英语阅读短文:未来的高新技术
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篇1：英语阅读短文:未来的高新技术
Technologies are often billed as transformative. For William Kochevar, the term is justified. Mr Kochevar is paralysed below the shoulders after a cycling accident, yet has managed to feed himself by his own hand. This remarkable feat is partly thanks to electrodes, implanted in his right arm, which stimulate muscles. But the real magic lies higher up. Mr Kochevar can control his arm using the power of thought. His intention to move is reflected in neural activity in his motor cortex; these signals are detected by implants in his brain and processed into commands to activate the electrodes in his arms.
An ability to decode thought in this way may sound like science fiction. But brain-computer interfaces (BCIs) like the BrainGate system used by Mr Kochevar provide evidence that mind-control can work. Researchers are able to tell what words and images people have heard and seen from neural activity alone. Information can also be encoded and used to stimulate the brain. Over 300,000 people have cochlear implants, which help them to hear by converting sound into electrical signals and sending them into the brain. Scientists have “injected” data into monkeys’ heads, instructing them to perform actions via electrical pulses.
As our Technology Quarterly in this issue explains, the pace of research into BCIs and the scale of its ambition are increasing. Both America’s armed forces and Silicon Valley are starting to focus on the brain. Facebook dreams of thought-to-text typing. Kernel, a startup, has $100m to spend on neurotechnology. Elon Musk has formed a firm called Neuralink; he thinks that, if humanity is to survive the advent of artificial intelligence, it needs an upgrade. Entrepreneurs envisage a world in which people can communicate telepathically, with each other and with machines, or acquire superhuman abilities, such as hearing at very high frequencies.
These powers, if they ever materialise, are decades away. But well before then, BCIs could open the door to remarkable new applications. Imagine stimulating the visual cortex to help the blind, forging new neural connections in stroke victims or monitoring the brain for signs of depression. By turning the firing of neurons into a resource to be harnessed, BCIs may change the idea of what it means to be human.
That thinking feeling
Sceptics scoff. Taking medical BCIs out of the lab into clinical practice has proved very difficult. The BrainGate system used by Mr Kochevar was developed more than ten years ago, but only a handful of people have tried it out. Turning implants into consumer products is even harder to imagine. The path to the mainstream is blocked by three formidable barriers—technological, scientific and commercial.
Start with technology. Non-invasive techniques like an electroencephalogram (EEG) struggle to pick up high-resolution brain signals through intervening layers of skin, bone and membrane. Some advances are being made—on EEG caps that can be used to play virtual-reality games or control industrial robots using thought alone. But for the time being at least, the most ambitious applications require implants that can interact directly with neurons. And existing devices have lots of drawbacks. They involve wires that pass through the skull; they provoke immune responses; they communicate with only a few hundred of the 85bn neurons in the human brain. But that could soon change. Helped by advances in miniaturisation and increased computing power, efforts are under way to make safe, wireless implants that can communicate with hundreds of thousands of neurons. Some of these interpret the brain’s electrical signals; others experiment with light, magnetism and ultrasound.
Clear the technological barrier, and another one looms. The brain is still a foreign country. Scientists know little about how exactly it works, especially when it comes to complex functions like memory formation. Research is more advanced in animals, but experiments on humans are hard. Yet, even today, some parts of the brain, like the motor cortex, are better understood. Nor is complete knowledge always needed. Machine learning can recognise patterns of neural activity; the brain itself gets the hang of controlling BCIS with extraordinary ease. And neurotechnology will reveal more of the brain’s secrets.
Like a hole in the head
The third obstacle comprises the practical barriers to commercialisation. It takes time, money and expertise to get medical devices approved. And consumer applications will take off only if they perform a function people find useful. Some of the applications for brain-computer interfaces are unnecessary—a good voice-assistant is a simpler way to type without fingers than a brain implant, for example. The idea of consumers clamouring for craniotomies also seems far-fetched. Yet brain implants are already an established treatment for some conditions. Around 150,000 people receive deep-brain stimulation via electrodes to help them control Parkinson’s disease. Elective surgery can become routine, as laser-eye procedures show.
All of which suggests that a route to the future imagined by the neurotech pioneers is arduous but achievable. When human ingenuity is applied to a problem, however hard, it is unwise to bet against it. Within a few years, improved technologies may be opening up new channels of communications with the brain. Many of the first applications hold out unambiguous promise—of movement and senses restored. But as uses move to the augmentation of abilities, whether for military purposes or among consumers, a host of concerns will arise. Privacy is an obvious one: the refuge of an inner voice may disappear. Security is another: if a brain can be reached on the internet, it can also be hacked. Inequality is a third: access to superhuman cognitive abilities could be beyond all except a self-perpetuating elite. Ethicists are already starting to grapple with questions of identity and agency that arise when a machine is in the neural loop.
These questions are not urgent. But the bigger story is that neither are they the realm of pure fantasy. Technology changes the way people live. Beneath the skull lies the next frontier.
公众号：英语学习
篇2：雅思英语阅读短文精选
案例研究：新西兰旅游网站
Case Study: Tourism New Zealand website
New Zealand is a small country of four million inhabitants, a long-haul flight from all the major tourist-generating markets of the world. Tourism currently makes up 9% of the country’s gross domestic product, and is the country’s largest export sector. Unlike other export sectors, which make products and then sell them overseas, tourism brings its customers to New Zealand. The product is the country itself - the people, the places and the experiences. In , Tourism New Zealand launched a campaign to communicate a new brand position to the world. The campaign focused on New Zealand’s scenic beauty, exhilarating outdoor activities and authentic Maori culture, and it made New Zealand one of the strongest national brands in the world.
新西兰是一个有着400万居民的小国家，离世界上所有的大型游客聚集市场都需要经历一场长途航班。旅游业目前占这个国家国民生产总值的百分之九，是其最大的出口行业。与其他行业不同的是，其他行业是要制作产品再将其销售到海外，而旅游业会将顾客带到新西兰来。产品就是这个国家本身——其人民、地点和身处其中的体验。在，新西兰旅游局向全世界推出了一场大型宣传活动，营造出一个全新的品牌地位。这场宣传集中展示了新西兰优美的风景、激动人心的户外项目和本土真正的的毛利文化，它将新西兰塑造成世界上最强有力的国家品牌之一。
A key feature of the campaign was the website www.newzealand.com, which provided potential visitors to New Zealand with a single gateway to everything the destination had to offer. The heart of the website was a database of tourism services operators, both those based in New Zealand and those based abroad which offered tourism services to the country. Any tourism-related business could be listed by filling in a simple form. This meant that even the smallest bed and breakfast address or specialist activity provider could gain a web presence with access to an audience of long-haul visitors. In addition, because participating businesses were able to update the details they gave on a regular basis, the information provided remained accurate. And to maintain and improve standards, Tourism New Zealand organised a scheme whereby organisations appearing on the website underwent an independent evaluation against a set of agreed national standards of quality. As part of this, the effect of each business on the environment was considered.
