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1.The moment I say "school," 当我说“学校”这个词的时候， 2.so many memories come back to me. 我的脑海里涌现出很多回忆。 3.It's like after every exam, when I walk out, the teacher would say, "Hey, come. 就像每次考试后我走出教室时， 老师会说：“嘿，过来一下， 4.How did you do?" 做得怎样啊？” 5.I would say with a great smile, "I will definitely pass." 我会咧开嘴笑：“我一定会及格的，放心吧。” 6.And I didn't understand why, in one hand they say, "Speak the truth," 那时我不懂为什么， 一方面他们说：“要说真话，” 7.in the other hand, when you say the truth, they hated you. 另一方面，当你说真话的时候，他们又不满意了。 8.So it went on like that, and I didn't know where else to find myself. 所以一直那样纠结着， 找不到自己的位置。 9.So I remember those nights I used to go to sleep with asking help from [the] Unknown because, for some reason, I couldn't believe what my father and mother 我记得那些个夜晚， 睡觉前 我会向未知求助， 因为，由于某种原因， 我不能奉我父母 10.hanged in the Puja room as a god, because my friend's family had something else as a god. 挂在梵刹内的东西为神， 因为我朋友家 又信另一种神。 11.So I thought, "I guess I'll pray to [the] Unknown and ask help," 所以我对自个儿说：“还是不要指名道姓好了， 得到帮助的机会会大点儿。” 12.and started getting help from everywhere, each and every corner of my life at that time. 至此以后便一发不可收拾， 什么神都来帮我了。 13.My brothers started giving me a few tips about drawing and painting. 比如我老哥开始在绘画上给我一些指点。 14.Then, when I was in eighth standard around 13 years old, I started working in a part-time job in one of the signboard artists called Putu. 然后，当我上八年级 大概13岁的时候， 开始在一个叫putu的制作招牌的艺术家那儿 兼职。 15.And then school also started supporting me. 又比如，学校开始给我提供支持与帮助： 16."Oh, he's bad at studies, but let him send to the drawing competitions." “哦，他在学习上是没什么花头了， 不过送他去绘画比赛也许有戏。” 17.So it was good to survive with that little tool that I found to find my own place in school. 所以我得以幸存， 并找到了自己在学校里的位置。 18.And one of those competitions, I just won a small, little transistor Philips radio. 在其中一次比赛中， 我赢来了一个小小的飞利浦的晶体管收音机。 19.And I didn't have the patience to wait until I reached home. 我那时极为猴急。 等不到回家就把它拆开了。 20.So I just switched on in the train, loudly. 还在火车上，我调大了音量。 21.If you travel in Indian trains, you can see people listening to radio and, you know, even from their mobiles. 如果你坐过印度火车， 就知道人们喜欢听收音机。 甚至用手机听。 22.So at that time -- and I was 13 -- and I was listening to just radio, and someone happened to sit next to me, like these three people are sitting here. 而那时候，-我才13-- 所以我也听收音机， 正好就有个人坐我旁边， 就像坐在这边的这三个人一样。 23.You know, like just adjacent to me. 就是坐我旁边啦。 24.He just started asking, "Where did you buy the radio? How much is it?" 他就开问了：“这收音机哪儿买的？多少钱啊？” 25.I said, "It's a prize from [an] art competition." 我说：“这可是画画比赛的奖品。” 26.And he said, "Oh, I teach at a college of arts. 他说：“哦，我在大学里教画画呢。 27.I think you should study in a school of art. 我觉得， 你应该在艺术学校里学习， 28.You just quit school and come there." 你直接退了学去那儿吧。” 29.So, why I'm telling you this, you know, maybe, you know, whoever is sitting next to you can change your whole life -- it's possible. 所以，我和你说这个的目的是， 也许， 无论谁坐在你旁边，都可能改变你的人生。这是有可能的。 30.It is that we need we need to be open and fine-tuned. 只要我们足够思想开明并具备潜质。 31.So that's what made me enter [the] college of arts after three attempts and just continue to inquire what I really want to do with art work, or art 所以，这就是支持我 失败三次仍继续尝试， 并最终进入艺术学院， 去做我真正想要从事的艺术工作， 32.and finally I'm here in front of you. 并最终站在你们面前的动力。 