Like so much of Moore's work, the Time-Life Screen has become so familiar as to disappear into the background texture of 20th-century British urban life.
就像摩尔其他的雕塑那样，《时间·生命》是如此的为人们所熟知，以至于消融在20世纪英国的市井生活背后。
Some of the objects could be enlarged and spun around on the screen, allowing me to study curves and texture in minute detail — the next best thing to being able to pick up the items.
有些物品的图片可以在屏幕上放大旋转，让我能够从极其细微的角度仔细研究那些作品的弯曲形状和材料质地——其好处仅次于能把这东西拿起来观摩。
When a texture is rendered to the screen at a larger size than it was created we say is has been magnified.
当一个纹理渲染以大于原先的尺寸渲染到屏幕上去，我们说它被放大了。
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