1 . When you get in a car, you expect it will have functioning brakes. When you pick up medicine at the drugstore, you expect it won’t be polluted. But it wasn’t always like this. The safety of these products was terrible when they first came to market. It took much research and regulation to figure out how users can enjoy the benefits of these products without getting harmed.
Social media risks are everywhere. The dangers that algorithms designed to maximize attention represent to teens have become impossible to ignore. Other product design elements, often called “dark patterns,” designed to keep people using for longer, also appear to tip young users into social media overuse.
Despite these efforts, two things are clear. First, online safety problems are leading to real, offline suffering. Second, social media companies can’t, or won’t, solve these safety problems on their own.
| A．And those problems aren’t going away. |
| B．The current issues aren’t really about offline suffering. |
| C．Platforms already have systems to remove violent or harmful content. |
| D．Similarly, social media needs product safety standards to keep users safe. |
| E．It’s time we should require social media to take safety seriously, for everyone’s sake. |
| F．Internet platforms, however, have shifted blame on the consumers whenever criticized. |
| G．Some authorities are taking steps to hold social media platforms accountable for the content. |
2 . With all the dietary information online, it can be hard to know what tips to follow. Watch out for these words and expressions.
Fat Is Good
It doesn’t matter if you are part of the fat is GOOD for you or BAD for you group, the important question to ask is the source of the fat. If it comes from a land-based animal, and is likely to be solid at room temperature, then it is saturated (饱和的) fat whereas if it comes from fish or plants, and it is likely to be liquid at room temperature, then it is unsaturated fat. All the evidence indicates that eating more unsaturated fat than saturated fat lowers your risk of dying early.
Natural Sugar Is Better
The vast majority of sugar we consume is sucrose (蔗糖). It is the white powdered stuff we cook with and is made up of glucose and fructose. How about sugar from honey? It is often marketed as natural and better for you. Actually, it just has its own distinct flavour, but is as sweet because of glucose and fructose.
High-pH Water
Some people think we need to eat alkali (碱) food to maintain our blood at a pH of 7.4. But everything we eat or drink passes through the stomach, which, at a pH of 1.5, is the most acidic part of the body. It is then neutralised to a pH of 7. So, nothing we eat will change the pH of our blood.
Don’t Eat Anything That You Can’t Pronounce
Whether foods are natural or highly processed, they are all full of chemicals. Are you supposed to fear “phenylthiocarbamide”, because you can’t pronounce it? This is simply the chemical responsible for the bitter taste found in brassicas, the plants in the cabbage and mustard family.
Don’t Eat Food With More Than Five Ingredients(佐料)
Simple foods are not necessarily healthier for you. If I, for instance, use Chinese five spice powder in a recipe, that would count as one of the five ingredients. However, what if I added the typical components of five spice powder separately into a dish? Does that mean my recipe suddenly becomes bad because it has more than five ingredients?
1. According to the passage, healthier fat ______.| A．can be found in fish and plants | B．comes from land-based animals |
| C．remains solid at room temperature | D．can lower the death rate of elders |
| A．diets can help adjust the pH of our blood | B．honey sugar can do more good than sucrose |
| C．foods with more ingredients may be as healthy | D．chemicals we can recognize are safer to take in |
| A．To compare tips on food choices. | B．To introduce different health concepts. |
| C．To recommend fitness recipes to readers. | D．To warn us of some dietary misunderstandings. |
3 . Researchers hope brain implants will one day help people with aphasia(失语症) to get their voice back—and maybe even to sing. Now, for the first time, scientists have demonstrated that the brain’s electrical activity can be decoded and used to reconstruct music.
A new study analyzed data from 29 people monitored for epileptic seizures(癫痫发作), using electrodes(电极) on the surface of their brain. As participants listened to a selected song, electrodes captured brain activity related to musical elements, such as tone, rhythm, and lyrics. Employing machine learning, Robert Knight from UC Berkeley and his colleagues reconstructed what the participants were hearing and published their study results. The paper is the first to suggest that scientists can “listen secretly to” the brain to synthesize(合成) music.
To turn brain activity data into musical sound, researchers trained an artificial intelligence (AI)model to decode data captured from thousands of electrodes that were attached to the participants as they listened to the song while undergoing surgery. Once the brain data were fed through the model, the music returned. The model also revealed some brain parts responding to different musical features of the song.
