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2019年07月18日 07:21:13    日报  参与评论()人

重庆pcd纹绣产品泸州纹绣培训哪里专业The January edition of the Parisian design and interiors trade fair Maison et Objet sets the tone for the year ahead. Sp over nine vast halls at the Parc des Expositions to the north of Paris, the show hosts 3,194 exhibitors and attracts 83,000 visitors over five days.今年初举办的巴黎Maison et Objet家居装饰览会为全年的室内设计风格确定了风向标。展会在巴黎北部世园(Parc des Expositions)的九个大展厅内举行,在为期五天的展览中,共有3194家参展商参会,吸引访客8.3万人。This year the theme was “make”, in response to growing interest in the process of how things are made across the design world — from the potter at the wheel to the engineer in the digital environment. This was evident in the lighting on show at the fair, where recent advances in low-energy bulb technology were incorporated artistically into many designs.今年的展会主题是“制造”,以回应对家居产品设计制作整个过程的越来越多的关注——从操作转轮的陶工到数字环境中的工程师。在本次览会举办的灯展中表现得尤为明显,最新的节能灯技术被巧妙地设计进诸多产品中。At Canadian company Bocci, Omer Arbel’s tactile new design, the 73 light, appears to float in the air like a cloud. “We are drawn to the ways of making new things, rather than the new things themselves,” he says. “With the 73 we explored the technique of blowing hot glass into a high-temperature-resistant ceramic fabric, so that the glass takes on not only the form but also the texture of the textile.”在加拿大Bocci公司的展台前,欧迈#8226;阿尔贝尔(Omer Arbel)设计的全新触摸式产品——73 节能灯——犹如空中飘浮的云朵。“我们着迷于制作全新产品的方法,而不是新产品本身。”他说。“通过制作73节能灯,我们掌握了如何把高温玻璃转变成抗高温陶瓷纤维的先进技术,玻璃成品不仅呈现出形状,而且还显露出织物的纹理结构。”An LED light source is positioned inside the 73 light, and the pendants can be clustered and their lengths staggered to create a cloud effect. More flexible than a chandelier, the result is arguably more like a bespoke piece of art.LED光源被放置在73节能灯内,然后收拢起吊灯,长长的吊灯错落有致,营造出云朵的效果。它比树形吊灯更为灵便,整件灯具更似一件高级定制的艺术品。The idea of lighting as a work of art was also explored at London-based Ochre, where a large grouping of its Seed Cloud pendant lights looks more like a sculptural installation. Each bronze bud has a solid glass drop hanging from it through which light from a tiny LED is magnified. “It’s like a bronze eyelid for the glass,” says co-founder Joanna Bibby. “When something is handmade it can’t have a manufactured feel.”伦敦Ochre公司也成功地把节能灯打造成艺术品,它们制作的Seed Cloud大型组合吊灯就如同一件雕塑装置。从每个铜质吊头悬挂一个立体玻璃小圆球,微小的LED光源通过它得以大幅放大。“这就好比给玻璃安上了铜质眼睑,”联合创始人乔安娜#8226;毕比(Joanna Bibby)说。“手工制作的产品,不可能有规模化生产的感觉。”Wonderglass is a relatively new London-based lighting company, established by Italian father and son Maurizio and Christian Mussati, which aims to inspire “wonder” with its thoughtful creations. In the past year it has launched design-led chandelier ranges including John Pawson’s Sleeve, Claesson Koivisto Rune’s Grappa and Zaha Hadid’s Luma.Wonderglass是一家成立时间不长的伦敦灯具公司,它由来自意大利的一对父子莫瑞吉奥与克里斯蒂安#8226;莫萨蒂(Maurizio and Christian Mussati)创办,旨在用创意十足的产品激发“神奇”效果。过去一年,公司推出了强调设计的树形灯系列:约翰#8226;帕森(John Pawson)的Sleeve灯、克莱松#8226;卡尔维斯托#8226;卢恩(Claesson Koivisto Rune)设计的Grappa灯以及扎哈#8226;哈迪德(Zaha Hadid)设计的Luma灯。The Flow [T] light by Nao Tamura is made from blown Venetian glass and is designed to look like the reflections of the city’s buildings in the water. Available in turquoise/green lagoon, this year the Flow [T] was also launched in white.田村奈惠(Nao Tamura)制作的The Flow灯使用棕色玻璃材质,并设计成城市建筑物水中倒影模样。天蓝色与绿色瀉湖款目前有售,今年the Flow [T]还推出了自己的白色款式。