这场宣传活动中的一个关键特色就是“新西兰旅游”这个网站，它为未来有可能前往新西兰的游客提供了一个入口，在这里可以找到新西兰所能提供的一切。此网站的核心内容在于一个由各路旅游服务经营者信息所组成的数据库，其中既有位于新西兰本土的商家，也有驻扎海外的提供前往此国旅游服务的公司。任何与旅游相关的经营者都可以通过填写一张简单的表格而获准加入。这就意味着：即使是最小型的住宿地和早餐店或特色活动的提供者都能在此网站上获得一席之地，从而接触到所有打算远道而来的游客。此外，由于参与的商家可以定期更新自己放上去的各种信息，网站的信息就能始终保持准确。并且为了维持并提高水准，新西兰旅游局还安排了一个这样的方案：展示在网站上的所有商家都要按照一套通过决议的国家质量标准来接受一场独立评估。其中，每个企业对于环境产生的影响都要受到考量。
To communicate the New Zealand experience, the site also carried features relating to famous people and places. One of the most popular was an interview with former New Zealand All Blacks rugby captain Tana Umaga. Another feature that attracted a lot of attention was an interactive journey through a number of the locations chosen for blockbuster films which had made use of New Zealand’s stunning scenery as a backdrop. As the site developed, additional features were added to help independent travellers devise their own customised itineraries. To make it easier to plan motoring holidays, the site catalogued the most popular driving routes in the country, highlighting different routes according to the season and indicating distances and times.
为了充分传播这场经历，该网站还有一些与名人和知名地点有关的特色介绍。其中最受欢迎的内容之一是对新西兰全黑橄榄球队前队长Tana Umaga的采访。另外一个吸引了大量关注的特色是一场互动式旅程，穿过一些将新西兰令人目瞪口呆的风景选做背景的电影大片中曾经出现过的地点。随着网站的发展，又有一些额外特色被加进来来帮助自助型游客通过这个规划属于自己的特色行程。为了帮助用户更简单规划自驾行假期，网站还根据季节变化分类整理出了这个国家最受欢迎的多条驾车路线，并且标注了距离和时间。
Later, a Travel Planner feature was added, which allowed visitors to click and ‘bookmark’ places or attractions they were interested in, and then view the results on a map. The Travel Planner offered suggested routes and public transport options between the chosen locations. There were also links to accommodation in the area. By registering with the website, users could save their Travel Plan and return to it later, or print it out to take on the visit. The website also had a ‘Your Words’ section where anyone could submit a blog of their New Zealand travels for possible inclusion on the website.
后来，又增加了一项“旅行规划者”特色，网站访问者可以点击他们感兴趣的地点或景点，并标注书签，然后在地图上查看结果。“旅行规划者”会提供往来于各个选定地点之间的推荐路线和公共交通方式选择。同时还有查看当地住宿信息的链接。通过网站注册，用户就可以保存他们的旅行计划，之后返回查看，或者把计划打印出来随身携带。网站上还有一个“你的语言”的版块，任何人都可以提交自己有关新西兰旅游的博客记录，这些游记内容将有可能展示在网站页面上。
The Tourism New Zealand website won two Webby awards for online achievement and innovation. More importantly perhaps, the growth of tourism to New Zealand was impressive. Overall tourism expenditure increased by an average of 6.9% per year between 1999 and . From Britain, visits to New Zealand grew at an average annual rate of 13% between and , compared to a rate of 4% overall for British visits abroad.
新西兰旅游局的这个网站因其线上成就和创新赢得了两次威比奖。也许更重要的是：新西兰旅游业的增长是令人印象深刻的。总体旅游支出在1999到期间平均每年增长6.9%，在到之间，从英国前往新西兰的旅客增长率是13%，而英国的总体海外旅游增长率只有百分之四。
The website was set up to allow both individuals and travel organisations to create itineraries and travel packages to suit their own needs and interests. On the website, visitors can search for activities not solely by geographical location, but also by the particular nature of the activity. This is important as research shows that activities are the key driver of visitor satisfaction, contributing 74% to visitor satisfaction, while transport and accommodation account for the remaining 26%. The more activities that visitors undertake, the more satisfied they will be. It has also been found that visitors enjoy cultural activities most when they are interactive, such as visiting a marae (meeting ground) to learn about traditional Maori life. Many long-haul travellers enjoy such learning experiences, which provide them with stories to take home to their friends and family. In addition, it appears that visitors to New Zealand don’t want to be ‘one of the crowd’ and find activities that involve only a few people more special and meaningful.
这个网站成立的目的是为了让个人和旅游机构都能根据这个创建出适合他们自身需求和兴趣的行程以及旅游套餐。在网站，访问者并非仅仅能够根据地理位置为线索来搜寻各个活动，还可以通过活动的特定属性来查找。这一点是很重要的，因为研究显示：活动项目是游客满意度的关键驱动因素，为总体游客满意度贡献了百分之七十四的比例，而交通和住宿一起才占了余下的百分之二十六。游客参与的活动越多，他们就会越对自己的旅行感到满意。同时研究发现：游客最享受的文化活动是那些有互动性质的，例如参观一处毛利会堂来了解传统的毛利人生活。许多远道而来的游客都非常享受这样的学习经历，这样他们就有故事可以带回去与朋友和家人分享。此外，来到新西兰的游客们好像都不想成为大众中人群中的一个，而是觉得那些只有少数几个人参与的活动更为特别和有意义。
It could be argued that New Zealand is not a typical destination. New Zealand is a small country with a visitor economy composed mainly of small businesses. It is generally perceived as a safe English-speaking country with a reliable transport infrastructure. Because of the long-haul flight, most visitors stay for longer (average 20 days) and want to see as much of the country as possible on what is often seen as a once-in-a-lifetime visit. However, the underlying lessons apply anywhere - the effectiveness of a strong brand, a strategy based on unique experiences and a comprehensive and user-friendly website.
可能有争议说新西兰并不算一个典型的旅游目的地。它是一个小国家，游客经济主要由小型商家组成。它被大众普遍视为一个安全的讲英语的国家，有着可靠的交通基础设施。由于要进行长途飞行，大部分游客都会在此地待比较久(平均为20天)并想要尽可能地到处多看看这个国家，因为他们通常将此看作是“一生只来一次的旅行”。然而，新西兰的旅游业兴旺发展背后的经验却可以应用到任何地方——一个强大的品牌效应，基于独有经历的策略，和一个全面而并且关注用户的网站。
篇3：雅思英语阅读短文精选
Talc Powder
A Peter Brigg discovers how talc from Luzenac's Trimouns in France find its way into food and agricultural products - from chewing gum to olive oil. High in the French Pyrenees, some 1,700m above sea level, lies Trimouns, a huge deposit of hydrated magnesium silicate - talc to you and me. Talc from Trimouns, and from ten other Luzenac mines across the globe, is used in the manufacture of a vast array of everyday products extending from paper, paint and plaster to cosmetics, plastics and car tyres. And of course there is always talc's best known end use: talcum powder for babies1 bottoms. But the true versat ility of this remarkable mineral is nowhere better displayed than in its sometimes surprising use in certain niche markets in the food and agriculture industries.
