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young 年轻[nian qing]

1.普遍的年轻人都时刻准备着去投身于各种一天12个小时工作的那种状况,准职业化的或者是传销的,对自己的生活没有想象,对艺术确实很陌生,但是还有一点儿好的,他可以接受你给他的东西。

The average young people getting prepared for the dedication into these 12-hour work day situations, either quasi-occupational or those of pyramid selling. He has no imagination about his own life, he is a stranger to art, yet one thing is good – he can accept whatever you give him.

(摘自徐坦对谢南星的访谈   Excerpt from Interview with Xie Nanxing)

Interviewed: Cao Lei

Time: Evening, January 31, 2007

Location: The blue building, SOHO New Town, Beijing

 

社会 society social 23

关系 relationship involved with 16

珠三角 Pearl River Delta 12

成长 长大 grew up 12

love 11

年青 young 10

合作 collaboration 9

影响 (作用) influence 9

普通人,观众,村民average (people, audience, villager) 7

环境 surrounding 11

自己 self 30

自我 myself 1

乌托邦 utopia 5

艺术圈 art circle 4

交流 communication 6

现实 现状 reality (realism) 12

现实主义 reality realism 2

国家 country 5+

fast 3

 

招安 sold souls 1

独立 independence 6

 

 

个人()   individual personal 12

中国 China Chinese 10

西方 the West 4

情感qinggan)    emotion 10

感情(ganqing) feeling 3

年代 时代 age 14

时尚 hippest fashion 7

流行 popular 5

周星驰 Stephen chow 1

都市 urban 1

政府 government 1

城市规划 urban planning 1

刺激 stimulate, excitement, stimulating 3

 

 

 

Source of keywords:

 

 

Q: Your works cut deeply into life in a direct fashion. Do you consider this intervention to be important? Is it an overriding characteristic of Chinese contemporary art or the art of the new generation?

 

A: We’ve heard a lot of discussions about the social aspect of contemporary art, but sometimes being social doesn’t necessarily mean making a piece of work to express his concerns about the society, or to emphasize the social pressure of the work’s concept, because it hasn’t really advanced social life. Maybe the artist has indeed cut into reality, but I’m looking forward to seeing the influence and dialogue to be more direct.

 

Q: I find your point very interesting, so you have a very positive attitude towards contemporary art.

 

A: I don’t mind artist being personal. Sometimes artists would try to isolate themselves from the society, and most of them have introverted personality, but I think there is room for other type of people or direction. Like Ou Ning and I, we do urban planning- and architecture-related projects, and we are even deeply involved with the residents in front of our camera, I think these are all interesting. So I think contemporary art should be more open and embracing. At the absence of an appropriate term to describe our works, we temporarily put up with ‘contemporary art’. But it might well be something else, [something freer] with a freer title.

 

Q: Let’s get back to the topic of engaging with other people, how do you see your relation when collaborating with someone else?

 

A: Gradually I come to realize that reality or realism is still powerful in China at present, and documenting is another focus and a way to approach the reality. It seems to me that European artists have already gone through the high speed economic development period. Chinese contemporary art was probably influenced by European conceptual art in the very beginning, but I think we are gradually developing our own expression and context, which fit better in this country and its social life. In the early days we saw a lot of tricks played with forms – typical western working method. But I think the changes in every country are different, artists of different countries respond and react differently to their social and artistic reality. I fully understand and appreciate the works of that German artist.

 

Q: How does the current social reality of China affect your art and Chinese contemporary art in general? What does it offer you? Does it obstruct you? How?

 

A: My generation doesn’t seem to like to go abroad, instead we prefer to spend time in our own cities or countries to observe. This is a time of drastic changes, and there are a myriad of information to stimulate your creation, that’s why I’m willing to stay in this city. The city has been accumulating and changing as I grew up, and I’m used to the speed and excitement of it. For me, it’s like a well deeply rooted in the residence. When we were making San Yuan Li and Dazhalan Project, we were more or less getting ourselves into sensitive topics such as demolition and forced eviction. Ideologically we were standing against government. We think these topics are about the development of the society. We have a difficult environment for this kind of artistic expression. In the early days of contemporary art we still find a kind of risking – the confrontation with government ideology, but today is a different story. How to put this……in old terms we said artists have sold their souls to the government. I think these days are witnessing the decrease of venturing spirit of that kind. Today’s venture is no longer the behaviouristic or conceptual ones, it’s rather about a way to probe deep into the core of the problems: the deeper and more difficult. This is a working method and direction chosen by the artists, and it’s the environment we are facing now.

