Journey of Art · Museum R Read · 2026-08-24

Reader Copy for Ten-Year-Olds

全部 24 个 R Read 展签（content/inception/museum-labels/，读自最新 main）逐篇读完。下面是所有"写得太专业"的段落：原文 → 建议英文（十岁孩子能懂，专业性不变）→ 建议英文的中文翻译。未改任何代码——这是一份审阅稿。

改写守则 · What was kept, what was changed

引文不动。Eunice 的原话（"Doubt is a bridge…"）、开篇诗的译文、梵高书信引文都是作品或一手材料，一个字没碰。
事实不动。日期、数字、机构名、限定语（"这是推测，不是复原"）全部保留——"相同的专业性"指内容不打折，只换说法。
术语保留但当场解释。XRF、bit、ASCII 这类词孩子应该学会，所以留下名字，旁边用一句话讲明白。
基准：十岁。短句、日常词、具体的画面感；一句话只做一件事。

页面 Page	Room	状态	建议条数
Supreme: Love in 80 Parts (P3)	Journey of Art	改动多	6
P2: Faith, Doubt, Dread	Journey of Art	改动多	11
P1: EX01 + EX02	Journey of Art	改动多	5
The Violet That Time Hid	Van Gogh House	改动多	12
Lucas and Jesus（含 Stage 1–3）	Journey of Art	改动少	5
From Bits to Meaning	Mr Yancy's Class Room	改动少	4
Pixels: From Dots to Form	Mr Yancy's Class Room	改动少	4
The Starry Night (Section 1)	Van Gogh House	改动少	5
Sections 2–5	Van Gogh House	改动少	8
Three Games	Mr Yancy's Class Room	改动少	2
Pixel Science · Start Here	Mr Yancy's Class Room	改动少	2
Walls A–D · 三个 Room Object 展签	Van Gogh House	基本不用改	1

Supreme: Love in 80 Parts

改动多eunice-p3-supreme.html · Journey of Art

全篇最"设计学院"的一页：process、vocabulary、hybrid、vector 连用。四个乐章的英文标题是作品自己的词，保留原文、括注中文。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
副标题A documented progression from words, to thumbnails, to marks made by hand, to scans, to vector composition, and finally to four vertical movements meant to be read in order.	This project grew step by step: first words, then tiny sketches, then marks made by hand, then scans of those marks, then crisp computer shapes — and finally four tall pictures, meant to be seen in order, like four parts of one song.	这个项目是一步一步长出来的：先是文字，然后是小草图，再是手绘的笔触，接着把它们扫描进电脑、配上干净利落的电脑图形——最后变成四幅竖长的画，要按顺序看，就像一首歌的四个乐章。
第 1 节标题+首句Language as a starting structure — The project begins with a four-part word list: Acknowledgement, Resolution, Pursuance and Psalm. Each group sets an emotional and rhythmic vocabulary before any image is made.	Starting with words — Before drawing anything, Eunice chose four words: Acknowledgement, Resolution, Pursuance and Psalm. Each word sets a mood and a rhythm — a plan for how that part should feel.	从文字开始——在画任何东西之前，Eunice 先选了四个词：Acknowledgement（承认）、Resolution（决心）、Pursuance（追寻）、Psalm（诗篇）。每个词定下一种情绪和节奏——相当于给那一部分"该是什么感觉"做了计划。
Acknowledgement gathers awareness, gratitude and invocation. Resolution moves toward discipline and clarity. Pursuance intensifies motion and searching. Psalm closes with devotion, reflection and release.	Acknowledgement is about noticing, being thankful, and calling out. Resolution is about becoming steady and clear. Pursuance speeds up — running, searching. Psalm ends quietly: devotion, looking back, letting go.	Acknowledgement 讲的是察觉、感恩和呼求。Resolution 是变得坚定、清晰。Pursuance 加快了——奔跑、寻找。Psalm 安静地收尾：虔诚、回望、放手。
Small black-and-white studies test rhythm, density, direction and contrast. The work then shifts into analog experiment, letting physical marks and irregular texture enter a system that had been entirely drawn.	Tiny black-and-white sketches try out the rhythm: crowded or empty, which way things flow, dark against light. Then Eunice put the pens down and worked with real materials, so rough, uneven, hand-made textures could get into pictures that had been all clean drawing.	小小的黑白草图先试节奏：密还是疏、往哪个方向流动、明暗对比。然后 Eunice 放下笔，改用真实的材料，让粗糙、不均匀的手工质感进入原本全是"干净线条"的画面。
The analog material is scanned and combined with vector geometry. This hybrid step keeps the energy of a hand-made mark while giving the composition a controlled structure, and it settles the tall vertical format the final sequence is built in.	The hand-made pieces were scanned into the computer and mixed with sharp computer-drawn shapes. That way the pictures keep the energy of a real hand — and gain the neatness of a plan. This step also decided the tall, narrow shape of the final four.	手工做的素材被扫描进电脑，和干净利落的电脑图形混在一起。这样画面既保住了"真实的手"的能量，又有了计划般的整齐。最终四幅画又高又窄的样子，也是在这一步定下来的。
The four final works are meant to be seen together and installed left to right as one continuous progression — which is how they hang on this wall.	The four finished works belong together. They are meant to hang left to right and be read as one journey — and that is exactly how they hang on this wall.	四幅成品是一个整体。它们要从左到右挂、当作一段旅程来读——这面墙正是这样挂的。