33.When I look back, you know, on what happened between that time and now here -- the last 10/15 years -- I can see that most of the works 当我回首往事， 去想在那时候与现在这段时间之间， 发生的事， 在过去的10或15年里， 我总结出大部分作品， 34.revolve around three subjects, but it was not intentional. 都围绕着三个主题， 但这不是故意的。 35.And I just start out with a trace because I was thinking, "What really makes us?" -- you know, it's actually [the] past, what makes a person. 我的脑海里浮现出一道轨迹， 因为我在想，“究竟什么造就了我们？” 然后我恍然：是过去啊，是过去造就了我们。” 36.So I was thinking, but when you look at the past, the way to understand the past is only by the traces available, because we cannot go back [to] the past. 所以我想， 当你回首过去， 去理解过去的方法， 只有沿着留下的痕迹去追寻。 因为 过去已如泥沙沉淀。 37.It can be ruins, or it can be music, or it can be painting or drawing or writing, whatever it is. 它可能是一堆残骸，也可能是一曲仙乐， 又或者留在油彩或墨水中，任何方式， 38.But it is just a kind of trace of that time. 但，这些都是时间的指纹。 39.And that fascinated me, to explore that territory. 我沉迷于此， 沉迷于开拓这片艺术的疆土。 40.So I was working on the line, but instead of working about traces, I started capturing traces. 所以当我遨游于线条之间， 去收拾这些痕迹， 捕捉他们，描绘他们。 41.So here are some of the works I would like to show you. 现在我想给你们展示其中的一些作品。 42.So this is called "Self In Progress." 这叫做：“进步的自我。” 43.It's just a trace of being in this body. 它是寄居于这个身体的一道痕迹。 44.So here, what happened then, you know -- what I really enjoyed the most is that this sculpture is nothing but a trace of myself. 然后呢， 身体真的非常享受这个模具， 就像这个雕像， 就是从我自己的过去而来的。 45.It's almost like a 3D photograph. 简直就像一张3D照片。 46.So there is an element of performance, and there is an element of sculpture, and there is an element of feeling one's self, so close to one's self. 里面有表演的元素， 雕刻的元素， 还有接近自我，感知自我的元素。 47.So it's almost like fossils for the future. 简直就像献给未来的化石。 48.And then moved slowly to explore the other possibilities of capturing traces. 然后呢，慢慢移动， 去探索捕捉过去的各种可能。 49.So this is what I was talking about, while molding, it's such a great experience, because we have freedom of like walking, or moving my hand or, moving around in the space, 所以，这就是我制模时候讲的话。 这种体验非常之棒， 因为我们拥有自由如走路， 自由地挥挥手。 50.but the moment this becomes solid, when you cannot move even an inch, because this is plaster of Paris, so the moment you pour it it's like liquid; 但是在一瞬间这些都凝固了， 你一动也不能动， 因为他是熟石灰，这一刻它流动自如， 51.but after 20 minutes, it's almost like a hard stone. 20分钟后，他就硬如磐石了。 52.So this is capturing the trace of a thumbprint because, knowingly or unknowingly, whatever we do, you know, we leave our traces here. 这是对指纹的捕捉， 因为，知觉或不知， 无论我们做什么，总是留下痕迹。 53.So I just thought, "I'm going to capture thumbprint, footprint, or whatever traces we leave as humans." 所以我想，我将捕捉， 指纹，趾纹。 任何我们作为人类留下的痕迹。 54.This is the trace of fire, this is the trace of sun. 这是火的痕迹， 这是太阳的。 55.Because when I was capturing traces, you know, this thought comes to me always: is it, only when the object touches the thing and it leaves the trace, 因为当我捕捉痕迹时， 我总是想到， 是不是，一个物体自由移动，碰到了另一个物体，留下了痕迹， 56.or is there other ways to capture it?" 或有没有其他方法来捕捉他呢？” 57.So this work is nothing but like -- because of the focal length of the lens, it just shows what is on the other side. 这个作品是-- 因为镜头的焦距问题， 他只显示出了另外一边是什么。 58.So I just put the paper on the focal length, which was an etching print, then I got the portrait of [the] sun from sunlight. 所以我就把纸放在焦距上， 他是张蚀刻画， 然后从阳光那儿我就得到了太阳的肖像。 59.This is called "Dawn to Dawn." 这个叫“黎明” 60.What I did here, I just put like 10 feet [of] paper then put a coconut rope, and just burnt it. 