Part A: Reading Comprehension

Directions: Read the following text. Answer the questions below each text by choosing A, B, C or D. Mark your answers on the ANSWER SHEET. (40 points)

Text 3

Enlightening, challenging, stimulating, fun. These were some of the words that Nature readers used to describe their experience of art-science collaborations in a series of articles on partnerships between artists and researchers. Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists; and almost all said they would consider doing so in future.

Such an encouraging results is not surprising. Scientists are increasingly seeking out visual artists to help them communicate their work to new audiences. “Artists help scientists reach a broader audience and make emotional connections that enhance learning,” one respondent said.

One example of how artists and scientists have together rocked the scenes came last month when the Sydney Symphony Orchestra performed a reworked version of Antonio Vivaldi’s The Four Seasons. They reimagined the 300-year-old score by injecting the latest climate prediction data for each season—provided by Monash University’s Climate Change Communication Research Hub. The performance was a creative call to action ahead of November’s United Nations Climate Change Conference in Glasgow, UK.

But a genuine partnership must be a two-way street. Fewer artist than scientists responded to the Nature poll, however, several respondents noted that artists do not simply assist scientists with their communication requirements. Nor should their work be considered only as an object of study. The alliances are most valuable when scientists and artists have a shared stake in a project, are able to jointly design it and can critique each other’s work. Such an approach can both prompt new research as well as result in powerful art.

More than half a century ago, the Massachusetts Institute of Technology opened its Center for Advanced Visual Studies (CAVS) to explore the role of technology in culture. The founders deliberately focused their projects around light—hence the “visual studies” in the name. Light was a something that both artists and scientists had an interest in, and therefore could form the basis of collaboration. As science and technology progressed, and divided into more sub-disciplines, the centre was simultaneously looking to a time when leading researchers could also be artists, writers and poets, and vice versa.

Nature’s poll findings suggest that this trend is as strong as ever, but, to make a collaboration work, both sides need to invest time, and embrace surprise and challenge. The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication, and participants must not fall into the trap of stereotyping each other. Artists and scientists alike are immersed in discovery and invention, and challenge and critique are core to both, too.

31. According to Paragraph 1, art-science collaborations have

[A]

caught the attention of critics. 

[B]

received favorable responses. 

[C]

promoted academic publishing. 

[D]

sparked heated public disputes. 

32. The reworked version of The Four Seasons is mentioned to show that

[A]

art can offer audiences easy access to science. 

[B]

science can help with the expression of emotions. 

[C]

public participation in science has a promising future. 

[D]

art is effective in facilitating scientific innovations. 

33. Some artists seem to worry about in the art-science partnership

[A]

their role may be underestimated. 

[B]

their reputation may be impaired. 

[C]

their creativity may be inhibited. 

[D]

their work may be misguided. 

34. What does the author say about CAVS?

[A]

It was headed alternately by artists and scientists. 

[B]

It exemplified valuable art-science alliances. 

[C]

Its projects aimed at advancing visual studies. 

[D]

Its founders sought to raise the status of artists. 

35. In the last paragraph, the author holds that art-science collaborations

[A]

are likely to go beyond public expectations. 

[B]

will intensify interdisciplinary competition. 

[C]

should do more than communicating science. 

[D]

are becoming more popular than before. 

答案与解析 (Answers)

31. [B] received favorable responses.
解析：第一段首句连用四个褒义词“Enlightening, challenging, stimulating, fun（给人启发的、有挑战性的、刺激的、有趣的）”来描述读者对艺术与科学合作的体验，且第二段开头总结为“Such an encouraging results（这样令人鼓舞的结果）”，这明确表明艺术与科学的合作“收到了良好的回应（received favorable responses）”。

32. [A] art can offer audiences easy access to science.
解析：第二段末尾受访者指出：“艺术家帮助科学家接触到更广泛的受众，并建立能增强学习的‘情感联系（emotional connections）’”。紧接着第三段举了改编版《四季》的例子（将最新的气候预测数据注入到300年的乐谱中演奏给公众听），这正是用音乐（艺术）去传达气候数据（科学）。这说明艺术可以为观众提供接触科学的便捷途径（offer audiences easy access to science）。

33. [A] their role may be underestimated.
解析：第四段指出，一些受访者注意到“artists do not simply assist scientists with their communication requirements. Nor should their work be considered only as an object of study（艺术家不仅仅是协助科学家满足他们的沟通需求。他们的工作也不应仅仅被视为研究对象）”。这说明艺术家担心在合作中自己仅仅被当成“工具人”或“研究对象”，即他们的作用可能会被低估（their role may be underestimated）。

34. [B] It exemplified valuable art-science alliances.
解析：第四段末尾提出观点：“The alliances are most valuable when scientists and artists have a shared stake... Such an approach can both prompt new research as well as result in powerful art（当科学家和艺术家在项目中拥有共同利益时，这种联盟是最有价值的……）”。紧接着第五段以 CAVS（高级视觉研究中心）为例，讲述其创始人选择光（光是科学家和艺术家共同感兴趣的话题）作为合作基础，这正是为了证明（exemplify）前文提到的这种“有价值的艺术-科学联盟（valuable art-science alliances）”。

35. [C] should do more than communicating science.
解析：最后一段明确提出：“The reach of art-science tie-ups needs to go beyond the necessary purpose of research communication（艺术与科学结合的触角需要超越科研交流这一必要目的）”，紧接着说明双方应沉浸于发现与发明，挑战和批判对双方都是核心。这完全对应选项C“不仅应该传播科学，还要做得更多（should do more than communicating science）”。

核心长难句精解 (Highlighted Sentences)

1. 宾语从句与非限制性定语从句嵌套：
"Nearly 40% of the roughly 350 people who responded to an accompanying poll said, they had collaborated with artists; and almost all said they would consider doing so in future."
【解析】who 引导定语从句修饰 people。said 后面省略了 that，引导宾语从句。由于主句谓语 said 是过去式，从句中的“已经合作”使用了过去完成时（had collaborated），而“将会考虑”使用了过去将来时（would consider）。
【翻译】在回应附带民意调查的大约350人中，近40%的人表示，他们曾与艺术家合作过；几乎所有人都表示他们未来会考虑这样做。

2. 并列谓语与被动语态倒装：
"Fewer artist than scientists responded to the Nature poll, however, several respondents noted that artists do not simply assist scientists with their communication requirements. Nor should their work be considered only as an object of study."
【解析】however 表转折。assist sb with sth 意为“协助某人做某事”。紧接着的句子以否定词 Nor 开头，引起了部分倒装（Nor should their work be considered...）。
【翻译】尽管回应《自然》杂志民调的艺术家比科学家少，然而，几位受访者指出，艺术家不仅仅是协助科学家满足他们的沟通需求。他们的工作也不应仅仅被视为研究对象。

3. 时间状语从句与定语从句的复合：
"As science and technology progressed, and divided into more sub-disciplines, the centre was simultaneously looking to a time when leading researchers could also be artists, writers and poets, and vice versa."
【解析】As 引导时间状语从句，意为“随着”。主句中 look to a time 表示“期待/展望一个时代”。when 引导定语从句修饰 time。and vice versa 是拉丁语借词，意为“反之亦然”。
【翻译】随着科学技术的进步，并被划分为更多的子学科，该中心同时也期待着这样一个时代的到来：顶尖的研究人员也可以是艺术家、作家和诗人，反之亦然。