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[主观题]

The new designs will give greater sense of security to people living in the area wher

e earthquakes often take place.

A)新的设计为居住在地震频发地区的人们提供了更强的安全感。

B)哪个地区经常发生地震，新的设计就会使那里的人感到更安全。

C)新的设计将为居住在地震区的人们提供更大的担保。

D)新的设计将使居住在地震频发地区的人们增强安全感。

E)地震期间，哪里有新设备，哪里就更安全。

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发布时间：2020-11-11

更多“The new designs will give greater sense of security to people living in the area wher”相关的问题

第1题

Modern technology and science have produced a wealth of new materials and new ways of usin

g old materials. For the artist this means wider opportunities. There is no doubt that the limitations of materials and nature of tools both restrict and shape a man's work. Observe how the development of plastics and light metals along with new methods of welding has changed the direction of sculpture. Transparent plastic materials allow one to look through an object, to see its various sides superimposed on each other (as in Cubism or in an X-ray). Today, welding is as prevalent as casting was in the past. This new method encourages open designs, where surrounding and intervening space becomes as important as form. itself.

More ambiguous than other scientific inventions familiar to modern artists, but no less influential, are the psychoanalytic studies of Freud and his followers, discoveries that have infiltrated recent art, especially Surrealism. The Surrealists, in their struggle to escape the monotony and frustrations of everyday life, claimed that dreams were the only hope. Turning to the irrational world of their unconscious, they banished all time barriers and moral judgements to combine disconnected dream experiences from the past, present and intervening psychological states. The Surrealists were concerned with overlapping emotions more than with overlapping forms. Their paintings often become segmented capsules of associative experiences. For them, obsessive and often unrelated images replaced the direct emotional message of expressionism. They did not need to smash paint and canvas; they went beyond this to smash the whole continuity of logical thought.

There is little doubt that contemporary art has taken much from contemporary life. In a period when science has made revolutionary strides, artists in their studios have not been unaware of scientists in their laboratories. But this has rarely been a one-way street. Painters and sculptors, though admittedly influenced by modern science, have also molded and changed our world. If break-up has been a vital part of their expression, it has not always been a symbol of destruction. Quite the contrary: it has been used to examine more fully, to penetrate more deeply, to analyze more thoroughly, to enlarge, isolate and make more familiar certain aspects of life that earlier we were apt to neglect. In addition, it sometimes provides rich multiple experiences so organized as not merely to reflect our world, but in fact to interpret it.

According to the 'passage, it is true that ______.

A．artistic creations seem to be the reproductions of modern technology

B．artistic creations have made great strides scientifically

C．artistic creations appear to be incapable of ignoring material advances

D．artistic creations are the reflection of the material world

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第2题

Her designs have a strong（）appeal.

A.vicious

B.visa

C.version

D.visual

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第3题

As the merchant class expanded in the eighteenth-century North American colonies, the silv

ersmith and the coppersmith businesses rose to serve it. Only a few silversmiths were available in New York or Boston in the late seventeenth century, but in the eighteenth-century they could be found in all major colonial cities. No other colonial artisans rivaled the silversmiths' prestige. They handled the most expensive material and passed direct connections to prosperous colonial merchants. Their products, primarily silver plates and bowls, reflected their exalted status and testified to their customers' prominence.

Silver stood as one of the surest ways to store wealth at a time before neighborhood banks existed. Unlike the silver coins from which they were made, silver articles were readily identifiable. Often formed to individual specifications, they always carried the silversmith's distinctive markings and consequently could be traced and retrieved.

Customers generally secured the silver for the silver objects they ordered. They saved coins, took them to smiths, and discussed the type of pieces they desired. Silversmiths complied with these requests by melting the money in a small furnace, adding a bit of copper to form. a stronger alloy, and casting the alloy in rectangular blocks. They hammered these ingots to the appropriate thickness by hand, shaped them, and pressed designs into them for adornment. Engraving was also done by hand. In addition to plates and bowls, some customers sought more intricate products, such as silver teapots. These were made by shaping or casting pans separately and then soldering them together.

