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福建省厦门妇女儿童医院做去疤手术多少钱厦门欧菲整形医院电话号码;I would like you to be more self-reliant,show more initiative,and take greater personal responsibility--but check with me first!;我希望你能更独立,更有闯劲,更有责任感,----但是,凡事必须首先和我联系。 /201507/386336湖里区开韩式双眼皮多少钱 A few weeks ago, I asked ers to send in essays describing their purpose in life and how they found it. A few thousand submitted contributions, and many essays are online. I’ll write more about the lessons they shared in the weeks ahead, but one common theme surprised me.几周前我向读者征文,请大家说一说自己的人生目标是什么,以及他们是如何找到自己的目标的。有几千人投了稿,其中很多文章已经放在网上了。未来几周里,我会围绕他们分享的经验再写几篇,不过有一个普遍的主题是我之前没有想到的。I expected most contributors would follow the commencement-speech clichés of our high-achieving culture: dream big; set ambitious goals; try to change the world. In fact, a surprising number of people found their purpose by going the other way, by pursuing the small, happy life.我本以为多数投稿人会落入我们的成功文化窠臼,说些大学毕业典礼演讲式的套话:要心比天高;立下远大的志向;致力于改变世界。然而实际上,数量惊人的投稿人反其道而行之,通过追求一种幸福的小日子找到了自己的人生目标。Elizabeth Young once heard the story of a man who was asked by a journalist to show his most precious possession. The man, Young wrote, “was proud and excited to show the journalist the gift he had been bequeathed. A banged up tin pot he kept carefully wrapped in cloth as though it was fragile. The journalist was confused, what made this dingy old pot so valuable? ‘The message,’ the friend replied. The message was ‘we do not all have to shine.’ This story resonated deeply. In that moment I was able to relieve myself of the need to do something important, from which I would reap praise and be rewarded with fulfillment. My vision cleared.”伊丽莎白·扬(Elizabeth Young)说她听过一个故事。故事里,一个记者让一个人展示一下他所拥有的最宝贵的东西。扬写道,那人“十分骄傲而激动地向记者展示了他收到的一份礼物。一只破旧的锡壶,被他小心翼翼地用布包着。记者懵了,这么一个破玩意为何如此宝贵?‘启示,’那位朋友答道。它带来的启示是,‘不是所有人都需要发光。’这个故事给我很大触动。在那一刻,我认识到我不必强求自己去做重要的事,并为此得到赞誉,获取成就感。我的视野清晰起来。”Young continues, “I have always wanted to be effortlessly kind. I wanted to raise children who were kind.” She notes that among those who survived the Nazi death camps, a predominant quality she noticed was generosity.扬接着说,“我一直希望自己能有一种自然而然的友善。我希望能养育出友善的孩子。”她注意到,在那些纳粹死亡集中营的幸存者身上,最常见到的一种特质就是宽宏大量。“Perhaps,” she concludes, “the mission is not a mission at all. ... Everywhere there are tiny, seemingly inconsequential circumstances that, if explored, provide meaning” and chances to be generous and kind. Spiritual and emotional growth happens in microscopic increments.“也许,”她总结道,“我的使命根本就不是一项使命……随处都能遇到这样的情形,看起来琐碎、无关紧要,但一经探究,就能产生意义,”让你有机会成为一个宽容、友善的人。精神和情感成长的进度是非常细微的。Kim Spencer writes, “I used to be one of the solid ones — one of the people whose purpose was clearly defined and understood. My purpose was seeing patients and ‘saving lives.’ I have melted into the in-between spaces, though. Now my purpose is simply to be the person ... who can pick up the phone and give you 30 minutes in your time of crisis. I can give it to you today and again in a few days. ... I can edit your letter. ... I can listen to you complain about your co-worker. ... I can look you in the eye and give you a few dollars in the parking lot. I am not upset if you cry. I am no longer drowning, so I can help keep you afloat with a little boost. Not all of the time, but every once in a while, until you find other people to help or a different way to swim. It is no skin off my back; it is easy for me.”金·斯班瑟(Kim Spencer)写道:“我原本属于铁板一块的那种人——就是对人生目标有很清晰的定义和理解。我的目标是看病‘救人’。不过我已经融入了某种中间状态。现在我的目标就是做一个人……一个可以拿起电话,花上30分钟和陷入困境的你交谈的人。我今天可以给你这么长时间,过几天还可以再给你……我可以编辑你的信件……我可以听你抱怨同事……我可以看着你的眼睛,在停车场给你几块钱。我不会因为你哭而心烦。我已经不再下沉,所以我可以轻轻托着你,让你也浮起来。我做不到随时奉陪,但每隔一段时间有一次是可以的,直到你找到别的人帮你,或者学会了换一种办法游泳。