B Take, for example, the chewing gum business. Every year, Talc de Luzenac France - which owns and operates the Trimouns mine and is a member of the international Luzenac Group ( art of Rio Tinto minerals ) supplies about 6,000 tones of talc to chewing gum manufacturers in Europe. “We've been selling to this sector of the market since the 1960s,” says Laurent Fournier, sales manager in Luzenac's Specialties business unit in Toulouse. “Admittedly, in terms of our total annual sales of talc, the amount we supply to chewing gum manufacturers is relatively small, but we see it as a valuable niche market: one where customers place a premium on securing supplies from a reliable, high quality source. Because of this, long term allegiance to a proven suppler is very much a feature of this sector of die talc market.” Switching sources - in the way that you might choose to buy, say, paperclips from Supplier A rather than from Supplier B - is not an easy option for chewing gum manufacturers.“ Fournier says. ”The cost of reformulating is high, so when customers are using a talc grade that works, even if it's expensive, they are understandably reluctant to switch.“
C But how is talc actually used in the manufacture of chewing gum? Patrick Delord, an engineer with a degre e in agronomics, who has been with Luzenac for 22 years and is now senior market development manager, Agriculture and Food, in Europe, explains that chewing gums has four main components. ”The most important of them is the gum base,“ he says. ”It's the gum base that puts the chew into chewing gum. It binds all the ingredients together, creating a soft, smooth texture. To this the manufacturer then adds sweeteners, softeners and flavourings. Our talc is used as a filler in the gum base. The amount vanes between, say, ten and 35 per cent, depending on the type of gum. Fruit flavoured chewing gum, for example, is slightly acidic and would react with the calcium carbonate that the manufacturer might otherwise use as a filler. Talc, on the other hand, makes an ideal filler because it's non-reactive chemically. In the factory, talc is also used to dust the gum base pellets and to stop the chewing gum sticking during the lamination and packing process,“ Delord adds.
D The chewing gum business is, however, just one example of talc's use in the food sector. For the past 20 years or so, olive oil processors in Spain have been taking advantage of talc's unique characteristics to help them boost the amount of oil they extract from crushed olives According to Patrick Delord, talc is especially useful for treating what he calls ”difficult“ olives. After the olives are harvested - preferably early in the morning because their taste is better if they are gathered in the cool of the day they are taken to the processing plant. There they arc crushed and then stirred for 30-45 minutes. In the old days, the resulting paste was passed through an olive press but nowadays it's more common to add water and ( K-6IH ) the mixture to separate the water and oil from the solid matter The oil and water are then allowed to settle so that the olive oil layer can be ) and bottled. ”Difficult“ olives are those that are more reluctant than the norm to yield up their full oil content. This may be attributable to the particular species of olive, or to its water content and the time of year the olives arc collected - at the beginning and the end of the season their water content is often either too high or too low. These olives are easy to recognize because they produce a lot of extra foam during the stirring process, a consequence of an excess of a fine solid that acts as a natural emulsifier. The oil in this emulsion is lost when the water is disposed of. Not only that, if the waste water is disposed of directly into local fields - often the case in many smaller processing operations - the emulsified oil may take some time to biodegrade and so be harmful to the environment.
E ”If you add between a half and two percent of talc by weight during the stirring process, it absorbs the natural emulsifier in the olives and so boosts the amount of oil you can extract,“ says Delord. ”In addition, talc's flat, 'platey' structure helps increase the size of the oil droplets liberated during stirring, which again improves the yield. However, because talc is chemically inert, it doesn't affect the color, taste, appearance or composition of the resulting olive oil.“
F If the use of talc in olive oil processing and in chewing gum is long established, new applications in the food and agriculture industries arc also constantly being sought by Luzenac. One such promising new market is fruit crop protection, being pioneered in the US. Just like people, fruit can get sunburned. In fact, in very sunny regions up to 45 per cent of a typical crop can be affected by heat stress and sunburn However, in the case of fruit, it's not so much the ultra violet rays which harm the crop as the high surface temperature that the sun's rays create.
G To combat this, farmers normally use either chemicals or spray a continuous fine canopy of mist above the fruit frees or bushes. The trouble is, this uses a lot of water - normally a precious commodity in hot, sunny areas - and it is therefore expensive. What's more, the ground can quickly become waterlogged. ”So our idea was to coat the fruit with talc to protect it from the sun,“ says Greg Hunter, a marketing specialist who has been with Luzenac for ten years. ”But to do this, several technical challenges had first to be overcome. Talc is very hydrophobic: it doesn't like water. So in order to have a viable product we needed a wettable powder - something that would go readily into suspension so that it could be sprayed onto the fruit. It also had to break the surface tension of the cutin ( the natural waxy, waterproof layer on the fruit ) and of course it had to wash off easily when the fruit was harvested. No-one's going to want an apple that's covered in talc.“
H Initial trials in the state of Washington in showed that when the product was sprayed onto Granny Smith apples, it reduced their surface temperature and lowered the incidence of sunburn by up to 60 per cent. Today the new product, known as Invelop Maximum SPF, is in its second commercial year on the US market. Apple growers are the primary target although Hunter believes grape growers represent another sector with long term potential. He is also hopeful of extending sales to overseas markets such as Australia, South America and southern Europe.
Question 27-32
Use the information in the passage to match each use of tale power with correct application from A. B or C. Write the appropriate letters A-C in boxes 27-32 on your answer sheet.
NB you may use any letter more than once.
A. Fruit protection
B. Chewing gum business
C. Olive oil extraction
27 Talc is used to increase the size of drops.
28 Talc is applied to reduce foaming.
29 Talc is employed as a filler of base.
30 Talc is modified and prevented sunburn.
31 Talc is added to stop stickiness.
32 Talc is used to increase production.
Questions 33-38
Complete the following summary of the paragraphs of Reading Passage, using no more than two words from the Reading Passage for each answer. Write your answers in boxes 33-38 on your answer sheet.
Spanish olive oil industry has been using talc in oil extraction process for about____33____years. It is useful in dealing with difficult olives which often produce high amount of____34____because of the high content of solid materials. When smaller factories release____35____, it could be____36____to the environment because it is hard to____37____and usually lakes lime as it contains emulsified oil. However, talc power added in the process is able to absorb the emulsifier oil. It improves the oil extraction production, because with aid of talc powder, size of oil____38____increased.
Question 39-40
Answer the questions below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Write your answers in boxes 39-40 on your answer sheet.
