defacer

简明释义

英[/dɪˈfeɪsə/]美[/dɪˈfeɪsər/]

损伤外观，丑化，使失面子

英英释义

单词用法

同义词

反义词

例句

1.I bet the defacer was thinking "if I can't deface NSA, I'll deface NASA to send my message regardless".

我敢打赌，这个损毁者在想“如果我不能破坏国家安全局，我就破坏国家宇航局来发送我的信息”。

2.I bet the defacer was thinking "if I can't deface NSA, I'll deface NASA to send my message regardless".

我敢打赌，这个损毁者在想“如果我不能破坏国家安全局，我就破坏国家宇航局来发送我的信息”。

3.A notorious defacer (破坏者) was caught red-handed spray-painting over a historical site.

一名臭名昭著的defacer (破坏者) 在历史遗址上喷漆时被当场抓获。

4.Many consider graffiti an art form, but others see it as the work of a defacer (破坏者).

许多人认为涂鸦是一种艺术形式，但其他人则将其视为defacer (破坏者) 的作品。

5.The city implemented stricter laws to prevent defacers (破坏者) from damaging public property.

该市实施了更严格的法律，以防止defacers (破坏者) 破坏公共财产。

6.The artist was accused of being a defacer (破坏者) after his mural was vandalized.

这位艺术家因他的壁画被破坏而被指责为defacer (破坏者)。

7.The community organized a cleanup day to remove the work of defacers (破坏者) from local parks.

社区组织了一次清理日，以清除当地公园中defacers (破坏者) 的作品。

作文

In today's society, the concept of art has evolved significantly, leading to various forms of expression that challenge traditional boundaries. However, with this evolution comes the darker side of artistic expression, where individuals known as defacers (破坏者) engage in acts that not only disfigure public property but also provoke discussions about ownership and creativity. The act of defacement can take many forms, from graffiti on walls to the destruction of sculptures and installations. While some may view these actions as vandalism, others argue that they are a form of social commentary or rebellion against societal norms.One of the most famous examples of this phenomenon is the graffiti artist Banksy, whose works often critique political and social issues. While Banksy's art is celebrated by many, it raises questions about the line between art and vandalism. Are defacers (破坏者) merely expressing their frustrations through their art, or are they undermining the value of public spaces? This debate highlights the complexity of art in contemporary society. Moreover, the rise of street art has blurred the lines even further. Many cities have embraced street artists, commissioning murals and allowing for creative expression in designated areas. This acceptance contrasts sharply with the actions of defacers (破坏者), who operate outside the law and often without permission. The difference lies in intent and context; while commissioned artists aim to beautify and uplift communities, defacers (破坏者) often leave behind a trail of destruction that can alienate residents and diminish the aesthetic value of neighborhoods.On the other hand, some argue that the presence of defacers (破坏者) can serve as a catalyst for change. Their actions can bring attention to neglected areas, prompting local governments to invest in revitalization projects. For instance, a once-derelict wall covered in graffiti might attract tourists, leading to increased foot traffic and economic growth. In this light, defacers (破坏者) can be seen as unintentional artists, drawing attention to the need for improvement and community engagement.However, the consequences of defacement are often severe. Property owners may face hefty fines for cleaning up after defacers (破坏者), and the emotional toll on communities can be significant. Public spaces that should inspire pride and unity can become sources of frustration and conflict. As such, the actions of defacers (破坏者) raise important questions about the balance between freedom of expression and respect for communal property.In conclusion, the role of defacers (破坏者) in our society is multifaceted. They challenge our perceptions of art and ownership, forcing us to confront uncomfortable truths about creativity and community responsibility. While their actions may not always be welcomed, they undeniably contribute to the ongoing dialogue about the nature of art, expression, and the spaces we inhabit. As we navigate this complex landscape, it is essential to consider the implications of defacement and find ways to foster creativity that respects both individual expression and communal integrity.

在当今社会，艺术的概念已经发生了显著变化，导致各种挑战传统界限的表达形式。然而，随着这种演变，艺术表达的阴暗面也随之而来，个人被称为defacers（破坏者）参与到不仅仅是毁坏公共财产的行为中，还引发了关于所有权和创造力的讨论。破坏行为可以有多种形式，从墙壁上的涂鸦到雕塑和装置的破坏。虽然一些人可能将这些行为视为破坏，但另一些人则认为它们是一种社会评论或对社会规范的反叛。其中一个最著名的例子是涂鸦艺术家班克西，他的作品常常批判政治和社会问题。虽然班克西的艺术受到许多人的赞赏，但这引发了关于艺术与破坏之间界限的问题。defacers（破坏者）只是通过他们的艺术表达不满，还是在削弱公共空间的价值？这一辩论突显了当代社会艺术的复杂性。此外，街头艺术的兴起进一步模糊了界限。许多城市已经接受了街头艺术家，委托他们创作壁画，并在指定区域允许创意表达。这种接受与defacers（破坏者）的行为形成了鲜明对比，后者在法律之外运作，且通常没有获得许可。区别在于意图和背景；虽然受委托的艺术家旨在美化和提升社区，但defacers（破坏者）往往留下破坏的痕迹，可能使居民感到疏离，并降低邻里的美学价值。另一方面，有人认为defacers（破坏者）的存在可以作为变革的催化剂。他们的行为可以引起人们对被忽视地区的关注，促使地方政府投资于振兴项目。例如，一面曾经荒废的墙壁被涂鸦覆盖，可能会吸引游客，从而增加人流和经济增长。从这个角度看，defacers（破坏者）可以被视为无意中的艺术家，吸引人们关注改善和社区参与的必要性。然而，破坏的后果往往是严重的。物业所有者可能面临清理defacers（破坏者）留下的痕迹的高额罚款，而对社区的情感影响也可能是显著的。应该激励自豪感和团结的公共空间可能变成沮丧和冲突的源泉。因此，defacers（破坏者）的行为提出了关于自由表达与尊重公共财产之间平衡的重要问题。总之，defacers（破坏者）在我们社会中的角色是多面的。他们挑战我们对艺术和所有权的看法，迫使我们面对关于创造力和社区责任的不安真相。尽管他们的行为可能并不总是受到欢迎，但他们无疑促进了关于艺术、表达和我们所居住空间的持续对话。当我们在这个复杂的环境中航行时，考虑破坏的影响并找到尊重个人表达与社区完整性的创造性方式至关重要。