Device Art A New Form of Media Art from a Japanese Perspective

Device Art: A New Form of Media Art from a Japanese Perspective

Machiko Kusahara

Device Art is a concept for re-examining art-science-technology relationships both from a contemporary and historical perspective in order to foreground a new aspect of media art. The term "Device Art" may sound obscure, or even self-contradictory, but it is a conscious choice. The concept is a logical extension of a change in the notion of art that already started in the early 20th century with art movements such as Dada and Surrealism. More recently, interactive art has redefined forms of art and the role of artists. What we call device art is a form of media art that integrates art and technol-ogy as well as design, entertainment, and popular cul-ture. Instead of regarding technology as a mere tool serving the art, as it is commonly seen, we propose a model in which technology is at the core of artworks. As I will discuss later, the concept took shape on the basis of an analysis of works by contemporary Japanese media artists. Features surfacing in many of these proj-ects include interaction, a positive attitude towards tech-nology, and playfulness. The influence of Japanese cul-tural tradition can be clearly traced in these haracteris-tics. Another aspect of this work is the artists' involve-ment in fields such as design, entertainment, and com-mercial production, which becomes evident in the approach of internationally recognized artists such as Toshio Iwai, Nobumichi Tosa (Maywa Denki), and Kazuhiko Hachiya. This approach, which is often consid-ered suspect from a Western point of view, is actually a natural part of Japanese art. A long history of visual cul-ture that developed independently from Western para-digms of art plays an important role in the Japanese art scene, offering artists wider possibilities for bringing their concepts outside of the context of museums and galleries.

While theoretical analysis is an important part of the Device Art project, producing artworks according to its concept is the key element. The project launched in the fall of 2004 and has been pursued by nine artists and researchers, with a five-year grant from the Japan Science and Technology Agency, since the fall of 2005.[1] The aim of the project is not only to create "device art" but also to develop a working model for pro-ducing, exhibiting, and distributing these works, and the-oretically frame them. Making these artworks accessible to a wider audience and users outside of the museums and galleries is part of our agenda. Development of hardware and software modules to support the art prac-tice is also planned.Background of the Project

Japanese works have been highly visible at international competitions in the field where art and technology meet, and often involve original interface design based on pro-prietary hardware. Toshio Iwai, the internationally recog-nized media artist whose collaborative work with Ryuichi Sakamoto won the Golden Nica at Ars Electronica in 1998, is an example of an artist creating this type of work. At SIGGRAPH 2005, TENORI-ON, a prototype he developed with Yamaha, attracted much attention for its unique features and refined design. The piece consists of a matrix of illuminated touch-activated buttons that serve as both input and output mechanism. Nothing else is needed: the interface / display itself is an innovative musical / visual instrument. After having explored a simi-lar idea for years on different platforms, including portable game machines and cell phones, the artist con-siders this the ultimate version. The work is a device that enables anyone to play sound and enjoy images without any learning process; it is simple, beautiful, and self-contained, with open interaction for users. As the piece is made of transparent acrylic to make the light patterns visible from any direction, its function also becomes transparent. The choice of materials is thus crucial in realizing the artist's concept.

Interest in hardware-based artwork with original design also is a key element in the activities of Maywa Denki, an "art unit" led by Nobumichi Tosa. [Fig. 1] Mixing low-tech and high-tech, he designs and manufactures strange looking robotic instruments that are performed by him or in collaboration with his "employees," or pre-programmed, or sold to enthusiastic Maywa Denki While theoretical analysis is an important part of the Device Art project, producing artworks according to its concept is the key element. The project launched in the fall of2004 and has been pursued by nine artists and researchers, with a five-year grant from the Japan Science and Technology Agency, since the fall

of2005.

fans.[2] Although they often look odd and incorporate crazy ideas, the instruments function perfectly well. They are constructed on the basis of his knowledge and understanding of technology and material, as well as the practical skills required in cutting and molding metal parts, and working with programming chips and comput-ers. While the instruments look strange, their mecha-nism is clearly visible to the audience, and Nobumichi Tosa even explains how they work during the perform-ances. The fact that the robotic instruments occasionally do not immediately function properly also becomes part of the performance. It is important to the artist to keep the technology transparent and visible, including the possibility of its malfunctioning. Criticism of an industry that hides the "IT" behind a "wall" is an important part of his concept. With his funny robots and devices, Tosa insists that technology should not become a black box.

Figure 1. Nobumichi Tosa (Maywa Denki) with his sculptures.

The creation of entertaining works with original, physical interface design is a field not limited to professional artists. For the past few years, SIGGRAPH's Emerging Technologies (E-Tech) and Art Gallery have been filled with Japanese art works and research projects, includ-ing numerous ones by students.[3] With approaches ranging from Hi-tech to low-tech, they have come up with original and playful ideas involving unexpected uses of technologies. At SIGGRAPH 05, visitors could push around a tea can on a table and simultaneously see on a screen how little virtual creatures, Kobitos, per-formed the visitors' action [Fig. 2]; or suck different kinds of virtual food and drink through a plastic straw, while the actual pressure, vibration, and sound produced by drinking would be simulated by the system.[4] [Fig. 3] At SIGGRAPH06, participants could touch a soap bubble, with images projected on its surface, which would pro-duce sound when it broke upon touch.[5] [Fig. 4] Or they could chase the shadows of invisible goblins, suck them up with a vacuum cleaner, and feel their weight.[6] As these examples show, a combination of interaction, application of physical material and custom-made devices, as well as playfulness characterizes many of these works from Japan, be they meant as art or research. An affirmative attitude towards technology is another crucial feature of these projects. Technology is not treated as something that should remain hidden behind an artistic concept, or something that instigates fear; rather, it is an important part of these works to make visible to the audience / participants what technol-ogy has to offer. However, this does not mean that the technologies used are idealized. Even the risks accom-panying technology can be represented in a playful manner, as in the case of Maywa Denki's performances and custom-made electronic instruments. The bare cir-cuits occasionally emit sparks when the instruments are played by the artist, who comments, "Hundred volts –very dangerous!"

