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题型:阅读理解-阅读单选 难度:0.15 引用次数:1454 题号:9952880

It’s common knowledge that the woman in Leonardo da Vinci’s most famous painting seems to look back at observers, following them with her eyes no matter where they stand in the room. But this common knowledge turns out wrong.

A new study finds that the woman in the painting is actually looking out at an angle that’s 15. 4 degrees off to the observer’s right-well outside of the range that people normally believe when they think someone is looking right at them. In other words, said the study author, Horstmann, “She’s not looking at you. “ This is somewhat ironic, because the entire phenomenon of a person’s gaze (凝视) in a photograph or painting seeming to follow the viewer is called the “Mona Lisa effect” . That effect is absolutely real, Horstmann said. If a person is illustrated or photographed looking straight ahead, even people viewing the portrait from an angle will feel they are being looked at. As long as the angle of the person’s gaze is no more than about 5 degrees off to either side, the Mona Lisa effect occurs.

This is important for human interaction with on-screen characters. If you want someone off to the right side of a room to feel that a person on-screen is looking at him or her, you don’t cut the gaze of the character to that side-surprisingly, doing so would make an observer feel like the character isn’t looking at anyone in the room at all. Instead, you keep the gaze straight ahead.

Horstmann and his co-author were studying this effect for its application in the creation of artificial-intelligence avatars(虚拟头像) when Horstmann took a long look at the “Mona Lisa” and realized she wasn’t looking at him.

To make sure it wasn’t just him, the researchers asked 24 people to view images of the “Mona Lisa” on a computer screen. They set a ruler between the viewer and the screen and asked the participants to note which number on the ruler intersected(和……相交) Mona Lisa’s gaze. To calculate the angle of Mona Lisa’s gaze as she looked at the viewer, they moved the ruler farther from or closer to the screen during the study. Consistently, the researchers found, participants judged that the woman in the “Mona Lisa” portrait was not looking straight at them, but slightly off to their right.

So why do people repeat the belief that her eyes seem to follow the viewer? Horstmann isn’t sure. It’s possible, he said, that people have the desire to be looked at, so they think the woman is looking straight at them. Or maybe the people who first coined the term “Mona Lisa effect” just thought it was a cool name.

1. It is generally believed that the woman in the painting “Mona Lisa”___________.
A.attracts the viewers to look back
B.seems mysterious because of her eyes
C.fixes her eyes on the back of the viewers
D.looks at the viewers wherever they stand
2. What gaze range in a painting will cause the Mona Lisa effect?
A.B.C.D.
3. The experiment involving 24 people was conducted to______.
A.confirm Horstmann’s belief
B.create artificial-intelligence avatars
C.calculate the angle of Mona Lisa’s gaze
D.explain how the Mona Lisa effect can be applied
4. What can we learn from the passage?
A.Horstmann thinks it’s cool to coin the term “Mona Lisa effect”.
B.The Mona Lisa effect contributes to the creation of artificial intelligence.
C.Feeling being gazed at by Mona Lisa may be caused by the desire for attention.
D.The position of the ruler in the experiment will influence the viewers’ judgement.

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阅读理解-阅读单选(约320词) | 困难 (0.15)
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【推荐1】In spring, chickens start laying again, bringing a welcome source of protein at winter’s end. So it’s no surprise that cultures around the world celebrate spring by honoring the egg.

Some traditions are simple, like the red eggs that get baked into Greek Easter breads. Others elevate the egg into a fancy art, like the heavily jewel-covered “eggs” that were favored by the Russians starting in the 19th century.

One ancient form of egg art comes to us from Ukraine. For centuries, Ukrainians have been drawing complicated patterns on eggs. Contemporary artists have followed this tradition to create eggs that speak to the anxieties of our age: Life is precious, and delicate. Eggs are, too.

“There’s something about their delicate nature that appeals to me,” says New Yorker cartoonist Roz Chast. Several years ago, she became interested in eggs and learned the traditional Ukrainian technique to draw her very modern characters. “I’ve broken eggs at every stage of the process — from the very beginning to the very, very end.”

But there’s an appeal in that vulnerability(易损性). “There’s part of this sickening horror of knowing you’re walking on the edge with this, that I kind of like, knowing that it could all fall apart at any second.” Chast’s designs, such as a worried man alone in a tiny rowboat, reflect that delicateness.

Traditional Ukrainian decorated eggs also spoke to those fears. The elaborate patterns were believed to offer protection against evil.

“There’s an ancient legend that as long as these eggs are made, evil will not exist in the world.” says Joan Brander, a Canadian egg-painter who has been painting eggs for over 60 years, having learned the art from her Ukrainian relatives.

1. People in many cultures honor the egg because _______________.
A.it is their major source of protein in winter
B.it is a welcome sign of the approach of spring
C.it can bring wealth and honor to them
D.it can easily be made into a work of art
2. What does the underlined word “elevate” in Paragraph 2 mean ?
A.carveB.promoteC.placeD.lower
3. Why does Chast enjoy the process of decorating eggs?
A.She is never sure what the final design will look like until the end.
B.She always achieves great pleasure from designing something new.
C.She never knows if the egg will break before the design is completed.
D.She believes there won’t be evil in the world once the egg is made.
4. The following statements are right except that _______________.
A.the decorated “eggs” are favored as a form of fancy art in Russia
B.contemporary artists draw on eggs to reflect anxieties of people today
C.the delicate nature of eggs appeals to Roz Chast
D.eggs provide a hard and unique surface to paint on
2020-10-22更新 | 584次组卷
阅读理解-阅读单选(约430词) | 困难 (0.15)

【推荐2】Craft (手工艺)is becoming a heritage industry — but a record of disappearing skills might just come in handy in the future.