我做的呢，就是，放了10英尺的纸 然后 恩， 61.So it took about 24 hours to get this line. 花了24小时弄的。 62.So wherever the fire is eating the paper, that's what becomes the work -- detail. 所以无论哪儿纸张在被火侵蚀， 他就成了作品了。 细节。 63.Even though we have traces when we try to understand them, the perception and context play a major role to understand it. 即使我们有痕迹， 当我们试图理解他们， 知觉和环境 起的作用最大。 64.So do we really understand what it is, or are we trying to get what we think it is? 所以我们真正理解了吗， 或我们只是 按我们臆想去理解他的呢? 65.Then move towards questioning the perception because, even though there are traces, when you try to understand them, you know you play a major role. 那么就提问直觉吧 因为，即使有痕迹， 当你去理解时，你扮演的角色也是责任重大。 66.So like let's say even a simple act. 就像，比如说，一项简单的行为中。 67.How many of you saw a cow crossing in India while you were coming from Bangalore to Mysore? 你们中多少人看到过印度的牛过马路， 当你们从班加罗尔到迈索尔的时候？ 68.Can you just raise the hand? 举下手好吗? 69.If you just ask an opinion of how, everyone can interpret it. 如果你问一个观点意见什么的， 每个人的理解都不一样。 70.Like, let's say, if a schoolteacher says, she'll simply say, "To get to the other side." 比如，一老师说的话， 她会直接说，“为了到另一边去。” 71.Why the cow was crossing the road, you know. 当被问及为什么奶牛穿越马路，你知道。 72.The answer can be so different if Potter said it. 如果哈利波特说的话，答案又不一样了。 73.He would say, "For the greater good." 他会说，“为了更大的利益。” 74.Martin Luther King would say, "I imagine a world where all cows will be free to cross the road, without having their motives called into question." 马丁路德金会说， 我有一个梦想，所有奶牛都获取自由去 穿越马路， 而不受任何争议。” 75.(Laughter) Imagine Moses comes now, and he sees the same cow walking around the street. （笑） 想象一下摩斯现在来了，然后他看到了 那头同样的奶牛在穿越马路。 76.He would definitely say, "God came down from heaven, and he said unto the cow, 'Thou shalt cross the road.' And cow crossed the road, 他一定会说， “神仙下凡了， 然后他对奶牛说， “汝应穿越马路。” 然后奶牛穿越了马路， 77.and there was much rejoicing as a holy cow." 然后大受鼓舞，天降神牛啊，天降神牛啊。 78.(Laughter) Freud would say, "The fact that you're at all concerned reveals your underlying sexual insecurity." （笑） 弗洛伊德会说， 你如此关注的事实 揭露了你隐藏的性欲。” 79.(Laughter) If we ask Einstein, he would say, "Whether the cow crossed the road, or the road moved underneath the cow, depends on your frame of reference." （笑） 如果我们问爱因斯坦， 他会说：“是奶牛穿越马路， 还是奶牛身下道路的移动， 都取决于你的参照系。” 80.(Laughter) Or Buddha -- if he saw the same cow, he would say, "Asking this question denies your own nature [as a] cow." （笑） 那么，佛陀呢。 如果他看见了同一头奶牛，他会说， “问这个问题否定了你自身的奶牛本性。” 81.(Laughter) So, what we see is just what we think often, and most of the time, we don't see what it is. （笑） 所以，我们看见的， 经常只是我们的所想而已， 并且大部分时候，我们看不见事物的本质。 82.It just all depends on one's perception. 我们只是依靠于我们的直觉。 83.And context, what is really context? 那么情景呢，情景是什么？ 84.You know, I could just show you this little piece of paper. 我们来看一下这张小纸片就知道了。 85.Because I always think meaning doesn't really exist. 因为我总是认为根本就没有什么意义之说。 86.The meaning of what we create in this world doesn't exist. 我们在这世上的创造物根本是没什么意义的。 87.It's just created by the mind. 意义什么的只存在于我们的脑袋里。 88.If you look at this piece of paper, this is the breadth and this is called length. 如果你看着这张纸， 这是宽， 这是长， 89.This is how we've been taught in school. 这就是我们在学校里学到的。 90.But if you tear it in the middle -- now, I didn't touch this breadth, but still, the meaning of this changes. 但是如果你从中间把它撕开。 现在，我不碰到这宽， 但改变仍然已经发生。 