However, works that are highly appreciated in Japan are often criticized by the Western art community for their lack of seriousness. These criticisms are often related to the entertainment factor in the works and their affirma-tive attitude towards technology, which are both typical of Japanese works, as indicated earlier. However, being critical does not necessarily require being serious or negative towards technology. This issue is deeply root-ed in each of the societies' histories, particularly the effects of the industrial revolution.

In Europe and in the United States, the industrial revolu-tion and automation are remembered as extremely neg-ative and inhuman experiences for average people. Films such as Fritz Lang's Metropolis and Charlie Chaplin's Modern Times both illustrate this attitude. The experience certainly was different in Japan, where the industrial revolution took place much later in a short period of time in which the country was trying to catch up after more than two hundred years of isolation.[7] This also connects to the tradition of using science and technology for entertainment purposes rather than prac-tical applications. Japan had a long period of peace until the mid-18th century when it opened its borders and the latest technologies and scientific instruments were imported and utilized for entertainment instead of "prac-tical" purposes such as the manufacturing of weapons. Technology was something to be enjoyed rather than something to be feared.

The close relationship between art, entertainment, and design, as in the case of artists creating artworks on game platforms, games themselves, or commercially available products, may also seem problematic from a Western perspective,. Toshio Iwai's TENORI-ON, which I referred to earlier, has been developed in collaboration with Yamaha. His ELECTROPLANKTON is an artwork to be played on the Nintendo DS game machine. As in the case of TENORI-ON, the software invites users to

Figure 2. Kobito: Virtual Brownies.

Figure 3. Straw-like User Interface (SUI).

Figure 4. Bubble Cosmos.

enjoy the audiovisual experiences they create. Games, toys, and gadgets created by artists are not very common, but they are not a rare phenomenon in Japan and are widely accepted as a part of popular cul-ture. Bitman, for example, is "high-quality jewelry" any-one can enjoy, as its creators Maywa Denki and Ryota Kuwakubo claim.[8]

The 7cm x 7cm white plastic frame with an 8x8 matrix of red LEDs displays the pixeled image of a man, a figure familiar from early games. [Fig. 5] Hung with a chain around one's neck, the bitmap image shows a real time animation of Bitman trying to keep his balance in the swinging world. By shaking the "jewelry" one can make Bitman dance.ix The movement of the digital bitmap character is created in real time as the embedded sen-sors detect acceleration and tilting of the panel. The product is commercially available along with other goods developed by the artists. The distributor of the piece is Yoshimoto Kogyo Inc., the king of Japan's entertainment business, which hires most of the standup comedians appearing on Japanese TV. Nobumichi Tosa himself (who leads Maywa Denki as its "CEO") is offi-cially an employee of Yoshimoto, although he recently separated some of his activities from the company. While Tosa, with his strong commitment to consciously crossing the border between art and entertainment, is a special case, the boundaries between art and related fields are not as rigid as in the West, because the notion of art itself is different, as is widely known. Some of the best paintings in Japanese art can be found on sliding doors and folding screens. Famous artists, such as Hokusai or Hiroshige, made woodblock prints for the public. Distinctions between notions such as fine art and applied art, or high art and low art, do not exist. These distinctions appeared and became standards in Western art history. In Japan, with its different social and cultural background, these classifications were not made. Although the Japanese art system has been western-ized over the past one hundred years, there still exists a cultural tradition that encourages artists and the audi-ence to share artistic experiences outside art venues. Could artists publish their work as software running on a popular gam-ing platform and still claim it to be

an artwork? They probably could.

To put it another way, could digital "content" that is commercially avail-able and runs on a game platform

be seen as an artwork? How about

a gadget, or a machine?

Art in the Age of Digital Reproduction Technologies

There have been long discussions on how better rela-tionships between art and technology could be estab-lished. However, traditional art paradigms are still pow-erful enough to make art curators and even artists hesi-tate when it comes to exploring what media technology may mean to art. In order to recognize the boundaries we have taken for granted, we could ask ourselves the following questions:

Figure 5. Maywa Denki and Ryota Kuwakubo, Bitman

Could artists publish their work as software running on a popular gaming platform and still claim it to be an art-work? They probably could. To put it another way, could digital "content" that is commercially available and runs on a game platform be seen as an artwork? How about a gadget, or a machine?

Many might hesitate to answer yes. However, we have already seen examples of these projects by artists who make their works, running on game platforms, commer-cially available. Could we claim that they do not qualify as artworks because they exist outside of galleries and museums? (They often have been exhibited in art ven-ues as well.) Or are they not art because they are not sold on the art market? How do we define art?

We live in a postmodern society of mass-produced objects, simulated realities, and simulacra. The aura of the original, which has been valued by the art world for so long, becomes questionable for artists coping with the reality of our society today. The situation has become even more complex since an essential feature of digital technology is to enable the production of mul-tiple, completely identical copies.

In the beginning of the 20th century, Marcel Duchamp already turned the idea of "originality" upside down with his Fountain piece, two years after he had moved to the United States where the effects of a mass-production-based consumer society were clearly visible.

In the 1960s, Nam June Paik created video sculptures by combining TV monitors and video images that were either appropriated from regular TV programs or com-missioned from younger video artists. Commercially pro-duced TV sets and news programs became original once they had been reconfigured according to his con-cept and "signed" by the artist. What, then, could be the position of an artist in the age of digital reproduction technology with regard to the notion of originality, the role of an artist, or the "sublime" experience that a great piece of art is supposed to bring to its viewers?

There could be multiple answers to this question, and different approaches to recognizing projects as art-works. One possible answer would be that what quali-fies a project as art has nothing to do with the unique-ness of the physical component. A work that exists in multiples, even if they are not numbered as in the case of many lithographs or "original" photographs, becomes a piece of art if it brings artistic experiences to its view-er. That brings us back to a question we had asked ear-lier: what is the difference between a piece of art and a commercial product, or a designed object?