 

Q: You are quite sensitive to the changes of contemporary art, and your experience and attention to them are rather unusual. Do you have other judgments towards contemporary art besides the change-focused one?

 

A: Let’s take my documentary Father for example. My father has been a sculptor for many years, after I have grown up, I started to looking for connection between me and his sculptures. I made a documentary on him, I documented how he made sculptures of Deng Xiaoping, and he traveled a lot of counties and towns and accepted larger and larger orders. Father is now making sculptures of Confucius, and there’s a large market for it currently. Although not a contemporary artist, he has a close tie with reality, and you can learn about the near future direction of the country from sculpture: Deng Xiaoping this year, Confucius the next, and the one after……all these are explicitly visible on the older generation of artists, you see the destiny of China and its development in their art, and how artists of that age compromise with daily life. They were more closely connected with reality than the younger contemporary artists. The real face of our society is better reflected by my father as an artist. I submitted the documentary on my father to Taipei Biennale.

 

Q: Why do you think that there’s insufficient love in Chinese contemporary art?

 

A: First there are social factors, which I just mentioned. We are living in a society without love, or one in which love is not advocated. This value is not proposed by the whole society. The education we had from the early years was only fake respect and fake love, so I don’t think art should take the blame – because the whole society is simply going into a wrong direction, the moral system is collapsing, I’m a little desperate in this regard. It’s not only in the art circle, but all walks of life. So sometimes I feel the reason of art‘s existence is to rub smooth the social cracks. As an artist, I will try my best in this direction, instead of producing more phony things.

 

Q: This is exactly the belief that is in short in this society, with consumerism culture and fashion prevailing. Do you think they have any influence on the value of our society?

 

A: Sure they do, both show biz and fashion industry have casted an influence on the younger generation and the society as a whole. In America and Europe, although show biz and entertainment occupy a certain portion of the whole culture, they also manage to preserve the traditional elements. For instance, New York has the hippest events, but there are also poetry reading sessions or traditional rock concerts every night. But China is simply moving too fast, rock is out-of-fashion now, people are more into electronic music, things get eliminated very fast, old stuff are despised. So I think this is rooted in the nature of Chinese people. We have gone through a lot of political campaigns so we are afraid of falling behind. As a result, we over-do a lot of things. It’s radical, really……and the communication with our time? It seems that artists have lost faith in the society, sometimes they even have no desire in creating art works. At the discovery of art’s helplessness and powerless against the society, they figure that it doesn’t really matter either you make this work or not, and they lack the desire of existence, a kind of boredom.

 

Q: What do you think should be an artist’s conscious to his/her social role? Do you really believe that art can function in the society? To which degree? Is this just a hope?

 

A: I believe as an artist, you can definitely have only limited and weak influence on the society, and it functions only within a small circle unless you really take advantage of all kinds of resources, be adventurous and work like an activist and not just an artist. I see myself mainly as a bridge, even I stop being an artist one day, maybe I can do something more intellectually stimulating? So it’s really about getting this role as a bridge more stable and focused.

 

Q: Last question: would you please offer us your statement as an artist? What are some of the key concepts of your artistic creation?

 

A: How should I put this……like the project I’m doing now, it’s a film called Who’s Utopia?. This is both an interrogative sentence and a simply statement. Utopia should be built by us in collaboration, or shall we say some of us do need a utopia. I think I’m the kind of person who still has this ‘utopia complex‘, I’m not into the dystopia thing. Although I can’t really see the future clearly, but there has always been a force pushing me forward towards Utopia. What’s more, it’s not impossible that, one day, I would ditch this identity as an artist in favor of that of an activist.

娱乐[yu le] entertain

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1.它的阶层对身体消费程度形式不一样,比如士大夫,他们对那种游山玩水歌伎啊什么东西,他从那个层面去消化它,那更下一层他们的娱乐方式就不一样了。

It varies in the extent and the form of body consumption. For example, the scholars enjoy sightseeing and geishas, While other classes have other entertainments. Our society is widely open.