91.So what we conceive as a meaning is always not there; it's on the other side, even when we say dark, light, good, bad, tall, short -- 所以我们所谓意义， 根本是不存在的； 他在事物的另一面， 即使是我们说的黑暗，光亮， 好，坏，高，矮-- 92.all meaning it doesn't exist in reality. 现实中并不存在。 93.It's just that being a human, the way we train to perceive the reality creates this meaning. 那只是，作为一个人类， 通过被训练一些看待事物特定方法， 我们自个创造了意义。 94.So this work from this period is mostly like -- you know, this is a work called "Light Makes Dark." 所以这阶段的这个作品， 很像是-- 呃，他叫做“光明制造黑暗” 95.It's just captured through from the lamp. 这是从台灯那儿捕捉到的。 96.So the lamp is not just giving a light, it's also giving a darkness. 所以台灯不仅创造了光亮，也创造了黑暗。 97.So this is a work of art, which is just trying to explore that. 所以这就是一个试图探索这个主题的艺术作品。 98.This is called "Limit Out." 这叫“无极限” 99.This shows how limited our eye or hearing sense or touch -- do we really see? 他展示了我们的视觉听觉的极度受限-- 我们真的看到了吗？ 100.This is an exact negative. 这是个极好的佐证。 101.It's about six inches deep in the wall, but it just appears like it's coming out of the wall. 它嵌在墙里大约6英尺， 但看上去好像他正要从墙里钻出来呢。 102.You know the wall is almost like -- this is the first skin, and this is the second, and there's a third, and each creates a meaning. 这个墙就像是-- 这是第一层表皮，第二层， 第三层，每一层都有一个意义。 103.And we're just pulling the wall off the gallery. 我们只是把墙脱离出整个画廊。。 104.Again, "Inward Out." 再一次，“里外” 105.It's a full-figure cast from myself. 它是由我自己铸成的。 106.It's about eight inches deep. 大概8英尺深。 107.When I was doing that, I always wondered since I've worked with creators -- and now you know, I've moved to questioning the perception -- 当我在做它的时候，总是怀疑自己曾与造物主合作-- 现在到了提问知觉的时候了-- 108.whenever I see the bird flying in the sky, it just makes me feel like: is there anything behind, are there any traces up there, which as a human, we don't see them? 无论何时我看到有鸟在天上飞 就感到-- 他们有没有留下什么痕迹呢，有没有呢? 作为人，我们无法用肉眼看到的痕迹? 109.Is there any way to capture the thought into visual art? 有没有一种方法能够把这种想法 投射到可见的艺术当中？ 110.I couldn't find it. 我找不到。 111.But a solution arrived after being quiet and not working for about six, seven months, in the restroom, when I was changing the air freshener 但是停止工作安静思考6，7个月后， 我终于想到了， 在一个餐馆里， 当我在换空气清新剂的时候。 112.that goes from solid substance to vapor. 他从固体变为液体。 113.It's called Odonil. 它就叫Odonil。 114.This is the work I made out of that material. 这是我对那个素材的创作。 115.The process to get to make the sculpture was interesting, because I wrote to Balsara, who produces that air freshener called Odonil, 做雕塑的过程非常有趣。 因为我给做空气清新剂Odonil的 Balsara公司写信。 116.saying, "Dear Sir, I am an artist. This is my catalogue. 信上说，“亲爱的先生，我是名艺术家，这是我的履历。 117.Will you help me to make this sculpture?" 你能帮我做这个雕塑吗？” 118.They never wrote back to me. 他们没给我回信。 119.Then I thought, "I will go to the Small Scale Industries Facilitating Unit and ask help." 然后我就想，“那么我就去一些小作坊 寻求帮助吧。” 120.So I told them, "I'd like to start an air freshener company." 所以我告诉他们，“我想要开一家空气清新剂公司。” 121.They said, "Of course. 他们说，“当然可以了。” 122.This is the fee for the project report, and we will give you all the details," and they gave. “这是工程价格报告， 过后会给你补充细节。” 123.Finally, I went back to them and said, "It's not for starting the company, it's just to make my own work. 最后，我又去找了他们告诉他们： 我不是要开公司，只是想做我自己的作品。 124.Please come for the show." 你们来看看我的演示吧。” 125.And they did. 然后他们就来了。 126.And this work is in the Devi Art Foundation in Delhi. 这幅作品是“德里的基础” 127.In India, nobody really talks about works of art; they always talk about the appreciation of art. 