Mr. Lobb (of John Lobb the bootmaker) mentioned that custom clothing and shoe-making were once the norm for everyone. How come,then,today a pair of normal Lobbs would set you back over £2,000? The price has obviously gone up because of lack of competition and higher wages,but would custom clothing once again be affordable to all if the demand was there? Do we just wave goodbye to these skills,or should we fight to maintain them?

The disposable (一次性的)culture we “enjoy” today has existed in our life for almost two generations now. We like our products to be made by either a robot or invisible,cheap hands so that we can accumulate them cheaply and frequently. The concept of “craft” is something that’s now largely considered to be strange,and seems to be limited to museums and dusty, independent shops. Hobby crafts such as knitting do undergo revivals (复兴)from time to time,but I think that’s because they are seen as short-lived fashionable leisure pursuits rather than a craft worthy of revivals on a commercially feasible (可行的)scale.

To drive a revival in any of these crafts, you would probably need to apply the same marketing techniques that are used to sell any other items today. The consumer must believe that they just have to have it. If they don't have it now, it will either go up in price or go out of fashion --- both reasons enough in themselves for a shopper to act.

But does it finally matter if these skills will no longer serve any practicable use in the decades to come? I don’t know the answer to that,but I have long thought it would be a good idea if we “banked” these skills somehow,just as we are not attempting to do with seeds. You just never know whether we’ll need them in the future. Maybe it’s time to establish a worldwide network of volunteers to record,through the written words and videos,as many of these dying skills as possible. Actually, a rough look on YouTube fills me with hope that an army of willing volunteers is probably out there already and just needs someone or something to gather them together.

1. According to the text,the custom clothing is dying in that_
A.it serves no useful purpose
B.it doesn’t meet people’s demand any more
C.it is too costly for most people to afford
D.it has long been lack of competition all along
2. What does the author really want to express about the occasional revival of hobby crafts?
A.It is a sign of disposable culture.
B.It indicates the direction of fashion.
C.It can’t help revive the traditional crafts.
D.It creates no commercial value in the long run.
3. Which of the following measures may take effect in reviving crafts?
A.Making them as affordable as possible for the foreigners.
B.Adopting modern marketing strategies used to sell other items.
C.Establishing a network of volunteers to sell them worldwide.
D.Drawing people’s attention to the videos of these crafts.
4. From the last paragraph,we know the author_.
A.shows great interest in craft
B.doesn’t want craft to disappear
C.feels sad about the disappearance of craft
D.tries to explain the reason for craft’s disappearance
2019-02-02更新 | 251次组卷
阅读理解-阅读单选(约500词) | 困难 (0.15)

【推荐3】Though the spread of good reproduction (复制品) of works of art can be culturally valuable, museums continue to promote the special status of original work and highlight the authenticity (真实) of its exhibits. Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.

One limitation is related to the way the museum presents its exhibits. Art museums are often called “treasure houses”. We are reminded of this even before we view a collection by the presence of security guards who keep us away from the exhibits. In addition, a major collection like that of London’s National Gallery is housed in numerous rooms, where a single piece of work is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is therefore difficult not to be impressed by one’s own relative “worthlessness” in such an environment.

Furthermore, consideration of the “value” of the original work in its treasure house setting impresses upon the viewer that since these works were originally produced, they have been assigned a huge value in terms of money by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is discouraged from trying to extend that spontaneous, immediate, self-reliant kind of interpretation which would originally have met the work.

The visitor may then be struck by the strangeness of seeing such a variety of paintings, drawings and sculptures brought together in an environment for which they were not originally created. This “displacement effect” is further heightened by the huge volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.

This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. Operas, novels and poems are read in a prescribed time sequence, whereas a picture has no clear place at which to start viewing, or at which to finish. Thus art works themselves encourage us to view them superficially, without appreciating the richness of detail and labor that is involved.

Consequently, the dominant critical approach becomes that of the art historian, a specialized academic approach devoted to “discovering the meaning” of art within the cultural context of its time. This is in harmony with the museum’s function, since the approach is dedicated to seeking out and conserving “authentic”, “original” readings of the exhibits.

1. The writer mentions London’s National Gallery to illustrate ______.
A.the undesirable cost to a nation of maintaining a huge collection of art
B.the conflict that may arise in society between financial and artistic values
C.the negative effect a museum can have on visitors’ opinion of themselves
D.the need to put individual well-being above large-scale artistic schemes
2. The writer says that today viewers may be unwilling to criticize a work because they ______.
A.lack the knowledge needed
B.fear it may have financial implications
C.have no real concept of the work’s value
D.feel their personal reaction is of no significance
3. The writer says that unlike other forms of art, the appreciation of a painting does not ______.
A.involve direct contact with an audience
B.require a specific location for performance
C.need the involvement of other professionals
D.call for a specific beginning or ending
4. Which of the following might be the best title of the passage?
A.Original work: killer of artistic appreciation
B.Original work: reduction to value of art works
C.Original work: substitute for reproduction
D.Original work: art historians’ bread and butter
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