本文探讨了C++中的虚构造函数概念，它是面向对象编程中的一个重要特性，允许通过基类指针调用派生类的构造函数，实现多态性。通过对虚构设计的深入理解，开发者可以更好地在复杂的系统中进行设计决策。
c++定义虚构造
By Madeleine Morley
玛德琳·莫利(Madeleine Morley)
I like that when I interview designer Na Kim, we’re in a boxy apartment on the fifth floor of a Bruno Taut building in Berlin. I like it because in some ways, this style of architecture — with its modern, winding staircase painted various shades of bright red and shaped by the dictum of “form follows function” — is exactly where this design story begins. But seen in another light, this design story begins much further afield, in the city of Gwangju in Korea, in a small stationery shop where boarding school girls collect reams of bright polka dot stickers. This is because when it comes to Kim’s design process, rules and carefully devised systems combine with deeply entrenched personal memories to form something wholly distinctive, yet vigorously defined.
当我采访设计师Na Kim时 ， 我喜欢这样，我们在柏林Bruno Taut大楼五楼的四方形公寓里。 我喜欢它，因为从某种意义上说，这种建筑风格-它的现代曲折楼梯涂上了鲜红色的各种阴影，并由“形式遵循功能”的原则来塑造-正是这个设计故事的起点。 但是从另一个角度来看，这个设计故事在韩国光州的一个小文具店里开始了，在更远的地方，那里的寄宿学校女生收集了大量明亮的圆点贴纸。 这是因为在谈到Kim的设计过程时，规则和精心设计的系统与根深蒂固的个人记忆相结合，形成了完全独特而又充满活力的东西。
After studying product design at KAIST and graphic design at Hongik University in Korea, Kim moved to the Netherlands to complete a Master’s at Werkplaatz Typografie, studying under the guidance of the prolific Karel Martens. She later founded Table Union in Seoul, a design studio and creative platform, and designed Graphic magazine between 2009–2011. In 2018, she art directed the Fikra Graphic Design Biennial with Prem Krishnamyrthy and Emily Smith, and this year, she was behind the design of the sixth issue of Eye on Design magazine. Kim is one of those rare designers that continually stretches and flexes the possibilities of graphic design thinking. Since 2015, she’s been reimagining the contents of her own monograph in a variety of forms: Her SET wall installations mine her own past commissions and works, shown together regardless of production year, medium, or context, and imbued with a new order based on a continually revolving set of rules.
在KAIST学习产品设计并在韩国弘益大学学习平面设计之后，Kim移居荷兰，在多产的Karel Martens的指导下在Werkplaatz Typografie完成了硕士学位。 之后，她在首尔成立了Table Union，这是一个设计工作室和创意平台，并在2009年至2011年之间设计了Graphic杂志。 在2018年，她与Prem Krishnamyrthy和Emily Smith共同执导了Fikra平面设计双年展 ，今年，她主持了《 Eye on Design 》杂志第六期的设计工作 。 金是那些不断扩展和拓展图形设计思维可能性的稀有设计师之一。 自2015年以来，她一直在以各种形式重新构想自己的专着的内容：她的SET墙装置挖掘了她自己过去的委托和作品，无论生产年份，媒介或背景如何，都可以一起显示，并根据一整套不断发展的规则。
I’ve been emailing with Kim on-and-off again for nearly a year, and below her emails signature, she has listed all of her upcoming talks and shows, a series of dates and locations that make up what feels like a never-ending design tour. Kim seems to be constantly moving between lecturing, installing new shows, and exhibiting — skipping between Seoul and San Francisco and back to Berlin again, which is where she’s based. We take advantage of a stiller moment in winter to discuss her current design thinking, the role of archiving and sampling in her practice, and the importance of personal memory and attitude to her process.
我已经不停地通过电子邮件与Kim交流了将近一年，在她的电子邮件签名下方，她列出了她所有即将进行的演讲和表演，一系列日期和地点，这些感觉和感觉从未像现在这样。结束设计之旅。 Kim似乎经常在授课，安排新展览和展览之间切换-在首尔和旧金山之间跳回，然后再次回到她所在的柏林。 我们利用冬季的平静时刻来讨论她当前的设计思想，归档和采样在她的实践中的作用以及个人记忆和对其过程的态度的重要性。
我知道您成为设计师的道路并不传统，因为您最初并不学习创意艺术。 (I know that your path to becoming a designer was not traditional, in that you didn’t originally study creative arts.)