(摘自徐坦对艾伟的访谈   Excerpt from Interview with Ai Wei)

2.理想居住, 需要交通便利,医疗设施建设齐全,有各大超市,还要方便于出门购物,出门娱乐和出门做任何事情,要便利,要四通八达.

An ideal living place needs convenient transportation, enough medical facilities, supermarkets, and convenience for shopping, entertainment and any other outings.

(摘自徐坦对郑思予的访谈    Excerpt from Interview with ZhengSiyu)

采访对象:艾东明

采访时间:2007131日下午

采访地点:于北京草场地艾家

do” engage in 25

可能 maybe possibility impossible perhaps may 21

社会 society social 19

问题 problem question 17

兴趣 fascinated interested uninterested interest 12

个人 individual 12

方式 ways approaches 10

市场 market 9

价值 value 7

 

政治的 political  1

国家 country  state  4

自由 freedom  free 7

个人表达 individual expression

地下 underground

民主 democratic  2

 

circle 3

money 5

时代 (information/Internet) age 5

play 3

资金 capital 1

poor poverty 4

弱智 retarded 2

face 3

 

Q:先请艾老师说下你对中国当代艺术现状的看法或印象。

A:我不能装作很了解这个事,虽然我一直在北京,经常参与一些策展,我们有艺术文件仓库,有很多艺术的朋友,但是我还不是很了解这个东西,但这两年好像很热闹,而前几年好像都没什么人去搭理它,所以我觉得好像它是一会儿发高烧,一会儿发冷的状态,我觉得可能像是这样,因为现代艺术这一块实际上时间也是很短的,中国实际上虽然有它的现代生活,但这个现代生活在很大程度上是已经由政治的经济的特征定下来的,是一个已经是什么样的体制下的国家了,那么这种个人表达自由政治背景生活条件,以及文化艺术社会中的作用可能,我觉得基本上都是已经限定下来的了,那么通常所称的当代艺术,实际上它能浮出水面,也只是近五、六年的事情,而之前很多人了很多事情实际上都是处在一种半地下的状态的,就是说只是一个很小的,没有被公众话语所关注,对社会的影响实际上也只是在非常小的范围内的,一旦浮出来之后,它主要是在国外的很多展览报导甚至拍卖,好像搞得很热闹,但是这些并没有涉及到这些作品生存环境和所表达的社会形态含义,这些问题探讨并不是很多的,所以它还是一个非常奇怪的结构,但是我们也不能说任何结构是否就是合理的,比如说有的是树,有的是藤,有的是自然界生猛的动物,有的是寄生的动物,而它们都有其自身的合理性,所以尽管中国当代艺术它不是主动有意识地去和这个社会建立某种关系,但是实际上它也反映了过去这几十年的一些问题

Q:你觉得它反映的是一些什么问题呢?

A:反映了中国近几十年中的哲学美学伦理学的彻底解体,新的甚至探讨的可能都还没有建立,因为这个社会仍然是处在大面积的或者主体地否认事实,或者说不承认一些基本的事实,在很多问题上几乎是没有争论的可能,它离民主社会还是很远,虽然它有极大的自由,但这种自由只是建立在旧体制瓦解上的自由,是没有能力控制下的自由,并不是一种很主动的自由,这些都给艺术一些特征

Q:那你怎样看待现在公众对当代艺术的接受方面?

A:我觉得没有什么真正的接受,它只是成为时尚的另外一个门类,杂志、报纸谈到这些问题的时候,你可以看到,它就只能三句五句的谈,但没有一句能够谈到点子上,也不能够深入下去,我觉得这个事儿挺可怜的,就有点像弱智了,中国当代艺术真是扮演了一个弱智角色,当然它有很好的艺术家,有从开始到现在还在很有意思的事情的艺术家,但是这些艺术家,他们探讨的方式都没有得到主流社会认识,甚至连了解也谈不上,现在基本上就是乱七八糟的吧。

Q:那你觉得你参与策划展览之类的活动能否对这种乱七八糟的状况有所作用呢?

