只用一本书提高英语听力能力!重温经典名著双语阅读小编推荐:跟着纪录片学英语不背单词和语法,轻松学英语
返回列表 回复 发帖

[探索发现] 【整理】2008-07-16 The Genius of Photography 摄影演义后传- 11

提高英语听力能力 找对方法很重要!

[探索发现] 【整理】2008-07-16 The Genius of Photography 摄影演义后传- 11

The Genius of Photography 摄影演义


In the course of our 170 year relationship, photography has delighted us, served us, moved us, outraged us and occasionally disappointed us. But mainly, it has intrigued us by showing the secret strangeness that lies beneath the world of appearances. And that is photography's true genius.





电信下载1:
Video download         Mp3 download

电信下载2:
Video download          Mp3 download


【网通/教育网用户】下载 :
Video download         Mp3 download


视听在线DC系列节目链接  

    
版主提示:
一、若是自己的听写稿, 请发帖时标注'Homework'.
二、若是改稿, 请发帖时标注'on 某某人'并在修改处标红.
三、为了达到最快的下载速度,推荐使用迅雷高速下载本站音频/视频材料.

 

 

【整理】——sylvia_qian

For reference only

 

But while Atget cautiously explored the borderline between one kind of reality and another, a photographer with his studio on the same street in Montparnasse was already pushing deep into the territory of the unreal. For Man Ray, the camera was not a machine for making documents, but an instrument for exploring dreams, desires and the medium’s unconscious mind.

 

“He was such a, a natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and they were so perfectly in tune with the moment of Dadaism and surrealism. All these things like making photographs in the dark room just by sprinkling, scattering interesting objects on photographic paper, and then just switching the light on very briefly to allow the image, these objects to imprint themselves on the paper, and then just developing it out, no camera involved. He discovers this solarization process inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminum, they become sort of as, sort of sleek and metallic as those mascots on the front of rather swish, fast cars. They become these super people, also slightly inhuman, slightly robotic.”

 

Man Ray got in on the ground floor of the surrealist enterprise, thanks to his friendship with the artist Marcel Duchamp, and an early encounter with one of his most seminal works.

 

“Duchamp had left dusts to gather on sheet of glass, on which he’d drawn various lines in lead, and this was a stage, one of very many stages in the production of what became Duchamp’s famous work, his magnum opus---The Large Glass. Man Ray had been asked to make some photographs of paintings. So Duchamp said ‘well, why don’t you practice on this, this sheet of glass?’ Man Ray was using quite slow film on a large plate camera, very small aperture. And they open the shutter, go for lunch, come back, close the shutter. And Man Ray processes the film that night, he says the negative was perfect.”

 

Dust Breeding, delights photography’s infinite capacity for ambiguity, unmocks its obligations as a sober recorder of reality.

 

Vocabulary:

 

maverick: If you describe someone as a maverick, you mean that they are 

               unconventional and independent, and do not think or behave in the same way

               as other people.
             He was too much of a maverick ever to hold high office.

in tune: Going well together; in agreement; matching; agreeable.

            Often used with "with".

            In his new job, John felt in tune with his surroundings and his

            associates.

Dadaism: a movement in European art and literature in the early 20th century, in which artists and writers aimed to shock people by ignoring accepted ideas and producing strange, unexpected images.

solarization: a reversal of gradation in a photographic image obtained by intense or continued exposure

                  []负感作用, 反感作用

inadvertently: not deliberately, and without realizing what you are doing:

                     He was a bluff and simple country gentleman who had inadvertently fallen among politicians

mascot: A mascot is an animal, toy, or symbol which is associated with a particular organization or event, and which is thought to bring good luck.

            Our school had a mascot known as Freddy Bird.

got in on the ground floor: To be one of the first members or employees to participate in the growth of a firm, educational institution, etc.