我没什么损失,对我来说是小事一桩。”Terence J. Tollaksen wrote that his purpose became clearer once he began to recognize the “decision trap”: “This trap is an amazingly consistent phenomena whereby ‘big’ decisions turn out to have much less impact on a life as a whole than the myriad of small seemingly insignificant ones.”泰伦斯·J·托拉克森(Terence J. Tollaksen)写道,自从开始意识到“决策陷阱”的存在,他的人生目标就变得清晰起来:“这种陷阱是一种一致性惊人的现象,就是说你会发现一些‘重大’决定对整个人生的影响,其实远没有许许多多看起来不起眼的小事大。”Tollaksen continues, “I have always admired those goal-oriented, stubborn, successful, determined individuals; they make things happen, and the world would be lost without them.” But, he explains, he has always had a “small font purpose.”托拉克森接着说,“我从来都很钦佩那些目标明确、执着、成功、坚定的人;他们都是能成事的人,世界需要他们。”但他解释说,他一直都有一个“用小字写的目标”。“I can say it worked for me. I know it sounds so Midwest, but it’s been wonderful. I have a terrific wife, 5 kids, friends from grade school and high school, college, army, friends locally, and sometimes, best of all, horses, dogs, and cats. Finally, I have a small industrial business that I started and have run for 40 years based on what I now identify as principles of ‘Pope Francis capitalism.’ ”“我能说的是这适合我。我知道听起来太中西部了,但是效果很棒。我有个了不起的妻子,五个孩子,有从小学、中学、大学、部队就认识的朋友,还有本地的朋友,最好的是有时候还有马、、猫。最后,还有我自己创办的一家小型工业公司,已经经营了40年,我经商是有原则的,我现在管它叫‘方济各教宗资本主义’。”Hans Pitsch wrote: “At age 85, the question of meaning in my life is urgent. The question of the purpose of my life is another matter. World War II and life in general have taught me that outcomes from our actions or inactions are often totally unpredictable and random.”汉斯·皮什(Hans Pitsch)写道:“我85了,人生意义是一个紧迫的问题。人生目标的问题就另当别论了。第二次世界大战以及我的整个人生让我明白,我们的作为和不作为造成的结果,往往完全是不可预测的、随机的。”He adds, “I am thankful to be alive. I have a responsibility to myself and those around me to give meaning to my life from day to day. I enjoy my family (not all of them) and the shrinking number of old friends. You use the term ‘organizing frame’ in one’s life. I am not sure if I want to be framed by an organizing principle, but if there is one thing that keeps me focused, it’s the garden. Lots of plants died during the harsh winter, but, amazingly, the clematises and the roses are back, and lettuce, spinach and tomatoes are thriving in the new greenhouse. The weeping cherry tree in front of the house succumbed to old age. I still have to plant a new tree this year.”他接着说,“对能活着我心存感恩。每一天我都要过得有意义,这是我对自己、对身边的人的责任。我喜欢跟(一部分)家人和(越来越少的)老朋友在一起。你将术语‘组织框架’用在一个人的一生中。我不知道该不该用一个系统的原则去规限自己,但是有一件事是我始终专注的,就是我的花园。很多植物死于严冬,但铁线莲和玫瑰奇迹般地活过来了,生菜、菠菜和番茄在新盖的温室里长得很好。房前的樱桃树没精打采,已经活到头了。今年开始得种一棵新的。”This scale of purpose is not for everyone, but there is something beautiful and concrete and well-proportioned about tending that size of a garden.#9744;人生目标的标尺并不适用于所有人,但在打理那么大一个花园的过程中,你能看到某种美丽、切实、均衡的东西。 /201506/380051Le Richer looks like dozens of other modernised Paris cafés, with 1960s-style chairs, exposed stone walls brightened with mirrors, and bay windows looking on to an unremarkable Right Bank street. The coffee provides the first clue that something is different: made with beans from the fashionable Left Bank roaster Coutume, it reveals an attention to detail increasingly common in bistros but still rare in the neighbourhood café. The same care goes into the inventive food served at lunch and dinner, which easily rivals that of much pricier restaurants in Paris.Le Richer与巴黎诸多现代风格的咖啡屋大同小异——配备着上世纪60年代风格的椅子、裸露的石墙因挂有镜子而显得蓬荜生辉,透过飘窗可眺望右岸地区(Right Bank)的寻常街道。它提供的咖啡就是展现自己与众不同的第一道风景线:其咖啡豆来自时尚左岸地区(Left Bank)的Coutume咖啡烘焙店,Le Richer对每个细节都精益求精,这在巴黎的餐厅越来越司空见惯,但在周边咖啡屋仍属凤毛麟角。同样的事无巨细态度还体现在独出心裁的午餐和晚餐,与巴黎价格不菲的高档餐厅相比,它们的水准毫不逊色。