39 In which process is talc used to dear the stickiness of chewing gum?
40 Which group of farmers does Invelop intend to target in a long view?
文章题目：滑石粉
篇章结构
体裁论说文
题目滑石粉
结构(一句话概括每段大意) A 段：滑石粉的主要用途 B 段：滑石粉在口香糖市场中的用途 C 段： 滑石粉在口香糖制作中的原理 D 段： 滑石粉在其他食品中的应用 E 段：滑石粉在食品中的应用原理 F 段：滑石粉在水果保护中的应用 G 段：滑石粉对水果的保护作用原理 H 段： 水果保护作用的市场拓展
试题分析
Question 27-32
题目类型：搭配题
解题思路：可以先去定位A,B,C三个选项中内容所对应的文段，然后从27-32中的题干去搜寻相符合的，而不是一个一个题目去找，这样会比较节省时间
题号定位词文中对应点题目解析
27 Increase，size， E 段第三句话 根据文章大意将 C 选项个橄榄油提取的内容定位到 E 段，第三句话，提到滑石粉的结构有助于增加挥发油滴的体积，故可以判断 27 题与 C 相连
28 Foam D 段倒数第四句话 根据关键词定位到 D 段，原文中提到搅拌过程中会产生很多泡沫，后面提出因此要加上滑石粉来减少泡沫。
29 Base，fill C 段倒数第 8 行 根据关键词定位到 C 段原文 ”our talc is used as a filler in the gum base“。故是关于口香糖行业的内容，选 B
30 Sun，fruit G 段第四句话 根据 sunburn 这个词可以定位到 G 段，第四句表明滑石粉可以起到保护水果免受日晒的作用，故选 A
31 Sticking C 段最后一句话 根据 statement 中的 ”stickness“ 这个词可以定位到 C 段结尾部分，原文说滑石粉可以防止口香糖在挤压过程中与包装粘在一起，所以跟 statement 表述的意思是一致的
32 boost，amount E 段第一句话 文章中提到可以 ”boosts the amount of oil you can extract“ 跟题干上表述一直
Question 33-38
题目类型：总结题
33 spanish olive oil D 段第二句话 根据 spanish olive oil 定位到 D 段，文章提到橄榄油制造利用滑石粉已经二十年。
34 High amount of 根据关键词定位到 D 段，原文中提到搅拌过程中会产生很多泡沫，后面提出因此要加上滑石粉来减少泡沫。所以填 ”foam“
35 Factory D 段倒数第二句话 根据关键词定位到 D 段结尾，原文提到 ”waste water“
36 Environment D 段最后一句话 根据关键词定位到 D 段结尾，文中提到这种乳化油分解对环境的影响是 ”harmful“ 的
37 同上 问 harmful 的原因。原文有明确提出，是由于 ”hard to biodegrade“，难以生物降解
38 Size，increase 文章说到在橄榄油提取过程中，挥发的油滴体积会增加，”increase the size of the oil droplets“
Question 39-40
题目类型：问答题
39 Stickiness，chewing gun 题目中问到在哪一个过程中滑石粉是用于来减少口香糖粘度的，这个跟上面第 31 题比较近似，可以先定位到 C 段结尾，可看到文章中明确给出是 ”during the lamination and packing process“
40 Invelop，long-term potential H 段倒数第二句 S 首先根据 ”invelop“ 定位到 H 段，题目问哪个组织的种植者是 invelop 打算长期去关注投资的，倒数第二句给出答案是 ”grape grower“
参考答案：
Version 24109 主题 滑石粉
27 C 28 29 B
30 A 31 32
33 20 34 foam 35 waste water
36 harmful 37 biodegrade 38 droplets
39 Lamination and packing 40 Grape growers
篇4：雅思英语阅读短文精选
人工智能艺术家
电脑真的能创造艺术作品吗?
The Painting Fool is one of a growing number of computer programs which, so their makers claim, possess creative talents. Classical music by an artificial composer has had audiences enraptured, and even tricked them into believing a human was behind the score. Artworks painted by a robot have sold for thousands of dollars and been hung in prestigious galleries. And software has been built which creates art that could not have been imagined by the programmer.
“绘画愚人”是数目正在逐渐增加的——按照它们的创造者所宣称的——拥有创作才华的电脑程序之一。由人工智能作曲家所创作的古典音乐曾经令观众听得入神，甚至让他们误以为这首乐曲是人类的杰作。由机器人绘画的艺术作品曾经卖出过数千美元的价格并挂在声明卓著的画廊中展览。还有一些这样的软件，它们创作出来的艺术品是其编程者事先根本不曾想象过的。
Human beings are the only species to perform sophisticated creative acts regularly. If we can break this process down into computer code, where does that leave human creativity? ‘This is a question at the very core of humanity,’ says Geraint Wiggins, a computational creativity researcher at Goldsmiths, University of London. ‘It scares a lot of people. They are worried that it is taking something special away from what it means to be human.’
人类是唯一能够常规性地完成复杂艺术创作行为的物种。如果我们可以将这个过程分解成为电脑编码，那把人类创造力置于何地呢?“这是一个关乎人性最核心的问题”，伦敦大学金史密斯学院的一位计算机创造力研究学者Geraint Wiggins 这样说。“它让许多人感到恐惧，他们担忧这会从人类中剥夺某些特殊的本属于人类的东西。”
To some extent, we are all familiar with computerised art. The question is: where does the work of the artist stop and the creativity of the computer begin? Consider one of the oldest machine artists, Aaron, a robot that has had paintings exhibited in London’s Tate Modern and the San Francisco Museum of Modern Art. Aaron can pick up a paintbrush and paint on canvas on its own. Impressive perhaps, but it is still little more than a tool to realise the programmer’s own creative ideas.
在某种程度上，我们对电脑创作的艺术都很熟悉。问题在于：艺术家的工作是在何处停止，而电脑的创造力又是从哪里开始的呢?想想最老的机器艺术家之一：Aaron，这个机器人创作的绘画作品展览在伦敦泰特现代美术馆和旧金山现代艺术博物馆里。Aaron可以拿起一支画笔，自己在画布上作画。也许确实令人惊叹，但它也仍然无非就是一台用来实现编程者自己创意理念的机器罢了。
Simon Colton, the designer of the Painting Fool, is keen to make sure his creation doesn’t attract the same criticism. Unlike earlier ‘artists’ such as Aaron, the Painting Fool only needs minimal direction and can come up with its own concepts by going online for material. The software runs its own web searches and trawls through social media sites. It is now beginning to display a kind of imagination too, creating pictures from scratch. One of its original works is a series of fuzzy landscapes, depicting trees and sky. While some might say they have a mechanical look, Colton argues that such reactions arise from people’s double standards towards software-produced and human-produced art. After all, he says, consider that the Painting Fool painted the landscapes without referring to a photo. ‘If a child painted a new scene from its head, you’d say it has a certain level of imagination,’ he points out. The same should be true of a machine.’ Software bugs can also lead to unexpected results. Some of the Painting Fool’s paintings of a chair came out in black and white, thanks to a technical glitch. This gives the work an eerie, ghostlike quality. Human artists like the renowned Ellsworth Kelly are lauded for limiting their colour palette - so why should computers be any different?
“绘画愚人”的设计者Simon Colton 非常热切地想要确保他的产品不会引来同样的批评。不像Aaron这样的早期艺术家，“绘画愚人”只需要极少量的指令，就能通过上网搜索材料而产生自己的创作理念。这个软件启动其自身的网页搜索功能，浏览各个社交媒体页面。它现在也开始展示出了某种想象力，能从草稿中创造出完整的画作。它的原创作品之一是一系列朦胧风景画，描绘的是树木与天空。虽然有些人也许会说这些画作有一种机械感，Colton却反驳说，这样的反应是出于人们对待软件创作和人类创作的艺术的双重标准。毕竟，他这样说，要考虑到“绘画愚人”是在没有参照一张照片的情况下画出了这些风景。“如果一个孩子从自己的头脑中描绘出一副新的景象，你就会说这个孩子有一定的想象力水平的”，他说，“放在一台机器上也应当一样。”软件漏洞也有可能会造成意想不到的效果。“绘画愚人”描绘一把椅子的一些由于技术故障作品成了黑白色。这赋予了画作一种怪诞、诡异的感觉。有一些如Ellsworth Kelly般著名的人类艺术家因为非常克制地运用自己调色板上的色彩而广受传颂——那么放在电脑身上为什么就应当有所不同呢?
Researchers like Colton don’t believe it is right to measure machine creativity directly to that of humans who ‘have had millennia to develop our skills’. Others, though, are fascinated by the prospect that a computer might create something as original and subtle as our best artists. So far, only one has come close. Composer David Cope invented a program called Experiments in Musical Intelligence, or EMI. Not only did EMI create compositions in Cope’s style, but also that of the most revered classical composers, including Bach, Chopin and Mozart. Audiences were moved to tears, and EMI even fooled classical music experts into thinking they were hearing genuine Bach. Not everyone was impressed however. Some, such as Wiggins, have blasted Cope’s work as pseudoscience, and condemned him for his deliberately vague explanation of how the software worked. Meanwhile, Douglas Hofstadter of Indiana University said EMI created replicas which still rely completely on the original artist’s creative impulses. When audiences found out the truth they were often outraged with Cope, and one music lover even tried to punch him. Amid such controversy, Cope destroyed EMI’s vital databases.