I was trying to work out how I could turn my direction towards art. I was considering architecture, or something between engineering and creating. In the end, industrial design felt quite natural to me. But I was disappointed when I realized that the curriculum at my university was very tied to the market and embedded in consumer research. If I wanted to use the color red on a specific product and the market said it wasn’t sellable, then I wasn’t allowed to go in that direction. I kept wondering: What’s the role of the designer then? I also realized that I like designing 2D work — mockups, manuals, or panels explaining concepts.
我试图弄清楚如何将自己的方向转向艺术。 我当时正在考虑架构，或者是在工程与创建之间的东西。 最后，工业设计对我来说很自然。 但是当我意识到我大学的课程与市场紧密相连并嵌入到消费者研究中时，我感到很失望。 如果我想在特定产品上使用红色，而市场上说它不适合销售，那么我就不允许这样做。 我一直在想：设计师的角色是什么？ 我还意识到我喜欢设计2D工作-样机，手册或解释概念的面板。
与设计3D对象相比，是什么吸引了您2D合成？ (What attracted you to 2D composition, in contrast to designing 3D objects?)
I noticed that the method of communication was very different for 2D design. With 3D, I found that there was always some outsourcing element that I needed to consider. It takes a lot of time: You need to sketch, make basic mock ups, find materials, etc. All these components are enjoyable, but you have to consider so many factors. With graphic design, the material could simply be one piece of paper. You design on the screen, and can print something in your office or at home right away. You don’t need to go to the offset printer, the real thing appears already just with your home printer. It’s hard to say which is the mock-up and which is the final product, compared to product design. If you compare the process to architecture, the contrast is even greater.
我注意到2D设计的通信方法非常不同。 使用3D，我发现总是需要考虑一些外包要素。 这需要很多时间：您需要素描，进行基本的模型制作，查找材料等。所有这些组件都很有趣，但是您必须考虑很多因素。 通过图形设计，材料可以只是一张纸。 您可以在屏幕上进行设计，并且可以立即在办公室或家里打印一些内容。 您无需转到胶印机，真正的东西已经出现在家用打印机中了。 与产品设计相比，很难说哪个是模型，哪个是最终产品。 如果将流程与体系结构进行比较，则对比会更大。
“If I wanted to use the color red on a specific product and the market said it wasn’t sellable, then I wasn’t allowed to go in that direction.”
“如果我想在特定产品上使用红色，而市场上说它不适合销售，那么我就不允许这样做。”
我看了一个由韩国电视网络制作的关于您的视频 ，其中显示了您以前在首尔的工作室以及您过去在工作中使用过的大量贴纸，胶带和其他文具。 这让我想到了起源–甚至在不知道图形设计是一门学科之前，设计师就被吸引了很多东西。 您总是被文具吸引吗？ (I saw a video about you made by a Korean television network, which shows your former studio in Seoul and your vast collection of stickers, tape, and other kinds of stationery, which you’ve used in your work in the past. It made me think about origins — and the things designers are drawn to before even knowing what graphic design is as a discipline. Were you always drawn to stationery?)
I did collect a lot of stationery when I was younger. In general, a lot of young girls in Korea collect these kinds of papers and sticker sets. I didn’t know what to do with it all at the time, but I was drawn to the patterns and materials. Then I kept going throughout university, until I had a lot of boxes of the stuff. I had unusual papers, clothing tags, wrapping papers, plastic envelopes. I really wanted to do something with the collection, so one day, I just attached them on the wall.
我小时候确实收集了很多文具。 通常，韩国很多年轻女孩都收集这类纸和贴纸集。 当时我不知道该怎么办，但是我被图案和材料吸引了。 然后我继续上大学，直到我有很多箱子的东西。 我有不寻常的纸，衣服标签，包装纸，塑料信封。 我真的很想为该系列做些事情，所以有一天，我只是将它们固定在墙上。
您开始从这个系列中创作作品和设计-您不断进行的“发现作品”系列尤为重要。 然后，当然，您收藏中的某些表格出现在2015年的SET中 ， SET是您过去10年的专着。 这本书的想法是怎么产生的？ (You started to create compositions and designs from this collection — your ongoing ‘Found Composition’ series especially springs to mind. And then of course, some of the forms from your collection featured in 2015’s SET, your monograph of work from the previous 10 years. How did the idea for this book come about?)