Combining the warmth of a local hangout with the high standards of a modern bistro, Le Richer belongs to a handful of hybrids that are transforming Parisian café culture. Instead of contenting themselves with bitter mass-produced coffee and a predictable of salads, croque-monsieurs and steak-frites, these gastro cafés are allowing ambitious chefs to express themselves in a casual setting.Le Richer把本地人流连忘返的温馨感与现代风格小餐馆的高水准合二为一,作为为数不多的混合经营咖啡馆,正在改变巴黎的咖啡文化。它们并不为大量提供苦咖啡以及一般的沙拉、法式火腿干酪热三明治(croque-monsieurs)以及薯条牛排(steak-frites)而沾沾自喜,相反,这些美食荟萃的咖啡屋允许有抱负的厨师在宽松的环境中肆意发挥。Le Richer was created by Charles Compagnon of the nearby bistro L’Office. His no-reservations annex might look more relaxed but Le Richer’s young chefs are turning out sophisticated dishes such as veal cheek with creamy polenta, daikon radish and grapes. Churros are a speciality for dessert, perhaps with walnut crème anglaise, prunes and figs. The chatty waiters joke with customers at the bar, while the bartender shakes up cocktails such as the cucumber slide or the kiwi-kiwi. The organic and natural wines come from passionate small producers, as does the tea served in the afternoons.Le Richer由夏尔#8226;孔帕尼翁(Charles Compagnon)在毗邻L’Office小餐馆的地方创办。它不接受预订的附加条件也许看起来很随意,但年轻厨师精心推出了用奶油玉米、白萝卜以及葡萄搭配的牛颊肉这等精美绝伦的大餐。巧罗丝(churros)则是本店的特色甜点,也许再配以英式核桃奶油酱、梅干以及无花果。健谈的务员不时与顾客在酒吧间开着玩笑,而酒吧间务员则在调制cucumber slide与kiwi-kiwi鸡尾酒。这些天然有机葡萄酒由小型酒庄精心酿制,它供应的下午茶同样如此。A precursor to places like Le Richer was Café Constant, the popular bistro annex of Michelin-starred chef Christian Constant’s more formal restaurant Le Violon d’Ingres. Constant has since opened a second casual restaurant, Les Cocottes, and helped launch the seafood restaurant Les Fables de la Fontaine – both also on rue St-Domininque in the smart 7th. But Café Constant remains his favourite place to perch at the bar with an unlit cigar in his mouth and survey his mini-empire. Though it closes between lunch and dinner, it’s open all morning for breakfast, making it a friendly meeting spot in this neighbourhood of moneyed families and politicians.Le Richer这类咖啡屋的“始作俑者”是远近皆知的Café Constant,它是米其林星级厨师克里斯蒂安#8226;康斯坦特(Christian Constant)名下较为正规的Le Violon d’Ingres餐厅的分设咖啡屋。康斯坦特随后又开设了一家更为休闲的Les Cocottes餐馆,并且帮助开设了Les Fables de la Fontaine海鲜酒楼——这两家餐厅都位于时尚第七区的圣多米尼克街(rue St-Domininque)。但Café Constant仍是康斯坦特最喜欢的咖啡屋,他喜欢坐在酒吧间,嘴里叼着雪茄,得意地扫视自己的“迷你帝国”。尽管它在午餐与晚餐之间关门歇业,但整个上午都都开门供应早餐,这使它成为附近富裕家庭与政客们青睐的聚餐之地。Instead of the complex food served at Le Richer, Café Constant’s kitchen focuses on revisiting such childhood classics as eggs mimosa, veal cordon bleu and roast chicken – and even a French grand-mère would have trouble rivalling its versions. If some more modern dishes make it on to the , such as grilled prawn tart with baby spinach salad and frothy lemongrass sauce, the desserts are the stuff of nostalgic fantasies: profiteroles, floating island, crème caramel, flaky apple tart. Often abused in ordinary cafés, these puddings reclaim their rightful place here.与提供复杂美食Le Richer不同的是,Café Constant专注于提供让食客重温鸡蛋含羞草、蓝带牛肉以及烤鸡这些儿时的美味佳肴——制作水准甚至连法国老奶奶也望尘莫及。如果说用凉拌嫩菠菜及起泡柠檬香草酱搭配的烤虾挞是菜单中不断推陈出新的现代菜,那么空心甜饼、覆有蛋白的蛋糕、焦糖蛋奶以及片状苹果馅饼就是回味无穷的经典怀旧甜点。在一般咖啡屋通常不受待见的这些甜点在这儿算是重新找到了自己的归宿。Another restaurant offshoot is Buvette, where the chef simmers free-range chicken in red Burgundy for classic coq au vin, a dish rarely seen in bistros nowadays. Behind this cosy café billing itself as a “gastrothèque” is Jody Williams, who opened a nearly identical restaurant in Greenwich Village in 2011 before realising that Paris could also benefit from a dose of old-fashioned French cooking.另一家高档餐厅下设的咖啡屋是Buvette,那儿的大厨用勃艮第红酒慢炖散养鸡,烹制出经典的酒闷仔鸡(coq au vin),这道菜如今在小餐馆里已经难觅踪影。这家自诩美食荟萃(gastrothèque)的温馨咖啡店店主是乔迪#8226;威廉姆斯(Jody Williams),他2011年在格林尼治村(Greenwich Village)开设了几乎一模一样的餐厅,而后意识到传统法式烹饪也可大飨巴黎的美食饕餮。