P2: Faith, Doubt, Dread

改动多eunice-p2-process.html · Journey of Art

开篇诗译文和 Eunice 的两段原话（"Faith, doubt and dread…"、"Doubt is a bridge…"）是作品与作者的声音，保持原样；以下只改策展说明文字。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
副标题A visual meditation on unstable environments, inner fear, doubt as a bridge, rescue, and the peace that faith can hold inside a storm.	Ten pictures about being caught in a storm: fear, doubt, being rescued — and the quiet that faith can keep inside you even while the storm goes on.	十张关于"身处风暴"的画：恐惧、怀疑、获救——还有即使风暴不停，信仰也能留在你心里的那份安静。
The process book describes dread as overwhelming fear and blurred motion; doubt as standing at a crossroads; and faith through contrasts such as outside and inside, storm and peace, and dark and light.	In her process book, Eunice says dread feels like fear so big that everything blurs; doubt feels like standing at a crossroads, not knowing which way to go; and faith shows up in opposites — outside and inside, storm and peace, dark and light.	在过程手册里，Eunice 说：恐惧（dread）大到让一切都变模糊；怀疑（doubt）像站在十字路口，不知道往哪边走；而信仰（faith）藏在对比里——外面与里面、风暴与平静、黑暗与光明。
Eunice begins with dread as an intensified experience of fear, inspired by Matthew 14:29-30. The surrounding environment appears unstable and threatening; motion, darkness, and scattered yellow marks make the fear feel physical.	Eunice starts with dread — fear at its strongest — inspired by the Bible story where Peter steps out onto the waves (Matthew 14:29-30). Everything around the figure looks shaky and dangerous. The swirling motion, the darkness, and the scattered yellow specks let you almost feel the fear in your own body.	Eunice 从"恐惧"开始——最强烈的害怕——灵感来自彼得踏上海浪的圣经故事（马太福音 14:29–30）。人物周围的一切都摇晃又危险。翻卷的动势、黑暗、四散的黄色小点，让你几乎能在自己身体里感到那种害怕。
Dread I — A figure is held inside a turbulent blue-green field, with yellow particles moving through the atmosphere.	Dread I — A person is trapped inside churning blue-green water and sky, with yellow specks blowing through the air.	《恐惧 I》——一个人被困在翻腾的蓝绿色水与天之间，黄色的小点在空气中飞舞。
Dread II — The environment becomes darker and more disorienting, while the figure remains nearly swallowed by motion.	Dread II — Everything grows darker and harder to make sense of. The person is almost swallowed by the swirling around them.	《恐惧 II》——一切变得更暗、更让人分不清方向。人几乎被周围的翻卷吞没。
Doubt Panorama — A bound silhouette stands inside a red web and wave field. The wide composition is intended to read as a single work, and the gallery hangs it as the two approved halves side by side.	Doubt Panorama — A tied-up figure stands inside a web of red lines and waves. It was made as one very wide picture, so the gallery hangs its two halves side by side — read them together as one.	《怀疑·全景》——一个被捆住的人影站在红色的网与波浪中间。它本来是一张很宽的画，所以展厅把左右两半并排挂在一起——请把它们当作一幅画来看。
Doubt II — Contour figures meet an unstable red and luminous environment, extending the internal struggle into a shared scene.	Doubt II — Figures drawn in simple outline stand in shaky red light. Now the struggle is not inside one person any more — they are in it together.	《怀疑 II》——用简单轮廓画出的人物站在晃动的红光里。挣扎不再只发生在一个人心里——他们一起身处其中。
The artist describes faith as an inner peace that can remain while the outside environment continues to roar. Simple contour figures carry the inner state across watercolor, pastel, photographic motion, and light.	Eunice says faith is a peace inside you that can stay even while everything outside keeps roaring. She draws people as simple outlines, then shows what they feel inside — with watercolor, pastel, blurry photo effects, and light.	Eunice 说，信仰是一种内心的平静：外面再怎么咆哮，它也能留在心里。她用简单的轮廓画人，再用水彩、色粉、照片般的动感和光，来表现他们心里的感受。
Doubt and Save — A small boat moves through a dense field of cloud, darkness, and scattered light.	Doubt and Save — A small boat pushes through thick clouds and darkness, with bits of light scattered all around.	《怀疑与拯救》——一只小船穿过浓密的云和黑暗，四周散落着点点亮光。
Faith I — A quiet figure glows inside the storm. It hangs as half of the closing diptych, and the gallery shows an AI-assisted high-resolution restoration because the source PSD is lower resolution.	Faith I — A calm figure glows in the middle of the storm. It hangs as one half of the final pair. (The original file was small, so the gallery shows a copy that was enlarged and sharpened with computer help.)	《信仰 I》——风暴中央，一个安静的人影在发光。它是收尾一对画里的一半。（原始文件比较小，所以展厅展示的是借助电脑放大、变清晰的版本。）
Faith III — The final green-blue image turns toward illumination and marks the end of the sequence.	Faith III — The last picture, in green and blue, turns toward the light. The story ends here.	《信仰 III》——最后一张画，绿与蓝，转向光明。故事在这里结束。