A:现在中国展览很多,但是一点帮助和意义都没有,它变成了一些摊贩,就是说像你经常看到的一些摆摊的,一条街卖一样的东西,互相叫板,互相竞争,我觉得这个是为市场设计的,跟艺术没什么关系,完全是为市场设计的,那么这些展览,你仔细看看这些策展人,有几个是像样的?都是心怀鬼胎,怀着各种各样的目的,我觉得这是中国的学术界和知识分子最让人看不起的一点,就是总体不要,整个儿就是彻底的公开张扬不要,这也是少有的一件事,但是啊,就像中国人说的志短,说得太准了,“”还好听点,实际上就是人都很“”了,没什么问题,但它只是一个借口

Q:你刚才讲到市场,那请谈下你对艺术市场的看法。

A:什么东西都能卖,艺术这么高雅的东西当然也能,因为能卖就主要是为了装饰有的家,那么艺术品就成了一个交易的货品的东西了,这个本来挺正常的,只是这个比例有多大?就是在整个大的文化环境当中,它是否变成了唯一问题,是否脆弱到只要它一出现,其他东西就都消失了?我觉得这个是中国的一个很大的问题,当然……我自己这样看,这个事闹成这样挺好笑的,因为好像你这个事的理由都变了,这个东西让你生活的原则和理由都发生变化了,最后就变成好像转换成另外某种价值了,太多人谈论关心这个问题了,如果你不是一个艺术家,只是一个投机商,这个就很正常了,如果你还是一个创作的人,或者说你本来是一个觉得有话才去从事这个行业,觉得对一种方式兴趣——而不是说简单的财、资金和地位可以替换你的那些最早的东西,就不正常和奇怪了。现在我感觉好像都在谈这一块,是挺烦的一件事,市场本身就是不正常的东西,从股票到名牌定的价格,市场本身是无可非议的,一个东西卖五分和卖五千块和卖五万块都是无可非议的,只是说在这个市场背后,这个产品本身的其他价值是否被这个市场价格给彻底冲淡了?这是一个问题

Q:那你自己感兴趣的其实是什么?

A:说老实话,我没有什么兴趣的事,比如我并不是说不喜欢商业这一块或者说对别的什么东西感兴趣,我确实没有太多兴趣的事,可能是我还是比较被动吧,当然总的来说,艺术是我比较兴趣的一个行当,本来我比较感兴趣是因为这里的人比较不功利,比较还有自己的特征,还活得你是你我是我的,但是现在呢?你可以发现,这个艺术的人跟隔壁卖菜的农民没什么差别,上市之前抖点水啊,称的时候再抖两下,我觉得都差不多,这是让人觉得挺无聊的一件事,其实我才不在意这件事,我也不搭理它,比如这个国家是死是活,我也不太在乎,只不过你问到这个问题,就像你问我今天的天气如何,什么沙尘暴啊或者刮风啊,但是这种事又不是你能控制的,这只是国家的一个现状

Q:讲一讲你的博客吧。

A:博客很有意思,待会儿就把给你拍的照片放上去,然后很多的人我也都不认识,反正他们一点击就看到了,我就觉得这个是很直接现实同时又是很幻觉的一个事情,所以我就一直在这个事。

Q:就是说它是一个你传播你自己信息的途径?

A:我觉得信息时代是人类遇到的最的一个时代,是第一次给所谓的自由个人意志技术上提供了可能,在这之前,人类一直是在黑暗当中或者是在独木桥上,或者是在一个必由之路上,那么这个信息时代第一次让人有可能自己或者和愿意一起的人,这在过去是没有的,所以我觉得我们应该是很有兴致和很有机会进去这么一种状态,就是说它有几点是非常重要的:自由地表达个人方式。这听上去虽然很俗套,但是这个是很重要的事情,包括交流可能,包括把社会的力量重新地施以影响吸收运用可能,这是很了不起的一件事情。

Q:你觉得在艺术上有没有地域的中心边缘之分?

A:我觉得不存在,尤其是在这个信息时代网络时代就更不存在了,这是人类第一次有机会和有可能把这个传统价值,即所谓的传统的原始、中心和权利彻底瓦解,这个可能性确实是人类挣扎了很多年以后突然蹦出来的,这是一个很了不起的东西。

(有)钱[(you) qian] the rich, have money

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1.你有这么多的时候,你还想不想画画?你会觉得画画是多么笨重的事情,你有这么多钱的时候你就不需要自己画了,你完全可以让别人画了。

Of course, by then, when you have so much money, will you still want to paint? You’ll feel painting is such a clumsy job. When you have so much money, you wouldn’t need to paint yourself; you could totally have someone else do it for you.

