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[探索发现] 【整理】DC 2008-02-20, The Genius of Photography 摄影演义 - 11

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[探索发现] 【整理】DC 2008-02-20, The Genius of Photography 摄影演义 - 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



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But whatever his personal status, the status of Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?

Here is the dilemma and abstract of photography. It is the easiest medium in which to be competent. But it is the hardest medium in which to have personal vision that is readily identifiable.

There is the physicality to a photograph. There’s nothing there. Uh, some silver, er, the tyres and the evolvement process or some dyes in a color print. There is no physicalist. There’s nothing you can point to and say this is the work of that artist's hands.

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to
uh, you know, to come up with. And when someone really ends up nailing down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claims of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tripod feet in the place where the
easels of the painters had stood. Roger Fenten went up one of the great Wales Rivers, to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s radically different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of old water colors, putting them through the gears into this new language. But they also were responding to this strange ground glass they were looking at, which was of very tight direct angle. And they, of course, were looking at the world upside down and back to front. And I think that encourage is the great abstraction as you try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.

 

easel

a wooden frame that you put a painting on while you paint it

 

water color 水彩画

 

[ 本帖最后由 Alick 于 2008-3-20 18:12 编辑 ]

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Homework

But whatever his personal status. The status that our chosen profession was rather lessened. In its first decades, photography has proved itself able to do almost anything but one done remain then as now. Is it art?
Here is the enlightenment and abstract photography. It’s the easiest medium and which to be confident but it’s the hardest medium it which will have personal vision that is radially identifiable. There is the physiolatry photograph. There’s nothing there. Uh, some silver… process or some dice and color print. There’s nothing you can point to and say this is, this is the work of that artist’s hand. So how do you make the photograph that everybody immediately knows is workable…. well that’s a very difficult and complicated thing you know to come up with when someone really ends up narrowing down the particular kind of vision to such extent they all know that vision you know they really done something.
Photographers anxious prove the claim of the medium extinctively turn to painting in such of explanation and reassurance.
I think photographers did plan that …..fit in the places of easels of the painters had stood. …….,one of the greatest to exact spot with Samuel had painted few decades before and photographed the scene of the pond painting but it doesn’t look the same. It’s radically different actually. And you see again and again in the leading photographers. They are making shop more than version of old watercolors. Putting them through the… into this new language but they were also responding to the strange ground glass they were looking at which is very tight rectangle. And they of course were looking at the world side down and back to front. I think that encourage is the abstraction as you try to focus on some motif. We look at swimming around not around up side down. You kind of ….big blocks of light and shape because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
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on forget you forever

But whatever its personal status.The status of Nadar's chosen profession was rather less certain. In its first decade, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?
Here is ….It is the easiest medium in which to be confident. But it is the hardest medium in which to have personal vision that is radically identifiable.

There is no physicalerty to a photograph. There’s nothing there. Uh, some silver that got the/ in the / process or some dice in a color print. There is nothing/color,There’s nothing you can point to and say this is the work of that artist's hands

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, to come up with. When someone really ends up maining down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claim of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their trained pot feet in the place where the Easles of the painters have stood. Roger Fenton went up one of the great well terrific , to the exact spot where Samuel Palmer had painted a few decades before and photographed the scene of the Palmer painting. But it doesn’t look the same. It’s rather different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of / old water colors, putting them through the gist into this new language. But they also were responding to this strange ground glass. They were looking at which was of very tight retangle. And they were of course looking at the world upside down and back to front. And I think that encourage is the great abstraction as you / try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
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on luoyingjun

But whatever his personal status., the status of Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?
Here is a dilemma and strain for photography. It is the easiest medium in which to be confident. But it is the hardest medium in which to have personal vision that is rattling identifiable.

There is no physicality to a photograph. There’s nothing there. Uh, some silver,look uh, the tarnish and developing process or some dyes in a color print. There is physicality ,There’s nothing you can point to and say this is the work of that artist's hands

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, to come up with. And when someone really ends up nailing down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers, anxious to prove the claims of their medium, instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tramp caught feet in the place where the Easles of the painters have stood. Roger Fenten went up one of the great Welsh rivers, to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s radically different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of the old water colors, putting them through the gist into this new language. But they also were responding to this strange ground glass they were looking at, which was of very tight retangle. And they were of course looking at the world upside down and back to front. And I think that encourage is the great abstraction as you / try to focus on some motifs. You look at it screaming around, not the right way around, upside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
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On above
But whatever its personal status.The status Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained that as now: is it art?
Here is the dilemma and strand of photography.It is the easiest medium in which to be confident. But it is the hardest medium in which to have personal vision that is radically identifiable.