I had my first solo exhibition in 2015 at Doosan Gallery in New York, which was tied to a six month residency program and an ongoing part of the artist award prize I received from Doosan in 2013. Actually, I had had solo exhibitions before, but this was my first solo exhibition in a white cube. This prize is an art prize, and I was the only designer to receive it. So I felt a bit of pressure with that and wondered: Is it OK to show my body of work as a designer? The fact that it was also my first time in New York added another layer of stress to everything…
我在2015年在纽约的斗山画廊举办了首个个展，这与六个月的居住计划和2013年我从斗山获得的艺术家奖奖品的一部分有关。实际上，我之前曾有个展。这是我第一次在白色立方体展览。 该奖是一项艺术奖，我是唯一获得此奖的设计师。 因此，我对此感到有些压力，并想知道：是否可以展示我作为设计师的作品？ 这也是我第一次来纽约，这一事实给所有事情都增加了压力。
At first, I couldn’t decide what to do in the space. Should I simply present my design work? Or should I try to consider the language of art in the space as well? I ultimately decided to first consider the medium that I was most familiar with: the book. I wanted to make a book that would cover 10 years of my archive. But I didn’t want to simply show a work, followed by a caption, followed by a description. That felt so boring, and I didn’t want it to be a traditional monograph. When you create an archive or monograph, it’s linked to the end of something. For me, the other side of the archive is always connected to a kind of death. So my question became: How can I make something light, simple, and awake? What would be an impolite way of doing a monograph?
起初，我无法决定在太空中做什么。 我应该简单介绍一下我的设计作品吗？ 还是我应该尝试考虑该空间中的艺术语言？ 我最终决定首先考虑我最熟悉的媒介：书。 我想写一本涵盖十年档案的书。 但我不想简单地展示作品，标题，说明。 感觉很无聊，我不希望它成为传统专着。 创建档案或专论时，它会链接到某些内容的结尾。 对我而言，档案的另一端总是与某种死亡联系在一起。 所以我的问题变成了：我怎样才能使一件事情变得简单，清醒？ 做专论的不礼貌的方式是什么？
而且您不是自己设计专着的。 为什么不？ (And you didn’t design the monograph yourself. Why not?)
I invited another graphic designer to work with me, one of my friends at Werkplatz back in the day, Joris Kritis. That was the first challenge I experimented with: Changing the role. I became artist and client, which I realized is a totally different way of communicating. He gave me a proposal. Then I rejected it. And then he gave me another proposal. And then I rejected it [Laughs]. It was an interesting experience for me because it put some distance between me and my own designs.
我邀请了另一位平面设计师与我一起工作，当时我是Werkplatz的一位朋友Joris Kritis 。 那是我尝试的第一个挑战：更改角色。 我成为了艺术家和客户，我意识到这是一种完全不同的交流方式。 他给了我一个建议。 然后我拒绝了。 然后他给了我另一个建议。 然后我拒绝了[笑]。 对我而言，这是一次有趣的经历，因为它使我与自己的设计之间保持了一定距离。
We decided to make an abstract swatch of my work, like a sample book, or a Pantone color sheet. We made it as abstract as possible, and had this ping pong working process that gave me the chance to think about my own designs and how others look at them. The book came out partly expected but also fully unexpected. Designers who knew about my work were surprised by the presentation: They expected clear descriptions, like a standard portfolio. But it’s not clear at all, because it’s all colors and shapes.
我们决定为我的作品制作一个抽象的样本，例如样本书或Pantone色纸。 我们使它尽可能抽象，并使乒乓球的工作过程使我有机会思考自己的设计以及其他人如何看待它们。 这本书出品了部分预期，但也完全出乎意料。 知道我的工作的设计师对该演示感到惊讶：他们期望清晰的描述，例如标准作品集。 但这并不清楚，因为它是所有颜色和形状。
“When I don’t question something, it means there’s a reason to keep going.”
“当我不提出任何疑问时，这意味着有继续前进的理由。”
SET书如何转变为第一个SET安装？ (How did SET the book transform into the first SET installation?)
The book was published just before my exhibition began, and I still didn’t have any idea what to do in the white cube. I had put most of the money for the exhibition towards the publication, with the idea that I’d think about the exhibition later…
这本书是在我的展览开始之前出版的，而我仍然不知道该在白色立方体中做什么。 我把展览的大部分钱都花在了出版物上，以为我以后会考虑一下展览的想法……
One of the things I loved about the publication was how we arranged the abstract shapes on the pages in a clear sequence and with little information. The layout itself became very important. That’s when I thought it would be interesting to trace the layouts on the wall.
