1 . Returning to a book you’ve read many times can feel like drinks with an old friend. There’s a welcome familiarity - but also sometimes a slight suspicion that time has changed you both, and thus the relationship. But books don’t change, people do. And that’s what makes the act of rereading so rich and transformative.
The beauty of rereading lies in the idea that our bond with the work is based on our present mental register. It’s true, the older I get, the more I feel time has wings. But with reading, it’s all about the present. It’s about the now and what one contributes to the now, because reading is a give and take between author and reader. Each has to pull their own weight.
There are three books I reread annually .The first, which I take to reading every spring is Emest Hemningway’s A Moveable Feast. Published in 1964, it’s his classic memoir of 1920s Paris. The language is almost intoxicating (令人陶醉的)，an aging writer looking back on an ambitious yet simpler time. Another is Annie Dillard’s Holy the Firm, her poetic 1975 ramble (随笔) about everything and nothing. The third book is Julio Cortazar’s Save Twilight: Selected Poems, because poetry. And because Cortazar.
While I tend to buy a lot of books, these three were given to me as gifs, which might add to the meaning I attach to them. But I imagine that, while money is indeed wonderful and necessary, rereading an author’s work is the highest currency a reader can pay them. The best books are the ones that open further as time passes. But remember, it’s you that has to grow and read and reread in order to better understand your friends.
1. Why does the author like rereading?| A．It evaluates the writer-reader relationship. |
| B．It’s a window to a whole new world. |
| C．It’s a substitute for drinking with a friend. |
| D．It extends the understanding of oneself. |
| A．It’s a brief account of a trip. |
| B．It’s about Hemingway’s life as a young man. |
| C．It’s a record of a historic event. |
| D．It’s about Hemingway’s friends in Paris. |
| A．Debt |
| B．Reward. |
| C．Allowance. |
| D．Face value. |
| A．He loves poetry. |
| B．He’s an editor. |
| C．He’s very ambitious. |
| D．He teaches reading. |
2 . For Western designers, China and its rich culture have long been an inspiration for Western creative.
“It’s no secret that China has always been a source(来源) of inspiration for designers,” says Amanda Hill, chief creative officer at A+E Networks, a global media company and home to some of the biggest fashion(时尚) shows.
Earlier this year, the China Through A Looking Glass exhibition in New York exhibited 140 pieces of China-inspired fashionable clothing alongside Chinese works of art, with the aim of exploring the influence of Chinese aesthetics(美学) on Western fashion and how China has fueled the fashionable imagination for centuries. The exhibition had record attendance, showing that there is huge interest in Chinese influences.
“China is impossible to overlook,” says Hill. “Chinese models are the faces of beauty and fashion campaigns that sell dreams to women all over the world, which means Chinese women are not just consumers of fashion — they are central to its movement.” Of course, not only are today’s top Western designers being influenced by China—some of the best designers of contemporary fashion are themselves Chinese. “Vera Wang, Alexander Wang, Jason Wu are taking on Galliano, Albaz, Marc Jacobs—and beating them hands down in design and sales,” adds Hill.
For Hill, it is impossible not to talk about China as the leading player when discussing fashion. “The most famous designers are Chinese, so are the models, and so are the consumers,” she says. “China is no longer just another market; in many senses it has become the market. If you talk about fashion today, you are talking about China—its influences, its direction, its breathtaking clothes, and how young designers and models are finally acknowledging that in many ways.”
1. What can we learn about the exhibition in New York?| A．It promoted the sales of artworks. | B．It attracted a large number of visitors. |
| C．It showed ancient Chinese clothes. | D．It aimed to introduce Chinese models. |
| A．They are setting the fashion. | B．They start many fashion campaigns. |
| C．They admire super models. | D．They do business all over the world. |
| A．learning from | B．looking down on | C．working with | D．competing against |
| A．Young Models Selling Dreams to the World |
| B．A Chinese Art Exhibition Held in New York |
| C．Differences Between Eastern and Western Aesthetics |
| D．Chinese Culture Fueling International Fashion Trends |
3 . There is something to be said for being a generalist, even if you are a specialist. Knowing a little about a lot of things that interest you can add to the richness of a whole, well-lived life.
Society pushes us to specialize, to become experts. This requires commitment to a particular occupation, branch of study or research. The drawback to being specialists is we often come to know more and more about less and less. There is a great deal of pressure to master one's field. You may pursue training, degrees, or increasing levels of responsibility at work. Then you discover the pressure of having to keep up.
Some people seem willing to work around the clock in their narrow specialty. But such commitment can also weaken a sense of freedom. These specialists could work at the office until ten each night, then look back and realize they would have loved to have gone home and enjoyed the sweetness of their family and friends, or traveled to exciting places, meeting interesting people. Mastering one thing to the exclusion （排 除）of others can hold back your true spirit.