Although the findings focused on music, the researchers expect their results to be most useful for translating brain waves into human speech. Ludovic Bellier, the study’s lead author, explains that speech, regardless of language, has small melodic differences—tempo, stress, accents, and intonation—known as prosody(韵律). These elements carry meaning that we can’t communicate with words alone. He hopes the model will improve brain-computer interfaces (BCI), assistive devices that record speech-associated brain waves and use algorithms to reconstruct intended messages. This technology, still in its infancy, could help people who have lost the ability to speak because of aphasia.
Future research should investigate whether these models can be expanded from music that participants have heard to imagined internal speech. If a brain-computer interface could recreate someone’s speech with the prosody and emotional weight found in music, it could offer a richer communication experience beyond mere words.
Several barriers remain before we can put this technology in the hands—or brains— of patients. The current model relies on surgical implants. As recording techniques improve, the hope is to gather data non-invasively, possibly using ultrasensitive electrodes. However, under current technologies, this approach might result in a lower speed of decoding into natural speech. The researchers also hope to improve the playback clarity by packing the electrodes closer together on the brain’s surface, enabling an even more detailed look at the electrical symphony the brain produces.
| A．Electrodes can analyze musical elements. |
| B．The decoding of brain data helps recreate music. |
| C．Machine learning greatly enhances brain activity. |
| D．The AI model monitors music-responsive brain regions. |
| A．The prosody of speech. | B．The collection of brain waves. |
| C．The emotional weight of music. | D．The reconstruction of information. |
| A．Unlocking the Secrets of Melodic Mind | B．Brain Symphony: Synthesized Human Speech |
| C．BCI Brings Hope to People with Aphasia | D．Remarkable Journey: Decoding Brain with AI |
4 . “Assume you are wrong.” The advice came from Brian Nosek, a psychology professor, who was offering a strategy for pursuing better science.
To understand the context for Nosek’s advice, we need to take a step back to the nature of science itself. You see despite what many of us learned in elementary school, there is no single scientific method. Just as scientific theories become elaborated and change, so do scientific methods.
But methodological reform hasn’t come without some fretting and friction. Nasty things have been said by and about methodological reformers. Few people like having the value of their life’s work called into question. On the other side, few people are good at voicing criticisms in kind and constructive ways. So, part of the challenge is figuring out how to bake critical self-reflection into the culture of science itself, so it unfolds as a welcome and integrated part of the process, and not an embarrassing sideshow.
What Nosek recommended was a strategy for changing the way we offer and respond to critique. Assuming you are right might be a motivating force, sustaining the enormous effort that conducting scientific work requires. But it also makes it easy to interpret criticisms as personal attacks. Beginning, instead, from the assumption you are wrong, a criticism is easier to interpret as a constructive suggestion for how to be less wrong — a goal that your critic presumably shares.
One worry about this approach is that it could be demoralizing for scientists. Striving to be less wrong might be a less effective motivation than the promise of being right. Another concern is that a strategy that works well within science could backfire when it comes to communicating science with the public. Without an appreciation for how science works, it’s easy to take uncertainty or disagreements as marks against science, when in fact they reflect some of the very features of science that make it our best approach to reaching reliable conclusions about the world. Science is reliable because it responds to evidence: as the quantity and quality of our evidence improves, our theories can and should change, too.
Despite these worries, I like Nosek’s suggestion because it builds in cognitive humility along with a sense that we can do better. It also builds in a sense of community — we’re all in the same boat when it comes to falling short of getting things right.
Unfortunately, this still leaves us with an untested hypothesis (假说): that assuming one is wrong can change community norms for the better, and ultimately support better science and even, perhaps, better decisions in life. I don’t know if that’s true. In fact, I should probably assume that it’s wrong. But with the benefit of the scientific community and our best methodological tools, I hope we can get it less wrong, together.
1. What can we learn from Paragraph 3?| A．Reformers tend to devalue researchers’ work. |
| B．Scientists are unwilling to express kind criticisms. |
| C．People hold wrong assumptions about the culture of science. |
| D．The scientific community should practice critical self-reflection. |
| A．the enormous efforts of scientists at work | B．the reliability of potential research results |
| C．the public’s passion for scientific findings | D．the improvement in the quality of evidence |
| A．discouraging | B．ineffective | C．unfair | D．misleading |
| A．doubtful but sincere | B．disapproving but soft |
| C．authoritative and direct | D．reflective and humorous |
As a kid, I dreamed of becoming a marine biologist and I lived out this fantasy by setting up aquariums(鱼缸) at home. Then, at 20, I was introduced to photographer David Liittschwager, who hired me to help him with a magazine assignment on marine life.
David’s assignment was to document the amazing biodiversity found in the ocean. My role was to collect species for him to photograph. Every night, I would cast a floating lamp. Like moths drawn to a flame, mysterious creatures would emerge from the depths in search of this light. I’d then set up aquariums to house them as they waited for David to take their shot.
