Question

很急~~~翻译这段英文~~..帮忙帮忙~~!!

Is the term"artificial life an oxymoron?Natalie Jeremijenko an artist trained in science and engineering,creates works that force us to examine the problematic consequence of digital and other techologies,such as cloning,rabotics and software .
A-trees,for example,allows as to witness the growth of a simulated tree on a computer deskptop,as if it were an actual plant in soil.The tree is programmed to change gradually algorithm.The tree's growth rate isn't determinedsolely by Jeremijenko's programming,however,every upward spurt reflects the actual level of carbon dioxide in the air in the micro-environment surrounding the computer,measured by a real-time carbon dioxide metre.More than mere renditions of a living tree,Jeremijenko's A-tree serve as aestheticized monitors of actual air quality and ,by extension,global warming.They call into question the fate of real trees in a world whose environment is increasingly impacted on by humans,as if to suggest that one day the only trees left will be digital ones.The work's title alludes to artificial life,commomly known as "a-life".if A-trees grow and die in response to their environment,are they in fact alive?Jeremijenko cleverly bridges the real and the virtual,both as a technical feat and as a conceptual gesture,encouraging us to question our understandging of life and how we might work not only to recreate it digitally,but also to preserve it.
Jeremijenko's Stump(1999)involes what the artist descrease as a"printer queue virus"that calculates how many pieces of paper a printer has consumed.when the printer uses the rough equivalent of one medium-sized tree's worth og paper,it automatically spits out a printed image of a ringed cross-section of a tree trunk.Eventually,a tree-or at least a tree stumo-could be reconstructed by stacking these paper rings.Like A-trees,Stump encourages us to develop a personal relationship tp environmental destruction.In 2000,"Mute".a London New Media art magazine,piblished both Stump and a version of A-trees on a CD-ROM and linked the two to a public art project.One Tree,which involved the planting of 1,000 clones of a single tree around San Francisco.
Jeremijenko's first arboreal art work was Tree Logic a public sculpture at MASS MoCA in which six live trees are permanently suspended upside down,inverting their natural orientation and challenging our notions of what is natural,Jeremijenko's tree project bring to mind works by Robert Smithson,who often used trees as elements of art works that re-examined the natural landscape.Smithson's 1972 declaration,"i aim for art that
takes into account the direct effect of the elements as they exist from day to day apart from representation",could easily be applied to Jeremijenko's work which investigates the relationship between technology and the natural world.

谢谢拉~~~~~~~

Answer 1

水平有限,希望能帮上忙,学术类文章?够专业的,比托福难啊.
修改语法后的原文.
Is the term “artificial life an oxymoron? Natalie Jeremijenko that an artist trained in science and engineering, creates works that force us to examine the problematic consequence of digital and other technology, such as cloning, robotics and software .
A-trees, for example, allow as witnessing the growth of a simulated tree on a computer desktop, as if it were an actual plant in soil. The tree is programmed to change gradually algorithm. he tree's growth rate isn't determined solely by Jeremijenko's programming, however, every upward spurt reflects the actual level of carbon dioxide in the air in the micro-environment surrounding the computer, measured by a real-time carbon dioxide meter. More than mere renditions of a living tree, Jeremijenko's A-tree serve as aesthetic zed monitors of actual air quality and, by extension, global warming. They call into question the fate of real trees in a world whose environment is increasingly impacted on by humans, as if to suggest that one day the only trees left will be digital ones. The work's title alludes to artificial life, commonly known as "a-life”. if A-trees grow and die in response to their environment, are they in fact alive? Jeremijenko cleverly bridges the real and the virtual, both as a technical feat and as a conceptual gesture, encouraging us to question our understanding of life and how we might work not only to recreate it digitally, but also to preserve it.
Jeremijenko's Stump (1999) involves what the artist decrease as a “printer queue virus “that calculates how many pieces of paper a printer has consumed. When the printer uses the rough equivalent of one medium-sized tree's worth go paper, it automatically spits out a printed image of a ringed cross-section of a tree trunk. Eventually, a tree-or at least a tree stumo-could be reconstructed by stacking these paper rings. Like A-trees, Stump encourages us to develop a personal relationship to environmental destruction. In 2000,"Mute".a London New Media art magazine, published both Stump and a version of A-trees on a CD-ROM and linked the two to a public art project. One Tree which involved the planting of 1,000 clones of a single tree around San Francisco.
Jeremijenko's first arboreal art work was Tree Logic a public sculpture at MASS MoCA in which six live trees are permanently suspended upside down, inverting their natural orientation and challenging our notions of what is natural ,Jeremijenko's tree project bring to mind works by Robert Smithson, who often used trees as elements of art works that re-examined the natural landscape. Smithson's 1972 declaration, "I aim for art that
takes into account the direct effect of the elements as they exist from day to day apart from representation", could easily be applied to Jeremijenko's work which investigates the relationship between technology and the natural world.
这是一个物质生活的矛盾修饰法吗? Natalie Jeremijenko是一个科学与工程的艺术家,创造了推进我们去审查有问题的数字与其它技术的成果,例如克隆,自动仪器和软件.