(摘自徐坦对谢南星的访谈   Excerpt from the interview with Xie Nanxing)

2. 我们也会看到现在有些有钱的人也会去做一些宗教信仰的事,基督教、天主教、佛教……不管最终是否正确,他都会去做这个事。

We will see the rich doing religious things, Christian, catholic, Buddhist…Whether it is correct, they will do it.

(摘自徐坦对艾伟的访谈 Excerpt from the interview with Ai Wei)

采访对象:谢方明

采访时间:2007129日下午

采访地点:于北京798洞房咖啡

 

集体 group 15

利益 profit 4

社会 society social 13

生活 life 5

公众 public 6

大众 the masses 2

普通人 ordinary person 6

别人 others other people someone else somebody else 15

自己 self 22

关系 connection (relationship) to do with relations 20

有关 related 9

当代 the state of contemporary contemporary 17

 

严打 crackdowns 1

政府 government 2

 

do” engage in 5

兴趣 interest interested 9

prosperous hyped 3

circle 8

圈子 circle 2

过瘾 high 3

流行 popular trendyfad trendiness 3

money 4

猥琐 indecency 2

 

 

Q:先谈下你对中国当代艺术现状的大概印象。

A:全局的东西挺不好说的,我只是觉得有点,类似于集体活动很多,除此之外我没有什么特别的看法,因为我们平时看到的只是一些很流行的东西。

Q:你觉得流行跟艺术有什么关系呢?

A:艺术……我们本来也不知道究竟什么才叫艺术,就是互相在利用嘛,因为大家知道有艺术这么一个事情,然后就会利用它去做一些跟利益有关的事情,如果大家都瞄准一个东西,……除了这个以外,艺术流行本来就不矛盾,就是一个事情的……就是说利益艺术发生关系以后,就可能是流行

Q:你刚才说觉得中国当代艺术很,指的是一些什么方面的东西?

A:那是外因的问题,跟内因没有太多的关系,也就是别人需要别人利益在中国当代社会里边发生了一些作用,有时候是国外的或者什么东西,它就会投入很多的关注经营这个东西的人也了,然后现在好像没有什么人不中国或中国的艺术,哪都谈,其实这个就跟谈开矿——哪儿适合开矿是一个道理,但是能不能开出什么东西来就不好说,但是作为内因呢?我觉得中国当代艺术自己内部远远不到那个能力,就是没有这个能量,只能说是一个外因使它起来的,就好像是一个洗衣机一样,把衣服扔进去,实际上是靠外边的那些滚筒在,然后里边的衣服看起来才得这么快,实际上就是自己没有动力

Q:你怎样看待北京的艺术

A:北京有很多圈子,但是这些集体,我发现,主要的一个还是熟人集体,就是大家关系,一堆朋友集体……其实我觉得好像主要就是这个集体吧,还有另外的一种可能就是跟批评家或者策展人关系近一点的集体,那个就可能有点动机,或者还有一种就是可能跟画廊近一点的集体,比如说画廊的几个老板或者代理人,有的艺术家就跟他们关系得好或者有合作,其实这就是一个利益关系,然后可能在北京,很多人都是外地人,大家处于孤独的情境,要互相支持一下……从这个角度来看的话,就构成像是一个办事处集体,就这两种集体

Q:就是说这边很多人的状况下,每人都只是大众的一员,都不重要?

A:我觉得这个状态就是最好的,就是没有谁在里边真正就感受自己牛逼,没有一个人,北京……因为任何资源来了以后,马上就消失在……就跟水倒在沙子里面一样,马上就消失了,你看不到东西。

Q:实际你在北京就是生活艺术里面?

A:差不太多,你真的想要跑到别的圈子里面,其实你会觉得他们的那种玩法不是你——不是接受不接受的问题,比如说我见到的那种电影,我觉得他们那种的程度就是比普通任何一个艺术家都还要至少上几大截,我就觉得没法……听他们的故事,听他们讲——比如他们还讲电影,后来天哪我就着急呀,真的比一个门外汉听起来还要着急,所以艺术家其实相对来说还比较有点像知识分子,虽然……因为他都很注意自己的那些构造,怎么构造,怎么塑造自己,他知道,这个我觉得还不错,艺术家相对来说还算可爱好玩一点儿吧。

Q:你刚才是否说这个社会状况对你的创作没有什么影响

A:怎么说呢?有些东西不一定有直接的影响,但有的东西也会有很直接的影响,……比如说北京有时到了那种紧张的时候,类似于严打这样的情况,就开始有点白色恐怖的感觉了,你就会觉得有影响。除此以外,影响是间接的。

Q:你刚才说,作为一般的中国公众不是很容易理解你的艺术,而你也不是很在意这种与他们的互动吗?