These questions have not been fully answered, but can-not be avoided. Device Art is a movement aimed at openly raising these questions and proposing possible answers that make sense in the age of digital technolo-gies.

So What Is Device Art?

The term "device" usually means an instrument that serves to achieve a certain effect as part of a process. In the case of art, the goal has traditionally been an effect that the final work has on its viewers. A device used in realizing the work is not necessarily an essential part of its content – it only plays an instrumental role in the process of production. In other words, the goal and the device used for achieving it belong to different hier-archical levels. The device serves the goal.

This has been true for most traditional art. Oil paint or brushes are not considered essential in the process of presenting and appreciating a painting, except as the tools or medium utilized for its creation.

However, this no longer remains true when it comes to art forms such as interactive installations. The choice of technology has a significant impact on the theme and concept of media art for several reasons. Artists might use media technology in order to express their thoughts on the social / political / cultural ramifications of the technology. The experience provided by an artwork also depends on the technology used. In the case of interac-tive art, visitors / users touch and manipulate the art-work instead of contemplating a static painting on the wall. Devices are often involved in the experience of an artwork.

As a concept, Device Art is rooted in the analysis of the key role that devices play in certain types of art, that is, artworks involving hardware (a device) specifically designed to realize the artistic concept. The device itself can become the content. Technology is not hidden, its function is visible and easy to understand, while it still brings about a sense of wonder. Well designed inter-faces made of the right materials facilitate interaction for users, often in a playful manner.

To summarize, a device could be the "body" of an art-work that offers an artistic experience to its users / par-ticipants. In other words, the "resulting" experience can-not be separated from the device specifically designed or chosen to enable this experience. Producing multiple copies of such work and distributing it as a commercial product makes it accessible to a wider audience, provid-ed the piece is designed in such a manner that anyone could use and enjoy it. An artist's concept could become a part of people's lives, rather than being kept in muse-ums and galleries. Why not share art with more people? Interestingly enough, these ideas sound familiar to the Japanese. Cultural traditions such as the tea ceremony, flower arrangements etc. are based on this understand-ing. It is obvious that the goal of a tea ceremony is not to just enjoy a cup of tea. The importance lies in the whole experience, including the process and the devices used, such as teaspoons and bowls. These tools are functional and made of appropriate materials, and yet there is something more to them than just use-fulness. We know that refined tools can make one's life easier. They also serve as a medium in communicating with others. In a tea ceremony, correctly chosen devices change the whole experience.

This could also be applied to art. It is problematic to separate devices from experiences if the experience is only possible through the use of devices consciously chosen for their purpose. This obviously does not only hold true for Japanese media art, but the underlying idea is already part of Japanese culture. Conclusion

The role that media art plays in art history has not been thoroughly explored, and questions raised by people such as Walter Benjamin, Jean Baudrillard, Marcel Duchamp and Nam June Paik have not been fully answered in a media art context. Fluxus and Neo-dada artists used Xerox machines to investigate what multiple copies might mean to art, but we have not yet found a coherent art paradigm for capturing the impact of the age of digital reproduction technologies.

Device Art is a concept that pushes the boundaries of media art and inherits the legacy of the experiments artists have been conducting with media technologies. By raising questions regarding possible relationships between art and technology, the role of hardware-based devices, and the borders between art and its related fields, and creating a common ground for artists and engineers to work together as equals, we might find some answers with regard to future directions rather than the past.

We are hoping that Device Art could bring an alternative point of view to art history. We use Japanese art history and visual culture for reference in order toilluminate our approach and how the above-mentioned questions relate to each other. However, what we find in the end might be a global model. Japanese art history just hap-pened to provide a background that allowed artists to think differently.

Media art is a more recent development in art. Device art tries to push media even further. By doing so, it might help to gain a better understanding of the mean-ing and role of art in a media society.

Machiko Kusahara

Waseda University

1-104 Totsukamachi

Shinjuku-ku

Tokyo, 169-8050, JAPAN

http://www.waseda.jp/top/index-e.html

The role that media art plays in art history has not been thoroughly explored, and questions raised by people such as Walter Benjamin, Jean Baudrillard, Marcel Duchamp and Nam June Paik have not been fully answered in a media art con-text.

References:

[1] The project members are Hiroo Iwata (Tsukuba University, researcher in engineering), Kazuhiko Hachiya (artist), Masahiko Inami (University of Electro-Communication, researcher in engineering), Sachiko Kodama (University of Electro-Communication, artist), Ryota Kuwakubo (artist), Taro Maeda (NTT Research Laboratories, researcher in engineering), Nobunichi Tosa (Maywa Denki, artist), Hiroaki Yano (Tsukuba University, researcher in engineering), Machiko Kusahara (Waseda University, media art researcher). All the members have exhibited their works either at SIGGRAPH or Ars Electronica, or both. More informa-tion is available at https://www.wendangku.net/doc/fd190404.html,.

[2] Maywa Denki literally means Maywa Electric Company. The unit adopts the organizational structure of a typical small-scale company that produces electric devices. The artist plays the role of the CEO while stu-dent interns and collaborating artists are called "employees." They all wear uniforms and sing the "cor-porate song" as a part of their performance. The robot-ic instruments and other works are referred to as "products". Some of them are in fact commercially available. The corporate structure chosen by the artist functions as commentary on Japanese society.

[3] TENORI-ON was exhibited at SIGGRAPH 2005, and Iwai's MORPHOVISION, developed with the NHK Research Laboratory, was selected for SIGGRAPH 2006.

[4]Kobito: Virtual Brownies(https://www.wendangku.net/doc/fd190404.html,/vr/eng-lish.html), Straw-like User Interface(SUI)

(http://magno.hi.mce.uec.ac.jp/~inamilab/en/projects/S UI/index.html)

[5] Bubble Cosmos(http://in5.jp/bc/english/index.html)

[6] INVISIBLE - The Shadow Chaser

(http://chihara.aist-nara.ac.jp/ivrc2005/en/invisible.html) These are works that had been submitted to the Inter-College Virtual Reality Contest (IVRC), a student com-petition organized by the Virtual Reality Society of Japan (VRSJ) since 1993. Besides serving as a major venue for educating the next generation of artists and engineers, it has become an important meeting place for art and engineering students.