P1: EX01 + EX02

改动多eunice-p1-exhibition.html · Journey of Art

"visual language / vocabulary / visual weight / narrative" 这一套设计课词汇，对十岁孩子是外语；改成"图形当语言用"的说法，意思一点没丢。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
副标题A visual language built out of four shapes, tested twenty-four times, and then cut up and rebuilt by hand.	Four simple shapes become a kind of language. Eunice tried it out in twenty-four small pictures — then cut them up and built two new works by hand.	四个简单的图形变成了一种"语言"。Eunice 用它做了二十四张小图来试验——然后把它们剪开，用手重新拼出两件新作品。
Line, circle, triangle and square become a system rather than four shapes. Across twenty-four square studies the same small vocabulary is used to test scale, symmetry and asymmetry, repetition, movement, balance, texture and visual weight — one question per sheet, black on white, nothing else allowed in.	Line, circle, triangle and square stop being just four shapes — they become a small set of rules that work together. In twenty-four square pictures, Eunice uses only these shapes to try one idea at a time: big against small, mirror-alike or lopsided, repeating, moving, balancing, rough or smooth, heavy or light. Each sheet asks one question, in black and white only.	线、圆、三角形和正方形不再只是四个图形——它们变成一小套互相配合的规则。在二十四张方形小图里，Eunice 只用这几个图形，一次试一个想法：大与小、对称或不对称、重复、运动、平衡、粗糙或光滑、重或轻。每张纸只问一个问题，只用黑与白。
They hang here the way they were made: as a set. Six rows of four, one field to be read across and down rather than twenty-four separate pictures, because what the series shows is the difference between one study and the next.	They hang together as one big set — six rows of four — because the interesting part is not any single picture, but how each one changes from the one before it. Read them like a page: across, then down.	它们像制作时那样整组挂在一起——四张一排、共六排——因为最有意思的不是某一张，而是每一张和上一张相比变了什么。像读一页书那样看：先横着看，再往下看。
The EX01 compositions are then printed, cut, cropped, recombined and rebuilt by hand. The two final works keep the geometric vocabulary intact and let physical process into it: imperfect edges, overlapping layers, the accident that turns out to be the better decision, and the beginning of a narrative the pure geometry did not have.	Next, Eunice printed the EX01 pictures, cut them apart, and glued the pieces into new pictures by hand. The shapes are still the same four — but now you can see the hand at work: edges that are not perfect, layers that overlap, happy accidents that turned out better than the plan, and the start of a story that neat shapes alone did not tell.	接着，Eunice 把 EX01 的图打印出来、剪开，再用手把碎片粘贴成新的画面。图形还是那四种——但现在能看出"手"的痕迹：不那么完美的边缘、叠在一起的纸层、比原计划更好的"美丽的意外"，还有一点点故事的开头——这是整整齐齐的图形原本没有的。
That is why they are hung large, on their own wall, at the end of P1. They are the same language, spoken by hand.	That is why these two hang large, on their own wall, at the end of P1: the same shape-language — this time spoken by hand.	所以这两件放得很大，挂在 P1 结尾自己的墙上：还是那套图形语言——这一次是"用手说"出来的。