Creating statements with a strong silhouette is what Tom Dixon does best — he has led the trend for multiple pendant lights and the use of copper and brass. His Plane pendant plays with simple minimalist forms and geometry — looked at from any angle, it is always a full sphere. Dixon’s Beat collection is designed to be hung in a cluster of varying heights to resemble a landscape. The brass lights are spun and hand-beaten by skilled craftsmen in northern India. This year the range will be painted in matt grey.打造带有超强剪影的灯具是汤姆#8226;狄克逊(Tom Dixon)的拿手绝活——他是多盏吊灯及运用铜材的流行时尚引领者。他的Plane吊灯摆弄出极简主义造型与几何图形——从任何一个角度欣赏,永远是实心球的模样。狄克逊的Beat灯具系列设计成各种不同高度的悬挂式吊灯束,宛如美仑美奂的风景画。铜灯由印度北部的能工巧匠手工延展锻造而成。今年推出的灯具系列将使用哑灰色。At French company Le Deun, the high-glamour spherical Micro lights and newly launched vanity mirrors are illuminated by strips of LEDs on the inside of their frames.在法国公司Le Deun的展台上,美不胜收的Micro球形灯与新推出的梳妆镜由镜框内侧的LED条灯照射,煞是好看。Blackbody is one of the only lighting companies working with OLEDs — organic LEDs, which are more usually found in television or mobile phone screens. They are glare-free, heat-free and recyclable. Each bulb is a flat disc, nicknamed a “pixel”, and the company works with Thierry Gaugain, formerly head of design at Philippe Starck. His I.Rain pendants can be installed in any number and formation, while the new O Mi Kami chandelier can be configured in any size and has shades made of Murano glass.Blackbody是为数不多运用有机发光二极管(OLED)技术的公司之一。有机发光二极管技术更多地应用于电视及手机屏幕上,它有无眩光、不散热以及利于回收的优点。每个灯管呈扁平碟状(美其名曰“像素”),公司与菲力浦#8226;史塔克(Philippe Starck)前设计总监蒂埃里#8226;戈甘(Thierry Gaugain)合作。戈甘设计的I.Rain吊灯能以任意灯管数及形状安装,而新推出的O Mi Kami树形灯则可以设置成任意大小,并使用Murano玻璃灯罩。There were more cloudscapes at Canadian company Molo, which launched the XXL Cloud Softlight, measuring two metres in diameter, to add to its existing Cloud Softlight mobiles, which are inspired by the work of Alexander Calder. These soft, luminous forms float benignly above people’s heads while casting a subtle light and aiding acoustic absorption.加拿大公司Molo则设计了更多的云状灯具产品,它推出了直径达2米的巨型Cloud Softlight无影灯,为现有的活动型Cloud Softlight系列“添丁”,该巨型灯的设计灵感来自亚历山大#8226;考尔德(Alexander Calder)的艺术作品。这些柔美的灯具优雅地“悬浮”于参观者头顶上方,同时又照射出淡雅的灯光,此外它还具有一定的吸音效果。First Light, a ceramic pendant in black, white and terracotta by London-based Another Country, is more humble in design than some of the larger-scale pieces, but tells that all-important maker story. The pendants are made from handcrafted stoneware with brass-turned parts.First Light是由伦敦灯具公司Another Country推出,是包括了黑色、白色以及赤褐色的吊灯系列,相比某些巨型灯件,它的设计风格更为简约,但却完整展示了关键的制作过程。吊灯由石件手工打造而成,其它部件则用黄铜制品。“For me, it’s about longevity, what is au courant now will be obsolete next year,” says Paul de Zwart, founder of Another Country. “It has to have been made in an authentic way and not just be judged on its look. It’s about doing it right all the way through.”“在我看来,灯具的使用寿命最为重要,当前的最新款式一到明年就会过时,”Another Country创始人保罗#8226;德兹瓦特(Paul de Zwart)说。“任何灯具的制作必须一丝不苟,而不能仅从外观判断。必须至始至终保质量。”In keeping with this set of values, de Zwart sells items created by the Brooklyn-based Workstead studio, which designs and makes functional, industrial-style lighting. The Workstead Chandelier, available in black steel or polished brass, is an example of the desire for honesty and quality in both materials and production. It can be configured in multiple ways and hangs like a piece of sculpture from the ceiling.为了确保自己的这套质量观,德兹瓦特只销售布鲁克林Workstead工作室设计的灯具,该工作室设计及制作实用型厂灯风格的灯具。目前市场销售的The Workstead Chandelier树形灯用碳钢与抛光的黄铜制作而成,是体现材质与制作过程讲究诚信与质量至上的范例。它可以随意搭配成多种形状,悬挂起来后就犹如一件精美的雕塑作品。