Elliott got in on the ground floor and made a fortune at the company.

seminal: Seminal is used to describe things such as books, works, events, and experiences that have a great influence in a particular field. (FORMAL)

The reforms have been a seminal event in the history of the NHS.

magnum opus: A magnum opus is the greatest or most important work produced by a

                      writer, artist, musician, or academic.

Karl Marx's magnum opus" The Capital" includes abundant ideas of human capital.

aperture: In photography, the aperture of a camera is the size of the hole through which light passes to reach the film.
Use a small aperture and position the camera carefully.
 

 

[ 本帖最后由 sylvia_qian 于 2008-7-20 23:30 编辑 ]

普特在线文本比较普特在线听音查字普特在线拼写检查普特文本转音频

支持普特英语听力就多多发帖吧!您们的参与是对斑竹工作最大的肯定与支持!如果您觉得还不错,推荐给周围的朋友吧~

homework(听的好难受)
--
*cautiously explore the broad line between one kind of reality and other. The photographer with Juliet on the same street on * was ready pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not machine for making documents but instrument for his exploring dreams, desires and midiums and conscious minds.

 

He was such a natural maverick in photographic medium that he almost effortlessly discovered all these ways to be a photographer. But no one had thought of before, and there were so perfectly in tone with the moment of daughter * surrealism. All these things like making photographists in dark room just by sprinkling, sketching, interesting objects. On photographic paper not just swifting life on briefly to allow these * pieces of objects to print themselves on the paper, and then just developing it out. No camera involved. He discovered the solarization process in a vertantly  been late 1980s, and he makes people look as there their faces made of aluminium, they become sort of as subseque and metalic as the masker *of ravishing Swish fast cars. They become these super people, also side in humane side in robotic.

 

Man Ray got into the ground floor of * thanks to his friendship but the artist *. And earlier in counter which one of the most seminal works.

 

*had left us together, or she is brass, on which she draw very sleasing led, and this was stage one of many stages in the production of work become into famous works,it’s * the large brass. Man Ray has been asked to make some photographs of paintings. So do you trance what you practise on this, this sheet of brass. Man Ray was using quite slow film on the large play camera, very small ampture. They open the shutter, go for lunch, come back, close the shutter. And Man Ray pursed to the film and *the negative was perfect.

 

Just spreading the lapse photographys infane capacity for ambiguity and locks applications as sober recorder of reality.

1

评分次数

  • sylvia_qian

立即获取| 免费注册领取外教体验课一节
homework

But while Atget cautiously explored the borderline between one kind of reality and another, a photographer with his studio on the same street in Montparnasse was already pushing deep into the territory of the unreal. For Man Ray, the camera was not a machine for making documents, but an instrument for exploring dreams, desires, and the medium's unconscious mind.

He was such a natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before. And they were so perfectly in tune with the moment of Dadaism and surrealism—all these things like making photographs in the darkroom just by sprinkling and scattering interesting objects on photographic paper and then just switching the light on very briefly to allow the image, these objects to imprint themselves on the paper and then just developing it out, no camera involved. He discovers this solarization process inadvertently in the late 1920s and he makes people look as though their faces are made of aluminium. They become sort of as, sort of sleek and metallic as those mascots on the front of those rather swish, fast cars. They become these super-people, also slightly inhuman, slightly robotic.

Man Ray got in on the ground floor of the surrealist enterprise thanks to his friendship with the artist Marcel Duchamp and an earlier encounter with one of his most central works.

Duchamp had let dusts to gather on a sheet of glass, on which he'd drawn various lines in lead. And this was a stage, one of vey many stages in the production of what became Duchamp's famous work, his magnum opus, The Large Glass. Man Ray had been asked to make some photographs of paintings, so Duchamp said, "Why don't you practice on this, this sheet of glass?" Man Ray was using quite slow film on a large plate camera, very small aperture. And they open the shutter, go for lunch, come back, close the shutter, and Man Ray processes the film that night, he says the negative is perfect.