在印度，没有人真正关心艺术。 他们只关心作品的价格，增值空间。 128.You buy this for 3,000 rupees, it'll become 30,000 in two months. 现在你用3000卢比买了这个， 两个月后它就升值到30000了。 129.This is the craft that was going on, but there are a few collectors who also collect art which can depreciate. 这就是事实， 但也有一些收藏者， 收藏可能贬值的作品。 130.And this was collected by Anapum -- which is like, finally in the end, he will not have anything, because it will evaporate. 这是Anapum的收藏-- 其实最终它们不会值几个钱的。 因为价值会蒸发。 131.So this is after a few weeks, this is after a few months. 这是几星期以后的， 几个月以后的。 132.It's just all about questioning the preconceptions. 这只是一个关于先入为主的问题。 133.So if someone says, "Oh, I see the portrait," 所以如果有人说，“哦，我看过那肖像。” 134.it may not be the portrait after a few months. 几个月后他可能就不是肖像了。 135.And if they say it's solid, it will not be solid, it will evaporate. 如果他们说它是固体， 他有可能不是固体，他会蒸发。 136.And if they say they don't get it, that's also not true, because it's in the air. 如果他们说他们没拿到， 那也是谎言， 因为他就弥漫于空气中， 137.It's in the same gallery or in the same museum. 在同一个画廊或博物馆的空气中。 138.So they inhaled it, but they are not aware of it. 他们呼吸着它， 却浑然不觉。 139.While I was doing that work, my mom and my dad, they were looking at it and they said, "Why do you deal with negative subjects all the time?" 当我在完成那件作品时， 我老爸老妈， 看着他然后说， “为什么你总是围绕着这些稀奇古怪的题材？” 140.And I was like, "What do you mean?" 然后我就说，“什么意思啊？” 141."Light makes dark and now evaporating self. “光亮制造了黑暗，然后现在又是会蒸发的细胞？ 142.Don't you think it remained something about death," they said. 你不觉得其中包含了一点关于死亡的意味吗？”他们说。 143."Of course not. For me," I'm thinking, "this is tucked in some small solid, but the moment it evaporates, it's merged with the whole." '“当然不是了，对于我来说。”我想， “他是被塞入一些小的固体之中， 但他蒸发的瞬间， 就融入了整个整体。” 144.But she said, "No. Still, I don't like it. 但是她说，“不，我还是不喜欢他。 145.Can you make something from nothing as a sculptor?" 你作为一个雕塑家， 能够实现从无到有的过程吗？” 146.I said, "No, mom. It can't be. 我说，“不行，老妈，不行的。 147.Because we can create a sculpture by gathering dust together, or we can break the sculpture and get the dust, but there is nowhere that we can bring dust into the universe." 因为我们可以去 把土黏在一起 去做一个雕塑， 或者我们可以打破雕塑来得到泥土， 但是我们不能创造泥土。” 148.So, I did this work for her. 所以我为她制作了这件作品。 149.It's called "Emerging Angel." 它叫“慢慢出现的天使” 150.This is the first day -- it just gives the appearance that one is becoming the other. 这是第一天。 看起来像是 一样食物变成了另一样。 151.So, the same sculpture after a few days. 所以，同一桌雕塑， 几天之后， 152.This is after 15/20 days. 这是15，20天之后， 153.Through that small little slit between the glass box and the wood, the air goes underneath the sculpture and creates the other one. 虽然那条小小的裂缝 存在于玻璃盒子和木头之间， 空气钻进了雕塑，然后又产生了另一条裂缝。 154.This gave me a greater faith. 但他给了我一个更大的启发。 155.That evaporating sculpture gave me a greater faith that maybe there is many more possibilities to capture [the] invisible. 那个蒸发的雕塑给了我一个更大的，信念。 也许，会有更多的可能 去捕捉那些看不见的东西。 156.So what you see now is called "Shadow Foreshadow." 所以你现在看到的东西， 叫做“预兆的影子” 157.And what I'd like to tell you is we don't see shadow, and we don't see light too; we see the source of the light. 我想告诉你的是， 我们不是看见影子，也不是看见光亮， 我们看见的是光亮的源头。 158.We see where it's bouncing, but we don't see [them] as they exist. 我们看到的是他们的反射物，而不是他们本身的存在。 159.You know, that's why the night sky, we see the sky as dark, but it's filled with light all the time. 你知道，这就是为什么，夜晚的时候。我们看到天是黑的， 但其实他无时无刻不充满光亮。 160.When it's bounced on the moon, we see it. 