[7] It was not a complete isolation, since restricted trade was maintained with China and Holland during the time.

[8] Kuwakubo collaborated with Maywa Denki on the development of new "products." Both Tosa and Kuwakubo have exhibited internationally at venues such as NTT/ICC (InterCommunication Center) or Ars Electronica. Kuwakubo's works have been shown at SIGGRAPH as well. Tosa's performance in Paris in 2003 was a great success.

[9] https://www.wendangku.net/doc/fd190404.html,/mshop_english.html

如何写介绍地点的英语作文

How to introduce a place in English 一、可以考虑从以下几个方面着手： 1．location (位置) 2．area (面积) 3．surroundings (周边环境) 4．transport ( 交通) 5．population(人口) 6．history (历史) 7．places of interest (名胜) 8．something special (特色) 二、常用句式和语言： 1. location(位置) 1). Our school lies near /behind / in front of / by the side of…/ between / among… 2). There stands an old temple near the river. 3). Our city is located in…, 4). The city stretches itself lazily along….. 2. area (面积) 1). The size of our city is …square kilometers; 2). Tiananmen Square, the largest square in the world, covers / has an area of … 3). Tiananmen Square, with / covering an area of…, is the largest square in the world. 4). Our school , which takes up… thousand square meters, is very large in size. 3. surroundings (周边环境) 1). The beautiful town is located /situated on the west of the lake / to the west of the mountain / in the west of the province. 2). West of the city stands a tall building. 3). Surrounded by mountains on three sides, the small village faces a clear river on the east. 4. transport ( 交通) 1). It is very convenient for you to come to our city… 2). The best way to experience…is to take a bus tour. 3). It takes …(time) to take a bus from…to… 4). …is only a few bus stops from downtown. 5). …is within easy reach. 5. population(人口) 1). Japan has a small population of… 2). China is a developing country, with a population of 1.3 billion. 3). The population of our city is increasing year by year. 4). Eighty percent of the population here are farmers… 6. history (历史) 1). China has a history of over 5000 years. 2). Egypt is an Arabian country with a long history. 3). Built in the16th century, the castle has witnessed too much coming and going in history. 7. places of interest (名胜) 1). The places around our city are rich in natural resources. 2). The city, known as…, attracts millions of visitors from all over the world. 3). The city is well-known / famous for its…/as… 4). The city is home/birthplace to … 5). …is a must-see for tourists, as… 6). The city offers visitors a moment’s rest from the busy city. 7) You are sure to have a wonderful time in… 8) Few visitors leave the city feeling disappointed. 9) Sydney is the biggest city in Australia, which has many places of interest, among which is the Opera House. 10) A walk around …is a feast for the mind as well as the eye.

普惠制原产地证书与一般原产地证书的区别

QUESTON1:普惠制原产地证书与一般原产地证书的区别： 原产地证明书格式 A 的全称是：《普遍优惠制原产地证明书(申报与证明联合)格式A》（GENERALIZED SYSTEM OF PREFERENCES CERTIFICATE OF ORIGIN(COMBINED DECLARATION AND CERTIFICATE)FORM A），简称格式A。它是受惠国的原产品出口到给惠国时享受普惠制减免关税待遇的官方凭证，适用于一切有资格享受普惠制待遇的产品。现在所有给惠国都接受格式A，格式A证书相当于一种有价证券，因而，联合国贸易和发展会议优惠问题特别委员会规定，其正本必须印有绿色纽索图案底纹，以便识别伪造与涂改，尺寸为297×210毫米，使用文种为英文或法文。签证机构必须是受惠国政府指定的，其名称、地址、印鉴都要在给惠国注册登记，在联合国贸发会秘书处备案。在我国，普惠制产地证书的签证工作由国家出入境检验检疫局负责统一管理，设在各地的出入境检验检疫机构是我国政府授权的唯一的普惠制产地证明书格式A 的签发机构。 产地证： FORM A是绿色证书的那种，一般原产地证才是蓝色的。只需要准备好装箱单和发票，另加一张申请书就可以了。你把这些给工作人员后，会打印一张出来给你校对，如果OK了，你就让他从空白证书上打出来就可以了。没什么难的。但要注意一点的是，如果在出货后办理证书，发票和装箱单上所表明的日期一定不能超过出运日期，而且要带上提单复印件一起去办理。 ·什么是普惠制原产地证明书格式A? 哪些国家接受? C/O即一般原产地证，即certificate of origin！ 普惠制原产地证书和一般原产地证书签证须知 1．普惠制是指发达国家对发展中国家出口的制成品和半制成品给予普遍、非歧视性非互惠的关税优惠待遇，以使他们的出口商品处于有利的竞争地位。由商检机构签发的普惠制产地证在一定程度上具有有价证券的意义。 2．一般原产地证明书是证明中国出口货物符合我国出口货物原产地规则，货物确系中国原产地的证明文件 ，是过关、结汇进行贸易统计的重要文件。 3．我国是发展中国家，上前已有澳大利亚、新西兰、挪威、瑞典、瑞士、芬兰、奥地利、加拿大、日本、波兰、俄罗斯以及欧洲共同体等国家和国际组织宣布给予我国普惠制待遇。 4．普惠制原产地证书和一般原产地证书签证是一项政策性和技术性较强的专门工作。办理时，首先由出口企业向商检机构办理注册登记手续。申请单位应如实填写普惠制或一般原产地证书注册登记表，并提供审批机构的批件、营业执照、协议书及其它有关文件，对于来料