Dust Breeding, the likes of photography's infinite capacity for ambiguity, unmocks its obligations as a sober recorder of reality.

專業代查字典兼回答一切可google到答案的問題
实现无障碍英语沟通

hw

but while * cautelously explore the boder line between on kind reality and another, the photographer with his studio on the same street with * was really pushing deep in the territory of the unreal.

for Manrey, the camera was not mechine for making documents but instruments for explore dreams, disears and mediums of uncautious mind.

his was such a unnatural * in the photographic medium that he almost effortlessly discovered all this ways be a photographer that no one had thought of before. and they were so perfectly  intune with the moment of dadaism , realism. all these things like make photographs in the dark rooms just by *, * interesting objects. on photographic paper, then just switching light briefly to alow these images, these objects imprint themselves on the paper. then just developing then out. not camera involve.
he discoveres these * process in advertantly in the late  1920s. he makes people look as their faces made of aluminium . they become, sort of ,as sort of  sleek and  metalic  as those mask on the front of rather swich
 fast cars.  they become these super people. also  slightly inhuman, slightly robotic.

* got on the ground floor of realism  enterprise thinks his friendship with artist * . and an early encounter of one of his cynimacal works.

* had let dust together on sheet of glass on which he draw various lines and led. and  this was a stage one of  many stages of production of what became *'s famous work, *-the large glass. * had been asked to make some photographs of paints. so * said why don't you pratice on this, this sheet of glass. * was using quite slow film
on a large plate camer, very small *.  they open of shutter,go for lunch. come back close the  shultter. * processes  the film that film he said the negative is perfect.

dust breeding. like photographer's infinant capacity for * * the * sober recorder of reality.

口译专员推荐—>口译训练软件IPTAM口译通

on melody w

But while Atget cautiously explore the border line between one kind of reality and another. The photographer with his studio on the same street on * was ready pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not machine for making documents but instrument for his exploring dreams, desires and medium’s conscious minds.

 

He was such a unnatural maverick in photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and there were so perfectly in tone with the moment of * and * . All these things like making photographies in dark room just by sprinkling, scattering, interesting objects. On photographic paper ,you know just switching light on very briefly to allow the images of these objects to imprint themselves on the paper, and then just developing it out. No camera involved. He discovered the solarization process in * in the late 1920s, and he makes people look as though their faces are made of aluminium, they become sort of as,sort of * and metalic as the masker on the front of rather Swish fast cars. They become these super people, also slightly in humane slightly in robotic.

 

Man Ray got into the ground floor of * enterprise thanks to his friendship with the artist *. And an early encounter with one of the most seminal works.

 

*had left dust together, or sheet of glass , on which she draw very slicing lead, and this was stage one of many stages in the production of what became *’ famous works,it’s * the large glass. Man Ray has been asked to make some photographs of paintings. So * said what do you practise on this, this sheet of brass. Man Ray was using quite slow film on the large play camera, very small *. They open the shutter, go for lunch, come back, close the shutter. And Man Ray praises the film that night he says that the negative was perfect.

 

Dust breeding the lights of photography’s infinite capacity for ambiguity . Unlocks it’s obligation as a sober recorder of reality.

[ 本帖最后由 101010011001 于 2008-7-16 15:58 编辑 ]
1

评分次数

on 101010011001

But while Atget cautiously explored the border line between one kind of reality and another, the photographer with his studio on the same street on * was ready pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not a machine for making documents but an instrument for his exploring dreams, desires and medium’s unconscious mind.

 

He was such a unnatural maverick in photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and they were so perfectly in tune with the moment of Dadaism and surrealism. All these things like making photographs in the dark room just by sprinkling, scattering, interesting objects. On photographic paper, you know just switching light on very briefly to allow the images of these objects to imprint themselves on the paper, and then just developing it out. No camera involved. He discovered the solarization process in inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminium, they become sort of as, sort of sleek and metallic as the masker on the front of rather Swish fast cars. They become these super people, also slightly in humane slightly in robotic.

