屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

屡获殊荣的媒体艺术家雷菲克·安纳多尔（Refik Anadol）与意大利珠宝世家BVLGARI宝格丽携手开启一场沉浸式艺术之旅，探索品牌最具标志性的"灵蛇"符号的无限维度。这是一场历时一年的创意实验﹣﹣艺术灵感与数字创新在此交融，匠心工艺与科技未来于此共鸣。本片首次独家记录这一创想过程，揭秘传统与革新如何碰撞共生，最终缔造出时代杰作。

On the last day on Earth, one woman goes on a journey through LA to make it to her last party before the world ends, running into an eclectic cast of characters along the way.

On the last day on Earth, one woman goes on a journey through LA to make it to her last party before the world ends, running into an eclectic cast of characters along the way.

你可知道，人每天要花三分之一时间睡觉，但是在喧嚣吵闹的城市里，高质量的睡眠成为奢侈品。本片探讨了睡眠的历史，比如睡在石头上的原始人、睡在稻草上的中世纪武士、睡在地木头上的百姓还有谁在钉板上的苦行者。都市中人为了养足精神，无时无刻要抓紧睡眠。哄孩子时候可以走路睡觉，听老婆唠叨、听歌剧、打拳击、上班、坐电车，任何时候都要打个盹，即使被老板骂也在所不惜。 　　好不容易拖着疲惫的步伐回到家中，穿上睡衣，却遭遇失眠的痛苦折磨。夜幕降临，彻夜难眠，这该如何是好？

高飞戏剧卡通系列 　　Walt Disney Studios：沃尔特迪斯尼工作室 　　Distributed by经销商： RKO Radio Pictures, Inc.雷电华广播电影公司 　　Cartoon Characters卡通人物： Goofy, Fish.高飞，鱼。 　　Directed By导演：Jack Kinney. 杰克金尼。 　　Produced By公司生产的：Walt Disney. 沃尔特迪斯尼。 　　Animated By通过动画：Ed Aardal, Jack Gayek. 埃德Aardal，杰克Gayek。 　　Originally Released on December 04, 1942：最初发布于1942年12月4日。 　　Originally Released Theatrically：最初发布戏剧。 　　Running Time运行时间： 8 minutes. 8分钟。 　　TechniColor彩色印片法 　　USA 美国

每个人都应该学会游泳，它不仅可以锻炼身体，也是一项不错的放松运动。虽然游泳池不常见，不过我们依然可以在家练习。比如我们的古菲（品托•考维格 Pinto Colvig 配音），他趴在带万向轮钢琴蹬上练习划水，从室内到室外，好吧，固然堵塞了交通，但是起码的手法已了然于心。接着就可以去海边，对人高马大的古菲来说，逼仄的海滨换衣间真是一个大考验。换完了衣服，可以先躺在沙滩上晒晒太阳，木讷的古菲看报吃东西，全然不知道自己已经到了水底。刚刚吃过东西的他面临着抽筋的磨难。游泳学会了，接下来练习跳水。 　　看来，向学会游泳还真是任重道远……

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."