四年级谢谢你爸爸作文400字【六篇】

四年级谢谢你爸爸作文400字【六篇】【篇一】四年级谢谢你爸爸作文400字 俗话说：母爱如海，父爱如山，母的慈祥，父的严厉，合二为一就是爱，生活中有了爱才会更精彩。 记得国庆节放长假那几天，我感冒了，咳嗽的厉害，半夜里喘不过起来，爸爸妈妈说得赶快送医院，到了医院，医生说我得了急性气管炎，要挂盐水消炎。我听了，愣是吵：“不挂，不挂，我不挂盐水，我要回家，就是不挂。”爸爸火了，对我大吼：“叫你挂你就挂，少罗嗦。”我听了，很生气，心想：“天下哪有这样的爸爸，我生病了还那么凶。”委屈的泪水在眼眶中打转，无奈，只得向输液厅走去。 挂盐水时，我又难受又无聊，或许是药水关系，我想吐，爸爸在一边又给我漱口，又装盆子，还给我拍背。过了一会儿，我好点了。爸爸又说：“你平时不是最爱做手工吗，来，给我用报纸撕几个小动物吧!”我接过报纸，撕了许多，渐渐地也不觉得难受了，原来爸爸是为了让我分散注意力。不知不觉，我迷迷糊糊地睡着了。 天蒙蒙亮了，爸爸在我耳边轻声问：“小豪，饿了吧，你要吃点什么?”“小包子吧。”话音刚落，爸爸转身就走，不一会儿，热气腾腾的包子就端在了我的面前。我吃着包子，发现爸爸眼边有一圈黑黑的。我的视线又再一次模糊了。 这就是我的爸爸，严厉背后体现了对我无尽的关爱。爸爸，我一定好好学习来报答你。 【篇二】四年级谢谢你爸爸作文400字

打开门，好像就想睡了。同样是日光灯，家里却比琴室亮。我慢慢走到床边,躺下了，把眼闭上了。此时房间里一片寂静。 “懒虫，刚上完课不练怎么行！“爸爸大声的说话声把我吵醒了。“干什么，爸爸我困的不行，让我躺一会儿就马上起来练。““不行。”爸爸马上回了我的话。我生气了，爸爸也一样。爸爸的表情更加严肃了，大声的对我说：“你不去就出去，不要进来’’。我只认为自己是对的，于是对爸爸百般较辩平时爸爸总是护这我。我不明白今天他怎么了。我还和爸爸辩解没想到爸爸具然打了我。我的眼睛湿润了，觉的自己受了不该受的气，我更大声了还在为自己辩解着，爸爸气的涨红了脸又打了我好像有什么东西从我的鼻子里流出来，用手一摸竟然是血！我气极了便哭了起来。可是最后我还是练了琴。几个月后我还是忘了这事，我要考及了，我和一个朋友同时来到了考场。她先进去了，我从玻璃窗外看到了她失望的表情。她从考场走了出来，搭了搭我的肩说祝我好运便走了。我在这时十分紧张的走进考场考官对我说:“弹一首牛仔小镇吧！“这不是爸爸让我练的吗？我顺利过了官。我走出考场…… 这时只想找的爸爸对他说：“对不起爸爸，谢谢你！”【篇三】四年级谢谢你爸爸作文400字 从小，我们的父母就用他们的心血灌溉着我们。使我们来到这个美丽的世界，所以我们以后要报答我们的父母。 记得有一次，我的数学大作业本做了很多，后来被老师

我去过的地方英语作文4篇

[标签:标题] 篇一：英语比较作文范文4篇 英语比较作文范文4篇 City Life and Suburban Life 1．最近几年越来越多的人迁往近郊居住 2．城市生活和近郊生活各有特点 3．比较起来，我喜欢的是… (1)In recent years more and more homes are being pushed outwards as the activities of business, government and pleasure tend to be concentrated in the centers of the cities. (2)Although most people are reluctant to move to the outskirts of the cities, I feel like living in the suburbs. (3)It is true that the city can provide much convenience and entertainment, the very reason people can’t bear to part with city life. (4)But the cost for the privilege of living in the city is also high. (5)Just think of the places where we live, full of petrol fumes and toxic gases, torn by the roar of buses and lorries day and night, and thronged ceaselessly by great crowds. (6)Besides, as the housing problem in the central city gets more serious, people have to pay high rents for very tiny flats which I would certainly disdain to live in. (7)In contrast, living near the countryside one can enjoy the clean atmosphere, the closeness to nature and the quiet, peaceful surroundings—the essentials of a healthy life. (8)Nothing can be compared, as the pace of modern life is getting quicker, with the first cock crow, the twittering of birds at dawn, and sight of the rising sun glinting on the trees and green fields. (9)Although living in the suburbs you may suffer a little discomfort brought about by the necessity of traveling miles to work every day, the situation will change soon as many highways and subways are being constructed. (10)The new suburban life is fast becoming a predominant pattern of living in most cities; and with the development of traffic and the perfection of services, it will prove to hold great superiority over city life. Newspaper as a Better Source of News 1．现在许多人都从电视上得知天下事 2．但我认为报纸是获取消息的更好来源 3．其理由是… (1)For most of us today, television has become our main source of daily news. (2)This is unfortunate, however, because for several reasons newspapers should be regarded as a better source. (3)It is true that television news can vividly bring into our living rooms dramatic events of singular importance, such as space launchings, natural disasters, wars and so on, but it can not cover important stories in the depth they may deserve because of its time limitation. (4)On the contrary, print news excels in its ability to devote as much space to a story as it sees fit, though it can not compete with television visually. (5)Besides, television is essentially a passive medium. (6)Whether we like a particular piece of news or not, all we have to do is sit in front of the tube and “let it happen”. (7)But a newspaper reader can select what he is interested in, skip what he