Generalists, on the other hand, know a lot about a wide range of subjects and view the whole with all its connections. They are people of ability, talent, and enthusiasm who can bring their broad perspective （视角）into specific fields of expertise （专长）.The doctor who is also a poet and philosopher is a superior doctor, one who can give so much more to his patients than just good medical skills.
Things are connected. Let your expertise in one field fuel your passions in all related areas. Some of your interests may not appear to be connected but, once you explore their depths, you discover that they are. My editor Toni, who is also a writer, has edited several history books. She has decided to study Chinese history. Fascinated by the structural beauty of the Forbidden City as a painter, she is equally interested to learn more about Chinese philosophy. "I don't know where it will lead, but I'm excited I'm on this pursuit."
These expansions into new worlds help us by giving us new perspectives. We begin to see the interconnectedness of one thing to another in all aspects of our life, of ourselves and the universe. Develop broad, general knowledge and experience. The universe is all yours to explore and enjoy.
1. To become a specialist, one may have to_____.| A．narrow his range of knowledge |
| B．avoid responsibilities at work |
| C．know more about the society |
| D．broaden his perspective on life |
| A．treasure their freedom |
| B．travel around the world |
| C．spend most time working |
| D．enjoy meeting funny people |
| A．is fully aware of his talent and ability |
| B．is a pure specialist in medicine |
| C．should love poetry and philosophy |
| D．brings knowledge of other fields to work |
| A．Passion alone does not ensure a person's success. |
| B．In-depth exploration makes discoveries possible. |
| C．Everyone has a chance to succeed in their pursuit. |
| D．Seemingly unrelated interests are in a way connected. |
| A．Be More a Generalist Than a Specialist |
| B．Specialist or Generalist: Hard to Decide |
| C．Turn a Generalist into a Specialist |
| D．Ways to Become a Generalist |
4 . Sometimes it’s hard to let go. For many British people, that can apply to institutions and objects that represent their country’s past-age-old castles, splendid homes… and red phone boxes.
Beaten first by the march of technology and lately by the terrible weather in junkyards (废品场), the phone boxes representative of an age are now making something of a comeback. Adapted in imaginative ways, many have reappeared on city streets and village greens housing tiny cafes, cellphone repair shops or even defibrillator machines (除颤器).
The original iron boxes with the round roofs first appeared in 1926. They were designed by Giles Gilbert Scott, the architect of the Battersea Power Station in London. After becoming an important part of many British streets, the phone boxes began disappearing in the 1980s, with the rise of the mobile phone sending most of them away to the junkyards.
About that time, Tony Inglis’ engineering and transport company got the job to remove phone boxes from the streets and sell them out. But Inglis ended up buying hundreds of them himself, with the idea of repairing and selling them. He said that he had heard the calls to preserve the boxes and had seen how some of them were listed as historic buildings.
As Inglis and, later other businessmen, got to work, repurposed phone boxes began reappearing in cities and villages as people found new uses for them. Today, they are once again a familiar sight, playing roles that are often just as important for the community as their original purpose.
In rural areas, where ambulances can take a relatively long time to arrive, the phone boxes have taken on a lifesaving role. Local organizations can adopt them for l pound, and install defibrillators to help in emergencies.
Others also looked at the phone boxes and saw business opportunities. LoveFone, a company that advocates repairing cellphones rather than abandoning them, opened a mini workshop in a London phone box in 2016.
The tiny shops made economic sense, according to Robert Kerr, a founder of LoveFone. He said that one of the boxes generated around $13,500 in revenue a month and cost only about $400 to rent.
Inglis said phone boxes called to mind an age when things were built to last. “I like what they are to people, and I enjoy bringing things back,” he said.
1. The phone boxes are making a comeback ______.| A．to form a beautiful sight of the city |
| B．to improve telecommunications services |
| C．to remind people of a historical period |
| D．to meet the requirement of green economy |
| A．They were not well-designed. | B．They provided bad services. |
| C．They had too short a history. | D．They lost to new technologies. |
| A．their new appearance and lower prices | B．the push of the local organizations |
| C．their changed roles and functions | D．the big funding of the businessmen |
5 . For the past five years, Paula Smith, a historian of science, has devoted herself to re-creating long-forgotten techniques. While doing research for her new book, she came across a 16th-century French manuscript（手稿）consisting of nearly 1,000 sets of instructions, covering subjects from tool making to finding the best sand.
The author's intention remains as mysterious（神秘）as his name; he may have been simply taking notes for his own records. But Smith was struck mainly by the fact that she didn't truly grasp any of the skills the author described. "You simply can't get an understanding of that handwork by reading about it," she says.