Croissants sit on the counter beside American cakes in the morning, while at lunch and in the late evening the croque-monsieur on country b with pickles on the side puts most Paris cafés to shame. Heartier dishes such as l’os à moelle (bone marrow) and cassoulet take centre stage at dinner, though small plates – black pudding with apple on toast, or salads (perhaps raw Brussels sprouts tossed with Parmesan shavings) – are also available. As at Le Richer, the coffee, wine and cocktails are top-notch.每天早上,羊角面包与美式蛋糕一起摆在柜台上;而午餐以及晚餐时,放在乡村面包上的法式火腿干酪热三明治,旁边再配以腌菜,让巴黎多数咖啡屋无地自容。骨髓以及豆焖肉等热菜尽管用小盘子盛放,却是晚宴的压轴菜——此外还供应吐司面包上放着苹果黑布丁及沙拉(或许是洒着干酪屑的生球芽甘蓝)。在Le Richer咖啡屋,咖啡、葡萄酒以及鸡尾酒都是出类拔萃的水准。Where the down-to-earth yet charming café Le Cherche Midi once stood, Café Trama has created a winning formula with its old-meets-new decor of vintage tiles and Swedish furniture – and food that reflects the same spirit. Among the dishes listed on the blackboard are lentils with poached eggs and mackerel, and an unlikely but successful steak tartare flavoured with ginger and lemongrass.在原先实在却又可人的Le Cherche Midi咖啡屋原址上,Café Trama咖啡屋创建出成功模式——用仿古瓷砖与瑞典式家具打造出传统与现代合二为一的装修风格,而它的饮食也体现了同样风格。菜单就写于黑板上,其中包括了荷包蛋与鲭鱼搭配小扁豆,以及可欲不可求却又美味无比的生姜与柠檬香草做就的鞑靼牛扒。Most tempting of all are the cakes, including a chestnut fondant made from a secret Trama family recipe and an exquisite lemon tart. The coffee is from Veronese roaster Gianni Frasi, and the same care goes into the list of organic and natural wines. Open from 11am to 10.30pm and with surprisingly reasonable prices, Café Trama has become one of the best places to linger in this chic neighbourhood.最让人垂涎欲滴的莫过于各种蛋糕,其中包括用特拉马家族(Trama famil)独门配方制作的板栗软糖与无比精致的柠檬塔。咖啡则来自意大利维罗纳烘焙厂家Gianni Frasi,而各种天然有机葡萄酒同样精挑细选。Café Trama咖啡屋的营业时间是从上午11点到晚上11:30,而且价格颇为公道(这很出乎意料),它已成为巴黎时尚第七区最为流连忘返的地方。Rosa Jackson is a cooking teacher and food writer based in Nice and Paris罗莎#8226;杰克逊是长驻尼斯与巴黎的烹饪教师及美食作家 /201501/355059厦门市第二医院有美白针么

在厦门吸脂去双下巴多少钱A project established for the public to report issues with trees in their local council has taken a curious turn, after every tree in the city was given its own email address. The Urban Forest Strategy in Melbourne began in 2013, with the intention restore the city#39;s connection with its natural side.2013年,墨尔本市发起了“城市森林战略”,旨在让城市更具自然气息。通过该项目,公众可以反映其所在市政区的树木问题。自从城中所有树木都有了专属邮箱地址后,事情就发生了奇妙的转变。Thousands of trees were given ID numbers and email addresses so locals could report any problems, but soon love letters to the trees began to pour in from around the world. From Melbournians thanking the trees for providing air, to a child asking what it feels like when leaves fall off, the trees have received over 3000 emails. Coming from as far as Russia, Germany, the US, the UK, Hungary, Moldova, Singapore, Brazil, Denmark and Hong Kong, the letters often ask questions of the trees.几千棵树均有自己的标识号和电子邮箱地址,当地人可以反映任何问题。然而不久之后,写给树的情书铺天盖地,从全世界各个角落寄了过来。从墨尔本人感谢树木所提供的清新空气,到儿童问当树叶飘落时树是什么感觉,这些树收到了3000多封电子邮件。它们来自遥远的俄罗斯、德国、美国、英国、匈牙利、尔多瓦、新加坡、巴西、丹麦和香港等地,邮件里经常出现对树的问寻。#39;How old are you?#39; is one commonly asked , while other writers request photos of the trees they are conversing with. The most emailed tree is a Golden Elm on busy Punt Road, who was described by one person as The Magic Faraway Tree, from Enid Blyton#39;s childhood classic.最常见的问题是:“今年多大啦?”一些人会向自己正在交流的树木索要树照。位于繁忙的普特路的金叶榆收到的邮件最多,有人将它描述为安迪#8226;布莱顿儿童经典作品中的“远方的魔法树”。#39;You are my favorite tree in all of Melbourne! Even if you do need a little bit of help under that great leafy canopy#39;, wrote one nature enthusiast.一位自然爱好者写道:“你的树冠太浓密了,确实需要那么一丢丢帮助,不过,你还是墨尔本城中我最爱的树!”#39;Do you remember when I used to drive by you?#39; asked L in their letter.L在信中问:“还记得我过去常常开车从你身旁驶过吗?”