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2018年12月12日 04:13:33来源:飞度咨询快交流网

Of course today I am actually standing on a beach, but the coast 500,000-600,000 years ago wouldve been several miles further out. And if youd walked along that ancient coastline, you would have arrived in what nowadays we call The Netherlands, in the heart of central Europe.当然如今这里已经成为海滩,然后远在很多很多以前,海岸线还要向前延伸出几英里远。假如你沿着这此古老的海岸线走下去,你将会最终抵达如今我们称之为荷兰的地区,欧洲中部的心脏地位。At this time there was a major land bridge connecting Britain to mainland Europe. We dont really know why humans colonised Britain at this time, but perhaps it was due to the effectiveness of this new technology that we call the handaxe.在当时,英国与欧洲大陆之间有一条主要的大陆桥连接着。我们真不知道人类当时为什么在英国土地上生息繁衍,然而大概也是因为手斧这种有效的新兴技术吧。”The stone handaxe was made essentially in the same way and in the same shape for over a million years, and it must be the most successful piece of human technology in history. But is there one last secret in the stone? Our handaxe is just a bit too large to use easily.本质上而言,在超过一百万年的时光里,石斧都是按同一种工艺制作,保持同一种形状,所以它真不亚于人类历史最最成功的技术成果了。然而这块石头中究竟还蕴藏着哪一个终级秘密呢?我们这块手斧就是个头有点过大点儿,使用不方便。Why would you make it like that? I showed it to an expert in ergonomic design, the inventor Sir James Dyson:但究竟为何要制作成这样呢?我就些咨询了一位人体工程学设计上的专家、发明家詹斯·戴森爵士:What interests me about this is that its not really very practical. Its double-sided, it has a sharp edge both sides, and its symmetrical. Its almost as though its an object of beauty rather than a practical object. So I wonder actually if its a decorative thing, or even something like a ceremonial sword to make you look brave, powerful, and maybe to pull women.“让我颇感兴趣的倒是它并不十分实用这一点。它有双面,两侧边缘都很锋利,而且相当对称。它看上去简直就像是一件颇俱美感的物品,而不仅仅具有实用性。所以我在思考其实它是否本身是一件装饰品,甚至像一把象征性很强的剑之类的,能衬托出你的勇气与力量,或者用来引吸女士的注意力呢。”It doesnt look to me like a practical tool, it looks to me more like a show object, a decorative object, than a practical object, because I can only see that whatever I do with it Im gonna hurt my hand. So I think its a beautiful object, but I dont believe it has any intent - serious intent - behind it.“反正在我看来它不像是一件实用工具,倒像是一样炫耀品、装饰品,没带多少实用性;因为我能看到无论我怎么使用它,总会弄伤自己的手。因此,我就认为这是一个美丽精致的物品,不过我倒不觉得其身上蕴含着任何特殊的含意。”Of course it is still a practical object, but I think its nonetheless worth speculating, as Sir James Dyson does, whether our handaxe was made a bit too big for easy use, in order to show that it was made for somebody important. Are we looking here at one of the oldest of all status symbols; the expression of a social pecking order?当然,事实上它仍旧是一件实用的物品,但我想它还满值得认真思考的,正如詹姆斯·戴森爵士那样说,是否我们这手斧被“制造”得有点过大不便使用,只为了能突显出它所有人的重要性?我们是否正面对着人类最古老的地位象征物品之一?代表着一个社会的尊卑秩序?And then the handaxe is so pleasing to the eye as well as to the hand, that its hard not to ask if it wasnt to some extent made quite intentionally to be a thing of beauty. Is this the beginning of the long story of art and, indeed, the long story of art being pressed into the service of power?然而这手斧是看上去多么的赏心悦目,拿到手上又多么的玲珑精致,使得我们不由而然地思考是否在某程度上,它是为了呈现美感而制作的。这是否是人类漫长艺术史的开端呢?Or are we just projecting back on to these distant ancestors our own ways of thinking about beauty and status?是否意味着艺术务于权威的开始呢?又或许我们在一厢情愿地以我们自己对美感与地位的认知,来揣测我们那些遥远时光的祖先们?In the next programme were going to be unquestionably in the realm of art - Im going to be looking at a masterpiece of Ice Age sculpture, carved in the tusk of a mammoth.接下来的节目里,我们将毫无疑问地迈进艺术的领域。我将要去寻找一件冰河时期雕刻在猛犸象牙上的不朽杰作。201403/278451。

  • Girl with a Pearl Earring at The Frick《戴珍珠耳环的少女》I studied art history in New York. And when I was a grad student, I spent a lot of time at The Frick. So I know what kind of a special place it is, and I also know that it has a lot in common with the Mauritshuis. The Mauritshuis is a museum that specializes, like no other, in Dutch paintings of the Golden Age, so I think roughly 1450 to 1750.我在纽约读艺术史。当我还是研究生时,我花很多时间在弗利克美术馆里。所以我知道这里是个一个怎样的特别之地,我同样也知道它和Mauritshuis美术馆有许多共同之处。Mauritshuis美术馆是一间与众不同、专门展出黄金时代的荷兰画作,我想大约在1450到1750年间。