Those evenings made me feel as if I were on another planet. I had never imagined such strange life-forms could exist in our oceans. But I didn’t grasp the true magic of what was in front of me until I saw the photographs David took.
The biggest surprise was his image of a baby flounder. I caught this fish by accident. Only later did I notice its two tiny eyeballs staring back at me. But David’s photograph of this flounder revealed a universe of detail that even my eager eyes had missed. His macro lens magnified its ribs. The lightning-fast exposure froze its motion. A precisely aimed light released the rainbow hidden in its skin. And the black background removed all distractions to focus our attention on the quiet beauty at hand.
Years after that project, I was snorkeling(潜水) on a shallow reef. Out of the darkness, another baby flounder emerged and settled on my mask. This time I knew what to look for. Before working for David, I had assumed the goal of photography was simply to reproduce an observation so that others could share the same experience. It had never occurred to me that photography could expand our visual perception and therefore teach us to see the world anew.
2. Why was David’s image of a baby flounder the biggest surprise to the author?
3. Please decide which part is false in the following statement, then underline it and explain why.
▶Encountering a baby flounder while snorkeling deepened the author’s understanding that photography could reproduce an observation.
4. What can help you see the world anew?(In about 40 words)
6 . At my first lesson in Chinese calligraphy, my teacher told me plainly: “Now I will teach you how to write your name. And to make it beautiful.” I felt my breath catch. I was curious.
Growing up in Singapore, I had an unusual relationship with my Chinese name. My parents are ethnically Chinese, so they asked fortune tellers to decide my name, aiming for maximum luck. As a result, I ended up with a nonsense and embarrassing name: Chen Yiwen, meaning, roughly, “old”, “barley (薏米)” and “warm”.
When I arrived in America for college at 18, I put on an American accent and abandoned my Chinese name. When I moved to Hong Kong in 2021, after 14 years in the States, I decided to learn calligraphy. Why not get back in touch with my heritage? I thought.
In calligraphy, the idea is to copy the old masters’ techniques, thereby refining your own. Every week, though, my teacher would give uncomfortably on-the-nose assessments of my person. “You need to be braver,” he once observed. “Have confidence. Try to produce a bold stroke(笔画).” For years, I had prided myself on presenting an image of confidence, but my writing betrayed me.
I was trying to make sense of this practice. You must visualize the word as it is to be written and leave a trace of yourself in it. As a bodily practice, calligraphy could go beyond its own cultural restrictions. Could it help me go beyond mine? My teacher once said to me, “When you look at the word, you see the body. Though a word on the page is two-dimensional, it contains multitudes, conveying the force you’ve applied, the energy of your grip, the arch of your spine.” I had been learning calligraphy to get in touch with my cultural roots, but what I was really seeking was a return to myself. Now I have sensed that the pleasure out of calligraphy allows me to know myself more fully.
During a recent lesson, my teacher pointed at the word I had just finished, telling me: “This word is much better. I can see the choices you made, your calculations, your flow. Trust yourself. This word is yours.” He might as well have said, “This word is you.”
1. What did the author initially think of her name “Chen Yiwen”?| A．It was lucky so she gladly accepted it. | B．She felt proud of its symbolic meaning. |
| C．She understood the intention but still disliked it. | D．Its strange pronunciation made her embarrassed. |
| A．pick up a new hobby | B．reconnect with her origin |
| C．gain insights into a new culture | D．fit in with local community |
| A．reflects the creator’s spirits | B．comes from creative energy |
| C．highlights the design of strokes | D．depends on continuous practice |
| A．Appreciate what our culture offers. | B．Find beauty from your inner self. |
| C．A great teacher leads you to truth. | D．We are the sum of what we create. |
7 . Imagine that on a Friday afternoon, before leaving work to start your weekend, you are asked to solve two problems that require creative thinking. Do you: 1). Spend the first half of your time attempting the first problem and the second half of your time attempting the second; 2). Alternate between the two problems at a regular, predetermined interval (e.g., switching every five minutes); 3). Switch between the problems at your own discretion (自行决定).
If you are like the hundreds of people to whom we posed this question, you would choose to switch between the two problems at your own discretion. After all, this approach offers maximum autonomy and flexibility, enabling you to change tracks from one problem to the other when you feel stuck.
But if coming up with creative answers is your goal, this approach may not be ideal. Instead, switching between the problems at a regular, predetermined interval will likely yield the best results, according to research we published in the March issue of Organizational Behavior and Human Decision Processes.