The Violet That Time Hid

改动多van-gogh-color-science.html · Van Gogh House

全馆最技术的一页（XRF、光谱、色淀颜料）。仪器名字保留——孩子应该见到真名——但每个名字旁边用一句话讲清它干什么。所有"这是推测不是复原"的限定语原样保留。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
To make violet, Van Gogh combined blue paint with a red lake pigment. The blue component was comparatively stable, but the red component was vulnerable to light. Over more than a century, part of the red faded, allowing the blue to dominate what we see.	To mix violet, Van Gogh added a red made from dye (called a "red lake") to blue paint. The blue was tough. That red was not — light slowly bleached it. After more than a hundred years, much of the red is gone, so today our eyes mostly see the blue that was left behind.	为了调出紫色，梵高在蓝颜料里加了一种用染料做的红（叫"红色色淀"）。蓝色很结实，那种红却不行——光一年年把它漂淡了。一百多年过去，红色掉了大半，所以今天我们看到的主要是留下来的蓝。
Magnified examination. A tiny damaged area in one blue iris revealed purple paint protected beneath the surface.	Looking through a magnifier. One blue iris has a tiny chipped spot — and inside it, protected under the surface, the paint is still purple.	放大镜检查。一朵蓝色鸢尾花上有个小小的破损点——就在破损里面、被表层保护着的地方，颜料居然还是紫色的。
X-ray fluorescence scanning (XRF). XRF maps chemical elements across the painting. A bromine map helped researchers trace where the faded red geranium-lake component had been used. XRF does not photograph the lost colour directly; it supplies chemical evidence from which pigments can be inferred.	An element-mapping scanner, called XRF. Without touching the painting, it maps which chemical elements sit where. The faded red paint contained an element called bromine — so the bromine map shows where that red used to be. The scanner cannot photograph the lost colour itself; it finds chemical fingerprints, and scientists work out the colours from them.	元素扫描仪，叫 XRF。它不用碰画，就能画出"哪种化学元素在哪儿"的地图。褪掉的那种红颜料里含一种叫"溴"的元素——所以溴的地图正好显示出红色原来待过的地方。扫描仪拍不到消失的颜色本身；它找到的是化学"指纹"，科学家再从指纹推算颜色。
Spectroscopy and chemical analysis. Reflectance spectroscopy, Raman spectroscopy, and gas chromatography–mass spectrometry help identify pigments and binding materials.	Light tests and chemistry tests. Several instruments shine light on the paint, or study tiny samples of it, each reading a different kind of fingerprint — to work out which pigments and which glues the paint was made from.	光的测试和化学的测试。几种仪器有的往颜料上打光、有的研究极小的样品，各自读取一种不同的"指纹"——用来判断颜料由哪些色粉、哪些"胶"做成。
Microfade testing. Very small, controlled light exposures show which colours remain vulnerable and help museums choose safer display lighting.	The tiny-fade test. Scientists shine a pinpoint of strong light on a spot almost too small to see, to check which colours would still fade — so the museum knows how gentle its lights must be.	微褪色测试。科学家把一小束强光打在一个几乎看不见的小点上，看看哪些颜色现在还会褪——博物馆就知道展灯要开得多柔和了。
Photogrammetry and 3D imaging. High-resolution images record both colour and the raised relief of individual brushstrokes.	3D photography. Very sharp photos, taken from many angles, record not just the colours but the little ridges each brushstroke left in the paint.	3D 摄影。从很多角度拍下极清晰的照片，不光记录颜色，还记录每一笔颜料留下的小凸起。
Researchers first identify regions that contain the altered pigment. They divide those regions by the degree of change, then adjust colour at high resolution so that the result follows individual brushstrokes and mixtures rather than applying one purple filter to the whole canvas.	First the researchers find every area where the paint changed, and sort them by how much each one changed. Then they adjust the colour bit by bit, following each brushstroke and each paint mixture — instead of dropping one purple filter over the whole picture.	研究者先找出颜料变了的每一块区域，再按变化的多少分类。然后一点一点地修正颜色，跟着每一笔、每一种调色走——而不是给整幅画简单罩上一层紫色滤镜。
Getty also applied the adjusted colours to a 3D model of the painting's surface and produced a 3D-printed reconstruction, so the relief of the paint remained part of the experiment. Colour is not the only thing a viewer reads: raking light across a raised brushstroke changes how that colour is seen.	Getty even put the corrected colours onto a 3D model of the painting's bumpy surface, and 3D-printed it — because colour is not the only thing your eyes read. Light sliding sideways across a raised brushstroke changes how that colour looks.	盖蒂还把校正后的颜色贴到这幅画凹凸表面的 3D 模型上，并用 3D 打印做了出来——因为你的眼睛读到的不只是颜色。光从侧面扫过凸起的笔触时，那个颜色看起来就不一样了。
对比图说明Left: the public-domain painting as it appears today. Right: an evidence-constrained colour-direction hypothesis that moves selected blue iris paint toward violet. This is a scientific approximation, not Getty's calibrated reconstruction and not a change to the original painting.	Left: the painting as it looks today. Right: our best evidence-based guess at which way the colour drifted — the chosen blue irises nudged back toward violet. It is a careful scientific guess, not the Getty museum's official reconstruction, and the real painting has not been touched.	左边：这幅画今天的样子。右边：根据证据做出的"颜色往哪儿漂移"的最佳推测——把选定的蓝色鸢尾往紫色方向推回去。这是一个谨慎的科学推测，不是盖蒂博物馆的官方复原，真正的画一笔也没动。
The comparison is not time travel and it is not the only possible answer. It is a visual hypothesis constrained by evidence. The original painting remains untouched.	This side-by-side is not time travel, and it is not the only possible answer. It is a guess drawn as a picture — a guess kept on a leash by evidence. The original painting stays exactly as it is.	这组对比不是时光机，也不是唯一可能的答案。它是把一个猜想画了出来——一个被证据"拴着"的猜想。原画本身丝毫未动。
Modern experiments can compare protected and exposed patches, then train a colour-transfer model using information from the painting itself. This is useful, but the model must be constrained by conservation knowledge: a system that learns only visible colours can alter areas whose pigments did not change.	Today, researchers can compare the protected strips with the faded parts, then teach a computer program to shift colours using clues from the painting itself. Helpful — but the program needs an expert watching it. A program that only learns from what it can see might "fix" places where the paint never actually changed.	如今，研究者可以把画框保护住的窄条和褪色的部分做比较，再用画里自己的线索，教电脑程序去校正颜色。这很有用——但程序必须有专家盯着。只会"看表面颜色"的程序，可能把根本没变过的地方也给"修"了。
A responsible digital reconstruction distinguishes what is observed, what is inferred, and what remains uncertain.	An honest digital reconstruction always says which parts were actually seen, which parts were figured out, and which parts are still a guess.	一个诚实的数字复原，会说清楚：哪些是亲眼观察到的，哪些是推理出来的，哪些还只是猜测。

