Alexander Nemerov
Alexander Nemerov教授早在今年从耶鲁来斯坦福之前就成为了校园里大家津津乐道的话题。开学初身边就算不是学艺术史的朋友也都在兴奋地讨论他，更有一些人虽然不上他的课但还是会怀着无比崇拜的感情半害羞半激动地说：“我虽然不选艺术史但是还是很想去他的office hour和他聊聊天。”
这学期一直在上他教的Arthist 1: Introduction to the Visual Arts: The History of Western Art from the Renaissance to the Present。每节课都会被他语言的精美所震撼，觉得选这门课真是最好的决定。
开学到现在一共去过三次他的office hour，和他讨论天南地北的话题，但没想到今天竟然在朋友的豆瓣里发现了他的这段话：
All of my teaching and work proceeds from a view such as yours: that "subjectivity" is not always the stuff of an arrogant and empty individualism but a means of resistance, exhilarating and melancholy, to all the ways we're supposed to be "constructed," through and through, by representations; and to all the ways (equally disenchanting) we're supposed to resist that construction, namely, by manipulating codes of representation, etc., as if such manipulations were all there is to creative life. Instead I see the artist's work, and the art historian's, as a type of discovery, resulting potentially in an autonomous object that's as much a mystery to them as it is to the viewer or reader. I think that making art of this kind is so much more difficult and rewarding than a habitual profession of distance, detachment, and disenchantment--that this subjective art I am praising potentially achieves the signal quality of being opaque, unreadable by the relentless popular and political culture that would shape our every emotion. So yes there is much at stake in finding and exploring a personal response to making and writing about art; and in that process, despite its risks, I place much faith.
----Alexander Nemerov
记得第一次在他的办公室，我说：“和艺术品之间的亲密接触是最奇妙的过程。站在一幅自己喜欢的画作面前，时光仿佛静止了，世界就暂停在这个特殊的时间、特殊的地点。这种无法言喻的联系，通常使人猝不及防，在感受到强烈的震撼的同时无力作出任何反应，只沉静在那一刻的喜悦之中，自己细细体味，细细咀嚼。”
听完我描述这种感觉后他用了一句很简洁的话便概括了:"This is the moment of infinity."现在回味起来还是觉得总结得再好不过了。
很喜欢他的这段话，也因为这段话更加喜欢这个人。
总而言之Final Paper我会努力的。
这学期一直在上他教的Arthist 1: Introduction to the Visual Arts: The History of Western Art from the Renaissance to the Present。每节课都会被他语言的精美所震撼，觉得选这门课真是最好的决定。
开学到现在一共去过三次他的office hour，和他讨论天南地北的话题，但没想到今天竟然在朋友的豆瓣里发现了他的这段话：
All of my teaching and work proceeds from a view such as yours: that "subjectivity" is not always the stuff of an arrogant and empty individualism but a means of resistance, exhilarating and melancholy, to all the ways we're supposed to be "constructed," through and through, by representations; and to all the ways (equally disenchanting) we're supposed to resist that construction, namely, by manipulating codes of representation, etc., as if such manipulations were all there is to creative life. Instead I see the artist's work, and the art historian's, as a type of discovery, resulting potentially in an autonomous object that's as much a mystery to them as it is to the viewer or reader. I think that making art of this kind is so much more difficult and rewarding than a habitual profession of distance, detachment, and disenchantment--that this subjective art I am praising potentially achieves the signal quality of being opaque, unreadable by the relentless popular and political culture that would shape our every emotion. So yes there is much at stake in finding and exploring a personal response to making and writing about art; and in that process, despite its risks, I place much faith.
----Alexander Nemerov
记得第一次在他的办公室，我说：“和艺术品之间的亲密接触是最奇妙的过程。站在一幅自己喜欢的画作面前，时光仿佛静止了，世界就暂停在这个特殊的时间、特殊的地点。这种无法言喻的联系，通常使人猝不及防，在感受到强烈的震撼的同时无力作出任何反应，只沉静在那一刻的喜悦之中，自己细细体味，细细咀嚼。”
听完我描述这种感觉后他用了一句很简洁的话便概括了:"This is the moment of infinity."现在回味起来还是觉得总结得再好不过了。
很喜欢他的这段话，也因为这段话更加喜欢这个人。
总而言之Final Paper我会努力的。
还没人转发这篇日记