In an experiment, we randomly assigned participants to one of the three approaches. Participants who were instructed to continually switch back and forth between two problems at a fixed interval were significantly more likely to find the correct answer to both problems than participants who switched at their own discretion or halfway through the allotted time. The issue with both other approaches seemed to be that people failed to recognize when rigid thinking crept in. Participants who didn’t step away from a task at regular intervals were more likely to write “new” ideas that were very similar to the last one they had written. While they might have felt that they were on a roll, the reality was that, without the breaks afforded by continual task switching, their actual progress was limited.
The findings suggest that the hustle and bustle of your daily work life may facilitate your creativity if it leads you to step away from a task and reset your thinking.
So when you’re working on tasks that would benefit from creative thinking, consciously insert breaks at regular intervals—use a timer if you have to. When it goes off, switch tasks: Organize your receipts, check your email, or clean your desk, and then return to the original task. If you’re hesitant to break away because you feel that you’re on a roll, be mindful that it might be a false impression. We tend to generate redundant ideas when we don’t take regular breaks; ask yourself whether your latest ideas are qualitatively different. Finally, don’t skip your lunch breaks, and don’t feel guilty about taking breaks, especially when you are feeling stuck. Doing so may actually be the best use of your time.
1. The third approach in Paragraph 1 is favored because people believe _______.| A．it allows much freedom |
| B．it improves concentration |
| C．it facilitates autonomous learning |
| D．it encourages independent thinking |
| A．critical | B．innovative | C．inflexible | D．serious |
| A．Doing daily chores is key to generating new ideas. |
| B．Regularly scheduled breaks can refresh people’s thinking. |
| C．People will automatically take breaks when they feel stuck. |
| D．People will make great progress when they work continually. |
| A．explain why people fail to produce creative ideas |
| B．compare three methods of creative thinking |
| C．introduce a new study on work efficiency |
| D．present a way to boost creative thinking |
It’s 5 p.m., and you’ve just realized that report you’ve been putting off is due tomorrow. It’s time to buckle down and open your computer. Actually, you should probably make dinner first. You usually like cooking, though it’s hard to enjoy with this work hanging over your head, and oh—it’s actually pretty late! Maybe you should just try again in the morning. This is the cycle of procrastination, and I promise you, we have all been there.
Procrastination is when we avoid a task we said we would do, for no good reason, despite expecting our behavior to bring negative consequences. Obviously, it’s irrational to do something you expect to harm you. But ironically, procrastination is the result of our bodies trying to protect us, specifically by avoiding a task we see as threatening.
We’re most likely to procrastinate tasks that evoke negative feelings, such as dread, incompetence, and insecurity. Because procrastination is motivated by our negative feelings, some individuals are more susceptible (易受影响的) to it than others. People who have difficulty regulating their emotions and those who struggle with low self-esteem are much more likely to procrastinate. However, it’s a common misconception that all procrastinators are lazy. When you’re feeling lazy, you’re more likely to sit around doing nothing than distract yourself with unimportant tasks. In fact, many people procrastinate because they care too much. Procrastinators often report a high fear of failure, putting things off because they’re afraid their work won’t live up to their high standards.
Whatever the reason for procrastination, the results are often the same. Procrastinators are likely to suffer from anxiety and depression, ongoing feelings of shame and physical ailments (轻病) associated with high stress.
So, how can we break the cycle of procrastination?
Traditionally, people thought procrastinators needed to cultivate discipline and practice strict time management. But today, many researchers feel the exact opposite. Being too hard on yourself can layer additional bad emotions onto a task. What we really need to do is to address and reduce these negative emotions.
1. What is procrastination?2. What kinds of people are more likely to procrastinate?
3. Please decide which part is false in the following statement, then underline it and explain why.
Ø Procrastinators are affected by negative emotions, are all lazy and are likely to suffer from physical ailments associated with high stress.
4. What strategies can you use to break the cycle of procrastination in your daily life? (In about 40 words)
9 . Art Builds Understanding
Despite the long history of scholarship on experiences of art, researchers have yet to capture and understand the most meaningful aspects of such experiences, including the thoughts and insights we gain when we visit a museum, the sense of encounter after seeing a meaningful work of art, or the changed thinking after experiences with art. These powerful encounters can be inspiring, uplifting, and contribute to well-being and flourishing.
According to the mirror model of art developed by Pablo P. L. Tinio, aesthetic reception corresponds to artistic creation in a mirror-reversed fashion. Artists aim to express ideas and messages about the human condition or the world at large.