Lucas and Jesus

改动少lucas-jesus.html + stage-1/2/3 · Journey of Art

Stage 1–3 三个小展签逐句复用主展签的句子，所以下面每条改一处、四个文件同步生效。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
The framed painting on this wall was built up in stages. Three documentary photographs record it partway through: first as a drawing, then under a first pass of colour, then close to finished.	The framed painting on this wall was not made in one go — it grew in stages. Three photos catch it partway: first just a drawing, then with its first coat of colour, then almost done.	这面墙上装框的画不是一口气画完的——它是一步步长成的。三张照片拍下了它的中途样子：先只是素描，然后上了第一层颜色，最后接近完成。
Read left to right, the three pictures show the same composition at three points in its making. What changes between them is the drawing being revised, colour being layered over it, the separation of light from dark, and the amount of detail carried through.	Look at the three photos left to right: it is the same picture at three moments. What changes? The drawing gets corrected, colour gets layered on top, light and dark get pulled further apart, and more and more small details appear.	从左到右看这三张照片：是同一幅画的三个时刻。变的是什么？素描被修改，颜色一层层盖上去，亮部和暗部拉得更开，小细节也越来越多。
Stage 1 — Brown underdrawing. The composition is drawn out in brown, without developed colour. The placement of the figures, their proportions and the division of the surface are all settled at this stage.	Stage 1 — The brown drawing underneath. The whole picture is first drawn in brown, with no real colour yet. The big decisions happen here: where each person stands, how large they are, and how the space is divided up.	第一步——底下的棕色素描。整幅画先用棕色画出来，还没有真正的颜色。大的决定都在这一步：每个人站在哪里、画多大、画面怎么分区。
Stage 2 — First developed colour pass. Colour is laid over the drawing for the first time. The larger areas are established and the drawing beneath is still visible in places; edges and detail are not yet resolved.	Stage 2 — The first coat of colour. Colour goes over the drawing for the first time. The big areas are filled in, and in places you can still see the drawing peeking through. Edges are still soft; details are still missing.	第二步——第一层颜色。颜色第一次盖到素描上。大块的区域涂好了，有些地方还能看见底下的素描。边缘还是软的，细节还没画。
Stage 3 — Near-finished colour pass. The colour is carried further. Lighter and darker passages are separated more strongly, and the smaller details are worked up towards the finished surface.	Stage 3 — Almost finished. The colour is pushed further: bright parts get brighter, dark parts darker, so the picture stands out. The small details are painted in, bringing it close to done.	第三步——接近完成。颜色继续推进：亮的更亮、暗的更暗，画面一下子立体起来。小细节一点点画上去，离完成不远了。

From Bits to Meaning

改动少mr-yancy-wall-2.html · Mr Yancy's Class Room

Yancy 教室里最抽象的一面墙。bit、ASCII、香农都保留——加比喻，不加水。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
A bit records one of two possible states, usually written as 0 or 1. The artwork follows those simple choices as they gather into numbers, letters, pictures, sound, and movement.	A bit is the smallest possible answer: one of two choices, written 0 or 1 — like a light switch that is either off or on. This artwork follows those tiny choices as they team up into numbers, letters, pictures, sound, and movement.	比特（bit）是最小的答案：两个选项里选一个，写成 0 或 1——就像电灯开关，不是关就是开。这件作品跟着这些小小的选择，看它们如何组队变成数字、字母、图画、声音和动作。
Position gives each bit its value. The pattern 01000001 is the binary number 65; under the ASCII agreement, 65 means the letter A. A different agreement can give the same physical states a different meaning.	Where a bit sits decides how much it counts for. The pattern 01000001 adds up to the number 65 — and by a rule everyone agreed on, called ASCII, 65 stands for the letter A. With a different agreed rule, the exact same 0s and 1s could mean something else entirely.	一个比特站在哪个位置，决定它算多少。01000001 这一串加起来是 65——按大家共同约定的规则（叫 ASCII），65 就代表字母 A。要是换一套约定，一模一样的 0 和 1 可以表示完全不同的东西。
Numbers do not explain themselves. A program may read a group of bits as the brightness of a pixel, one sample in a sound, a coordinate, a moment in time, or an instruction. The pattern stays the same while its role changes.	Numbers do not tell you what they are for. The same group of bits could be how bright a dot is, one tiny slice of a sound, a spot on a map, a moment in time, or a command for the computer. The pattern never changes — only its job does.	数字自己不会说明用途。同一串比特，可以是一个点有多亮、一小段声音、地图上的一个位置、一个时刻，或是给电脑的一条命令。这串数字从没变——变的只是它的"工作"。
Claude Shannon's information theory made it possible to study information separately from the particular message carrying it. This artwork begins with that foundation: useful meaning comes from structure and an agreed way to read it.	A scientist named Claude Shannon showed that you can study information itself, no matter what message happens to carry it — the way you can study boxes without caring what is inside. This artwork starts from his big idea: meaning comes from how things are arranged, plus a rule everyone agrees on for reading them.	科学家克劳德·香农发现：可以研究"信息"本身，而不用管它正好装着什么内容——就像研究盒子，不用管盒子里装什么。这件作品正是从他这个大想法出发：意义来自排列方式，加上一条大家都同意的"读法"。