Though Smith did get her hands on the best sand, doing things the old-fashioned way isn't just about playing around with French mud. Reconstructing the work of the craftsmen（工匠）who lived centuries ago can reveal how they viewed the world, what objects filled their homes, and what went on in the workshops that produced them. It can even help solve present-day problems: In 2015, scientists discovered that a 10th-century English medicine for eve problems could kill a drug-resistant virus.
The work has also brought insights for museums, Smith says. One must know how an object was made in order to preserve it. What's more, reconstructions might be the only way to know what treasures looked like before time wore them down. Scholars have seen this idea in practice with ancient Greek and Roman statues. These sculptures were painted a rainbow of striking colours. We can't appreciate these kinds of details without seeing works of art as they originally appeared-something Smith believes you can do only when you have a road map.
Smith has put the manuscript's ideas into practice. Her final goal is to link the worlds of art and science back together: She believes that bringing the old recipes to life can help develop a kind of learning that highlights experimentation, teamwork, and problem solving.
Back when science—then called “the new philosophy”—took shape, academics looked to craftsmen for help in understanding the natural world. Microscopes and telescopes were invented by way of artistic tinkering（修补）, as craftsmen experimented with glass to better bend light.
If we can rediscover the values of hands-on experience and craftwork, Smith says, we can marry the best of our modern insights with the handiness of our ancestors.
1. How did Smith, feel after reading the French manuscript?| A．Confused about the technical terms. |
| B．Impressed with its detailed instructions. |
| C．Discouraged by its complex structure. |
| D．Shocked for her own lack of hand skills. |
| A．restore old workshops | B．understand the craftsmen |
| C．improve visual effects | D．inspire the philosophers |
| A．To reveal the beauty of ancient objects. |
| B．To present the findings of old science. |
| C．To highlight the importance of antiques. |
| D．To emphasise the values of hand skills. |
| A．Craftsmen Set the Trends for Artists |
| B．Craftsmanship Leads to New Theories |
| C．Craftsmanship Makes Better Scientists |
| D．Craftsmen Reshape the Future of Science |
6 . Certain forms of AI are indeed becoming ubiquitous. For example, algorithms (算法) carry out huge volumes of trading on our financial markets, self-driving cars are appearing on city streets, and our smartphones are translating from one language into another. These systems are sometimes faster and more perceptive than we humans are. But so far that is only true for the specific tasks for which the systems have been designed. That is something that some AI developers are now eager to change.
Some of today’s AI pioneers want to move on from today’s world of “weak” or “narrow” AI, to create “strong” or “full” AI, or what is often called artificial general intelligence (AGI). In some respects, today’s powerful computing machines already make our brains look weak. AGI could, its advocates say, work for us around the clock, and drawing on all available data, could suggest solutions to many problems. DM, a company focused on the development of AGI, has an ambition to “solve intelligence”. “If we’re successful,” their mission statement reads, “we believe this will be one of the most important and widely beneficial scientific advances ever made.”
Since the early days of AI, imagination has outpaced what is possible or even probable. In 1965, an imaginative mathematician called Irving Good predicted the eventual creation of an “ultra-intelligent machine…that can far surpass all the intellectual (智力的) activities of any man, however clever.” Good went on to suggest that “the first ultra-intelligent machine” could be “the last invention that man need ever make.”
Fears about the appearance of bad, powerful, man-made intelligent machines have been reinforced (强化) by many works of fiction — Mary Shelley’s Frankenstein and the Terminator film series, for example. But if AI does eventually prove to be our downfall, it is unlikely to be at the hands of human-shaped forms like these, with recognisably human motivations such as aggression (敌对行为). Instead, I agree with Oxford University philosopher Nick Bostrom, who believes that the heaviest risks from AGI do not come from a decision to turn against mankind but rather from a dogged pursuit of set objectives at the expense of everything else.
The promise and danger of true AGI are great. But all of today’s excited discussion about these possibilities presupposes the fact that we will be able to build these systems. And, having spoken to many of the world’s foremost AI researchers, I believe there is good reason to doubt that we will see AGI any time soon, if ever.
1. What does the underlined word “ubiquitous” in Paragraph I probably mean?| A．Enormous in quantity. | B．Changeable daily. |
| C．Stable in quality. | D．Present everywhere. |
| A．Help to tackle problems. | B．Make brains more active. |
| C．Benefit ambitious people. | D．Set up powerful databases. |
| A．supportive | B．disapproving |
| C．fearful | D．uncertain |
| A．It may be only a dream. |
| B．It will come into being soon. |
| C．It will be controlled by humans. |
| D．It may be more dangerous than ever. |
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1. Who can provide Lancom with a huge potential for innovation in learning?| A．Culture researchers. | B．AI specialists. | C．Language experts. | D．Art designers. |
| A．A flexible system. | B．An effective method. |
| C．The brain-training technique. | D．The informative content. |
| A．personalised courses | B．multiple languages |
| C．pricing policy | D．service team |
8 . Baggy has become the first dog in the UK—and potentially the world—to join the fight against air pollution by recording pollutant levels near the ground.