像Colton这样的研究者们并不赞成将机器创造力直接与人类创造力相提并论互相比较，因为“人类已经有几千年的时光来发展我们的技巧了”。另一些人则着迷于这样的前景：一台电脑也许能跟我们最好的艺术家相媲美，创作出同样富有创意而精巧的作品。到目前为止，只有一个接近了这个目标。作曲家David Cope发明了一个程序，称作“音乐智能实验”，简称EMI。EMI不仅创作出了Cope风格的乐曲，而且还仿制出了最受尊崇的古典音乐作曲家们的作品，包括巴赫、肖邦和莫扎特。观众感动得泪流满面，EMI甚至还骗过了古典音乐方面的专家，让他们以为自己听到的是真正的巴赫作品。然而并非所有人都对此表示了惊叹。有一些人，例如Wiggins，就猛烈抨击Cope 的这项创造为伪科学，还谴责他对这个程序到底如何运行的解释刻意含糊不清。与此同时，印第安纳大学的Douglas Hofstadter认为，EMI创作的这些复制品仍然要完全依赖于原创艺术家的创作灵感。在观众们发现了真相以后，他们对Cope 感到异常愤怒，有一位乐迷甚至想要打他。在这样的一片争议声中，Cope销毁了EMI的关键数据库。
But why did so many people love the music, yet recoil when they discovered how it was composed? A study by computer scientist David Moffat of Glasgow Caledonian University provides a clue. He asked both expert musicians and non-experts to assess six compositions. The participants weren’t told beforehand whether the tunes were composed by humans or computers, but were asked to guess, and then rate how much they liked each one. People who thought the composer was a computer tended to dislike the piece more than those who believed it was human. This was true even among the experts, who might have been expected to be more objective in their analyses.
但是为什么会有这么多人热爱那些音乐本身，在发现了它是如何被创作出来之后却退缩了呢?格拉斯哥卡利多尼亚大学的计算机科学家David Moffat进行的一项研究提供了一条线索。他让专业音乐家和非专业人士同时去评估六首乐曲。这些参与者并没有被事先告知这些乐曲究竟是由人类还是电脑所创作的，但是被要求去进行猜测，然后给出自己对每一首曲子喜好程度的评价。那些认为创作者是电脑的人们通常会比那些认为其创作者是人类的听众更不喜欢这支乐曲。即使是在专家们之中情况也是如此，但人们其实最开始是认为专家的分析评估会更加客观的。
Where does this prejudice come from? Paul Bloom of Yale University has a suggestion: he reckons part of the pleasure we get from art stems from the creative process behind the work. This can give it an ‘irresistible essence’, says Bloom. Meanwhile, experiments by Justin Kruger of New York University have shown that people’s enjoyment of an artwork increases if they think more time and effort was needed to create it. Similarly, Colton thinks that when people experience art, they wonder what the artist might have been thinking or what the artist is trying to tell them. It seems obvious, therefore, that with computers producing art, this speculation is cut short - there’s nothing to explore. But as technology becomes increasingly complex, finding those greater depths in computer art could become possible. This is precisely why Colton asks the Painting Fool to tap into online social networks for its inspiration: hopefully this way it will choose themes that will already be meaningful to us.
这种偏见到底来自哪儿?耶鲁大学的Paul Bloom提出了一个见解：他认为我们从艺术中得到的愉悦有一部分来自于作品背后的创作过程。这能为它赋予一种“不可抗拒的精髓感”，Bloom说。与此同时，纽约大学的Justin Kruger 所进行的实验也显示：人们如果认为创作某件艺术品需要更多的时间和精力，就会更加欣赏它。类似地，Colton 认为当人们去体验艺术时，他们会不禁去好奇艺术家当时正在想什么，或者艺术家正在试图向他们表达什么。因此，这一点似乎就很明显了：当创作艺术的是电脑时，这种遐思就被打断了——因为没有什么可探索的。但是随着技术变得越来越复杂，在电脑的艺术创作中找到那些意义深邃之处可以逐渐成为可能。正是因此，Colton才会指示“绘画愚人”去搜索各社交媒体网页来获取灵感：希望通过这种方式，它将会选取那些对我们来说已经具有意义的主题。
篇5：英语短文阅读经典美文
That's what friends do 朋友就该这么做
Jack tossed the papers on my desk—his eyebrows knit into a straight line as he glared at me.
杰克把文件扔到我桌上，皱着眉头，气愤地瞪着我。
”What’s wrong?“ I asked.
“怎么了?”我问道。
He jabbed a finger at the proposal. ”Next time you want to change anything, ask me first,“ he said, turning on his heels and leaving me stewing in anger.
他指着计划书狠狠地说道：“下次想作什么改动前，先征求一下我的意见。”然后转身走了，留下我一个人在那里生闷气。
How dare he treat me like that, I thought. I had changed one long sentence, and corrected grammar, something I thought I was paid to do.
他怎么能这样对我!我想，我只是改了一个长句，更正了语法错误，但这都是我的分内之事啊。
It’s not that I hadn’t been warned. Other women who had worked my job before me called Jack names I couldn’t repeat. One coworker took me aside the first day. ”He’s personally responsible for two different secretaries leaving the firm,“ she whispered.
其实也有人提醒过我，上一任在我这个职位上工作的女士就曾大骂过他。我第一天上班时，就有同事把我拉到一旁小声说：“已有两个秘书因为他而辞职了。”
As the weeks went by, I grew to despise Jack. His actions made me question much that I believed in, such as turning the other cheek and loving your enemies. Jack quickly slapped a verbal insult on any cheek turned his way. I prayed about the situation, but to be honest, I wanted to put Jack in his place, not love him.
几周后，我逐渐有些鄙视杰克了，而这又有悖于我的信条——别人打你左脸，右脸也转过去让他打;爱自己的敌人。但无论怎么做，总会挨杰克的骂。说真的，我很想灭灭他的嚣张气焰，而不是去爱他。我还为此默默祈祷过。
One day another of his episodes left me in tears. I stormed into his office, prepared to lose my job if needed, but not before I let the man know how I felt. I opened the door and Jack glanced up. “What?” he asked abruptly.
一天，因为一件事，我又被他气哭了。我冲进他的办公室，准备在被炒鱿鱼前让他知道我的感受。我推开门，杰克抬头看了我一眼。“有事吗?”他突然说道。
Suddenly I knew what I had to do. After all, he deserved it.
我猛地意识到该怎么做了。毕竟，他罪有应得。
I sat across from him and said calmly, “Jack, the way you’ve been treating me is wrong. I’ve never had anyone speak to me that way. As a professional, it’s wrong, and I can’t allow it to continue.”
我在他对面坐下：“杰克，你对待我的方式很有问题。还从没有人像你那样对我说话。作为一个职业人士，你这么做很愚蠢，我无法容忍这样的事情再度发生。”
Jack snickered nervously and leaned back in his chair. I closed my eyes briefly. God help me, I prayed.
杰克不安地笑了笑，向后靠靠。我闭了一下眼睛，祈祷着，希望上帝能帮帮我。
“I want to make you a promise. I will be a friend,” I said. “I will treat you as you deserve to be treated, with respect and kindness. You deserve that. Everybody does.” I slipped out of the chair and closed the door behind me.