Pixels: From Dots to Form

改动少mr-yancy-wall-1.html · Mr Yancy's Class Room

大部分已经写得不错；这四段的"信息量/网格/四边面片"需要落地。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
Random color becomes information. Colored marks first fly independently. Then 2,309 marks settle into positions sampled from a galaxy image. A mark alone carries little information; the arrangement carries the image.	Random dots become a picture. At first the coloured dots fly around on their own. Then all 2,309 of them land on spots copied from a photo of a galaxy. One dot by itself tells you almost nothing — the arrangement is what holds the picture.	乱飞的点变成一幅画。一开始，彩色的点各飞各的。然后 2,309 个点落到从一张星系照片里取出的位置上。单独一个点几乎说明不了什么——真正装着图画的，是它们的排列。
A single triangle is flat. Thousands of triangles can describe a volume when they share edges, change direction, overlap, and become smaller with distance. Bright front-facing edges and quieter lines behind the surface create an X-ray-like view. Your eyes interpret those depth clues as a solid object.	One triangle is flat. But thousands of triangles can build a solid-looking shape — when they share edges, tilt in different directions, overlap, and shrink as they get farther away. The near edges are drawn bright and the far ones faint, like an X-ray. Your eyes read those clues and see a solid object.	一个三角形是平的。但几千个三角形能拼出看起来立体的形状——只要它们共用边、朝向不同、互相遮挡、离得越远变得越小。近处的边画得亮、远处的画得淡，像 X 光片。你的眼睛读懂这些线索，就"看见"了一个立体的东西。
This diagram uses the actual cleaned Madonna-and-Child model used by the artwork. Its visible surface is a mesh of 2,400 triangular faces joined through 4,060 unique edges — not a photograph painted over the model.	This diagram uses the very same Madonna-and-Child model as the artwork. What you see is its "net": 2,400 little triangles joined along 4,060 edges — a real wireframe, not a photo pasted on top.	这张图用的正是作品里那座"圣母与圣子"模型。你看到的是它的"网"：2,400 个小三角形沿着 4,060 条边连在一起——是真正的骨架网格，不是贴上去的照片。
The final sequence slows down so each change can be inspected: a gridded cube relaxes into a rounded cube, then a sphere. Quadrilateral patches divide into triangles for a smoother surface. Those triangles scatter once more and assemble into the Madonna-and-Child mesh.	The last part plays slowly so you can watch every change: a boxy cube softens into a rounded cube, then into a ball. Its four-sided tiles split into triangles, so the surface gets smoother. Then the triangles scatter — and gather again as the Madonna and Child.	最后一段放得很慢，让你看清每一步变化：方方的立方体先变圆润，再变成球。它四边形的"瓷砖"分成三角形，表面就更光滑了。然后三角形四散飞开——又重新聚拢成"圣母与圣子"。

The Starry Night (Section 1)