Colonial coppersmithing also came of age in the early eighteenth century and prospered in northern cities. Copper's ability to conduct heat efficiently and to resist corrosion contributed to its attractiveness. But because it was expensive in colonial America, coppersmiths were never very numerous. Virtually all copper worked by smiths was imported as sheets or obtained by recycling old copper goods. Copper was used for practical items, but it was not admired for its beauty. Coppersmiths employed it to fashion pots and kettles for the home. They shaped it in much the same manner as silver or melted it in a foundry with lead or tin. They also mixed it with zinc to make brass for maritime and scientific instruments.

According to the passage, which of the following eighteenth-century developments had a strong impact on silversmiths？

A．A decrease in the cost of silver.

B．The invention of heat efficient furnaces.

C．The growing economic prosperity of colonial merchants.

D．The development of new tools used to shape silver.

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第4题

Your designs are highly （).

A.origin

B.originate

C.oriented

D.original

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第5题

According to the author, which is NOT the designer's chief concern when he designs a produ

ct？

A．Stress factors.

B．Man-hours.

C．Machine tolerance.

D．Customer-appeal.

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第6题

We can make products according to the ______ designs and produce the ______ goods in large quantitie

s．

A．given, designed B．giving, designing

C．given, designing D．giving, designed

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第7题

Despite their varied designs, navigation computers used in cars ______.A．are more or less

Despite their varied designs, navigation computers used in cars ______.

A．are more or less the same price

B．provide directions in much the same way

C．work on more or less the same principles

D．receive instructions from the same satellites

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第8题

Artificial hearts have long been the stuff of science fiction. In "Robocop", snazzy cardia

c devices are made by Yamaha and Jensen, and in "Star Trek", Jean-Luc Picard, captain of the Enterprise, has one implanted in the year 2328. In the present day, however, their history has been more chequered. The first serious attempt to build one happened in the 1980s, when Jarvik-7, made by Robert Jarvik, a surgeon at the University of Utah, captured the world's attention. But Jarvik-7 was a complicated affair that needed to be connected via tubes to machines outside the body. The patient could not go home, nor even turn around in bed. Various other designs have been tried since, but all were seen as temporary expedients intended to tide a patient over until the real thing became available from a human donor.

That may be about to change. This week, America's Food and Drug Administration gave its approval to a new type of artificial heart made by Abiomed, a firm based near Boston. The agency granted a "humanitarian device exemption", a restricted form. of approval that will allow doctors to implant the new device in people whose hearts are about to fail but who cannot, for reasons such as intolerance of the immunosuppressive drugs needed to stop rejection, receive a transplant. Such people have a life expectancy of less than a month, but a dozen similarly hopeless patients implanted with Abiomed's heart survived for about five months.

Unlike Dr. Jarvik's device, this newfangled bundle of titanium and polyurethane aims to set the patient free. An electric motor revolving up to 10,000 times a minute pushes an incompressible fluid around the Abiomed heart, and that fluid, in turn, pushes the blood—first to the lungs to be oxygenated, and then around the body. Power is supplied by an electric current generated in a pack outside the body. This induces current in the motor inside the heart. All diagnostics are done remotely, using radio signals. There are no tubes or wires coming out of the patient.

The charger is usually plugged into the mains, but if armed with a battery it can be carried around for hours in a vest or backpack, thus allowing the patient to roam freely. Most strikingly, the device's internal battery can last half an hour before it needs recharging. That allows someone time to take a shower or even go for a quick swim without having to wear the charger.

Abiomed's chairman, Michael Minogue, does not claim that his firm's product will displace human transplants. Even so, the firm has big ambitions. It is already developing a new version that will be 30% smaller (meaning more women can use it) and will last for five years. That should be ready by 2008— 320 years earlier than the writers of "Star Trek" predicted.

"Star Trek" is mentioned in the text so as to______.

A．depict the long history of artificial hearts in science fiction

B．enumerate artificial hearts of all sorts on sale

C．provide background for the discussion of artificial hearts

D．emphasize the great efforts made by Yamaha and Jensen in the development of artificial hearts

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第9题

For anyone who is set on a career in fashion, it is not enough to have succeeded in colleg

e. The real test is whether they can survive and become established during their early 20s making a name for themselves in the real world where business skills can count for as much as flair(眼光) and creativity.