In addition, art making and art viewing are connected by creative thinking. Research in a lab at Yale University shows that an educational program that uses art appreciation activities builds creative thinking skills. It showed that the more time visitors spent engaging with art and the more they reflected on it, the greater the correspondence with the artists’ intentions and ideas.
Correspondence in feeling and thinking suggests a transfer — between creator and viewer — of ideas, concepts, and emotions contained in the works of art. Art has the potential to communicate across space and time.
| A．The viewers gain a new perspective on the story. |
| B．The theory of aesthetic cognitivism describes the value of art. |
| C．This helps to create connections and insights that otherwise would not happen. |
| D．To do so, they explore key ideas and continually expand them as they develop their work. |
| E．After spending more time with the work, the viewer begins to access the ideas of the artist. |
| F．For example, in one activity, people are asked to view a work of art from different perspectives. |
| G．Participants were more original in their thinking when compared to those who did not take part in the program. |
10 . Amid rolling farms and green pasture 150 miles northwest of Sao Paulo, Brazil, two tropical forests bloom as one. The first consists of a single species, row after row of non-native eucalyptus (桉树), planted in perfect lines like carrots. The other is haphazard, an assortment of dozens of varieties of native saplings.
There’s no denying it: This forest looks ridiculous. The gangly (修长的) eucalyptuses shoot like witch fingers high above patches of stubby fig (矮壮的无花果树) and evergreen trees. Yet these jumbled 2.5-acre stands of native trees, ringed by fast-growing exotics, are among many promising efforts to resurrect the planet’s forests.
The eucalyptuses, says Pedro Brancalion, the University of Sao Paulo agronomist who designed this experiment, get big so quickly they can be cut after five years and sold to make paper or fence posts. That covers nearly half or more of the cost of planting the slow-growing native trees, which then naturally reseed ground that has been laid bare by the harvest. And this process doesn’t hamper natural regeneration.
You needn’t look far these days to find organizations trying to save the world by growing trees. Too often, tree-planting groups are so focused on getting credit for each seedling planted that they ignore what matters most: What kind of woodland is created? At what cost? And most importantly: How long will it last? Using the numbers of trees planted as a magic “proxy for everything,” Brancalion says, you “spend more money and get lower levels of benefits.” You can literally miss the forest for the trees.
Tree planting seems like a simple, natural way to counter the overwhelming crises of climate change and biodiversity loss. Trees provide wildlife habitats and slurp carbon dioxide from the atmosphere. No wonder trees are hailed as the ideal weapon. Yet for every high-profile planting operation, devastating failures have occurred. In Turkey, Sri Lanka, and Mexico, mass plantings have resulted in millions of dead seedlings or have driven farmers to clear more intact forest elsewhere. Trees that have been planted in the wrong places have reduced water yields for farmers, destroyed highly diverse carbon-sucking grassland soils, and allowed for invasive vegetation to spread. Simply reforesting the planet isn’t going to do much if we don’t also start cutting down on our emissions from the burning of coal, oil, and natural gas. Tree planting also can’t replace old-growth forests. Saving them is even more important than growing new forests.
So, what should we do?
To Brancalion, the answer is obvious: Restore native forests, mostly in the tropics, where trees grow fast and land is cheap. While that may require planting, it may also call for the clearing out of invasive grasses, the rejuvenation (使有活力) of soils, and crop yield improvements so that farmers will need less land for agriculture and more can be allowed to revert back to forests.
The combining of eucalyptus harvests with native plantings is just one more reminder that successful restoration must provide value to local communities. In many cases, if we let nature do the heavy lifting, Brancalion says, “the forest can regrow quite effectively.”
1. What can we learn from the first three paragraphs?| A．The non-native eucalyptuses bring profits that can pay for planting native saplings. |
| B．The non-native eucalyptuses compete with native saplings for water, nutrients, and light. |
| C．The variety of trees being planted determines whether or not the restoration will succeed. |
| D．Planting fast-growing exotics together with local trees does harm to the natural environment. |
| A．emphasize the significance of protecting existing forests |
| B．explain why tree planting is regarded as the ideal solution |
| C．illustrate the serious problems planting campaigns can cause |
| D．indicate the most important point tree-planting groups ignore |
| A．clear more forest to improve crop yields for farmers |
| B．combine harvests of fast-growing exotics with native plantings |
| C．restore native forests in the tropics and clear out invasive grasses |
| D．take into consideration the benefits of reforestation to local communities |
| A．Plant trees—and time will tell. | B．Plant trees—but don’t overdo it. |
| C．Plant trees—and save the world. | D．Plant trees—but mind the variety. |