“我保证，可以成为你的朋友。你是我的上司，我自然会尊敬你，礼貌待你，这是我应做的。每个人都应得到如此礼遇。”我说着便起身离开，把门关上了。
Jack avoided me the rest of the week. Proposals, specs, and letters appeared on my desk while I was at lunch, and my corrected versions were not seen again. I brought cookies to the office one day and left a batch on his desk. Another day I left a note. “Hope your day is going great,” it read.
那个星期余下的几天，杰克一直躲着我。他总趁我吃午饭时，把计划书、技术说明和信件放在我桌上，并且，我修改过的文件不再被打回来。一天，我买了些饼干去办公室，顺便在杰克桌上留了一包。第二天，我又留了一张字条，在上面写道：“祝你今天一切顺利。”
Over the next few weeks, Jack reappeared. He was reserved, but there were no other episodes. Coworkers cornered me in the break room. “Guess you got to Jack,” they said. “You must have told him off good.”
接下来的几个星期，杰克不再躲避我了，但沉默了许多，办公室里再也没发生不愉快的事情。于是，同事们在休息室把我团团围了起来。“听说杰克被你镇住了，”他们说，“你肯定大骂了他一顿。”
I shook my head. “Jack and I are becoming friends,” I said in faith. I refused to talk about him. Every time I saw Jack in the hall, I smiled at him. After all, that’s what friends do.
我摇了摇头，一字一顿地说：“我们会成为朋友。”我根本不想提起杰克，每次在大厅看见他时，我总冲他微笑。毕竟，朋友就该这样。
One year after our ”talk,“ I discovered I had breast cancer. I was thirty-two, the mother of three beautiful young children, and scared. The cancer had metastasized to my lymph nodes and the statistics were not great for long-term survival. After my surgery, friends and loved ones visited and tried to find the right words. No one knew what to say, and many said the wrong things. Others wept, and I tried to encourage them. I clung to hope myself.
一年后，我32岁，是三个漂亮孩子的母亲，但我被确诊为乳腺癌，这让我极端恐惧。癌细胞已经扩散到我的淋巴腺。从统计数据来看，我的时间不多了。手术后，我拜访了亲朋好友，他们尽量宽慰我，都不知道说些什么好，有些人反而说错了话，另外一些人则为我难过，还得我去安慰他们。我始终没有放弃希望。
One day, Jack stood awkwardly in the doorway of my small, darkened hospital room. I waved him in with a smile. He walked over to my bed and without a word placed a bundle beside me. Inside the package lay several bulbs.
就在我出院的前一天，我看到门外有个人影。是杰克，他尴尬地站在门口。我微笑着招呼他进来，他走到我床边，默默地把一包东西放在我旁边，那里边是几个球茎。
”Tulips,“ he said.
“这是郁金香。”他说。
I grinned, not understanding.
我笑着，不明白他的用意。
He shuffled his feet, then cleared his throat. ”If you plant them when you get home, they’ll come up next spring. I just wanted you to know that I think you’ll be there to see them when they come up.“
他清了清嗓子，“回家后把它们种下，到明年春天就长出来了。”他挪挪脚，“我希望你知道，你一定看得到它们发芽开花。”
Tears clouded my eyes and I reached out my hand. ”Thank you,“ I whispered.
我泪眼朦胧地伸出手。
Jack grasped my hand and gruffly replied, ”You’re welcome. You can’t see it now, but next spring you’ll see the colors I picked out for you. I think you’ll like them.\" He turned and left without another word.
“谢谢你。”我低声说。杰克抓住我的手，生硬地答道：“不必客气。到明年长出来后，你就能看到我为你挑的是什么颜色的郁金香了。”之后，他没说一句话便转身离开了。
For ten years, I have watched those red-and-white striped tulips push their way through the soil every spring. In fact, this September the doctor will declare me cured. I’ve seen my children graduate from high school and enter college.
转眼间，十多年过去了，每年春天，我都会看着这些红白相间的郁金香破土而出。事实上，今年九月，医生已宣布我痊愈了。我也看着孩子们高中毕业，进入大学。
In a moment when I prayed for just the right word, a man with very few words said all the right things.
在那绝望的时刻，我祈求他人的安慰，而这个男人寥寥数语，却情真意切，温暖着我脆弱的心。
After all, that’s what friends do.
毕竟，朋友之间就该这么做。
篇6：用英语阅读：英语短文
学习英语，说白了其实就是反复训练我们养成不用“中文参考译文”“读懂理解”英语，而是“直接用英语翻译成英语”来“读懂理解”英语的能力的过程。
能把这个“英语能力”训练出来，你的英语已经变得很厉害了。
我们把这种“用英语读懂英语”的训练，叫做“鱼”中有“鱼”训练。
1) URead：你是怎么“读懂”下面小学级别的英语的?
My home 我的家
My home is on the first floor. There are two bedrooms, a kitchen and a living room. I’m a child. I have a nice bedroom. In my bedroom, there is a bed, a closet, an air- conditioner and so on. My closet is green. My bed is blue. I love my bedroom very much.
【参考翻译】
我家是在一楼。有两间卧室，一间厨房和一间客厅。我是一个孩子。我有一个很好的卧室。在我的卧室里有衣柜，空调机等。我的衣柜是绿色的。我的床是蓝色的。我非常喜欢我的卧室。
你还处于还需要上面的借助中文译文才能“读懂理解”这段英语的阶段吗?
2) UTalk： “使用英语”训练：你能“读英语说英语”吗?
1. My home is on the first floor.
“说英语”：Well, when we say：My home is on the first floor, we can also say：My house is on the first floor.
Our home is a house,but a house may not be our home.
Our home is the house or the place where our family live together, our father and our mother, our sisters and brothers live there, so we call this house our home.
But a house can be a building, a hotel, an office, a factory. This house is only a house.Our family don't live there. So it is not a home.
把我上面的英语大声说几遍，抓住关键词记忆，你就能用英语说清楚home和house的区别了。
既然我们能试着用英语解释home和house的不同，为什么还“依赖”中文解释呢?
On the first floor means not on the second floor, not on the third floor, and so on, or not in the basement, or underground.
Well,when one house is on top of another house, we call this one floor, or one storey.
2. There are two bedrooms, a kitchen and a living room.
When we say bedroom, we mean a room in our home where we sleep at night.
A living room is also a sitting room.The family usually spend time in the living room, watching TV, or chatting.
3. I’m a child.
If you are a child, you are a little girl ,or a little boy, or you are a kid.
4. I have a nice bedroom. In my bedroom, there is a bed, a closet, an air- conditioner and so on. My closet is green. My bed is blue. I love my bedroom very much.
A bed is the furniture for sleeping or taking a rest.
A closet is the place for keeping or storing our clothes.
An air-conditioner keeps our room cool in summer,or warm in winter.
5. and so on：When we say and so on ,we can also say etc./ek-'se-tra/
强迫自己用英语读英语，理解英语，你得到的是更多的英语，谓之：“鱼”中有“鱼”。
篇7：英语短文阅读:高中英语作文
The new year is the perfect time to finally take up ceramics, learn Mandarin, start a book club, start rock-climbing, or plant a garden. In , the Cut has practical advice on trying something new. Make bowls, not just resolutions.
I’ve always considered myself a relatively well-rounded person — someone whose attitude to work-life balance is “healthy,” or at least consistent. And yet early last year at a barbecue in South Africa, a woman asked me a question that caused me to doubt this view of myself — or rather, her response to my response did.
“What do you do?” she asked.
“I work for a magazine,” I told her.
The woman laughed a little, as if she’d found my answer simple. “No, I mean, what do you do?” she asked, then moved on.