我喜欢该出版物的一件事是我们如何以清晰的顺序和很少的信息将抽象形状排列在页面上。 布局本身变得非常重要。 那时候我以为追踪墙上的布局会很有趣。
I started to project the pages onto the wall, and then I thought, why not make a painting of the shapes on the surface? For the white cube at Doosan Gallery, I tried to translate all the pages onto the space. So I took the length of the wall and divided it into the page numbers. The wall height is the page height — that’s the basic rule I always repeat with SET. I couldn’t include all the shapes in the space, so I chose the compositions in the end.
我开始将页面投影到墙上，然后我想，为什么不对表面上的形状进行绘画？ 对于斗山画廊的白色立方体，我试图将所有页面翻译到空间上。 因此，我把墙的长度分成了页码。 墙的高度就是页面的高度，这是我总是用SET重复的基本规则。 我无法将空间中的所有形状都包括在内，因此最后选择了构图。
迄今为止，已有16个版本的SET，其中一些安装在不同的位置，有些采用其他形式。 空间和上下文如何决定您处理版本的方式？ (There’s been 16 versions of SET to date, some are installations in different locations and some that take other forms. How does the space and context dictate the way you approach a version?)
For the the SET series, the book becomes a method to create different rules inside a new context. For the second installation, instead of including all the page numbers, I selected specific pages. For the 16th version, the curator wanted to sell prints, so I made the compositions on the wall black and white, with separated layers cropped within frames revealing the original colors of each shape on points (and which were the limited edition posters). For version 12, I painted all of the letter “A’s” [from the monograph] on the venue’s wall. I’ve also done a version as a digital print on textile, as a pillowcase and duvet, as a set of stamps. Making a new SET is like playing a game with myself.
对于SET系列，这本书成为在新上下文中创建不同规则的方法。 对于第二次安装，我选择了特定的页面，而不是包含所有的页面号。 对于第16版，策展人想出售版画，因此我将墙壁上的构图做成黑白相间，在框架内裁剪出单独的图层，以揭示每种形状的原始颜色(这些是限量版海报)。 对于版本12，我在会场的墙上涂了所有字母“ A”(来自专着)。 我还制作了一个数字版本的纺织品，枕套和羽绒被，以及一套邮票。 制作新的SET就像和自己玩游戏。
您何时才能知道SET系列结束了？ (When will you know that the SET series has come to an end?)
It’s been five years now. I can keep doing it, but somehow, I’ve begun to question it more and more. When I don’t question something, it means there’s a reason to keep going. But if I keep asking questions, then I think there needs to be a reconsideration. Right now, I’m wondering: How can I make a good conclusion? It doesn’t mean that I need to finish it and never do it again, it just means I need one kind of conclusion for myself.
到现在已经五年了。 我可以继续这样做，但是不知何故，我开始对它越来越怀疑。 当我不提出任何疑问时，这意味着有继续前进的理由。 但是，如果我一直问问题，那么我认为需要重新考虑。 现在，我想知道：如何得出一个好的结论？ 这并不意味着我需要完成它，再也不需要重复它，而只是意味着我需要一种结论。
One of the things that I’ve noticed about your trajectory is that you went from engineering and building to focusing on industrial design to specializing in graphic design. Then, once you learned the rules of graphic design, you extended this particular language to other mediums. You’ve designed tables, created sculptures, and painted installations. How does cross-medium thinking figure in your practice?
我注意到的关于您的轨迹的事情之一是，您从工程设计到建筑，再到工业设计，再到平面设计专业。 然后，一旦您了解了图形设计的规则，就可以将此特定语言扩展到其他媒介。 您已经设计了桌子，创建了雕塑，并进行了彩绘。 跨媒介思维如何在您的实践中发挥作用？
That was a very natural way of thinking for me. I never tried to force roles onto myself. I’ve never said: From now on I’m an artist, or a graphic designer, or an industrial designer. It feels like if I want to do something in a particular way, then I should do it. If an idea should be a poster, then it should be a poster. If you believe a medium is the best for explaining a concept, then that’s the one to go for. I feel like graphic design is my basic language — it’s about visuals, communication, typography. And it doesn’t matter what the medium is, it’s more about having a good understanding of the language I’m working with. The language is important — and the attitude and point of view.