一棵树(这里指的是电脑程序,自添,非必要),举个例子,允许生长在电脑计算机上的可视的模拟树,好像它实际上生长在土地上一样.这棵树被规划,用来去变换逐步程序运算法则.这棵树的成长速率不是单独依靠Jeremijenko的程序而决定的,然而,每一次向上生长都反映出围绕计算机微环境空气中的二氧化碳(暗指一些与电脑有关的东西)的实际等级,那是一个快速二氧化碳测量器把它测量出来.大于一棵活着的树的表现, JeremijenkoA-tree是真实空气与质量艺术般的显示器上的器官,他们使这棵树真正的树产生在人类日益稠密的环境中,好像在警示我们有一天只有数字形式的树是唯一活着(left? 是life吧?)的树.这些工作的题目暗示着物质的生命,那被统称为“人工生命”.如果人工树在它们的环境中反出应生长与死亡的现象的话，难道说它实际上不是活的吗？ Jeremijenko聪明的连接了实与虚,他们既是技术上的创举又是感念上的指导,促使我们去怀疑我们所明白的生命,去怀疑我们这样工作不会只重创一个数字的它(实际物质,也许是真正的树),而且要去保护它(环保?).

Jeremijenko的阻碍 (1999)涉及到能手的减少,就像计算一个印刷机浪费多少纸的printer queue virus一样.当一个打印机用一棵同样的中型树做出的纸,它自动的喷出已经构想好的树干主要部分.结果,一棵树或者至少一棵树的一小部分(stump残肢)被一层层的纸所重现.正如人工树,阻碍促使我们发展,这种发展是个人关系与环境毁灭的关系. 在 2000 年,”MUTE".伦敦新的媒体艺术杂志,出版了stump和CD-ROM版的人工树,连接了两者(这里指的应该是视觉与听觉,因为前面提到MUTE是哑巴的意思)作为公共艺术设计.一棵包含围着绕旧金山的一棵单独的树的一千棵复制品计划.

Jeremijenko's第一棵树的艺术工作是树木逻辑雕塑, 是把六棵树永久的悬挂并颠倒的MASS MoCA,翻转他们的朝向挑战我们对自然的观点, Jeremijenko的树木设计使我们注意到了那个作品, Robert Smithson(罗伯特*史密森),总是用TREES作为重现自然风景工作的一要素, 史密森在1972年宣告, "I aim for art that takes into account the direct effect of the elements as they exist from day to day apart from representation",能够简单的被应用于Jeremijenko's工作,去研究技术与自然世界的关系.

Answer 2

用软件翻译的，不是很好，希望可以帮到你~
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期限是\"人造的生活一个矛盾修饰法?纳塔莉 Jeremijenko 一个艺术家在科学和工程学训练,产生强迫我们调查数传和其他的 techologies 的棘手结果, 像是复制、 rabotics 和软件的作品。

一-树，举例来说，允许当做在计算机 deskptop 上目击被模拟的树的生长,好像它在土壤中是一个真实的植物。树被规划逐渐地改变运算法则。树\Jeremijenko\' s 规画的 's 成长率 isn\' t determinedsolely,然而，每一向上的冲刺在围住被即时二氧化碳公尺测量的计算机的微环境的空气中反映真实水平的二氧化碳。比生活的只翻译爬上树的更多,真实空气质量的作为 aestheticized 监视器的 Jeremijenko A-树的服务和 ,藉着延长,全球暖化。他们在环境逐渐地被挤入的一个世界中进入疑问之内呼叫真正树的命运在由人类之上,好像建议有一天唯一的树留下，意志是数传一。工作的名称对人造的生活暗示,即是 " 一 - 生活 " 的 commomly.如果一-树回应他们的环境生长而且死,他们事实上有活力吗?Jeremijenko 聪明地以桥连接那真正的和虚拟者,两者的同样地一个技术上的壮举和当做一个概念上的手势,鼓励我们询问我们的生活 understandging 而且我们可能如何工作不但数传恢复活力它 , 而且保护它。

Jeremijenko\'s 砍断 (1999) involes 什么艺术家 descrease 当做一\"打印机等待的队伍病毒 \" 那计算多少纸一台打印机的块有 consumed.when 打印机使用粗糙等同于的中型树\'s 价值 og 用纸糊,它自动地唾吐树树干的有环跨区段的一个印刷图像。最后,一棵树-或至少树 stumo-可能被藉由堆积这些纸戒指重建。像一-树,砍断鼓励我们发展个人的关系 tp 环境的破坏。在 2000 年,\"哑子 \".伦敦新的媒体艺术杂志,piblished 两者都残株和版本一-在一个唯读光盘上爬上树而且联编那二对一个公众的艺术计画。一棵树, 牵涉了在旧金山周围的树的 1,000个复制的种植。

Jeremijenko\'s 第一个树的艺术工作在哪些六棵活的树颠倒长备中止在弥撒 MoCA 是树逻辑一个公众的雕刻,反转他们的天然定方位而且挑战我们的什么是天然的观念,Jeremijenko\'s 树计画带来留意罗勃特 Smithson 的作品,他[她] 时常以树作为再调查天然的风景的艺术作品的元素。

Smithson 的 1972 公告,"艺术的 i 目标哪一
当他们从日子存在到日子的时候，考虑元素的直接效果除了表现之外",可以容易地被适用于调查技术和之间的关系天然的世界的 Jeremijenko 的工作。

Answer 3

OH my god !