普惠制原产地证书填写规范

“普惠制原产地证书”填制说明 普惠制FORM A的给惠国35个： 欧盟25国（英国、法国、德国、意大利、荷兰、比利时、丹麦、卢森堡、希腊、爱尔兰、葡萄牙、西班牙、瑞典、芬兰、奥地利、塞浦路斯、匈牙利、捷克、爱沙尼亚、拉脱维亚、立陶宛、马耳他、波兰、斯洛伐克、斯洛文尼亚）、挪威、瑞士、日本、加拿大、澳大利亚、俄罗斯、乌克兰、白俄罗斯、哈萨克斯坦、土耳其。 填写要求： 在证书右上角填上检验检疫机构编定的证书号，格式： G083702050790213(十六位) 其中，第一个大写字母代表证书类别，数字头两位（08）代表年份，第三位到第十一位（370205079）是企业注册号，最后四位（0213）是流水号。 第1栏：出口商名称、地址、国家 此栏带有强制性，应填明详细地址，包括街道名、门牌号码等。例： CHINA ARTEX (HOLDING) COPR. GUANGDONG CO. NO.119, LIUHUA ROAD, GUANGZHOU, CHINA 必须填写国家CHINA 第2栏：收货人的名称、地址、国家

此栏应填给惠国最终收货人名称。不可填中间转口商的名称。 1、日本和加拿大要求有收货人名称和地址，地址可以为国家或足以判定国别的地名; 2、欧盟国家、挪威：可以为TO ORDER。 3、其它国家：应为进口商的国家。（保持二栏与十二栏的国别一致） 第3栏：运输方式及路线（就所知而言） 一般应填装货、到货地点（始运港、目的港）及运输方式（如海运、陆运、空运）。例：ON/AFTER NOV. 6, 2004 FROM QINGDAO TO HAMBURG GERMANY BY SEA. 转运商品应加上转运港，如VIA HONGKONG。该栏还要填明预定自中国出口的日期，日期必须真实，不得捏造。对输往内陆给惠国的商品，如瑞士，由于这些国家没有海岸，因此如系海运，都须经第三国，再转运至该国，填证时应注明。例：ON/AFTER NOV. 6, 2004 BY VESSEL FROM QINGDAO TO HAMBURG, IN TRANSIT TO SWITZERLAND. 运输方式可以使用以下几种表述： 1、FROM A TO B BY SEA 2、FROM A TO B BY SEA VIA C 3、FROM A TO C BY SEA THEN FROM C TO B BY AIR

小学四年级作文谢谢你【三篇】

小学四年级作文谢谢你【三篇】 导读：本文小学四年级作文谢谢你【三篇】，仅供参考，如果觉得很不错，欢迎点评和分享。 【篇一】 我的爸爸是一名南京陆军指挥学院的教授，有很多解放军叔叔都是他的学生。 我特别感谢他！ 感谢他陪我学习奥数。从二年级开始，我就参加了奥林匹克数学竞赛的学习。在学习中，遇到了许多困难。爸爸总是耐心地辅导，陪我一起做题，一起训练。经过两年的学习，我的进步很大，已经进入特强班了！ 感谢他陪我学习围棋。别看我年纪小，可是我已经算是围棋老手了。从幼儿园大班就开始学围棋。爸爸不但负责接送我，还担任陪练的任务。特别是今年打一段前，他每天都会和我下两盘。还好我没有让他失望哦！ 感谢他陪我学习魔方。为了教会我玩魔方，爸爸先上网学习，掌握了玩六面的本领以后，再来教我。刚开始学的时候，我老是出错。现在，已经“青出于蓝而胜于蓝”了。和爸爸比赛，我经常赢呢。 其实，除了这些，还有很多很多…… 爸爸，谢谢你！【篇二】 我们已经来奥兰多第四天了，是我们离开奥兰多前往华盛顿的时

候了。在奥兰多的日子里我结实了许多朋友。寄宿家庭的“爸爸妈妈”和四个可爱的“弟弟妹妹”还有美国小学的小伙伴们，可是我最不舍得的是你，我们的导游Halen。 在这四天的日子你留给我的是无数欢乐和感动。那天在迪士尼我一个不留意把相机弄丢了，就在我焦头烂额准备独自寻找相机的时候。Halen——你，出现了，你先带我去了客户服务中心，但是没有找到，于是放弃你的游玩时间，陪我走大街穿小巷，把我去过的地方都找了个遍，最后我们只好再一次前往客户服务中心，没有想到居然真的找到了。你真是上帝派来帮助我的天使，不管最后有没有找到，我都要感谢你。 后来，我们一起逛超市…… 总之，我对你有千千万万的感激，说也说不完，写也写不尽，但是我还是要在这里，说一声谢谢，真的谢谢你，Halen。 Halen，谢谢你，你是我的天使。【篇三】 一天上午我们正在上着数学课。 老师正在讲一道数学题的时候，突然，我感到从鼻子流出什么？一看，原来是一滴鲜红鲜红的血，我先用左手蹭了蹭鼻子，但鼻血竟然又流了，真是的！我为了不耽误上课，接着我就给同桌说：“谢谢你，用你一点纸行吗？”同桌说：“行”，我找到了纸，把鼻子捏住，可是不起作用。 我又小声的：“你帮我给老师说一声我流鼻血了”，同桌爽快的答应了，说：“老师，骆仕俊流鼻血了”。快、快去厕所洗一洗吧！

高考英语作文套路

高考英语作文套路 Recently, the problem of …has aroused people's concern. 最近,……问题已引起人们的关注. （The Internet）has been playing an increasingly important role in our day-to-day life. It has brought a lot of benefits but has created some serious problems as well. （互联网）已在我们的生活中扮演着越来越重要的角色.它给我们带来了许多好处,但也产生了一些严重的问题. Nowadays, (overpopulation) has become a problem we have to face. 如今,(人口过剩)已成为我们不得不面对的问题了. It is commonly believed that …/ It is a common belief that … 人们一般认为…… Many people insist that …很多人坚持认为…… With the development of science and technology, more and more people believe that…随着科技的发展,越来越多的人认为…… A lot of people seem to think that …很多人似乎认为…… 引出不同观点: People's views on …vary from person to person. Some hold that …. However, others believe that…. 人们对……的观点因人而异.有些人认为……,然而其他人却认为……People may have different opinions on …人们对……可能会有不同的见解.

