1. Why did Marie post her kitchen gardening online at first?
| A．To keep records of her progress. |
| B．To sell home-grown vegetables. |
| C．To motivate her fellow gardeners. |
| A．They need no special care. |
| B．They can be used in cooking. |
| C．They bear a lot of fruit soon. |
| A．Herbs. | B．Carrots. | C．Pears. |
| A．Aim high. | B．Keep focused. | C．Stay optimistic. |
2 . Given the astonishing potential of AI to transform our lives, we all need to take action to deal with our AI-powered future, and this is where AI by Design: A Plan for Living with Artificial Intelligence comes in. This absorbing new book by Catriona Campbell is a practical roadmap addressing the challenges posed by the forthcoming AI revolution (变革).
In the wrong hands, such a book could prove as complicated to process as the computer code (代码) that powers AI but, thankfully, Campbell has more than two decades’ professional experience translating the heady into the understandable. She writes from the practical angle of a business person rather than as an academic, making for a guide which is highly accessible and informative and which, by the close, will make you feel almost as smart as AI.
As we soon come to learn from AI by Design, AI is already super-smart and will become more capable, moving from the current generation of “narrow-AI” to Artificial General Intelligence. From there, Campbell says, will come Artificial Dominant Intelligence. This is why Campbell has set out to raise awareness of AI and its future now — several decades before these developments are expected to take place. She says it is essential that we keep control of artificial intelligence, or risk being sidelined and perhaps even worse.
Campbell’s point is to wake up those responsible for AI-the technology companies and world leaders—so they are on the same page as all the experts currently developing it. She explains we are at a “tipping point” in history and must act now to prevent an extinction-level event for humanity. We need to consider how we want our future with AI to pan out. Such structured thinking, followed by global regulation, will enable us to achieve greatness rather than our downfall.
AI will affect us all, and if you only read one book on the subject, this is it.
1. What does the phrase “In the wrong hands” in paragraph 2 probably mean?| A．If read by someone poorly educated. | B．If reviewed by someone ill-intentioned. |
| C．If written by someone less competent. | D．If translated by someone unacademic. |
| A．It is packed with complex codes. | B．It adopts a down-to-earth writing style. |
| C．It provides step-by-step instructions. | D．It is intended for AI professionals. |
| A．Observe existing regulations on it. |
| B．Reconsider expert opinions about it. |
| C．Make joint efforts to keep it under control. |
| D．Learn from prior experience to slow it down. |
| A．To recommend a book on AI. | B．To give a brief account of AI history. |
| C．To clarify the definition of AI. | D．To honor an outstanding AI expert. |
I met Gunter on a cold, wet and unforgettable evening in September. I had planned to fly to Vienna and take a bus to Prague for a conference. Due to a big storm, my flight had been delayed by an hour and a half. I touched down in Vienna just 30 minutes before the departure of the last bus to Prague. The moment I got off the plane, I ran like crazy through the airport building and jumped into the first taxi on the rank without a second thought.
That was when I met Gunter. I told him where I was going, but he said he hadn't heard of the bus station. I thought my pronunciation was the problem, so I explained again more slowly, but he still looked confused. When I was about to give up, Gunter fished out his little phone and rang up a friend. After a heated discussion that lasted for what seemed like a century, Gunter put his phone down and started the car.
Finally, with just two minutes to spare we rolled into the bus station. Thankfully, there was a long queue (队列) still waiting to board the bus. Gunter parked the taxi behind the bus, turned around, and looked at me with a big smile on his face. "We made it," he said.
Just then I realised that I had zero cash in my wallet. I flashed him an apologetic smile as I pulled out my Portuguese bankcard. He tried it several times, but the card machine just did not play along. A feeling of helplessness washed over me as I saw the bus queue thinning out.
At this moment, Gunter pointed towards the waiting hall of the bus station. There, at the entrance, was a cash machine. I jumped out of the car, made a mad run for the machine, and popped my card in, only to read the message: "Out of order. Sorry."
注意：（1）续写词数应为150个左右；
（2）请按如下格式在答题纸的相应位置作答。
I ran back to Gunter and told him the bad news.