改动少van-gogh-section-1.html · Van Gogh House

故事讲得好，但几处抽象名词堆叠（isolation and connection / diagnose / doctrine）超龄。梵高书信引文原样保留。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
This painting does not give us a simple answer. The quiet village and the moving sky hold different experiences together: rest and unrest, darkness and light, isolation and connection, earth and something beyond it.	The painting does not hand us an easy answer. The sleepy village and the swirling sky hold opposites in one picture: calm and restlessness, dark and light, feeling alone and feeling connected, the ground under us and something far beyond it.	这幅画不给我们简单的答案。安睡的村庄和翻涌的天空，把相反的感受装进了同一幅画：安宁与不安、黑暗与光亮、孤单与相连、脚下的大地与远在天外的东西。
The landscape begins in observed experience, but it is reorganized into a painted world. This is not a camera's record of one instant. It is observation, memory, imagination, and feeling composed together.	Van Gogh really did look at this landscape — but then he rebuilt it into a painted world of his own. It is not a photo of one moment. It is what he saw, what he remembered, what he imagined, and what he felt, all mixed into one picture.	梵高确实看过这片风景——但他把它重新组合成了一个属于自己的绘画世界。这不是某一瞬间的照片，而是他看到的、记得的、想象的和感受到的，全都调进了同一幅画。
That distinction matters. We do not need to diagnose Vincent from a spiral or turn suffering into a romantic explanation for creativity. We can say something more careful: he made deliberate visual choices, and those choices let a viewer feel stillness and movement at the same time.	That difference matters. A swirl in the sky does not tell us what was wrong with Vincent, and pain is not a magic ingredient for art. What we can say for sure is simpler: he chose every line and colour on purpose — and those choices let you feel stillness and movement at the same time.	这个区别很重要。天上的漩涡并不能告诉我们梵高生了什么病，痛苦也不是艺术的"魔法原料"。我们能确定的其实更简单：每一根线条、每一种颜色都是他有意选的——这些选择让你同时感到安静与涌动。
In Letter 729, written on 4 January 1889, he recorded that the charwoman and his friend Joseph Roulin had cared for the Yellow House and put it in order while he was in hospital. … when a person suffers, love can become visible through presence, practical care, and the work of putting a damaged world in order.	In a letter from 4 January 1889, Vincent wrote that while he was in hospital, the cleaning lady and his friend Joseph Roulin had looked after his house and tidied it up for him. … when someone is suffering, love often looks very ordinary: showing up, helping out, putting a broken world back in order.	在 1889 年 1 月 4 日的一封信里，梵高写道：他住院期间，帮佣的太太和好朋友鲁林替他照看了房子，把家收拾整齐。……当一个人受苦时，爱常常长得很普通：出现在你身边、搭把手、把弄坏的世界重新收拾好。
Vincent inherited the language of Christianity and spent years wrestling with where the sacred could be found. His paintings do not turn that struggle into a neat doctrine. … That visual relationship opens another question rather than closing one.	Vincent grew up with Christianity, and for years he wrestled with one question: where can the holy be found? His paintings never turn that struggle into a tidy answer. In this one, a church sits in the village — but the biggest light and movement are outside its walls. That opens a question instead of closing it.	梵高在基督教里长大，多年来一直和一个问题较劲：神圣的东西到底在哪里？他的画从不把这场挣扎变成一个干净利落的答案。在这幅画里，村子里有一座教堂——但最大的光和涌动都在教堂墙外。这打开了一个问题，而不是关上它。

Sections 2–5

改动少van-gogh-section-2/3/4/5.html · Van Gogh House

四页都短，各有一两句"策展腔"。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
Section 2Vincent placed his friend against a deep blue full of stars, lifting an ordinary person into the eternal.	Vincent painted his friend against a deep blue sky full of stars — as if lifting an ordinary person up into forever.	梵高把朋友画在缀满星星的深蓝夜空前——就像把一个普通人举进了"永远"里。
Section 3Van Gogh kept trying to paint eternity, not only behind an altar but overhead and underfoot. For him, the infinite could appear in stars, a field, a worker's gesture, or a blazing sun.	Van Gogh kept trying to paint "forever" — not just inside a church, but right above our heads and under our feet. For him, it could show up in the stars, in a field, in the swing of a worker's arm, or in a blazing sun.	梵高一直想把"永恒"画出来——不只在教堂里，也在我们头顶和脚下。对他来说，永恒可以出现在星星里、田野里、劳动者挥臂的动作里，或一轮燃烧的太阳里。
Section 3A farmer scatters seed beneath a sun that also reads as a halo: eternity inside ordinary work.	A farmer scatters seed under a huge sun that also looks like a halo — as if "forever" were hiding inside everyday work.	农夫在一轮大太阳下撒种，那太阳看起来也像一圈光环——好像"永恒"就藏在每天的劳动里。
Section 3Vincent reimagines a resurrection and replaces the heavenly figures with a great golden sun.	Vincent repaints an old Bible scene — Lazarus being raised from the dead — but where the angels used to be, he puts a great golden sun.	梵高重画了一个圣经场景——拉撒路死而复生——但在原本画天使的位置，他放上了一轮金色的大太阳。
Section 4Vincent placed his late father's huge open Bible beside a small, worn, well-loved modern novel. The quiet still life holds an argument between the strict faith he inherited and the human, everyday life in which he also searched for God.	Vincent painted his father's huge Bible lying open — and next to it, a small modern novel, worn soft from being read and loved. The quiet picture holds a quiet argument: the strict faith his father handed down, side by side with the ordinary everyday life where Vincent also went looking for God.	梵高画了父亲那本摊开的大圣经——旁边放着一本小小的现代小说，被人读到起了毛边、显然被深深爱过。这幅安静的画里有一场安静的争论：父亲传下来的严格信仰，和梵高同样在其中寻找上帝的平凡日常，并排放在一起。
Section 4Who is the Word for: a faithful few through a priest, or everyone directly?	Who is God's message for — only a faithful few, passed along by a priest, or everyone, spoken to them directly?	上帝的话是说给谁听的——只给少数虔诚的人、由神父转达，还是直接说给每一个人？
Section 5Feverish and tilting, lit by clashing red and green: a real room painted as a feeling.	Hot, dizzy, and tilted, lit in reds and greens that fight each other: a real room, painted the way it feels instead of the way it looks.	又热又晕、连地板都是斜的，红色和绿色的灯光互相打架：一个真实的房间，画的不是它的样子，而是它给人的感觉。
Section 5Flatter, calmer, and more like a remembered dream: the same café seen through another painter's vision.	Flatter, calmer — more like a dream you half remember. The very same café, seen through a different painter's eyes.	更平、更安静——像一个记不太清的梦。同一间咖啡馆，换了另一位画家的眼睛去看。