当他们在月球表面反射，我们看见了他。 161.The same thing in the darkroom. 暗室也是同样道理。 162.The little dust particle will again, reflect the light, and we realize the existence of light. 小的尘埃也会反射光亮， 然后我们就感觉出了光的存在。 163.So we don't see dark, we don't see light, we don't see gravity, we don't see electricity. 我们看不到黑暗，也看不到光亮， 看不到引力，看不到电流。 164.So, I just started doing this work to inquire further about how to sculpt the space between this object and there. 所以，我开始做这件作品 来更深层次的探寻 雕塑， 物体之间空间的方法。 165.Because, as a visual artist, if I'm seeing this and I'm seeing that -- but how to sculpt this, you know? 因为，在可视的艺术中，我看到了这个，那么我也看到了那个-- 但是雕塑家们应该怎样去描绘呢？ 166.If we sculpt this, this has two reference points. 如果我们雕这个的话，他有两个参照点。 167.The skin of this is also representing this. 它的表面也代表了这个。 168.And skin at the other end also represents the floor. 另外一端的表皮也代表了地面。 169.I did this as an experiment of casting the shadow. 我把这作为一项实验来做， 你知道，铸造影子。 170.So this is a corrugated box and its shadow. 这个呢，是一个有波纹的盒子和他的影子。 171.Then the second one -- the moment you bring any invisible into the visible world it will have all the characteristics of the visible existence. 第二个-- 你把不可见的东西可视化的那一刻， 它就具备了所有可视物体的性质了。 172.So that produced a shadow. 所以他又有了一个影子。 173.Then I thought, okay, let me sculpt that. 然后我想，好吧，让我把他雕出来。 174.Then, again, that becomes an object. 然后，又一次地，他变成了一个物体。 175.Again, throwing light, then the third one. 然后，第三个。 176.So what you see is nothing but shadow of a shadow of a shadow. 所以现在你只看得到影子的， 影子的影子。 177.And then again, at that point, there is no shadow. 然后又一次，在那个点上，没有影子。 178.I thought, "Oh, good. Work is finished." 我想，“哦，好的，完成了。 179.You can see the detail. 你能看到细节。 180.This is called "Gravity." 它叫“引力” 181.It's called "Breath." It's just two holes on the gallery wall. 它叫“宽”。他就是在画廊墙上的俩洞。 182.It's a false wall, which contains like 110 cubic feet. 它是座假墙，里面有， 大概110立方英尺。 183.So that hole actually makes the air come out and go in. 所以事实上，那个洞， 实现了空气的流通。 184.So where it's happening, we can see, but what is happening will remain invisible only. 我们能看见他在发生， 但实际上发生的事永远是不可见的。 185.This is from the show called "Invisible," at Talwar Gallery. 这是从Talwar画廊的一场秀上来的， 186.This is called "Kaayam." 叫做“Kaayam”。 187.Detail. 细节。 188.And what I'd like to tell you, our senses are so limited -- we cannot hear everything, we cannot see everything. 我想告诉你的是， 我们的感官如此之受限， 我们什么也得不到，什么也看不到。 189.We don't feel, "I am touching the air," 我们不能感觉，“我正在触摸空气，” 190.but if the breeze is a little more faster, then I can feel it. 如果气流再快一点，那我能够感觉到他。 191.So all of our construction of reality is through these limited senses. 所以所有我们关于现实的建构， 都是通过这些极受限的感官。 192.So my recourse was like, is there any way to use all this as just a symbol or a sign? 所以求援就像是，， 又没有一种方法来使用所有的这些 作为纯粹的标志或记号？ 193.And to really get to the point, we should move beyond, you know, go to the other side of the wall, like in logic, like are invisible. 而且真正要达到目的， 我们需要超越， 走到墙的另一面，逻辑上来说， 看不见的地方。 194.Because when we see someone walks, we see the footprint. 因为我们看到某人走路时，我们看到了脚印。 195.But if we're just cutting that footprint from the whole thing and trying to analyze it, you will miss the point because the actual journey happens between those footprints, 但如果我们单纯把脚印截取出来，并试图去分析它， 会有失偏颇， 因为实际上旅程位于脚印之间， 196.and the footprints are nothing but passing time. 而脚印只不过是在时间里留下的痕迹。 197.Thank you. 谢谢。 |
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