#39;You are my favorite tree, even though you make me stoop over during my morning run when you grow too big#39;, emailed another to the Golden Elm.还有一封给金叶榆的信写道:“每天晨跑时,我不得不从你庞大的身躯下弯腰而过,尽管如此,你却是我最爱的树。”Sometimes if people are so lucky, the trees respond to questions asked in emails. #39;So lovely to be appreciated. I am lucky to be well looked after#39;, the Golden Elm wrote in response to one letter.如果你足够幸运,这些树还会给你回信答疑呢。金叶榆回信道:“被欣赏的感觉如此妙不可言。我很幸运能被照顾得无微不至。”Chair of the City of Melbourne#39;s Environment Portfolio Cr Arron Wood said the initiative was launched in an effort to save hundreds of trees lost to droughts. #39;Melbourne has long been regarded as Australia#39;s #39;garden city#39;, but 13 years of drought in tandem with severe water restrictions left the City#39;s urban forest in a state of unprecedented decline,#39; he said. #39;By 2009, 40 per cent of our significant trees were declining or dying.#39;墨尔本环境投资主席亚纶·伍德议员表示,此计划旨在拯救成百棵因干旱而消失的树木。“墨尔本一直被视为澳大利亚的‘花园城市’,但是长达13年的干旱加上水资源严重匮乏,导致墨尔本城市森林处于空前的下滑状态。截止到2009年,40%的贵重树木已衰退或死亡。” /201507/386266厦门疤痕整形医院 MADRID — Guards make sure visitors to the Museo del Prado stay at arm’s length from its masterpieces. But here on a recent morning was José Pedro González running his fingers over one of El Greco’s most famous paintings, “The Nobleman With His Hand on His Chest.” He went back and forth over the nobleman’s eyes, rubbed his beard and eventually reached his hand, tracing the edges of each digit.马德里——在普拉多物馆,保安需确保参观者与画作保持一定距离。不过,最近的一个早晨,何塞·佩德罗·冈萨雷斯(José Pedro González) 把手指放在了画作《手抚胸膛的贵族男人》(The Noble man With His Hand on His Chest)上,这是埃尔·格列柯(El Greco)最著名的作品之一。冈萨雷斯在贵族的双眼上来来回回,挲他的胡子,最终抵达他的手部,感受着每根手指的轮廓。The work, of course, was a copy. But more surprisingly, the copy was in three dimensions so that Mr. González, who is 56 and has been blind since the age of 14, could experience the painting firsthand.当然,这幅画是一件复制品。不过比这件事更令人惊讶的是,这幅画是三维的,正因如此,现年56岁、14岁失明的冈萨雷斯可以亲身感受它。“It’s an unbelievable sensation,” Mr. González said. “I’m feeling this painting down to the detail of each fingernail.”“这种感觉太神奇了,”冈萨雷斯说,“我能感受到他每个指甲盖上的细节。”Mr. González was visiting a small, highly unusual exhibition, “Touching the Prado,” designed to give the blind or those with limited sight an opportunity to create a mental image of a painting by feeling it. The show, which runs through June 28, occupies a side passage of the museum, near a room that contains an original of another work copied for the blind: a version of the Mona Lisa by a pupil of Leonardo da Vinci. Altogether, six 3-D copies are on display, all of them rendering famous works in the Prado. They include Goya’s “The Parasol”; a still life by van der Hamen; “Apollo in the Forge of Vulcan” by Velázquez; and “Noli Me Tangere,” Correggio’s painting of Christ meeting Mary Magdalene.冈萨雷斯参观的是一个规模很小但极不寻常的展览,名为“触摸普拉多”。这个展览为失明者和视障人士提供机会,使他们通过触觉在心中生成作品的图像。展览位于普拉多物馆的一条侧廊内,将持续到今年6月28日。在走廊附近的一个屋子里,陈列着此次展览另一幅展品的原作,即列奥纳多·达·芬奇(Leonardo da Vinci)的学生所作的《蒙娜丽莎》。“触摸普拉多”一共展览了六件画作的三维副本,全部来自普拉多的知名馆藏,另外四件是戈雅(Goya)的《阳伞》(The Parasol)、范·德·哈曼(van der Hamen)的静物画、委拉斯奎茲(Velázquez)的《阿波罗在伏尔甘的熔炉》,以及柯雷乔(Correggio)描绘耶稣会见抹大拉玛利亚的作品《别碰我》。The exhibition is one of the most sophisticated yet in efforts to unlock the beauty of the visual arts for those unable to see them. The Metropolitan Museum of Art in New York and the National Gallery in London are among several museums that organize activities for blind visitors, including special guided tours, drawing classes, and “touch” workshops, in which blind people can feel sculptures. The Louvre in Paris also has a Tactile Gallery that contains copies of some of its sculptures.这个展览为盲人开启了欣赏视觉艺术之门,是类似尝试的典范之一。