“Now it’s about lighting as decoration and function, whereas in the past it was just relied upon for function,” says Melissa Musson, a lighting buyer for the furniture store Heal’s. “This has enabled us to get more creative with the design of a piece.”“如今的灯具需要集美观与实用性于一身,而在过去,往往只是注重实用,”英国家居店Heal’s灯具采购员梅利莎#8226;穆森(Melissa Musson)说。“这将促使我们推出更具设计创意的灯具产品。” /201504/372024华蓥市学韩式半永久眉毛多少钱 Every day we are bombarded with images, s, music and news. In this age of visual and aural hyper-stimulation, the medium of radio is making a phenomenal comeback.每天大量的图片,视频,音乐和新闻扑面而来、令我们应接不暇。在这个视觉和听觉高度刺激的时代,广播也正以惊人之势卷土重来。“We’re at the dawn of a golden age of audio,”said US-based podcaster Alex Blumberg in an article in The Sydney Morning Herald. In the last month alone, 15 percent of US adults listened to a radio podcast. These statistics, released by Edison Research, reveal the successful evolution of traditional radio broadcasts to the present day’s digital podcast format. The term “podcast,” was coined in 2004, but the trend only started gaining mainstream popularity in recent years. Since the leap in consumer demand for smartphones and tablets, podcast subscription rates have only accelerated.“我们已迎来了广播的黄金时代,” 美国播主亚历克斯#8226;布隆伯格在《悉尼先驱晨报》上发表的一篇文章中如是写道。仅上一个月,就有 15%的美国成人在收听播客。爱迪生研究所发布的这些数据表明,传统广播已成功转型,变成了如今数字播客的形式。“播客”一词早在2004年就已出现,但直到近些年它才受到主流群体的青睐。由于消费者对智能手机和平板的需求激增,播客的订阅率也大幅上涨。The appeal of the podcast partially resides in its multiplatform delivery and on-demand capabilities. You can tune in during those extra minutes of the day when you’re walking to the shops, waiting in a queue or riding the subway. Similar to television shows, podcasts are generally free to download and most offer new content every week.能在多平台按需播放是播客的一大吸引力。不论是在去商店的路上,还是排队等地铁或是坐地铁时,你都可以收听几分钟的播客。播客和电视节目一样,大都可以免费下载,而且每周更新。Donna Jackson, 22, Sydney university media graduate, listens to podcasts two or three times a week, via iTunes. “I listen while I’m pottering around the house doing something else. It makes completing a boring task a lot more enjoyable… And it’s an easy way of keeping in touch with what’s going on in the rest of the world,” she said.22岁的唐娜#8226;杰克逊是悉尼大学媒体专业的毕业生。她每周使用iTunes收听播客两到三次,她说,“我在家里晃荡时就会听(播客),它让我做枯燥工作时更享受……它还可以让我轻松了解国际时事。 ”“I mainly listen to B podcasts, but recently I’ve also been tuning into This American Life and Serial. They have a knack for really drawing you in.”“我主要听B播客,不过,最近我也在听《美国生活》及《连环杀手》。它们真的会让人一听就欲罢不能。”Unlike television and music, the audio format has the potential to create a deep impression on ers. Blumberg says this comes down to the podcast’s ability “[to create] intimacy and emotional connection.” Sydney University undergraduate Hazel Proust, major in social work and arts, agrees. “When you’re tuned in, it feels as if the voice of the [podcast’s] narrator is talking directly to you. It’s comforting,” said Proust.播客与电视和音乐不同,它能给听众留下深刻印象。布隆伯格认为这是由于播客能“制造出一种亲密感、能建立起(与听众的)精神纽带”。 在悉尼大学主修社工及艺术专业的本科生黑兹尔普鲁斯特也赞同布隆伯格的说法,他说,“ 当你听播客时,你会感觉播主在直接与你交流。 这让人感觉很舒心。”It seems the age-old tradition of verbal storytelling is very much alive and well.看来,这种口头讲故事的传统仍充满活力,经久不衰。 /201501/355005成都SOSU首秀培训学校韩式半永久纹眉定妆培训

