黄岩人体艺术摄影。

Some of the best paintings in Japanese art can be found on sliding doors and folding screens. Famous artists, such as Hokusai or Hiroshige, made woodblock prints for the public. Distinctions between notions such as fine art and applied art, or high art and low art, do not exist. These distinctions appeared and became standards in Western art history. In Japan, with its different social and cultural background, these classifications were not made. Although the Japanese art system has been westernized over the past one hundred years, there still exists a cultural tradition that encourages artists and the audience to share artistic experiences outside art venues.

艺术跟相同领域的之於西方并不是那麼绝对，因为艺术本身的目的不同这是众所皆知，一些日本最好的图画可以在传统木门或是屏风上发现，有名的艺术家像是Hokusai 或是 Hiroshige他们在公开场合做版画，若要区别纯艺术和传统艺术，或高等和低等艺术的看法是不存在的，这些区分在西方艺术史上成为规范，而日本不同的社会文化背景这种区别根本不适用，虽然日本的艺术系统在近百年来已被西化，但是他们仍保有鼓励艺术家和观众在艺术馆外面分享艺术的文化传统。

Methods: Five patients with parkinsonism or dystonia were assigned to general anesthesia using an modified endotracheal tube.

本实验依照人体实验之相关规定进行，五位患有帕金森氏症或肌张力异常的病人接受神经立体定位手术。

If you can benefit from this book, it is our honour.

如果您能从本书获益，这将是我们的荣幸。