其他一些物馆也曾做出相应努力,如举办有特殊引导的参观活动、开展绘画课程和“触觉”工坊等,在“触觉”工坊内,盲人可以触摸雕塑。纽约大都会艺术物馆(The Metropolitan Museum of Art)和伦敦国家美术馆(National Gallery)就在这么做。巴黎的卢浮宫也设有触觉画廊(Tactile Gallery),展出馆内部分雕塑的副本。Other examples include the Museo Nacional de San Carlos, in Mexico City, which was among the pioneers in using collage to reproduce paintings that could be felt by the blind, and the Denver Art Museum, which has been collaborating with Ann Cunningham, an art teacher at the Colorado Center for the Blind, to create tactile art.另有一些物馆利用拼贴画来再现作品,供盲人体验,墨西哥城的圣卡洛斯物馆(Museo Nacional de San Carlos)是此类方法的先行者之一。丹佛艺术物馆(Denver Art Museum)则与科罗拉盲人中心(Colorado Center for the Blind)的艺术老师安·坎宁安(Ann Cunningham)合作,创造触觉艺术。Ms. Cunningham said she had seen “real momentum” recently in making art accessible to the blind. She attributed part of the growing interest in tactile art to the fact that “blind educators figured out that they definitely need to make information more accessible to students” because “as textbooks got more and more heavy on the graphics, all that information that students used to get through text was beginning to pass them by.”坎宁安说,最近在为盲人创作可触艺术时,她找到了“真正的动力”。她将人们对于触觉艺术与日俱增的兴趣部分归结于“盲人教育者发现,他们得让信息变得更容易为学生所接触到”,因为“随着教科书中的图片越来越多,过去学生能够从文字获取的信息,现在接触不到了。”The idea that blind people should touch 3-D print copies of paintings, however, goes significantly further than other efforts to make art accessible, and it represents a costly investment as well as a technological challenge.然而,就为盲人接触艺术提供便利而言,制作画作的三维版本比其他方法意义更大,而且它也意味着高额的投资和技术挑战。In 2011, the Uffizi Gallery in Florence, Italy, exhibited a more modest version of the Prado’s 3-D method, a downsized copy of one of its masterworks, “The Birth of Venus” by Botticelli.2011年,意大利佛罗伦萨的乌菲齐美术馆(Uffizi Gallery)利用普拉多物馆的三维制画法也举办了一个展览,不过规模更小,展品是其馆藏之一、波提切(Botticelli)《维纳斯的诞生》(The Birth of Venus)的缩小版副本。Other Italian museums have followed suit using that method, but without venturing beyond black-and-white copies, according to Fernando Pérez Suescun, the curator of the Prado exhibition, who works in the museum’s education department.费尔南多·佩雷斯·苏埃斯昆(Fernando Pérez Suescun) 是本次普拉多展览的策展人,在普拉多物馆教育部门工作。据他说,其他一些意大利物馆已经对这种方法进行效仿,但没有做出冒险的尝试,展品仅限于黑白版本。“It seemed important to us to add color, because the visually impaired often can still perceive some color,” he said.“对于我们来说,添加颜色似乎很重要,视觉上有障碍的人仍然经常可以感受到一些颜色,”他说。The Prado used a relief printing technique developed by Estudios Durero, a printing company near Bilbao, Spain. Works it has produced also have been displayed in the fine arts museum of Bilbao.普拉多物馆使用的凸版印刷技术来自Estudios Durero,这家印刷企业位于西班牙毕尔巴鄂附近,它制作的作品也在毕尔巴鄂的艺术物馆中展出。Starting with a high-resolution photo of the painting, employees at Durero select textures and features that make sense to enhance for the blind. Next, they create a print, with a special ink, and then use a chemical process to add volume to what would otherwise be a flat reproduction. As part of the chemical process, ultraviolet light is applied to the special ink, so that the print gains a few millimeters of volume while maintaining the colors of the ink, “like if you would add baking powder to a cake,” Mr. Pérez Suescun said.在制作画作的三维版本时,Durero的工作人员首先在一张原画的高分辨率照片上选定利于盲人理解作品的纹理和特征。接下来,他们用特殊的印墨将照片打印。然后,利用化学过程使作品呈现出三维效果,否则,作品就仅仅是二维的。处理过程包括用紫外线照射一种特殊的油墨,从而制作出几毫米高的三维隆起。油墨的颜色并不会因此丢失,“就像在蛋糕加入发酵粉”,佩雷斯·苏埃斯昆说。Each work displayed at the Prado cost about ,680.本次展览的展品单件价值在6680美元左右。