四川省学韩式定妆多少钱Is the Christmas card obsolete? I suppose the answer depends on what function you think the Christmas card is intended to serve, if any at all. Surely it is no longer intended to convey information. Email and social networks do a more efficient job, and including a Christmas newsletter or family photograph (I do both) will earn you only scorn from any self-respecting British snob.圣诞卡过时了吗?我认为取决于在你心目中圣诞卡应该承载什么功能(如果你认为它有任何功能的话)。毫无疑问,圣诞卡已经不再用来传达信息。电子邮件和社交网络比圣诞卡更有效,如果你在圣诞卡里加上圣诞简报或者家人照片(我两个都加),只会让任何自命不凡的英国人对你投来白眼。Some believe that the Christmas card list, where we keep track of old favours and slights, is a sort of passive-aggressive vendetta. There is truth in this. Late in 1974, two sociologists, Phillip Kunz and Michael Woolcott, posted more than 500 Christmas cards to people they did not know. Some of them were “high status” cards, using expensive materials and signed “Dr and Mrs Phillip Kunz”. Others were from “Phillip and Joyce Kunz” or used cheaper stationery or both.有人认为,记录着我们之前得到过的帮助和受过的怠慢的圣诞卡寄送名单,是一种消极的复仇。这话有些道理。1974年末,社会学家菲利普#8226;孔兹(Phillip Kunz)和迈克尔#8226;伍尔科特(Michael Woolcott)向陌生人寄出了500多张圣诞卡。其中一些是“高尚”卡片,纸质精良,署名为“菲利普#8226;孔兹士夫妇”。其他一些卡片或是署名为“菲利普和乔伊丝(Joyce)#8226;孔兹”,或是纸质较差,抑或两者皆是。The Kunz family received, along with a complaint from the police, some rather touching replies: “Dear Joyce and Phil, Received your Christmas card and was good to hear from you. I will have to do some explaining to you. Your last name did not register at first#8201;.#8201;.#8201;.#8201;Please forgive me for being so stupid for not knowing your last name. We are fine and hope you are well. We miss your father. They were such grand friends.”“孔兹一家”除收到了一封来自警方的抗议信以外,还收到了一些相当感人的回复:“亲爱的乔伊斯和菲尔,我已经收到了你们的圣诞卡,收到你们的消息真是太好了。我必须向你们做些解释。一开始我没认出你们的姓……请原谅我如此愚蠢,不知道你们的姓。我们很好,希望你们也好。我们想念你的父亲。他们真是很好的朋友。”But what is most striking is that more than 100 strangers felt obliged to send a signed card in response. That is the power of reciprocity. (Response rates were particularly high if “Dr Kunz” had written on a fancy card to a working-class household. That is the power of status.)但最惊人的是,有逾100个陌生人认为有必要回寄一张手写的卡片。这就是礼尚往来习俗的力量。(寄给工人阶层家庭的署名“孔兹士”的高档卡片回复率格外高。这就是社会地位的力量。)If this is what Christmas cards are all about — mindless reciprocal obligation coupled with some social climbing — then I think we can all agree on two things: we could do without them; and we’ll never be rid of them. Thomas Schelling, a winner of the Nobel Memorial Prize for Economics, once advocated a bankruptcy procedure — wiping clean the list of people to whom we “owe” a Christmas card. If only.如果这就是圣诞卡的意义所在——机械的礼尚往来义务、加上一点攀高枝活动,那么我认为所有人应该都同意以下两点:我们可以没有圣诞卡;并且我们永远不会摆脱圣诞卡。诺贝尔经济学奖得主托马斯#8226;谢林(Thomas Schelling)曾经提议采取某种“破产”程序,把我们“欠”下的圣诞卡债清零。我们要是真能这样做就好了,可惜……But perhaps the Christmas card also serves other purposes. Consider the exchange, “How do you do?”, “How do you do?” This is phatic communication. It conveys no detailed information but it acknowledges others and implies that there is nothing much to report. “I’m OK, and you’re OK, and lines of communication are open if that changes.”但圣诞卡或许还承载了其他功能。想想这样的交谈,“你好吗?”,“你好吗?”。这是一种交际对话。这段对话没有传达任何具体信息,只是向别人打招呼,并暗示没什么值得一说的事情。“我很好,你也很好,如果出了什么事,尽管告诉我。”A Facebook “poke” could achieve the same thing at much lower cost. But perhaps the expense and the hassle is part of the point. If someone invites you for dinner and you say “thank you” as you leave, you may still wish to follow up with a thank-you note to show that you have enough invested in the relationship to take the trouble. If relationships weren’t hard work, they would not be relationships.Facebook的“戳一下”(poke)能够以低得多的成本达到同样的效果。但或许寄圣诞卡的部分意义恰恰在于它费钱费事。如果有人邀请你吃饭,你在离开时也说了“谢谢”,你可能还是希望在晚些时候再写一份道谢便条,以示你对这份关系足够重视,愿意费这个事。不需要花费精力维护的人际关系就不是人际关系了。