______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Four days later, when I was back in Vienna, I called Gunter as promised.
______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________1. What is "Life of Johnson"?
| A．A magazine column. | B．A TV series. | C．A historical novel. |
| A．His acting talent. | B．His humorous writing. | C．His long sports career. |
| A．In 1981. | B．In 1983. | C．In 1985. |
1. Who is Tom Hokinson?
| A．Founder of a magazine. | B．Publisher of a novel. | C．Editor of a newspaper. |
| A．It’s old-fashioned. | B．It’s wide-ranging. | C．It’s student-targeted. |
| A．To do a promotion. | B．To discuss an issue. | C．To introduce a lecturer. |
6 . I love making art and looking at artworks. I’ve found myself wondering how we gain pleasure from art. And now neuroaesthetics, a combination of neuroscience (神经科学) and aesthetics (美学), may provide an answer.
Neuroaesthetics is a relatively young field of research on what happens in the brain when we make aesthetic assessments. Researchers use brain imaging technique to see which brain areas light up when we view paintings that we consider beautiful. Similar research has been done to understand the “neuronal fireworks” that occur when we look at inspiring sculptures, attractive faces, impressive dance, etc.
But why do we find some art beautiful and other art ugly? According to research, it all comes down to the “aesthetic triad (三元组合)”.
The first part of the triad is sensory-motor. This involves perceiving things like colours, shapes and movements. Movement in art has an interesting role. If you see a painting of a movement, like of a man pulling his arm away after being bitten by a dog, you feel like going through a similar experience. The part of your brain that controls your own movements lights up in response.
Second is emotion-valuation. This is how a piece of art makes you feel, and whether or not you appreciate or enjoy that feeling. The part of the brain related to pleasure is activated in response to something we find beautiful. This system can be affected in fascinating ways, as found by research using transcranial magnetic stimulation(TMS) (经颅磁刺激). If TMS is applied to a specific part of your brain behind your forehead that is particularly important for decision-making, you suddenly like different kinds of art. Such stimulation produces significant changes in aesthetic appreciation of faces, bodies and artworks.
The third part is meaning-knowledge. This is to do with how we can connect with a piece of art and what meaning we can create in it. Art is deeply personal, because when two people see the same artwork, our perception can create vastly different experiences of meaning. If we find meaning, then we often find pleasure. We also get enjoyment from the knowledge of how something was made. For the images that an artist creates, viewers will probably get far more enjoyment once they know the process used to create them.
Informed by neuroaesthetics, the next time I create my art I will value the process even more, enjoying the activation of the aesthetic triad in my brain as I admire the vivid images that I have created.
1. What does “neuronal fireworks” in Paragraph 2 refer to?| A．A beautiful painting or sculpture. |
| B．The lighting-up of specific brain areas. |
| C．An advanced brain imaging technology. |
| D．The aesthetic assessment of modern art. |
| A．Certain part of their brain is activated. |
| B．Their experience of pain is reduced. |
| C．Their aesthetic sense is sharpened. |
| D．Their body reactions are delayed. |
| A．raised memory capacity |
| B．enhanced painting skills |
| C．changed artistic taste |
| D．improved decision-making ability |
| A．Knowing how it is created. |
| B．Having a pleasant personality. |
| C．Learning how science develops. |
| D．Understanding the meaning of life. |
| A．To propose an abstract theory of art making. |
| B．To reveal the beauty of science in an artistic way. |
| C．To share some personal understanding of artworks. |
| D．To introduce a new research field for art appreciation. |
7 . What is life? Like most great questions, this one is easy to ask but difficult to answer. The reason is simple: we know of just one type of life and it’s challenging to do science with a sample size of one. The field of artificial life-called ALife for short — is the systematic attempt to spell out life’s fundamental principles. Many of these practitioners, so-called ALifers, think that somehow making life is the surest way to really understand what life is.
So far no one has convincingly made artificial life. This track record makes ALife a ripe target for criticism, such as declarations of the field’s doubtful scientific value. Alan Smith, a complexity scientist, is tired of such complaints. Asking about “the point” of ALife might be, well, missing the point entirely, he says. “The existence of a living system is not about the use of anything.” Alan says. “Some people ask me, ‘So what’s the worth of artificial life?’ Do you ever think, ‘What is the worth of your grandmother?’”