英文地址的写法

英文地址写法 一、寄达城市名的批译： 我国城市有用英文等书写的，也有用汉语拼音书写的。例如“北京”英文写为“Peking”，汉语拼音写为“Beijing”二者虽然都是用拉丁字母，但拼读方法不同，前者是以音标相拼，而后者则是用声母和韵母相拼的，批译时要注意识别，以免错译。 二、街道地址及单位名称的批译： 常见有英文书写、汉语拼音书写、英文和汉语拼音混合书写三种。 1、英文书写的，例如Address：6 East Changan Avenue PeKing译为北京市东长安街6号； 2、汉语拼音书写的，例如：105 niujie Beijing译为北京市牛街105号； 3、英文、汉语拼音混合书写的，例如：NO.70 dong feng dong Rd.Guangzhou译为广州东风东路70号。 三、机关、企业等单位的批译： 收件人为机关、企业等单位的，应先译收件人地址，再译单位名称。批译方法为： 1、按中文语序书写的要顺译。 例如：SHANGHAI FOODSTUFFS IMP AND EXP CO. 译为：上海食品进出口公司； 2、以英文介词短语充当定语，一般位于被修饰的名词之后，译在该名词之前。 例如：Civil Aviation Administration Of China 译为：中国民航局； 3、机关、企业单位的分支机构一般用英文“branch”(分部、分公司等)表示。 例如：Beijing Electron Co. Ltd Xian branch 译为：北京电子有限公司西安分公司。 四、姓名方面： 外国人习惯是名（Firstname）在前，姓(Lastname)在后。若碰到让您一起填的，最好要注意一 下顺序，不过你要是填反了，也没关系。中国银行收支票时是都承认的。 例如：刘刚，可写成GangLiu，也可写成LiuGang。

四年级作文谢谢你,我的同学400字

四年级作文谢谢你，我的同学400字 四年级作文谢谢你，我的同学400字 在一个风和日丽的早晨，我背着书包高兴地来到学校。 一进校门，映入眼帘的就是那美丽的三角梅。三角梅像一个个小巧的铃铛挂在树上，让人觉得十分舒服。我继续向班级走去，看到了菊花姐姐和兰花姐姐正向我打招呼呢！ 来到班级，那悦耳、优美的读书声从教室里传来。我走进教室，拿起语文书，认真地读了起来。 邱老师从走廊来到班级，原本严肃的神情，听了我们的读书声，变得笑容满面。老师走进教室，给了我们一个美好的笑容。 “铃铃铃”上课铃响了，邱老师抱着一叠厚厚的考卷向我们走来，庄重严肃地说：“现在，我们要来进行一次单元考，加油，老师相信你们一定能够取得好成绩！”说完，老师就一组一组地发试卷了。 试卷发下来了，我正准备写姓名班级，才发现，我的水笔没水了。我急得像热锅上的蚂蚁，心里想：“这该怎么办啊，水笔没水就考不了试了。”我正在

烦恼时，坐在旁边的晓慧，似乎知道我在想什么，毫不犹豫地向我递来一支可擦水笔，微笑的说：“你先用吧，考完之后再还给我！”“谢谢你，晓慧，你真是我的救命恩人啊！”我感激地说。“不用谢，我们是朋友嘛，本来就该互相帮助！”晓慧说完，就埋头考试了。我也在认真审题、答卷了。 过了几天，成绩出来了，我考了97分，我高兴得一蹦三尺。 晓慧，我要谢谢你，是你让我懂了，什么是“赠人玫瑰，手有余香”。 福建厦门湖里区厦门市东渡第二小学四年级:陈丽阳 四年级作文谢谢你，我的同学400字 在一个风和日丽的早晨，我背着书包高兴地来到学校。 一进校门，映入眼帘的就是那美丽的三角梅。三角梅像一个个小巧的铃铛挂在树上，让人觉得十分舒服。我继续向班级走去，看到了菊花姐姐和兰花姐姐正向我打招呼呢！

高中英语作文万能模式：英语书信类作文写作模板

高中英语作文万能模式：英语书信类作文写 作模板 书信： 【高分套路】 但凡应试书信，逃不出三种段落： 开头段：四大内容 1、问候； 2、自我介绍； 3、写信背景；为什么会写这封信 4、写信目的；写这封信想达到什么目的 中间段：具体问题+具体分析； 结尾段：客套话； 口诀： 开门见山说意图 咨询建议123 不同内容可分段 感谢客气不可少 期待回信成老套 【经典套话】 （一）开头段：灵活地去写四种内容：

1、问候； How are you doing? How is everything going? How is life treating you? 2、自我介绍； I am LiHua, a 17-year-old boy currently studying in XXX middle school. I am LiHua, who... 【李华同志的个人简历】 由于我们在考场上的身份几乎年年都是李华，因此我们在这里有必要了解一下李华同志的一些个人情况。当然，这位同志的个人情况是可以有我们自己人为设置的。为了给阅卷老师留下一个好印象，我们将李华同志的个人简历概括为：一个人见人爱的好孩子。 hardworking diligent help my parents to do housework take part in CCTV national English speech competition won the second prize in CCTV national English speech competition vice monitor

vice chairman of the students’union worked as a volunteer for the Olympic Games worked as a volunteer for the 21st century have many foreign friends and often chat with them happily in starbark. 3、写信背景（写信的缘由） I heard that ... My teacher told me... I am informed that... I learned that...我得知... I read in your newspaper/ micro-blog /website that... You said in your last letter that... 4、写信目的； Now, I am writing to do sth. Now, I am writing this letter to do sth. Now, I am writing these few lines to do sth. 【七种最常见书信的“写信目的”部分的最佳写法】 自荐信： Now, I am writing to apply for the job/position. 感谢信: Now, I am writing to show/ express my heartfelt gratitude to you.