Baggy wears a pollution monitor on her collar so she can take data measurements close to the ground. Her monitor has shown that air pollution levels are higher closer to ground level, which has helped highlight concerns that babies and young kids may be at higher risk of developing lung problems.
Conventional air pollution monitors are normally fixed on lampposts at about nine feet in the air. However, since Baggy stands at about the same height as a child in a pushchair（婴儿车）, she frequently records pollution levels which are much higher than the data gathered by the Environment A gency.
The doggy data research was the idea of Baggy's 13-year-old owner Tom Hunt and his dad Matt. The English youngster noticed that pollution levels are around two-thirds higher close to the ground than they are in the air at the height where they are recorded by the agency. Tom has since reported the shocking findings to the government in an attempt to emphasise that babies are at higher risk of developing asthma（哮喘）.
Matt Hunt said he was "very proud" of his son because “when the boy gets an idea, he keeps his head down and gets on with it, and he really does want to do some good and stop young kids from getting asthma."
“Tom built up a passion for environmental protection at a very early age," Matt added. “He became very interested in gadgets（小装置）. About one year ago, he got this new piece of tech which is like a test tube. One Sunday afternoon, we went out to do some monitoring, and he said, why don't we put it on Baggy's collar and let her monitor the pollution？'So we did it."
Tom said, "Most of the time, Baggy is just like any other dog. But for the rest of the time she is a super dog, and we are all really proud of her."
1. With a monitor on her collar, Baggy can ____________.| A．take pollutant readings | B．record pollutant levels |
| C．process collected data | D．reduce air pollution |
| A．High places are free of air pollution. |
| B．Higher pushchairs are more risky for kids. |
| C．Conventional monitors are more reliable. |
| D．Air is more polluted closer to the ground. |
| A．To warn of a health risk. | B．To find out pollution sources. |
| C．To test his new monitor. | D．To prove Baggy's abilities. |
| A．Modest. | B．Generous. | C．Creative. | D．Outgoing. |
9 . When music comes on, some people are toe-lappers or head-bobbers, others shake their hips，and then there are those who let the rhythm move them to a full-body boogie (布吉舞) . But, whatever it is, the way we dance to a beat is so noticeable to an individual that a computer can now identify us by our unique dancing “fingerprint”.
Researchers at the Centre for Interdisciplinary Music Research at Finland's University of Jyv skyl have been using motion capture (动作捕捉) technology to study what a person's dance moves say about his or her mood, personality, and ability to sympathize. They recently made an accidental discovery while trying to see if an ML machine, a form of artificial intelligence, would be able to identify which kind of music was playing based on how the participants of the study were dancing. In their study, the researchers motion captured 73 participants with the AI technology while they danced to eight different music genres: electronica, jazz, metal, pop, rap, reggae, country, and blues. The only instruction the dancers were given was to move in a way that felt natural.
But what it could do was more shocking. The computer was able to correctly identify which music one of the participants was dancing to 94 percent of the time, regardless of what kind of music was playing, based on the pattern of a person's dance style. It was the movement of participants’ heads, shoulders and knees that were important markers in distinguishing between individual. “It seems as though a person’s dance movements a kind of fingerprint. Each person has a unique movement signature that stays the same no matter what kind of music is playing,” said Pasi Saari, a co-author of the study, in a class.
It’s possible that dance-recognition software could become something similar to face-recognition software but it doesn’t seem as practical. For now, researchers say that they are not as interested in possible surveillance (监视) uses of this technology, but rather what the results of this study say about how humans respond to music. So don’t worry about being identified at nightclub by an AI via your signature dance moves yet.
1. What did the researchers expect to do with the ML machine?| A．Test the dancers’ flexibility. | B．Make dancers accustomed to the beat. |
| C．Identify the music using dancers' moves. | D．Check the accuracy of motion capture technology. |
| A．Head movement. | B．Foot movement. | C．Knee movement. | D．Shoulder movement. |
| A．Putting it on the application market. | B．Programming it to work at nightclub. |
| C．Learning about the human response to music. | D．Developing a software like face-recognition. |
| A．A music style matters less than its beat. |
| B．New AI can generate your next dance move. |
| C．A dance-recognition software will become more popular. |
| D．New AI can identify you by your dancing “fingerprint”. |
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 |
A． | B． | C． | D． |
| 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 |
| 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. |