对我来说，那是很自然的思考方式。 我从未尝试过强迫自己扮演角色。 我从未说过：从现在开始，我是一名艺术家，平面设计师或工业设计师。 感觉就像我想以某种特定的方式做某事，那我应该去做。 如果一个想法应该是海报，那么它应该是海报。 如果您认为一种媒体是解释一个概念的最佳方式，那么那就是一种选择。 我觉得图形设计是我的基本语言，它涉及视觉，沟通和排版。 媒介是什么都没有关系，更多的是要对我使用的语言有一个很好的了解。 语言很重要-态度和观点也很重要。
In 2014, I was invited to create a work for a show at the National Museum of Modern and Contemporary Art in Seoul called Human-Space-Machine. Stage Experiments at the Bauhaus. What I ended up doing as a result of this invitation is very connected to this topic of cross-medium thinking. I was interested in how these stage experiments can sometimes feel like graphic design, because they’re considering a basic language and experimenting with that basic language.
2014年，我受邀为首尔国家现当代艺术博物馆的名为“ 人类空间机器”的展览创作作品。 包豪斯的舞台实验 。 由于这次邀请，我最终要做的事情与跨媒体思考这个主题息息相关。 我对这些阶段实验有时看起来像图形设计的感觉很感兴趣，因为他们正在考虑一种基本语言并尝试使用该基本语言。
I looked at the performance Space Dance [from Oskar Schlemmer’s Bauhaus Dance], which shows the basic elements of the choreographic theories at the Bauhaus. There are three dancers, one red, one yellow, and one blue, moving at different paces along a geometric system of lines painted on the floor. I traced the dancers frame by frame from a video of the dance, noting the height and length and speed. From this analysis, I created a score of the sequence, which I then installed around the glass courtyard of the museum — with red, yellow, and blue colors charting the individual movement of the three dancers.
我看了表演《 太空舞》 (来自奥斯卡·史莱默的包豪斯舞蹈 )，它展示了包豪斯编舞理论的基本要素。 一共有三位舞者，一位红，一位黄和一位蓝，沿着地板上画的线的几何系统以不同的速度运动。 我从舞蹈录像中一帧一帧地追踪舞者，注意身高，身长和速度。 通过此分析，我创建了一个序列的分数，然后将其安装在博物馆的玻璃庭院周围-用红色，黄色和蓝色绘制三个舞者的个人动作图表。
I forgot about the work for a while. Then early this year, for the 100th anniversary of the Bauhaus, I was invited by the Gwangju Design Biennale to create another Bauhaus piece. Gwangju is my hometown. I wanted to extend some of the ideas from my 2014 installation. I was thinking about body language and the movement of the dancers, which got me thinking about my own memories. In particular, I remembered this Chinese restaurant in Amsterdam that I sometimes go to. To get to the toilet, you have to go outside and up this spiral staircase. I often think about this scene where someone is in a hurry to go to the toilet, and they have to run up this spiral staircase which feels really long. I thought about the human movement inside the spiral stairs, and how you go around in a circle in the same speed.
我把工作忘了一段时间了。 然后在今年年初，为包豪斯诞辰100周年，我受光州设计双年展的邀请创作了另一件包豪斯作品。 光州是我的故乡。 我想扩展2014安装中的一些想法。 我在思考肢体语言和舞者的动作，这让我开始思考自己的记忆。 特别是，我想起了我有时去的阿姆斯特丹中餐馆。 要上厕所，您必须到室外去并且走上这个螺旋形楼梯。 我经常想起有人赶时间去厕所的场景，而他们不得不上楼梯，感觉很长。 我想到了螺旋楼梯内的人类运动，以及如何以相同的速度绕一圈。
“My design process basically emerges from the process of archiving.”
“我的设计过程基本上来自归档过程。”
I wanted to bring this personal memory to the Bauhaus piece. I created three spiral staircases, one for each dancer, and the steps contain the score in relation to the speed of the dancer. The yellow guy is always quick, twice as fast as red, which is twice as fast as blue. For me, this collection of thoughts and projects is an example of why medium isn’t necessarily important to my process. For me and my work, it’s less about medium specificity, and more about understanding a language, going back to specific memories, and making connections.