A:不是,不止是指我的作品,很多艺术家的作品都不会被理解,这是很正常的,因为首先你不是普通人——不能这么说,首先不是别人,你就不可能完全做出让别人兴趣的事情,只有看你做出的东西,别人会不会感兴趣,只能是这样,就是别人主动的,被动的,等于你只能在那里做裸体表演,但是要看别人对你的裸体有没兴趣而已。

Q:在来北京之前就已经在从事绘画了吧?这些年来整个中国社会环境以及公众当代艺术

看法都有所改变,从感性的角度谈谈你这方面的感受。

A:这是个好问题,其实我觉得观众这么多年还是变得训练有素吧,在北京可能都还是有喜欢艺术的观众吧,会老受影响,这里展览比较,包括一些政府办的各种展览,比如美国博物馆收藏展,或者意大利文艺复兴的作品展,还有俄罗斯19世纪的画展,乱七八糟的展览很多,这样其实观众他慢慢地接受——他不一定真的喜欢,但是他接受这种情况……他觉得很丰富,虽然不见得就更,但他更宽容了,而我觉得现在当代艺术方面,观众就没法训练,因为如果是处在现在这个社会机制社会状况,人不容易去理解什么叫当代,首先先不讨论什么是当代艺术,就连一个,作为一个普通人,他连自己在这个社会需要什么他都不知道,那他怎么知道什么是当代艺术呢?现在中国越来越多的是培养准职业化的等于社会劳力……普遍的年轻人都时刻准备着去投身于各种一天12个小时工作的那种状况,准职业化的或者是传销的,对自己生活没有想象,对艺术确实很陌生,但是还有一点儿好的,他可以接受你给他的东西。观众有时会跟你谈论艺术的很多……这个艺术是做什么的?你画过人体没有?你画人体什么感觉呀?或者你这个画还能卖吗?反正公众的那种猥琐是最……就是普通人猥琐感比艺术家显得强烈得多,就是喜欢问来问去的。

Q:艺术市场现在是比较的现象,你觉得它对你的艺术创造有些什么影响

A:如果说我要接受那么多定单的话,那肯定会有影响,当然那个时候,你有这么多的时候,你还想不想画画?你会觉得画画是多么笨重的事情,你有这么多的时候你就不需要自己画了,你完全可以让别人了,因为那个时候你的兴趣……是别的事情让你HIGH了,而不是你的让你HIGH了,就是HIGH 了。

优惠(实价)[you hui (shi jia)] discount

This movie requires Flash Player 9

1.我觉得政府的优惠政策最好能给到每一个员工的身上。

I think the preferential policies should be applied to each employer.

(摘自徐坦对胡薇的访谈 Excerpt
from the interview with HuWei)

采访对象:胡薇(张江某设计公司设计师)

采访时间:2006817

亲戚 relatives 3

朋友 friends 3

艺术 art artistic 7

员工 employee 3

政策 policy 4

政策优惠 preferential policies 3

car 7

创意 creative 4

eat food 5

园区 park 5

高科技园 Hi-tech Park 3

地铁 subway metro 6

发展 development 1

技术 technical 2

上海人 native Shanghai citizen 2

浦西 Puxi(central Shanghai) 4

人气 popularity 1

大学 universities 1

公交 bus 2

宣传() publicizing films 1

节奏 tempo 1

商业感觉 commercial
sense
1

别墅 villa 1

圈子(朋友圈) circle
2

关系 related 1

人才 gifted 2

房租补贴 rent
allowance
1

特色 characteristics 1

品牌 brand 1

fast 2

我在张江工作是过完年一月份开始的, I started my work in Zhangjiang since January, after the
Spring Festival.

我是上海人,Though I am a native Shanghai citizen,

对张江的发展我是到了这里才知道的,I had had no idea of its development until I came here.

以前我是在地铁里知道有一个叫张江高科技园的站点, All I had known is merely a subway stop named Zhangjiang
Hi-tech Park.