 

Man Ray got into the ground floor of surrealist enterprise thanks to his friendship with the artist *. And an early encounter with one of his most seminal works.

 

*had left dust together, or sheet of glass , on which she draw very slicing lead, and this was a stage one of very many stages in the production of what became *’ famous works, it’s * the large glass. Man Ray has been asked to make some photographs of paintings. So * said what do you practice on this, this sheet of grass. Man Ray was using quite slow film on the large play camera, very small aperture. They open the shutter, go for lunch, come back, close the shutter. And Man Ray praises the film that night he says that the negative was perfect.

 

Dust breeding, the lights of photography’s infinite capacity for ambiguity, unlocks its obligations as a sober recorder of reality.

 

[ 本帖最后由 xkx 于 2008-7-16 16:19 编辑 ]
1

评分次数

hw

But while Atget cautiously explored the border-line between one kind of reality and another, the photographer with a studio on the same street in Montparnasse, was already pushing deep into the territory of the unreal. For Man Ray, the camera was not a machine for making documents, but an instrument for exploring dreams, desires and mediums on a conscious mind.

 

“He was such a, a natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer, but no one had thought of before. And they were so perfectly in tune with the moment of Dadaism and surrealism, all the things like making photographs in the darkroom just by sprinkling, scattering interesting objects, on the photographic paper, then just sweating light on way briefly to allow the image, these objects to imprint themselves on the paper and then just developing it out, no camera involved. He discovers these * process inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminum, they become sort of as, sort of slick and metallic as those maskers on the front of a rather swish fast cars, they become these super people, also slight inhuman, slightly robotic.”

 

Man Ray got in on the ground floor of a surrealist enterprise, thanks to his friendship with the artist Marcel Duchamp, and an earlier encounter with one of his most similar works.

 

“Duchamp had left dusts together on sheet of glass on which he drawn various lines in lead. And this was a stage, one of very many stages in the production of what became Duchamp’s famous work, his * was the Large Glass. Man Ray had been asked to make some photographs of paintings. So Duchamp said ‘why don’t you practice on this, this sheet of glass.’ Man Ray was using quite slow film on the large plate camera, very small aperture. They open the shutter, go for lunch, come back, close the shutter and May Ray processes his film that night, he says the negative was perfect.”

 

Dust Breeding, the * photography’s infinite capacity for ambiguity, on * its obligations as a sober recorder of reality.

 

实现无障碍英语沟通

on xkx 参考ktdid

But while Atget cautiously explored the borderline between one kind of reality and another, the photographer with his studio on the same street in Montparnasse was already pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not a machine for making documents but an instrument for /his/ exploring dreams, desires and the medium’s unconscious mind.

 

“He was such a, a /un/natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and they were so perfectly in tune with the moment of Dadaism and surrealism. All these things like making photographs in the dark room just by sprinkling, scattering interesting objects on photographic paper, and then just switching light on very briefly to allow the image/s/, /of/ these objects to imprint themselves on the paper, and then just developing it out, no camera involved. He discovered the solarization process /in/ inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminum, they become sort of as, sort of sleek and metallic as those mascots on the front of rather Swish fast cars. They become these super people, also slightly inhuman, slightly /in/ robotic.”

 

Man Ray got in on the ground floor of surrealist enterprise, thanks to his friendship with the artist Marcel Duchamp, and an early encounter with one of his most seminal works.

 

“Duchamp had left dusts together on sheet of glass , on which he drawn various lines in lead, and this was a stage, one of very many stages in the production of what became Duchamp’s famous work/s/, his magnum opus---The Large Glass. Man Ray had been asked to make some photographs of paintings. So Duchamp said ‘why don’t you practice on this, this sheet of grass?’ Man Ray was using quite slow film on the large plate camera, very small aperture. And they open the shutter, go for lunch, come back, close the shutter. And Man Ray processes the film that night, he says /that/ the negative was perfect.”