As much as many ALifers hate emphasizing their research’s applications, the attempts to create artificial life could have practical payoffs. Artificial intelligence may be considered ALife’s cousin in that researchers in both fields are enamored by a concept called open-ended evolution (演化). This is the capacity for a system to create essentially endless complexity, to be a sort of “novelty generator”. The only system known to exhibit this is Earth’s biosphere. If the field of ALife manages to reproduce life’s endless “creativity” in some virtual model, those same principles could give rise to truly inventive machines.
Compared with the developments of Al, advances in ALife are harder to recognize. One reason is that ALife is a field in which the central concept — life itself — is undefined. The lack of agreement among ALifers doesn’t help either. The result is a diverse line of projects that each advance along their unique paths. For better or worse, ALife mirrors the very subject it studies. Its muddled (混乱的) progression is a striking parallel (平行线) to the evolutionary struggles that have shaped Earth biosphere.
Undefined and uncontrolled, ALife drives its followers to repurpose old ideas and generated novelty. It may be, of course, that these characteristics aren’t in any way surprising or singular. They may apply universally to all acts of evolution. Ultimately ALife may be nothing special. But even this dismissal suggests something：perhaps, just like life itself throughout the universe, the rise of ALife will prove unavoidable.
1. Regarding Alan Smith’s defence of ALife, the author is .| A．supportive | B．puzzled | C．unconcerned | D．doubtful |
| A．Shocked. | B．Protected. | C．Attracted. | D．Challenged. |
| A．ALife holds the key to human future. | B．ALife and AI share a common feature. |
| C．AI mirrors the developments of ALife. | D．AI speeds up the process of human evolution. |
| A．Life Is Undefined. Can AI Be a Way Out? |
| B．Life Evolves. Can AI Help ALife Evolve, Too? |
| C．Life Is Undefined. Can ALife Be Defined One Day? |
| D．Life Evolves. Can Attempts to Create ALife Evolve, Too? |
8 . In recent years, researchers from diverse fields have agreed that short-termism is now a significant problem in industrialised societies. The inability to engage with longer-term causes and consequences leads to some of the world’s most serious problems: climate change, biodiversity collapse, and more. The historian Francis Cole argues that the West has entered a period where “only the present exists, a present characterised at once by the cruelty of the instant and by the boredom of an unending now”.
It has been proved that people have a bias (偏向) towards the present, focusing on loud attractions in the moment at the expense of the health, well-being and financial stability of their future selves or community. In business, this bias surfaces as short-sighted decisions. And on slow-burning problems like climate change, it translates into the unwillingness to make small sacrifices (牺牲) today that could make a major difference tomorrow. Instead, all that matters is next quarter’s profit, or satisfying some other near-term desires.
These biased perspectives cannot be blamed on one single cause. It is fair to say, though, that our psychological biases play a major role. People’s hesitancy to delay satisfaction is the most obvious example, but there are others. One of them is about how the most accessible information in the present affects decisions about the future. For instance, you might hear someone say: “It’s cold this winter, so I needn’t worry about global warming.”Another is that loud and urgent matters are given too much importance, making people ignore longer-term trends that arguably matter more. This is when a pop star draws far more attention than, say, gradual biodiversity decline.
As a psychologist once joked, if aliens (外星人) wanted to weaken humanity, they wouldn’t send ships; they would invent climate change. Indeed, when it comes to environmental transformations, we can develop a form of collective “poor memory”, and each new generation can believe the state of affairs they encounter is nothing out of the ordinary. Older people today, for example, can remember a time with insect-covered car windscreens after long drives. Children, on the other hand, have no idea that insect population has dropped dramatically.