There’s a thing called the “social brain” hypothesis: it states that humans evolved large and energy-intensive brains not to do hard sums or design clever tools but because they needed them to navigate the complexities of dealing with other people. Back in 1992, Robin Dunbar — an anthropologist and psychologist now based at the University of Oxford — published a fascinating addendum to that idea. Dunbar had been looking at the social group size and the brain size of different primates, and found that primate species with larger neocortices had grooming relationships with larger social groups. Extrapolating to humans, he produced what has become known as Dunbar’s Number. If our brains are any guide, we’re built to handle a social network of about 150 people.有一个所谓“社会大脑”假说认为:人类进化出消耗大量能量的大体积大脑,不是为了进行复杂的运算,也不是为了设计巧妙的工具,而是因为人需要大脑来应对复杂的人际交往。早在1992年,现任职于牛津大学(Oxford)的人类学家和心理学家罗宾#8226;邓巴(Robin Dunbar)就发表了一篇非常有趣的文章,对这一思想进行了补充。当时邓巴对不同的灵长类动物的社群规模和脑部大小进行了比对研究,发现新皮层更大的灵长类物种在更大的社群内相互梳理毛发。推及人类,他提出了所谓的“邓巴数字”(Dunbar’s Number)。如果可以进行这样的推断的话,那么以人类的大脑,每个人应该能应付大概150个人的社交网络。Dunbar’s Number is both more uncertain and more complex than popular presentations would have you believe. Dunbar himself argues that social networks are nested, following rough powers of three: five people to whom we might turn for substantial emotional or financial support in a moment of true crisis; 15 intimate friends; 50 friends; 150 rather casual friends, and so on.流行的解读会让你觉得邓巴数字是一个确定而简单的原则,但实际上它要更不确定、也更复杂一些。邓巴本人认为,社交网络的构建大致遵循三倍原则:你在真正遇到麻烦时会向他们寻求实质性情感或者财务持的密友有5个人;比较亲密的朋友有15个人;关系较好的朋友有50个人;泛泛之交则有150个人,以此类推。Social networking tools let us reach more people, more quickly, and in some detail if we so choose. I can reach 90,000 followers on Twitter but — how can I put this tactfully? — they are not my friends. These new technologies are a great convenience but it is not clear that they are allowing us to expand the number of genuine friends that we have. A recent study by Bruno Gon#231;alves, Nicola Perra and Alessandro Vespignani examined 25 million conversations between Twitter users, and found that the network with whom people might actually have several reciprocal conversations was between 100 and 200 — Dunbar’s number again. As for close friends, women engage in two-way communication with around six people on Facebook; men with just four.社交网络工具让我们能以更快的速度接触到更多的人,如果我们愿意,这些工具还能帮助我们进行比较详细的接触。我在Twitter上能接触到9万名粉丝,但是,我该怎么委婉地说呢,他们不是我的朋友。这些新科技给我们提供了很大的便利,但并无明显迹象显示它们能让我们得以扩展真朋友的数量。布鲁诺#8226;贡萨尔维斯(Bruno Gon#231;alves)、尼古拉#8226;佩拉(Nicola Perra)和亚历山德罗#8226;韦斯皮尼亚尼(Alessandro Vespignani)最近进行了一项研究,他们查看了Twitter用户间的2500万次对话,发现人们可能进行几次相互对话的社交网络大概包含100到200人——这又印了邓巴数字。至于密友,女性在facebook上大概与6个人进行双向交流;而男性仅与4个人保持这种关系。Much like primate grooming, a Christmas card requires effort, time and expense. An up-to-date Christmas list requires some thought about who matters to you, for reasons noble or ignoble. And a few years ago, two researchers carefully examined how big Christmas cards lists tended to be, once allowing for the fact that a single card could reach several members of a household. The researchers were Russell Hill and Robin Dunbar. And the number of people reached by a typical British Christmas card list? 154.与灵长类相互理毛的举动很像,圣诞卡需要花费精力、时间和金钱。要列一份最新的圣诞卡寄送名单,你需要思考一下谁对你来说很重要,不管是出于光明正大的理由,还是上不了台面的理由。几年前,两名研究者仔细研究了圣诞卡寄送名单的一般长度,并考虑一张卡片可以同时接触到同一个家庭中的好几个人的事实。这两名研究者分别是拉塞尔#8226;希尔(Russel Hill)和罗宾#8226;邓巴。那么在英国,一张圣诞卡片寄送名单通常能接触到多少个人?是154个。 /201412/350220南充学平眉多少钱 绵阳半永久化妆培训多少钱

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