英语作文 (描述学校模板二)

作文---描述学校(模板二) 一.描述学校模板二: 开头：This is my school. It is 形容词(big/small/clean/cool/…). 正文：There is a 形容词地点名词in my school. I/We 动词词组in/on the 地点名词. There are many 形容词地点名词（复数）in my school. I/We 动词词组in/on the 地点名词.（正文部分请写至少8句话） 结尾：I like it very much./I like my school. （请注意：此处的描述学校的模板二和之前抄在书上78面的模板一，区别在于正文部分。例如：There is a big playground in my school. We play football on the playground.） 二．写作文： 请依照模板二，写一篇描述你自己的学校的作文，另外作文开头已经给出： This is my school. It is cool._________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________

缮制普通原产地证书及普惠制产地证书

实训七缮制普通原产地证书及普惠制产地证书 一、原产地证书 中华人民共和国原产地证书（Certificate of origin of The People’s Republic of China）简称原产地证书，是证明本批出口商品的生产地，并符合《中华人民共和国出口货物原产地规则》的一种文件。它由商务部统一规定和印制，并由国家质量监督检验总局或中国国际贸易促进委员会签发。如果信用证或合同对签证机构未作具体规定，一般由检验检疫局出具。 根据我国有关规定，出口商最迟于货物出运前3天向签证机构申请办理原产地证书，并按签证机构要求提供已缮制的《中华人民共和国出口货物原产地证明书申请书》一份和《中华人民共和国原产地证明书》一套、并随附出口货物商业发票一份及签证机构所需的其他证明文件。

原产地证明书共有12项内容，除按检验检疫局指定的号码填入证书编号（Certificate No.）以外，就其各栏目内容和缮制要点逐项介绍如下： 1.Exporter（出口商） 此栏包括出口商的全称和地址。信用证项下的证书，一般为信用证受益人，托收项下的是卖方。 2.Consignee（收货人） 填本批货物最终目的地的收货人全称和地址。信用证项向的证书一般为开证申请人，如信用证有具体规定，应按要求填写。 3.Means of transport and route（运输方式和路线） 应填装运港和卸货港的名称，并说明运输方式。例如，From Shanghai to London by sea。如要转运，须注明转运地。例如，By s.s. from Shanghai to London W/T Hongkong。 4.Country/Region of Destination Port（目的国家或地区） 按信用证或合同规定的目的国家或地区名称填制。 5.For certifying authority use only (供签证机构使用) 本栏供检验检疫局根据需要加注说明，如补发、后发证书等事项。 6.Macks and numbers of packages (唛头及包装件数) 按信用证中规定的内容进行缮制，且与发票和提单的同项一致，不得留空。 7.Description of Goods, number and kind of Packages (商品名称、包装件数及种类) 填写具体的商品名称、包装件数和种类，如散装货物用“In bulk”表示。 8.H.S.code (H.S.编码) H.S.是海关合作理事会《商品名称及编码协调制度》的英文缩写。商务部和海关总署根据H.S.分类编制了《中华人民共和国进出口商品的目录对照表》，规定了商品名称和编码。本栏应按该规定填入，不同商品应分别标明不同的H.S编码。 9.Quantity or weight（数量及重量） 依据发票和提单有关内容填写。重量应注明毛重和净重。例，G.W.40000kgs,N.W 38000kgs。 10.Number and date of invoices (发票号码及日期) 按发票实际号码和日期填写，月份应用英文缩写表示。例如，BEC.3,2003。 本栏内容填写完毕，从第6项开始用“*”符号打成横线表示结束。 11.Declaration by the exporter (出口商声明) 出口商声明已事先印就。内容为：“下列签署人声明，以上各项及其陈述是正确的，全部货物均在中国生产，完全符合中华人民共和国原产地规则。”在本栏仅填入申报地点和日期，加盖申请单位章，并由经办人签字。签字与图章不能重叠。 12.Certification (签证机构证明)

大学英语作文套路

（一）My View／Opinions／Ideas．．．on．．．题型套路1： (Lead-in sentence… ) People's view／opinions／ideas．．．on．．．vary from person to person．Some people think that．．．they hold this opinion because．．． However，others hold that．．．,because… As to me, I am in favor of the f irst/second idea(I think those who think that…are right/neither of the two ideas is right)．The following are the reasons for my choice(personal inclination)．First(Firstly/First of all), … , Second(Secondly/Besides)，．．．,… /(because…) Therefore／In a word／From the above analysis/Admittedly,．．． My View on Donating Blood Nowadays, we often talk about donating blood. People's ideas about donating blood vary from person to person．Some people think th at it is glorious to donate blood．They hold this opinion because those who are in urgent need of blood can be saved．However，others hold that it is foolish for people to donate blood．In their opinion，blood is very precious and losing 200ml or more may do harm to their health． As to me I am in favor of the first idea．The following are the reasons for my choice．First，while it is true that the loss of too much blood is dangerous to one's health，it does not mean that donating a little blood is also harmful．On the contrary，doctors say that donating a little blood can promote metabolism．Second，there are many people who need our help．If my little donation of blood can pull back somebody on the way to death，will there be anything that can make me happier？ In a word，donating blood is glorious．套路2： (Lead-in sentence… ) Different people have different views on ．．．It is held that．．．But it is also held that．．． Those who hold the first opinion…, because… .In contrast，those who hold the second view．．．,because… As to me，I agree with the former( latter )opinion(view, idea),because… . My View on Friendship Friendship is very important to all of us. It is wealth. Different people have different views on friendship．It is held that a friend in need is a friend indeed．But it is also held that friendship means understanding each other． Those who hold the first opinion often ask their friends for help when necessary．They regard those who help them as friends but regard those who don't help them as mere acquaintances．In contrast，those who hold the second view believe that they have no right to ask their friends to do everything for them，especially those things that might be inconvenient for their friends． As to me，I agree with the latter opinion．Admittedly，friends should help each other，but this is not to say that friends must agree to offer help in any circumstances．If we want to keep our friendship，we should cherish it but not use it．What's more，it should be understood that with the modern pace of living most people are busy．They may not have time to lend their friends a hand on short notice．In a word，understanding is preferable to need．