Perplexed, I listened to others answer this question over the evening. Some said they were surfers; others said they hiked, and many played music. Some people said they had been trying to improve their cooking skills. Others talked about their kids.
I’ve never heard such a variety of answers to the “what do you do?” question in the United States — we all respond with what we do for work — and that, I think, is no coincidence. Work defines our national identity, so it tends to define us individually too. More than half of us get a sense of identity from our jobs, even though more of us, some 55 percent, feel dissatisfied with them.
While identifying with your job isn’t bad on its own — who doesn’t want to make money doing something that contributes to their self-worth? — it takes on an almost fetishistic quality here. Like when overwork apologists blog about how great it is to take conference calls on Thanksgiving between apple-pie bakes. (In a clumsy stab at social rebellion, this particular blog post is called “My work is my life. Is that a problem?”) Or like when companies weave overwork into their brand identity, a trend The New Yorker’s Jia Tolentino documented earlier this year. In a piece about the emergent gig economy, Tolentino examines a series of recruitment ads posted by Fiverr, a TaskRabbit-esque online service marketplace:
“One ad, prominently displayed on some New York City subway cars, features a woman staring at the camera with a look of blank determination. “You eat a coffee for lunch,” the ad proclaims. “You follow through on your follow through. Sleep deprivation is your drug of choice. You might be a doer.’”
Americans, so the cultural-industrial myth goes, are doers. But is that all we are? Not if we want to be healthy, according to Patricia W. Linville, an associate professor at the Fuqua School of Business and psychology department at Duke University. Linville has studied the idea of “self-complexity” — or how a human sorts the many traits, roles, and other identity markers that make up him- or herself. She has found that the narrower a person’s vision of their “self” is, the more prone they are to depression and anxiety. For instance, Linville writes, consider a woman who thinks about her life mainly in terms of her career and her relationship to her husband. If her husband says something dismissive, half of her “self” takes a hit. If her boss issues her a harsh reprimand, again, that’s an attack on 50 percent of her identity.
On the other hand, someone who considers themselves in a variety of lights — as a mother, sister, doctor, surfer, crossword-puzzle wiz, etc. — has less emotional dependence on any single one of these identity “baskets.” Thus, if this person faces a professional setback or deals with a difficult breakup, they will be able to weather it more steadily, and get back on their feet more quickly. A harsh blow to 20 percent of you isn’t going to knock you out.
Attaining self-complexity is not an easy task, especially if you’ve identified with your work for most of your life. But hobbies can help kickstart the journey. For instance, my friend Allie Rawson, a 25-year-old employee at LinkedIn, is a hardworking person to whom balance does not come easily. But nowadays, in addition to working at LinkedIn full time, she sails and takes improv classes. “It’s really easy for work to become the only thing in your life,” Rawson says. Especially when surrounded by workaholics: Her team is comprised mainly of ex-consultants, so “there is a culture of staying late. It feels virtuous to be working a lot of hours.”
When Rawson first started working, she says, she made many mistakes — typical for someone just starting out, but also unnerving for someone whose identity rests on professional competence. Whenever she went out on the water, though, Rawson relaxed: For a brief time, her negative feelings dissipated. “It was nice to have something I felt I was good at,” she says. “Like, I might not be great at my job right now, but if I go sailing, I’ll feel good.”
Rawson is prone to depression, and she says that having hobbies that represent and nourish her various sides of self is the best means she’s found to combat her symptoms. “It’s important to have more than one way to connect with yourself,” she says. “Having a creative outlet and having a connection with nature are two things that are especially important for me. Sailing and improv fill those [categories].”
Another friend, Kaitlin Hansen, is also an example of healthy self-complexity, though her approach differs from Rawson’s. Hansen’s got a busy schedule, too — over the past year she helped prepare an inmate for his parole hearing, tutored at a federal prison in Brooklyn and worked with the Jails Action Coalition (“and tried to work out once in a while,” she says, laughing). Unlike Rawson, though, Hansen says her hobbies don’t speak to different aspects of her identity. They all align with her view of herself as a person committed to social justice, as does her job (which she admits is an immense privilege). For Hansen, who has enjoyed a fair amount of mental stability throughout her life, hobbies amplify a preexisting sense of self-complexity — and it’s not exactly self-complexity, either.
公众号：英语学习
篇8：经典短文摘抄阅读
经典短文摘抄阅读
站在一片山崖上
看着匍匐在自己脚下的
一幅一幅
奢侈明亮的青春
泪流满面
站在十六岁，站在青春转弯的地方，站在一段生命与另一段生命的罅隙，我终于泪流满面。
在黑色的风吹起的日子，在看到霰血鸟破空悲鸣的日子，在红莲绽放樱花伤势的日子里，在你抬头低头的笑容间，在千年万年的时光裂缝与罅隙中，我总是泪流满面。因为我总是意犹未尽地想起你。这是最残酷也是最温柔的囚禁吗？
我是一个在感到寂寞的时候就会仰望天空的小孩，望着那个大太阳，望着那个大月亮，望到脖子酸痛，望到眼中噙满泪水。
我会等你
牵着我的手，闭着眼睛走你都不会迷路
一恍神，一刹那，我们就这么垂垂老去
那些如天如地如梦如幻如云如电如泣如诉如花如风如行板如秦腔的歌/我黑色的挽歌
要怎么回忆呢，那些已经很久没有想起的事情。那些安静地躺在浮草上沉默不语的表情。
来回地在烈日下面反复地走来走去。
我都以为它们要安静地沉睡完这个夏天了，然后它们又被重新唤醒。
最近几天我总是一闭上眼睛就看到无边无际的香樟树。连绵而过了整个城市。
那些香樟沿着城市起伏的山路长成了无穷无尽的回忆。它们站在路边，站在城市的每个角落。
站在回忆的河边看着摇晃的渡船终年无声地摆渡。它们就这样安静地画下黄昏画下清晨。
我怀念过去的你，怀念我留在单车上的十七岁，怀念曾经因你的一阵微笑而激荡起来的风，夹着悲欢和一去不在回来的昨天，浩浩荡荡地穿越我单薄的青春。明亮。伤感。无穷尽。
我不知道死亡的时候，凝望苍穹竟然会那么凄凉，一声一声霰雪鸟的悲鸣，斜斜地掠天而去，我看到你的面容浮现在苍蓝色的天空之上，于是我笑了，因为我看到你，快乐的像个长不大的孩子。
我看到生命从我头顶飞过去时投下的斑驳深邃的暗影，沙漏翻过来覆过去，千重鹤又灿烂的开了一季。我知道又过了一年了。很多事情也改变了。
寂寞的人总是记住生命中出现的每一个人，正如我总是意犹未尽地想起你！在每个星光陨落的晚上，一遍一遍数我的寂寞
一晃神,一转眼,我们就这样垂垂老去
很多我们以为一辈子都不会忘记的事情，就在我们念念不忘的日子里，被我们遗忘了
我知道我不是一个很好的记录者，但我比任何人都喜欢回首自己来时的路，我不断的回首，伫足，然手时光仍下我轰轰烈烈的向前奔去。
你给我一滴眼泪，我就看到了你心中全部的海洋
如果上帝要毁灭一个人必先令其疯狂.可我疯狂了这么久为何上帝还不把我毁掉.