 

Dust Breeding, the likes of photography’s infinite capacity for ambiguity, unlocks (听读音像unmock, 但觉得理解上unlock比较合理) its obligations as a sober recorder of reality.

 

 

普特听力大课堂

on sylvia_qian

 


But while Atget cautiously explored the borderline between one kind of reality and another, a photographer with his studio on the same street in Montparnasse was already pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not a machine for making documents but an instrument for exploring dreams, desires and the medium's unconscious mind.

 

“He was such a, a natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and they were so perfectly in tune with the moment of Dadaism and surrealism. All these things like making photographs in the darkroom just by sprinkling, scattering interesting objects on photographic paper, and then just switching light on very briefly to allow the image, these objects to imprint themselves on the paper, and then just developing it out, no camera involved. He discovered the solarization process inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminum, they become sort of as, sort of sleek and metallic as those mascots on the front of rather Swish fast cars. They become these super people, also slightly inhuman, slightly robotic.”

 

Man Ray got in on the ground floor of the surrealist enterprise, thanks to his friendship with the artist Marcel Duchamp, and an early encounter with one of his most seminal works.

 

“Duchamp had left dust/ to gather on sheet of glass , on which he drew various lines in lead, and this was a stage, one of very many stages in the production of what became Duchamp’s famous work, his magnum opus---The Large Glass. Man Ray had been asked to make some photographs of paintings. So Duchamp said ‘well, why don’t you practice on this, this sheet of glass?’ Man Ray was using quite slow film on a large plate camera, very small aperture. And they open the shutter, go for lunch, come back, close the shutter. And Man Ray processes the film that night, he says  the negative was perfect.”

 

Dust Breeding, the likes of photography’s infinite capacity for ambiguity, unmocks its obligations as a sober recorder of reality.

普特英语听力0段

字斟句酌,普特听力

不迷信任何人的听写文本

欢迎加入自然百科QQ群235284172
好栏目推荐之美国口语俚语

 

 

on toyworld

 

 

But while Atget cautiously explored the borderline between one kind of reality and another, a photographer with his studio on the same street in Montparnasse was already pushing deep into the territory of the unreal.

 

For Man Ray, the camera was not a machine for making documents but an instrument for exploring dreams, desires and the medium's unconscious mind.

 

“He was such a, a natural maverick in the photographic medium that he almost effortlessly discovered all these ways to be a photographer that no one had thought of before, and they were so perfectly in tune with the moment of Dadaism and surrealism. All these things like making photographs in the darkroom just by sprinkling, scattering interesting objects on photographic paper, and then just switching light on very briefly to allow the image, these objects to imprint themselves on the paper, and then just developing it out, no camera involved. He discovered the solarization process inadvertently in the late 1920s, and he makes people look as though their faces are made of aluminum, they become sort of as, sort of sleek and metallic as those mascots on the front of rather swish fast cars. They become these super people, also slightly inhuman, slightly robotic.”

 

Man Ray got in on the ground floor of the surrealist enterprise, thanks to his friendship with the artist Marcel Duchamp, and an early encounter with one of his most seminal works.

 

“Duchamp had left dust/ to gather on sheet of glass , on which he drew various lines in lead, and this was a stage, one of very many stages in the production of what became Duchamp’s famous work, his magnum opus---The Large Glass. Man Ray had been asked to make some photographs of paintings. So Duchamp said ‘/ why don’t you practice on this, this sheet of glass?’ Man Ray was using quite slow film on a large plate camera, very small aperture. And they open the shutter, go for lunch, come back, close the shutter. And Man Ray processes the film that night, he says  the negative was perfect.”

 

Dust Breeding, the likes of photography’s infinite capacity for ambiguity, unmocks its obligations as a sober recorder of reality.

1

评分次数

返回列表