而且只知道张江是高科技园区,I had only known Zhangjiang is a hi-tech park,

但具体张江是赶什么的我也从没来过,As to what exactly it is for I had not known for I had never been
here.

不来这里工作就不会到这里来。I would’t have be here if I had not
worked here.

虽然我自己是上海人,although I am a native.

在张江我觉得空气比较好,In Zhangjiang the air is quite fresh.

之间的间距比较大,The distance between buildings
are long.

如果是浦西看见前面有一栋楼,大概两分钟就能走到,In Puxi(central Shanghai) if you see a building in
front of you, it usually takes a two-minute walk,

而在张江可能要走十分钟才能走到,while in Zhangjiang it could take you ten minutes,

这边感觉比较开阔一点,giving people an open view.

然后就是觉得地面的灰尘比较少,没什么纸屑,比较干净。The ground is clean with little dust or rubbish.

但是就觉得人气还不够旺,But you feel like here should be more popularity.

然后就是觉得大学之间的衔接比较多,The connection route between universities are abundant.

比较重视比如像大桥五号六号Bridge No.5 and No.6 are
given emphasis.

五号是连复旦六号是连交大的。The former connects to Fudan University and the latter to Shanghai Jiao
Tong
University.

我觉得可能还是要多开发一些公交线路,I feel like there should be more bus routes,

浦西的人能多往张江来。encouraging more people come from Puxi.

然后张江还可以再做一些资料片宣传片,In addition, Zhangjiang needs more documentaries and publicizing films,

介绍一下张江有那些基地。to introduce the bases in it.

其实,不来张江的话,对张江是有创意文化这个概念并不是很清楚的,Actually those who have never been here know little about the
concept of creative culture in Zhangjiang.

只知道张江有生物资料这块基地,but the base of bio resources.

慢慢是正大九城的兴起才知道张江有游戏产业。The e-game industry became known with the development of Zhengda
City 9.

我们是做电子杂志的,We do e-magazine,

就是做文化网络出版,i.e the online cultural publishment.

早前我在出版社工作过,I used to word in a publishing house,

所以这份工作对我来说等于是把我前面两份工作的经验结合起来。so this job is a combination of my previous two working
experiences.

和以前比起来,应该说有一个技术门槛,是要有技术支持的,Compared with the previous ones, it needs a technical support.

我觉得这里的节奏浦西很多,I feel the tempo
here is much slower than that in Puxi,

不像在人民广场和淮海路,different from places like the People’s Square and
the Huaihai Street,

人们的步伐都是那么的,感觉什么事都急匆匆的,where people walk at a fast pace and seem always in a rush,

特别我以前的广告公司在市中心,especially downtown, where my ex ads company lies.

让人感觉城市的速度很。You can feel the high speed of the city.

但在这里我觉得有种校园的氛围,But here is a phonomenon of campus.

有种回到校园的感觉,I feel like going back to school.

而且这附近的学校也比较多,With quite a few schools nearby,

商业感觉还不是特别强。its commercial sense is not that strong,

应该说给人一种比较缓慢的感觉,giving people a feel of slowness.

如果是有子的话,能住在这里还是蛮的,It would be quite good to live here with a car.

如果有钱的话在这里买别墅还可以,or if one is rich enough to afford a villa.

比如说周末住一下,但不大可能会搬过来,One can spend the weekends here,
but probably not move here,

因为一般住的话和圈子关系,for living place is related with one’s circle.

比如我要搬新家,也要离我原来的居住地比较近,If I move to a new place, it would
not be far away from the previous one,

和我的家人与亲戚朋友要比较近。from my family, relatives and friends.

如果住的很远,和他们的沟通就不会太方便。If I live far away, it would be difficult to communicate them.

好像外地来的人,他们也会是找一个适合他们朋友圈的地方,The non-natives also find the place proper for their group of friends,

除非在张江至少有一两个朋友,或是有亲戚在这里,unless they have at least one or two friends or relatives here.

基本上是以工作为主的。Basically most people come to work.

因为我来上班是搭的,我有邻居在易贝上班,所以我是搭他的上班,

I come by car of my neighbour, who works in E-bay.

如果是搭公交和做地铁就比较麻烦,It would be troublesome to take bus or subway,

因为我家在大华那里,for I live in Dahua,

过来要换一辆再换地铁这个路途上单程就要花一个半小时,It takes an hour and a half to transfer the bus and then the subway,

来回要三个小时。which means 3 hours per day.