Fashion is a hard business. There is a continuous amount of stress because work is at a constant breakneck (高速而危险的) speed to prepare for the next season's collections. It is extremely competitive and there is the constant need to cultivate good coverage in newspapers and magazines. It al so requires continual freshness because the appetite for new ideas is hard to satisfy. "We try to warn people before they come to us about how tough it is," says Lydia Kemeny, the Head of Fashion at St. Martin's School of Art in London. "And we point out that drive and determination are essential."

This may seem far removed from the popular image of fashionable young people spending their time designing pretty dresses, That may well be what they do in their first year of study but a good college won't be slow in introducing students to commercial realities. "We don't stamp on the blossoming flower of creativity but in the second year we start introducing the constraints of price, manufacturability, marketing and so on."

Almost all fashion design is done to a brief. It is not a form. of self-expression as such, although there is certainly room for imagination and innovation. Most young designers are going to end up as employees of a manufacturer or fashion house and they still need to be able to work within the characteristic style. of their employer. Even those students who are most avant-garde (标新立异的) in their own taste of clothes and image may need to adapt to produce designs which are right for the main stream of market. They also have to be able to work at both tire exclusively expensive and the cheap end of the market and the challenge to produce good design inexpensively may well be demanding.

To be successful as a fashion designer you must ______.

A．have excellent academic qualifications

B．be able to handle business problems

C．be well established before you are 20

D．have taken an intensive commercial course

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第10题

Concrete is probably used more widely than any other substance except water, yet it remain

s largely unappreciated. “Some people view the 20th century as the atomic age, the space age, the computer age — but an argument can be made that it was the concrete age,” says cement specialist Hendrik Van Oss. “It’s a miracle material.” Indeed, more than a ton of concrete is produced each year for every man, woman and child on Earth. Yet concrete is generally ignored outside the engineering world, a victim of its own ubiquity and the industry’s conservative pace of development. Now, thanks to environmental pressures and entrepreneurial innovation, a new generation of concretes is emerging. This high-tech assortment of concrete confections promises to be stronger, lighter, and more environmentally friendly than ever before.

Concrete is also a climate-change villain. It is made by mixing water with an aggregate, such as sand or gravel, and cement. Cement is usually made by heating limestone and clay to over 2,500 degrees F. The resulting chemical reaction, along with fuel burned to heat the kiln, produces between 7% and 10% of global carbon-dioxide emissions. “When we have to repeatedly regenerate these materials because they’re not durable, we release more emissions,” says Victor Li who has created a concrete suffused by synthetic fibers that make it stronger, more durable, and able to bend like a metal. Li’s creation does not require reinforcement, a property shared by other concretes that use chemical additives. Using less water makes concrete stronger, but until the development of plasticizers, it also made concrete sticky, dry, and hard to handle, says Christian Meyer, a civil engineering professor at Columbia University.

Making stronger concretes, says Li, allows less to be used, reducing waste and giving architects more freedom. “You can have such futuristic designs if you don’t have to put rebar in there, or structural beams,” says Van Oss. A more directly “green” c6nerete has been developed by the Australian company TecEeo. They add magnesium to their cement, forming a porous concrete that actually scrubs carbon dioxide from the air.

While experts agree that these new concrete will someday be widely used, the timetable is uncertain. Concrete companies are responsive to environmental concerns and are always looking to stretch the utility of their product, but the construction industry is slow to change. “When you start monkeying around with materials, the governing bodies, the building departments, are very cautious before they let you use an unproven material,” Meyer says. In the next few decades, says Van Oss, building codes will change, opening the way for innovative materials. But while new concretes may be stronger and more durable, they are also more expensive — and whether the tendency of developers and the public to focus on short-term rather than long-term costs will also change is another matter.

By saying “it was the concrete age”(Line 3, Para. 1), Van Oss means that

A．the traditional building material concrete is the only man-made miracle.

B．concrete is indispensable in the development of modern construction industry.

C．compared with other inventions, concrete is more practical and useful.

D．concrete, as a building material, can be mixed with any other materials.

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