The Girl with a Pearl Earring was done at the height of that period in the 1660s. All of the other paintings in the exhibition date from roughly the same period from the 17th century, and they all come from Holland.《戴珍珠耳环的少女》是在1660年代那时期的颠峰完成的。展品中的所有其他画作可以追溯回大约17世纪的相同时期,它们全都来自荷兰。We know very little about Johannes Vermeer, actually. We piece together quite a lot of information out of olds, inventories, and legal documents, but that, of course, gives only a partial impression of who he was.我们对于强纳森·维梅尔知道的非常少,真的。我们拼凑很多从旧时代、财产清单、法律文件得到的资讯,但那,当然只给了他身分的部分印象。During his life, we dont know where he studied, where he learned his craft from. We know that he lived in Delft. We know that he painted very few paintings. We think he probably had one patron, the man who bought all of his paintings. We know he had a lot of kids. But we dont...really dont have any way of knowing who he was as a person.在他的人生中,我们不晓得他在哪里求学、他从哪学到他的技术。我们知道他住在Delft。我们知道他画过非常少的画。我们认为他可能有位老主顾,那个买下他所有画作的男子。我们知道他有很多孩子。但我们不...真的没有任何方式了解身为一个人他会是谁。The girl is very timeless and very iconic. And because of that, I think people find her extremely recognizable. Its been helped, of course, by Tracy Chevaliers novel, using the girl as a subject, as well as Peter Webbers film.这女孩是非常永恒、且非常经典的。因此,我认为人们会发现她非常容易认出。它受到,当然,崔西?雪佛兰写的小说的帮助,利用那女孩作为主题,还有彼得?韦伯的电影。And were actually using a lot of social media to promote her. We have been using various platforms—Facebook, Instagram. And we find that she is extremely accessible to a 21st century audience.我们实际上运用许多社交媒体宣传她。我们一直使用各种平台--Facebook、Instagram。我们发现她对二十一世纪的观众来说是非常平易近人的。We have no way of knowing who the model was, if there was a model. She is not a portrait. She is actually a tronie, so she is an idealized figure. And she is not meant to be linked to this specific personality, although many art historians have tried to give her one.我们没有办法知道那模特儿是谁,如果有个模特儿的话。她不是肖像画,她其实是幅脸部特写画像,所以她是个理想化的人物。她并非意图要与这个特定的性格有所连结,虽然许多艺术史学家都试着要给她一种性格。Shes been suggested to be Vermeers eldest daughter, who would have been actually a little bit too young at that time to really look like her. But I think thats part of her timeless appeal people want to connect with her in some way. And giving her a name, I think, makes them feel she is a little bit more real.有人提出她是维梅尔的大女儿,但她可能在当时确实有点太年轻而真的看起来不像她。但我认为那是她的那种永恒吸引力其中一部分,那是人们想要以某种方式和她有所连结的。我认为,给她一个名字让他们觉得她好像有点更加真实。But shes not meant to be real. When we look at her, we wonder, ;Who is she? Who is she turning around the face? How does she come across that enormous pearl that is dangling from her ear?; And we dont know, and these are things we cant possibly know.但她并非打算要成为真实的。当我们看着她,我们想知道:“她是谁?她对谁转过脸?她怎么发现那挂在她耳朵上的巨大珍珠?”我们都不晓得,而这些是我们不可能会知道的事情。And I think this is something you see in so many works by Vermeer. Another thing with the girl is the gaze. When you look at that gaze, she entrances us, and shes both a coed and a seductress, and shes also a wide-eyed innocent. So we really dont know how to interpret her and it keeps us looking.我认为这是你在维梅尔许多作品中会看到的东西。有关这女孩另一件事是那凝视。当你看着那凝视,她让我们出神,而她既是一位女大学生也是一位勾引男性的女人,她同样也是睁大眼睛的无辜女孩。所以我们确实不知道要怎么解读她,它持续让我们看着。201412/349074。
  • I think these ants are stunning looking.我觉得这些蚂蚁长相太神奇了Near-impossible to film, I think, because of the speed they had.几乎不可能拍到 因为他们太快了But, you know, Ive come to love them over the days and weeks.但接触了那么长时间 我已经爱上他们了With the sequence in the bag,拍完了想要的镜头之后Warwick wants the final traditional sunset shot.沃里克想以传统的落日镜头来个收尾Its the best time of day to film sunsets, in the evening.傍晚是拍摄落日的最佳时间Thats experience that tells me that.那都是经验之谈Ive been doing this for years. You learn these things.我从事摄影好几年 有一些经验Thanks to Warwicks experience, including sunsets, he and Kat沃里克经验丰富 他和卡特既拍到了日落have captured the extraordinary life of the speedy silver ant.也拍到了闪电银蚁的神奇生活Over a year later, in Tunisia,一年之后 在突尼斯its time to take down the sand dune cameras.是时候取回沙丘上的照相机了Bonjour!你好Nasser, Amur. Hello again.阿穆尔 纳赛尔 很高兴又见面了So hows it been, has it been good?最近怎么样 一切都好吗Its OK, but two days ago, we have a little bit...small problem.之前都好 只是两天前出了点小问题201405/299956。
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