在路上花很长的时间,特别在地铁里花很长时间, To spent such a long time,especialy in the subway,

对我来说是不大好忍受的,应该说是比较痛苦的。is unbearable for me, a pain indeed.

如果有,我情愿走地面上的,因为在地面上可以看到外面的风景。I prefer to go on the ground if I
have a car, for the view up there.

我觉得在张江上班能够呼吸到比较好的空气,I feel in Zhangjiang we have fresh air.

而且这里绿化也比较好,眼睛也比较舒服。Eyes feel good with the green belts here.

总的来说,张江离我们的生活区太远,In a word, Zhangjiang is too far
from our living place.

刚来的时候感觉离开了上海来这里工作,At the beginning I felt like I left Shanghai to work here.

就好像到了苏州这样的地方上班,上海的影子不太多。as if I was working in a place like Suzhou, with little Shanghai
personality in it.

但在这里工作很理想到是没有的,But it’s not really ideal to work here.

因为张江的确有很多政府的支持,Although it has the support from government,

就是给这些企业一些比较好的优惠政策来吸引他们过来。which gives companies preferential policies to attract them,

但问题是如果很多配套设施没有跟上的话就不好了,it is still a problem without supporting facilities.

从公司老板来说,他们是得到好处的,有房租补贴,能得到优惠政策。The employers
are given rent
allowance
and preferential policies,

但对于招聘员工来说条件并不是很好的。but for employees it is not that good.

一些稍微好一点的人才如果看到特别是公司没有的话就不太能招到好的人才,Some gifted
applicants would not come without company regular buses.

所以对于招人来说还是有点限制的,So it is a restriction for employment,

这肯定是跟公司有关了。and of course has an effect on the company.

如果公司能给员工一些比如交通上的福利政策那还可以,It could be acceptable if the employees are given welfare
commuting
policy.

如果没有,而是硬生生的让浦西的人来上班,Without which, one who comes from Puxi,

每天要花三个小时在路上的确是很辛苦的。has to spend 3 hours in commuting which is such a pain.

我觉得政府的优惠政策最好能给到每一个员工的身上,I think the preferential policies should be
applied to each employee.

我觉得这里的园林的感觉还不错,I feel the garden here is nice,

但是要上升到艺术的话就——,while as to the art,

好像在张江没有看到什么艺术的气息,I do not feel much art here.

我看到的只有张江的政府大楼还有浦东软件园区吧,那里的几栋楼做的还可以,Only a few building like its government building and some in the
Pudong software park are not bad.

而我们这里的就没有什么特色了。There is little characteristics
here.

张江的广告也很少,没什么户外广告,Not many ads here, nor the outdoor
ones.

但从另外一个角度来说他没有被广告污染,这一点比较好。On one side it has not yet been contaminated by the
ads, which is good,

如果是从艺术创意来讲,就如从地铁下来,but from the view of artistic creativity, down from the metro,

没有给人一个这里是创意艺术园区,这个感觉还没有。you would feel little of a park of creative art.

这里只能给人感觉离城市比较远,然后空气比较好,People only feel it far from city
with fresh air,

要上升到艺术创意这个概念还需要有些改进。and more needs to be done to elevate it to the concept
of artistic creativity.

如果说是科技园区的话那还可以理解,Call it a hi-tech park is acceptable,

但要说是艺术园区好像还没这个概念。but there is nothing like a artistic park.

第一我觉得空气比较好,第二需要提高他的艺术品牌,First the air is good, and secondly
the art brand
needs to be elevated.

还有就是张江的一些附加值,比如说他的交通还有,Then the add-ons, like the
transportation and the food here,

因为我们在这里工作中午很难到东西,for we have little to eat at working noon.

我们这里有一句话Here we have a saying,

“你在市中心上班,肚子饿了可以到东西, ‘If you work downtown, you can eat when you are hungry,

在张江肚子饿了是利于减肥”。while in
Zhangjiang you are on diet.’

因为有钱也买不到东西,for money can not buy food here.

点东西要走很远,要到地铁站,You have to walk to the subway stop to find foods,

我们这里走过去要二十分钟的路程,which takes us twenty minutes from here.

我们都懒的走这些路了,基本上就这样了。Usually we are too lazy and just let it be.

關於 / about

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