The museum’s initiative is also testimony to the special status of the blind in Spanish society, thanks to Spain’s national organization for the blind, known by the acronym ONCE (pronounced OHN-say). Founded in 1938 during the Spanish Civil War, the organization was allowed by Gen. Francisco Franco to run a nationwide lottery. In a lottery-obsessed country, ONCE became an economic powerhouse, while guaranteeing employment, mostly as lottery vendors, to almost all of Spain’s blind citizens to this day. The organization collaborated with the Prado for its project, offering advice on how to improve visits for the blind, notably by leaning the 3-D canvases so that they would be easier to touch. Some of the copies were also downsized slightly from the original artwork.展览体现了盲人在西班牙社会中的特殊地位,这主要得益于一个以”ONCE”(发音为OHN-say)缩写著称的西班牙全国盲人组织。1938年西班牙内战期间,该组织经弗朗西斯科·佛朗哥将军(Gen. Francisco Franco)允许,在全国范围内发售票。在这个对票过分热衷的国家里,ONCE成为了强大的经济团体,直至今天仍为几乎所有西班牙盲人提供就业机会,职位大部分为票售卖。本次展览由该组织和普拉多物馆联合举办。ONCE就如何提高参观质量提供建议,比如摆放靠墙式的三维帆布展板,为触摸画作提供便利。此外,一些画作相比于原作在画幅上稍微缩小。“A painting should really be no more than 120 centimeters wide, because that’s how far a person can comfortably reach without having to move,” Mr. Pérez Suescun said. (That’s roughly 47 inches.)“作品一定不要宽于120厘米(约为47英寸),因为这样就可以在不移动的前提下,舒地触摸作品,”佩雷斯·苏埃斯昆说。An audio guide accompanies blind visitors through the special show, but regular visitors are also provided with an audio guide, as well as a mask so they can relate better to what a blind person perceives. “I think it’s great to integrate the blind even as far as making it possible for them to appreciate paintings,” said Carlos Hernández, a 19-year-old student who chose to touch the copies without covering his eyes.参观展览的过程中,音频介绍自始至终陪伴着盲人游客,不过普通游客也可以使用这段介绍,还可以获得一个眼罩,以便更好地体会盲人世界。“我认为让盲人融入进来是很好的,即便只是为他们欣赏艺术提供便利,”19岁的学生卡洛斯·埃尔南德斯(Carlos Hernández)说,他选择不遮挡眼睛触摸作品。Still, Mr. Pérez Suescun said that watching blind visitors discover masterworks was in itself an experience, allowing him to rediscover paintings that he had considered very familiar. “The first question that I got from one of our blind visitors about El Greco’s nobleman was what color were his eyes — and I had to check,” Mr. Pérez Suescun said. “There are really plenty of details to which I had never paid any attention.”佩雷斯·苏埃斯昆也说,观看盲人游客探索优秀作品,本身就是一种经历,这让他重新欣赏原来看似熟悉不过的作品。“我从一位盲人参观者那里得到的有关埃尔·格列柯作品的第一个问题是,他的眼睛是什么颜色——我不得不去确认,”佩雷斯·苏埃斯昆说,“真的有许多细节我之前并没有注意到。”Mr. González had never seen the El Greco portrait of the nobleman, one of the many masterworks in the Prado. But he had visited museums as a child and has continued to do so since going blind, helped by his wife, who describes the paintings to him. “It’s great to look at paintings with my wife and spend time with her, but it’s clearly a big difference when I can discover a painting for myself or have to listen to what she tells me,” he said.冈萨雷斯从未见过埃尔·格列柯的这幅描绘贵族的作品,这是普拉多物馆众多优秀的馆藏之一。不过他小时候参观过物馆,失明之后在妻子的帮助下也仍然继续,他的妻子会把画作形容给他。“在妻子的帮助下去欣赏作品,以及和她共度时光是很美妙的,但显然自己去探索和听她讲给我还是有很大区别的,”他说。Another blind visitor, Andrés Oteo, said touching a 3-D copy “created a clear link between what I feel in my fingers and what is in my mind,” even if there was still room for improvement in terms of defining some textures. On the copy of the Goya painting, he said, “the clothing and the hair felt so similar that I couldn’t distinguish them well.”另一位盲人参观者安德烈斯·奥特奥(Andres Oteo)说,三维展品“在我手指的触觉和我的脑海之间建造了一种清晰的连接”,即便就识别纹理而言,仍有一些改进的空间。针对戈雅的作品,他说,“衣和头发感觉上去很相似,我不是很能分得清。”Mr. Oteo, 56, who went blind from glaucoma 35 years ago, said he had seen the portrait of the nobleman in his youth, but “it’s one thing to more or less remember what it was like and another to be able to touch it in all its details.” He added, “It’s like getting back my eyesight.”56岁的奥特奥35年前因为青光眼失明,他说自己曾在年轻时见过这幅贵族画像,但“能或多或少记住它是一回事,通过触碰感受全部的细节是另外一回事”。他又补充道,“现在,我仿佛重见光明一般。” /201503/367318厦门韩式三点重睑术