那些刻在椅子背后的爱情，会不会像水泥上的花朵，开出没有风的，寂寞的森林
在这个忧伤而明媚的三月，我从我单薄的青春里打马而过，穿过紫堇，穿过木棉，穿过时隐时现的悲喜和无常。
你笑一次，我就可以高兴好几天；可看你哭一次，我就难过了好几年。
如果可以和你在一起，我宁愿让天空所有的星光全部陨落，因为你的眼睛，是我生命里最亮的光芒
每当我看天的时候 我就不喜欢再说话 每当我说话的时候 我却不敢再看天
破牛仔裤怎么和晚礼服站在一起,我的吉他怎么可以和你的钢琴合奏.
我每天都在数着你的笑，可是你连笑的时候，都好寂寞。他们说你的笑容，又漂亮又落寞。
曾经也有一个笑容出现在我的生命里，可是最后还是如雾般消散，而那个笑容，就成为我心中深深埋藏的一条湍急河流，无法泅渡，那河流的声音，就成为我每日每夜绝望的歌唱。
如果可以和你在一起，我宁愿所有的星光全部陨落，因为你的眼睛，是我生命里，最亮的光芒
凡世的喧嚣和明亮，世俗的快乐和幸福，如同清亮的溪涧，在风里，在我眼前，汨汨而过，温暖如同泉水一样涌出来，我没有奢望，我只要你快乐，不要哀伤
我左手过目不忘的的萤火，右手里是十年一个漫长的打坐
风吹起如花般破碎的'流年，而你的笑容摇晃摇晃，成为我命途中最美的点缀，看天，看雪，看季节深深的暗影。
一个人总要走陌生的路，看陌生的风景，听陌生的歌，然后在某个不经意的瞬间，你会发现，原本费尽心机想要忘记的事情真的就这么忘记了。
躲在某一时间，想念一段时光的掌纹；躲在某一地点，想念一个站在来路也站在去路的，让我牵挂的人。
牵着我的手，闭着眼睛走你也不会迷路
假如有一天我们不在一起了，也要像在一起一样。
如果记忆如钢铁般坚固,我该欢笑,还是哭泣
如果钢铁如记忆般腐蚀,那这是欢城,还是废嘘
时间没有等我,是你忘了带我走,我左手是过目不忘的萤火,右手是十年一个漫长的打坐.
一个人身边的位置只有那麽多,你能给的也只有那麽多,在这个狭小的圈子里,有些人要进来,就有一些人不得不离开.
青春是道明媚的忧伤
我忘了哪年哪月的哪一日 我在哪面墙上刻下一张脸 一张微笑着 忧伤着 凝望我的脸
我喜欢火焰的放肆和破裂，因为我可以焚烧一切的枷锁，我是整个大地的王，而我哥，却是我心里的神。惟一的神。我想让他自由，哪怕牺牲我的生命。
如果你在远方承受风雪，而我无能为力，我也会祈祷，让那些风雪也降临在我身上
原来和文字沾上边的孩子从来都是不快乐的，他们的快乐象贪玩的小孩，游荡到天光，游荡到天光却还不肯回来。-
篇9：短文阅读及答案
短文阅读及答案
短文，回答问题。
A．上野的樱花烂熳的时节，望去确也像绯红的轻云，但花下也缺不了成群结队的“清国留学生”的速成班，头顶上盘着大辫子，顶得学生制帽的顶上高高耸起，形成一座富士山。也有解散辫子，盘得平的，除下帽来，油光可鉴，宛如小姑娘的发髻一般，还要将脖子扭几扭。实在标致极了。
中国留学生会馆的门房里……但到傍晚，有一间的`地板便常不免要咚咚咚地响得震天，兼以满房烟尘斗乱；问问精通时事的人，答道，“那是在学跳舞。”
B．其时进来的是一个黑瘦的先生，八字须，戴着眼镜，挟着一叠大大小小的书。一将书放在讲台上，便用了缓慢而很有顿挫的声调，向学生介绍自己道：
“我就是叫作藤野严九郎的……”
……
这藤野先生，据说是穿衣服大模胡了，有时竟会忘记带领结；冬天是一件旧外套，寒颤颤的，有一回上火车去，致使管车的疑心他是扒手，叫车里的客人大家小心些。
【小题1】结合语境，解释下列词语的含义。
烂熳：____________________
模胡：____________________
精通时事：____________________
【小题2】分析文中画横线句子的含意。
【小题3】A段短文描写了清国留学生哪些方面的特点?表明了作者怎样的态度?
【小题4】本文作者写主人公——藤野先生，在出场时(即B段)是从哪些方面描写的?从文段中可看出藤野先生是一个怎样的人?
【小题5】结合全文分析，作者开头写“清国留学生”的用意是什么?
答案
【小题1】颜色鲜明而美丽。
文中指马虎、不讲究。
文中是讽刺的说法，实指关心散播那些无聊的事。
【小题1】本句运用了比喻和讽刺的手法，描写了清国留学生的丑态，表达了作者的厌恶之情。
【小题1】赏樱花(行动)、盘辫子(外貌)、学跳舞(行动)等方面的特点。表明了作者对清国留学生的厌恶和嘲讽。
【小题1】从长相(“黑瘦”、“八字须”)、语声(“缓慢而很有顿挫”)、穿着等方面描写人物。藤野先生是一位生活俭朴、治学严谨的学者。
【小题1】写清国留学生，既是作者去仙台的直接原因(对这些留学生的厌恶)，又是在暗示作者的与众不同，是一个寻求救国良策的爱国青年。
解析【小题1】此类型的题目考查学生的识记能力，考查等级为A。需要学生在平时多读课文，多积累词语，多等工具书。
【小题2】此题考查学生对句子含义的理解。要求学生仔细品味语言，读出其言外之意。
【小题3】仔细阅读描写藤野先生出场的描写，具体分析其是一个什么样的人。
【小题4】考虑作用一般是从做铺垫方面考虑。还有反衬作用。
篇10：阅读《短文》阅读答案
阅读《短文两篇》，完成下面问题。
答谢中书书
山川之美，古来共谈。高峰入云，清流见底。两岸石壁，五色交辉；青林翠竹，四时俱备。晓雾将歇，猿鸟乱鸣；夕日欲颓，沉鳞竞跃。实是欲界之仙都。自康乐以来，未复有能与其奇者。
记承天寺夜游
元丰六年十月十二日夜。解衣欲睡。月色入户，欣然起行。念无与为乐者，遂至承天寺，寻张怀民。怀民亦未寝，相与步于中庭。庭下如积水空明，水中藻、荇交横，盖竹柏影也。何夜无月？何处无竹柏？但少闲人如吾两人耳。
1．解释加粗词的词义
①晓雾将歇（ ）
②月色入户（ ）?
③庭下如积水空明（ ）
④但少闲人如吾两人耳（ ）?
2．词的用法、意思相同的一组是（ ）
A．之：山川之美 甚矣，汝之不惠
B．是：实是欲界之仙都 问今是何世
C．与：念无与为乐者 未复有能与其奇者
D．寻：寻张怀民 寻病终
3．用现代汉语写出下面句子的意思。
①夕日欲颓，沉鳞竞跃。
_________________________________________
②水中藻、荇交横，盖竹柏影也。
_________________________________________
4．简答。
①从表达方式看，两文都有紧扣景物特征的_______，也都有堪称点睛之笔的_______。
②从思想感情看，两文都表达了对自然的亲近和热爱，但作者的`心绪并不同。《记承天寺夜游》的苏轼是受到贬谪的“_______”人，《答谢中书书》中的陶弘景则堪称隐居的“_______”人（均填摘自文中的一个字）。