1. The author quotes Francis Cole mainly to ________.| A．draw a comparison |
| B．introduce a topic |
| C．evaluate a statement |
| D．highlight a problem |
| A．Climate change has been forgotten. |
| B．Lessons of history are highly valued. |
| C．The human mind is bad at noting slow change. |
| D．Humans are unwilling to admit their shortcomings. |
| A．Far-sighted thinking matters to humans. |
| B．Humans tend to make long-term sacrifices. |
| C．Current policies facilitate future decision-making. |
| D．Bias towards the present helps reduce near-term desires. |
9 . The goal of this book is to make the case for digital minimalism, including a detailed exploration of what it asks and why it works, and then to teach you how to adopt this philosophy if you decide it’s right for you.
To do so, I divided the book into two parts. In part one, I describe the philosophical foundations of digital minimalism, starting with an examination of the forces that are making so many people’s digital lives increasingly intolerable, before moving on to a detailed discussion of the digital minimalism philosophy.
Part one concludes by introducing my suggested method for adopting this philosophy: the digital declutter. This process requires you to step away from optional online activities for thirty days. At the end of the thirty days, you will then add back a small number of carefully chosen online activities that you believe will provide massive benefits to the things you value.
In the final chapter of part one, I’ll guide you through carrying out your own digital declutter. In doing so, I’ll draw on an experiment I ran in 2018 in which over 1,600 people agreed to perform a digital declutter. You’ll hear these participants’ stories and learn what strategies worked well for them, and what traps they encountered that you should avoid.
The second part of this book takes a closer look at some ideas that will help you cultivate (培养) a sustainable digital minimalism lifestyle. In these chapters, I examine issues such as the importance of solitude (独处) and the necessity of cultivating high-quality leisure to replace the time most now spent on mindless device use. Each chapter concludes with a collection of practices, which are designed to help you act on the big ideas of the chapter. You can view these practices as a toolbox meant to aid your efforts to build a minimalist lifestyle that works for your particular circumstances.
1. What is the book aimed at?| A．Teaching critical thinking skills. | B．Advocating a simple digital lifestyle. |
| C．Solving philosophical problems. | D．Promoting the use of a digital device. |
| A．Clear-up. | B．Add-on. | C．Check-in. | D．Take-over. |
| A．Theoretical models. | B．Statistical methods. |
| C．Practical examples. | D．Historical analyses. |
| A．Use them as needed. | B．Recommend them to friends. |
| C．Evaluate their effects. | D．Identify the ideas behind them. |
10 . If you want to tell the history of the whole world, a history that does not privilege one part of humanity, you cannot do it through texts alone, because only some of the world has ever had texts, while most of the world, for most of the time, has not. Writing is one of humanity’s later achievements, and until fairly recently even many literate (有文字的) societies recorded their concerns not only in writing but in things.
Ideally a history would bring together texts and objects, and some chapters of this book are able to do just that, but in many cases we simply can’t. The clearest example of this between literate and non-literate history is perhaps the first conflict, at Botany Bay, between Captain Cook’s voyage and the Australian Aboriginals. From the English side, we have scientific reports and the captain’s record of that terrible day. From the Australian side, we have only a wooden shield (盾) dropped by a man in flight after his first experience of gunshot. If we want to reconstruct what was actually going on that day, the shield must be questioned and interpreted as deeply and strictly as the written reports.
In addition to the problem of miscomprehension from both sides, there are victories accidentally or deliberately twisted, especially when only the victors know how to write. Those who are on the losing side often have only their things to tell their stories. The Caribbean Taino, the Australian Aboriginals, the African people of Benin and the Incas, all of whom appear in this book, can speak to us now of their past achievements most powerfully through the objects they made: a history told through things gives them back a voice. When we consider contact (联系) between literate and non-literate societies such as these, all our first-hand accounts are necessarily twisted, only one half of a dialogue. If we are to find the other half of that conversation, we have to read not just the texts, but the objects.
1. What is the first paragraph mainly about?| A．How past events should be presented. | B．What humanity is concerned about. |
| C．Whether facts speak louder than words. | D．Why written language is reliable. |
| A．His report was scientific. | B．He represented the local people. |
| C．He ruled over Botany Bay. | D．His record was one-sided. |
| A．Problem. | B．History. | C．Voice. | D．Society. |
| A． How Maps Tell Stories of the World | B． A Short History of Australia |
| C． A History of the World in 100 Objects | D． How Art Works Tell Stories |