There is no physicality to a photograph. There’s nothing there. Uh, some silver, er, the tarnishing the evolvement process or some dyes in a color print. There is no physic cocks/,There’s nothing you can point to and say this is the work of that artist's hands

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, to come up with. When someone really ends up nailingdown a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claim of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tripod feet in the place where the easels of the painters had stood. Roger Fenten went up one of the great well terrific , to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s rather different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of the old water colors, putting them through the gist into this new language. But they also were responding to this strange ground glass. They were looking at which was of very tight rectangle. And they were of course looking at the world upside down and back to front. And I think that encourage is the great abstraction as you / try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
slackerex

But whatever his personal status.The status of Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?
Here is the dilemma and strand of photography.It is the easiest medium in which to be competent. But it is the hardest medium in which to have personal vision that is radically identifiable.

There is the physicality to a photograph. There’s nothing there. Uh, some silver, er, the tyres and the evolvement process or some dyes in a color print. There is no physicalist,There’s nothing you can point to and say this is the work of that artist's hands.

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, to come up with. When someone really ends up nailing down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claims of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tripod feet in the place where the easels of the painters had stood. Roger Fenten went up one of the great Wales Rivers , to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s radically different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of / old water colors, putting them through the gears into this new language. But they also were responding to this strange ground glass. They were looking at which was of very tight direct angle. And they, of course, were looking at the world upside down and back to front. And I think that encourage is the great abstraction as you / try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
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on above:
But whatever his personal status, the status of Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?
Here is the dilemma and strand of photography. It is the easiest medium in which to be competent. But it is the hardest medium in which to have personal vision that is readily identifiable.

There is the physicality to a photograph. There’s nothing there. Uh, some silver, er, the tyres and the evolvement process or some dyes in a color print. There is no physicalist,There’s nothing you can point to and say this is the work of that artist's hands.

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, to come up with. When someone really ends up nailing down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claims of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tripod feet in the place where the easels of the painters had stood. Roger Fenten went up one of the great Wales Rivers, to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s radically different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of / old water colors, putting them through the gears into this new language. But they also were responding to this strange ground glass they were looking at, which was of very tight direct angle. And they, of course, were looking at the world upside down and back to front. And I think that encourage is the great abstraction as you / try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.

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on leviathan

But whatever his personal status, the status of Nadar's chosen profession was rather less certain. In its first decades, photography had proved itself able to do almost anything. But one doubt remained then as now: is it art?
Here is the dilemma and abstract of photography. It is the easiest medium in which to be competent. But it is the hardest medium in which to have personal vision that is readily identifiable.

There is the physicality to a photograph. There’s nothing there. Uh, some silver, er, the tyres and the evolvement process or some dyes in a color print. There is no physicalist,There’s nothing you can point to and say this is the work of that artist's hands.

So how do you make a photograph that everybody immediately knows it’s the work of a particular artist? Well, that’s a very difficult and complicated thing, you know, to,uh, you know, to come up with. And when someone really ends up nailing down a particular kind of vision to such extent that they own that vision, you know that they’ve really done something.

Photographers anxious to prove the claims of their medium instinctively turned to painting in search for inspiration and reassurance.

I think photographers did plant their tripod feet in the place where the easels of the painters had stood. Roger Fenten went up one of the great Wales Rivers, to the exact spot where Samuel Pamer had painted a few decades before and photographed the scene of the Pamer painting. But it doesn’t look the same. It’s radically different actually. And you see it again and again and in the leading, the pioneer of photographers, they are making sharp modern versions of old water colors, putting them through the gears into this new language. But they also were responding to this strange ground glass they were looking at, which was of very tight direct angle. And they, of course, were looking at the world upside down and back to front. And I think that encourage is the great abstraction as you try to focus on some motifs. You look at it screaming around, not the right way around, outside down. You kind of homing on big blocks of light and shade because you need to grasp something and you know the genius of the medium itself is setting itself bit by bit.
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But whatever his personal statues, the statues are not the profession was rather less certain, in its first decades, photography had proved itself able to do almost anything, but one doubt remained, then as now, it is Art. "Here is a glamour and abstracted photography, it is the easiest media in which to be competent (confident?), but it is the hardest media in which they have personal vision and that is readily identifiable, there is psychological photograph, there is nothing there, some silver, the tiniest environment process or some dyes in the *** print, there is no physiology, there is nothing you can point to and say this is the work of artist hands. So how do u make photograph that everybody immediately knows it’s work of particular artist. That is very difficult and complicated, then you know to come up with when someone really ends up, nearly done particularly kind of vision to such extend that they own that vision. You know they are really done something.” Photographers *** just put claims of their medium instinctly turned to painting in such inspiration and reinsurance. “ I think photographers did plant their tripod fit in the places where *** of painters had stood. Rodger. Faint went up one of Wells rivers to the exact site where Sanue. Palmer painted few decades before and photograph the scene of palmer painting, but it does not look the same, it’s radically different actually and you see it again and again and in the leading the pioneer photographs, they are making sharp modern versions of old water colors, putting them through the gears into this new language, but they also will responding to the strange grand glass they’ve looking at which was very tight rectangle and they ‘v of course looking at world upside down, and back front. I think that encourages degrees of abstraction as you focus on some motives. You looked they swimming around, not right we round, upside down. You cannot *** on big blocks of light and shade because you need grasps something and you know the geniuses medium itself asset itself bit by bit.
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