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"The morning ended with a lottery." of Chinese translation

English

The morning ended with a lottery. Each working group chose one of four possible modalities for their public artwork—sound, smell, touch, and time. We chose not to address “sight” because art students can’t help but be aware of visual aesthetics. Instead, we asked them to create a work that activated a different sense or provoked an extended engagement. Suddenly, the artwork became by definition interactive.
After lunch, students worked on the first draft of their plan. They chose a site and discussed options for artwork that might work in those places. Or so we thought. However, it is an ongoing fact of education that what a student learns is not always what we teach. Instead, the groups focused on modality as the core of their artwork and had to be sent “back into the field” in order to situate their artwork. In other words, although the one of the key elements of a public artwork is a specific space, nevertheless, the students’ art education still privileged a particular object that could be moved into a space.

Chinese

早晨以彩票结束。每个工作组为它们的公共艺术作品选择四种可能的模式之一——声音、气味、触摸和时间。我们选择不说“视觉”,因为艺术专业的学生禁不住要意识到视觉美学。相反,我们要求他们创作一部能激发不同感觉或引起广泛参与的作品。突然,按照定义,作品变成了交互式的。
午饭后,学生们起草了计划的初稿。他们选择了一个网站,并讨论在那些地方可能工作的艺术品的选项。或者我们这么认为。然而,教育的一个持续事实是,学生所学的并不总是我们所教的。取而代之的是,这些团体把形式作为他们的艺术作品的核心,并且必须被送回“回到领域”以便定位他们的作品。换言之,虽然公共艺术品的关键要素之一是特定的空间,然而,学生的艺术教育仍然享有可以移入空间的特定对象的特权。

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