我想把个人记忆带到包豪斯作品中。 我创建了三个螺旋楼梯，每个舞者一个，而台阶包含与舞者速度有关的分数。 黄色家伙总是快，是红色的两倍，是蓝色的两倍。 对我来说，这种思想和项目的集合就是为什么媒介对我的过程不一定重要的一个例子。 对于我和我的工作而言，与其说是中等专业性，不如说是一种语言理解，回到特定的记忆以及建立联系上。
我知道个人记忆是您制作过程中的重要组成部分。 并且，收集和存档。 我对这些领域如何融合感兴趣。 (I know that personal memories are an important part of your making process. And also, collecting and archiving. I’m interested in how these areas come together.)
The role of archiving is definitely more important than cross-medium thinking when it comes to my work. More and more, I realize that my design process basically emerges from the process of archiving.
在我的工作中，存档的作用绝对比跨媒体思考重要。 我越来越意识到，我的设计过程基本上来自归档过程。
I sometimes think about collecting, revisiting a collection, and archiving through an exercise I refer to as “Found Fiction.” Because when you archive, you often create a kind of fiction from the collection. It’s like the process of writing autobiography: If you write about yourself, you always write fictional things, unconsciously, because you can’t remember details. So I realized that fiction always happens in the process of collecting and archiving memories — it becomes a found fiction. Something is found, and fiction happens to it. I like to see this process amidst defined systems.
有时，我会考虑通过一个我称为“ Found Fiction”的练习来收集，重新访问一个集合并进行归档。 因为在存档时，通常会从收藏集中创建一种小说。 就像写自传的过程一样：如果您写自己的文章，那么您总是在不知不觉中写下虚构的东西，因为您不记得细节了。 因此，我意识到小说总是在收集和存档记忆的过程中发生-它成为一种被发现的小说。 发现了一些东西，并且小说发生了。 我喜欢在定义的系统中看到这个过程。
“It was a slice of a particular moment, taken at that moment in time.”
“那是某个时刻的片段，是在那个时刻。”
我可以通过SET看到这一过程，它既是系统安排的样本书，又是一种自传。 不过， 平面杂志可能是最公开地充当档案的工作，例如耶鲁杂志和Werkplaatz Typografie期刊等问题 ，是平面设计中特定时刻的重要时空。 (I can see that process with SET, which is both a systematically arranged sample book and a kind of autobiography. Graphic magazine, though, is the work that perhaps most overtly functions as an archive — issues like the Yale issue, and the Werkplaatz Typografie issue, are such vital time capsules of particular moments in graphic design.)
Graphic always starts with the idea of archiving, because each issue features a different graphic design scene. Graphic has one theme, and looks at that theme without adverts; it’s just one focus, and the same questions are asked to every designer interviewed, whether young or old. It has the same format issue to issue. I liked that overall consistency. It was the attitude of the archive: We treated all the material with the same position.
图形总是从存档的想法开始，因为每个问题都具有不同的图形设计场景。 图形有一个主题，无需广告即可查看该主题。 这只是一个重点，无论受访者是年轻还是年老，都会向每位接受采访的设计师询问相同的问题。 它具有相同的格式问题。 我喜欢整体的一致性。 这是档案馆的态度：我们以相同的位置处理所有资料。
But also, we could never cover all of a scene as we always included a specific selection of designers in an issue. So actually, each issue became more-or-less a sample of a scene. It was a slice of a particular moment, taken at that moment in time, which only came out the way that it did because we knew someone involved in the scene, or because a certain exhibition was going on at that moment in time. Accepting the imperfections of archiving, I came to realize, is quite important.
但是，我们永远也无法涵盖所有场景，因为我们总是在问题中包括特定的设计师选择。 因此，实际上，每个问题或多或少都是一个场景的样本。 那是当时的某个特定时刻的片段，它的出现只是因为我们认识某个人，或者因为当时正在举办某个展览，所以它的出现是这样的。 我意识到，接受归档的缺陷非常重要。
一片事物以什么方式使您对整体有所了解？ (In what way does a slice of something give you an understanding of the whole?)
A slice of a moment doesn’t mean its disconnected from the past or the future — it’s the example you’re showing at a particular moment in time, but each particle inside it is reoccurring in some way or connected to the bigger picture.
片刻不代表它与过去或未来脱节-这是您在特定时刻显示的示例，但其中的每个粒子都以某种方式再次发生或与更大的前景联系在一起。
Madeleine writes about art and design from Berlin.
马德琳(Madeleine)从柏林撰写有关艺术和设计的文章。
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