厦门市思明区医院可以刷社保卡吗 Every work of Christopher Nolan will puzzled the audience too much, for instance, his previous film Inception. I don`t know my conclusion is correct or not although I`ve seen the film for 4 times. The Interstellar is no exception. The famous physicist Kip Thorne is one creator of the team, and the production of this flim has a solid scientific theory foundation which is definitely obscure and abstract.诺兰大神Christopher Nolan的作品每一次会让观众烧脑,上一部《盗梦空间》Inception看了四遍,最后也不知道自己得出的结论是否正确。这次的《星际穿越》也不例外。这部电影的主创团队中有真实的著名物理学家基普·索恩Kip Thorne,有着坚实的理论基础,而这些理论知识确实有些深奥抽象。In order to make everybody understand the meaning of Interstellar, this passage will explain some scientific terms and theoretical knowledge mentioned in the flim.那么这里为了方便大家观影,就为大家阐释一下影片中提及的一些科学术语及理论吧。1、Murphy`s law墨菲定律The leading man`s daughter in the flim called Murphy, and she is always complaining about the relationship between her name and the unlucky Murphy`s law.片中男主角的女儿名为墨菲,而她总在抱怨自己的名字与不吉利的墨菲定律的联系。Murphy`s law is usually thought to be named after Captain Edward Murphy, a development engineer with the ed States Air Force in the middle of the last century.Murphy`s law is an adage or epigram that is typically stated as: Anything that can go wrong will go wrong.墨菲定律由上世纪中叶一名美国空军工程师爱德华·墨菲提出。墨菲定律是一个格言或警句,通常表示为:有可能出错的地方定会出错。The plots of the film have embodied the correctness of murphy`s law for many times. It can lead tasks to a right direction except messing things up. The hero saved all the human beings with the action of Murphy`s law. We can see from this perspective that the Murphy`s law is a kind of interpretation of probability, and it doesn`t mean bless, good luck or disasters itself.《星际穿越》的情节中多次体现了墨菲定律的正确性,但除了把事情搞砸,它也把任务引向好的方面,最后主角也在墨菲定律的作用下挽救了全人类。从这个角度来理解,墨菲定律是一种对概率的诠释,本身并不指代吉凶祸福。2、Relativity、Relative Theory相对论The theory of relativity, or simply relativity in physics, usually encompasses two theories by Albert Einstein: special relativity and general relativity.相对论是关于时空和引力的理论,主要由爱因斯坦创立,依其研究对象的不同可分为狭义相对论和广义相对论。3.Lazarus拉撒路Lazarus is the subject of a prominent miracle attributed to Jesus in the Gospel of John, in which Jesus restores him to life four days after his death. The name Lazarus is often used toconnote apparent restoration to life.在《圣经·约翰福音》记载的故事中,拉撒路是一个奇迹的主角,耶稣在他死后第四天把他唤醒。拉撒路这个名字通常用于意指恢复生命。4、Wormhole虫洞A wormhole, officially known as an Einstein–Rosen bridge, is a hypothetical topological feature of spacetime that would fundamentally be a shortcut through spacetime.虫洞这一名词诞生于上世纪50年代,是对“爱因斯坦-罗森桥”的一种通俗称呼,它指的是物理学中假想的一种天体,能从更高的维度连接两个遥远的空间点,因此可以使人类突破光速的临界,进行超远距离的宇宙航行。5、Black Hole黑洞A black hole is a region of spacetime from which gravity prevents anything, including light, from escaping. In many ways a black hole acts like an ideal black body, as it reflects no light. The theory of general relativity predicts that a sufficiently compact mass will deform spacetime to form a black hole.宇宙空间内存在的一种超高密度天体,由于类似热力学上它是完全不反射光线的黑体,故名为黑洞。黑洞最主要的影响就是其巨大的引力作用使包括光线在内的一切物质被吸引到起中心,而这巨大的引力也在这中心附近造成了时空的扭曲,也就是所谓的相对论。6、Hyperspace超空间Hyperspace refers to reaching the other end of the universe fast through the multi-dimensional space(we live in 4-dimensional space). Hyperspace refers to the dimensional space which is more than four dimensions. String theory (M theory ) predicts that there should be 11 hyperspatial dimensions.超空间指的是通过多维度空间(我们生活在4维空间),快速的到达宇宙的另一端。超空间是指超过四个维度的空间。弦理论(M理论)预言,应该有11个超空间维度。7、The Slingshot Effect引力弹弓The slingshot effect is used to accelerate a spacecraft in a planetary flyby。NASA calls this a gravity assist, and exploits it to save fuel in missions to outer planets such as Jupiter and Saturn.弹弓效应用于加速飞船在星际间飞行。美国航空航天局称这是一个重力辅助,并利用它来节省执行去木星和土星等外行星的任务时消耗的燃料。 /201411/343547厦门市三医院整形美容厦门妇保医院官网

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