Three Games

改动少mr-yancy-wall-3.html · Mr Yancy's Class Room

整体已经接近儿童向；两处"坐标/状态"的说法值得落地。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
Each square is a readable state: empty space, food, or one segment of a colored snake. A head advances by exactly one grid cell, and each body segment takes the previous position of the segment ahead. A few changing coordinates become continuous-looking movement.	Every square on the board means one thing: empty, food, or one piece of a snake. Each turn, the head moves forward exactly one square, and every body piece steps into the spot the piece in front just left. Only a few numbers change — but it looks like smooth slithering.	棋盘上每个方格只表示一件事：空的、食物，或者蛇身的一节。每走一步，蛇头正好前进一格，身体的每一节都挪进前一节刚离开的位置。其实只有几个数字在变——看起来却像顺滑地游动。
Gomoku adds another kind of information: choice. All 55 legal moves are replayed in their recorded order, ending with the winning five-in-a-row highlighted on the board. The artwork therefore preserves a played game, not merely a decorative board.	Gomoku (five-in-a-row) adds a new kind of information: choices made by real players. All 55 moves of a real game replay in the exact order they were played, ending with the winning five-in-a-row lit up. So this is not a decoration — it is a real game, saved.	五子棋加入了一种新的信息：真实玩家的"选择"。一整盘真实对局的 55 步棋，按当时的顺序重演一遍，最后赢棋的五连子亮起来。所以它不是装饰——它是一盘被保存下来的真棋。

Pixel Science · Start Here

改动少mr-yancy-pixel-science.html · Mr Yancy's Class Room

本来就是全馆写得最亲切的一页；只有两处抽象词。

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
In this room, pixel is a friendly name for a tiny piece in a larger information system. A screen pixel is one example. A bit — 0 or 1 — is another kind of tiny piece.	In this room, "pixel" is our friendly name for any tiny piece that helps build something bigger. A dot on a screen is one kind. A bit — a 0 or a 1 — is another.	在这个房间里，"像素"是我们给"小零件"起的友好名字——许多小零件能拼出更大的东西。屏幕上的一个点是一种；一个比特——0 或 1——是另一种。
The Nativity in the center is a 3D scan made from many measured points. It is a physical reminder that lots of small records can describe one whole form.	The Nativity scene in the center is a 3D scan: a computer measured many, many points on the real object and saved them all. It is proof you can walk around — lots of tiny measurements can describe one whole shape.	中间的耶稣降生像是一个 3D 扫描：电脑在真实物体上量了很多很多个点，把它们全存了下来。它是一个可以绕着走的证明——许多小小的测量，能描述出一个完整的形状。

Walls A–D · Room Objects

基本不用改van-gogh-wall-a/b/c/d, object-emily, object-house-large/small

这七个展签都是一两句的署名说明，已经够短够直白。只有一处小词：

Original 原文	Suggested · 10 岁能懂的英文	建议英文的中文翻译
object-house-small…became a movable 3D object while preserving its modest proportions and irregular pale brushwork.	…became a movable 3D object, keeping its small, cozy size and its loose strokes of pale paint.	……变成了一个可以移动的 3D 物件，保留了它小巧的身形和松松的浅色笔触。

原样保留、没有列入表格的：Eunice 的两段引文、开篇诗及其英译、梵高书信引文（"The sight of the stars always makes me dream."）、所有日期/编号/馆藏信息、以及每页底部的来源与授权说明（那是给家长和研究者看的小字，不是给孩子读的正文）。

范围说明：本表覆盖 content/inception/museum-labels/ 的全部 24 个展签（最新 main，f8e3497 之后）。The Manifold 的四个 R Read 页面和 Art Lab Saturn 页面走的是另一套 exhibit-frame 架构（自带交互教学），未列入本表——需要的话我再做一份。2026-08-24 已全部应用（分支 claude/reader-copy-age-ten）：表中修改已写入对应展签 HTML；Lucas 三个 stage 文件与主展签同步；P2 墙面金字铭文（wall copy）与展签逐字同步更新。两处例外：色彩科学页的对比图说明是 owner 锁定的原话（测试逐字校验），未改；“It is a visual hypothesis constrained by evidence. The original painting remains untouched.” 一句原样保留，只简化了它前面的句子。