Abstract art also called nonobjective art, or nonrepresentational art, is painting, sculpture, or graphic art in which the portrayal of things from the visible world plays no part. All art consists largely of elements that can be called abstract—elements of form, color, line, tone, and texture. Prior to the 20th century these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.
Abstract art has its origins in the 19th century. The period characterized by so vast a body of elaborately representational art produced for the sake of illustrating anecdote also produced a number of painters who examined the mechanism of light and visual perception. The period of Romanticism had put forward ideas about art that denied classicism’s emphasis on imitation and idealization and had instead stressed the role of imagination and of the unconscious as the essential creative factors. Gradually many painters of this period began to accept the new freedom and the new responsibilities implied in the coalescence of these attitudes. Maurice Denis’s statement of 1890, "It should be remembered that a picture—before being a war-horse, a nude, or an anecdote of some sort—is essentially a fiat surface covered with colors assembled in a certain order," summarizes the feeling among the Symbolist and Postimpressionist artists of his time.
All the major movements of the first two decades of the 20th century, in some way emphasized the gap between art and natural appearances. There is, however, a deep distinction between abstracting from appearances, even if to the point of unrecognizability, and making works of art out of forms not drawn from the visible world. During the several years preceding World War I, such artists as Robert Delaunay and Vladimir Tatlin turned to fundamentally abstract art. (Kandinsky is generally regarded as having been the first modem artist to paint purely abstract pictures containing no recognizable objects.) The majority of even the progressive artist regarded the abandonment of every degree of representation with disfavor, however. During World War I the emergence of the De Stijl group and of the Dada group further widened the spectrum of abstract art.
Abstract art did not flourish between World Wars I and II. Beset by totalitarian politics and by art movements placing renewed emphasis on imagery, such as Surrealism, it received little notice. But after World War II an energetic American school of abstract painting called Abstract Expressionism emerged and had wide influence. Since the 1950s abstract art has been an accepted and widely practiced approach within European and American painting and sculpture. Abstract art has puzzled and indeed confused many people, but for those who have accepted its non referential language there is no doubt as to its value and achievements.
The author quotes Maurice Denis because

A:Maurice Denis was a representative abstract artist. B:the quotation illustrates what abstract art is like. C:Maurice Denis presented a proper description. D:the quotation presents a persuasive argument.

Abstract art also called nonobjective art, or nonrepresentational art, is painting, sculpture, or graphic art in which the portrayal of things from the visible world plays no part. All art consists largely of elements that can be called abstract—elements of form, color, line, tone, and texture. Prior to the 20th century these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.
Abstract art has its origins in the 19th century. The period characterized by so vast a body of elaborately representational art produced for the sake of illustrating anecdote also produced a number of painters who examined the mechanism of light and visual perception. The period of Romanticism had put forward ideas about art that denied classicism’s emphasis on imitation and idealization and had instead stressed the role of imagination and of the unconscious as the essential creative factors. Gradually many painters of this period began to accept the new freedom and the new responsibilities implied in the coalescence of these attitudes. Maurice Denis’s statement of 1890, "It should be remembered that a picture—before being a war-horse, a nude, or an anecdote of some sort—is essentially a fiat surface covered with colors assembled in a certain order," summarizes the feeling among the Symbolist and Postimpressionist artists of his time.
All the major movements of the first two decades of the 20th century, in some way emphasized the gap between art and natural appearances. There is, however, a deep distinction between abstracting from appearances, even if to the point of unrecognizability, and making works of art out of forms not drawn from the visible world. During the several years preceding World War I, such artists as Robert Delaunay and Vladimir Tatlin turned to fundamentally abstract art. (Kandinsky is generally regarded as having been the first modem artist to paint purely abstract pictures containing no recognizable objects.) The majority of even the progressive artist regarded the abandonment of every degree of representation with disfavor, however. During World War I the emergence of the De Stijl group and of the Dada group further widened the spectrum of abstract art.
Abstract art did not flourish between World Wars I and II. Beset by totalitarian politics and by art movements placing renewed emphasis on imagery, such as Surrealism, it received little notice. But after World War II an energetic American school of abstract painting called Abstract Expressionism emerged and had wide influence. Since the 1950s abstract art has been an accepted and widely practiced approach within European and American painting and sculpture. Abstract art has puzzled and indeed confused many people, but for those who have accepted its non referential language there is no doubt as to its value and achievements.
From the passage we can infer that

A:abstract elements were initially employed for their expressive function. B:there are no recognizable objects or figures in abstract art paintings. C:the development of abstract art was halted during World War I. D:no sharp distinction existed between art and natural appearance before 1900.

Across a wide variety of fields, data are being collected and accumulated at a dramatic pace. There is an urgent need for a new generation of computational theories and tools to assist humans in (96) useful information (knowledge) from the rapidly growing (97) of digital data. These theories and tools are the subject of the emerging field of knowledge discovery in database (KDD). At an abstract level, the KDD field is concerned with the development of methods and techniques for making (98) of data. The basic problem addressed by the KDD process is one of mapping low-level data(which are typically too voluminous to understand and digest easily) into other forms that might be more (99) (for example, a short report), more (100) (for example, a descriptive approximation or model of the process that generated the data), or more useful (for example, a predictive model for estimating the value of future cases). At the core of the process is the application of specific data-mining methods for pattern discovery and extraction.

A:theoretical B:meaningful C:sophisticated D:abstract

为使下列代码正常运行，应该在下画线处填入的选项是______。
abstract class person
public Person (String n)
name=n;

public______String getDescription（　）;
public String getName（　）
return name;

private string name;

A:static B:private C:abstract D:final

阅读下面代码
abstract class Person
　public Person(String n)
　　name=n;
　
　public______String getDescription（　）；
　public String getName（　）
　　return name；
　
　private String name；

在下画线处应填入的修饰符是

A:static B:abstract C:protected D:final

为使下列代码正常运行，应该在下画线处填入的选项是( )。
abstract class person
public Person(String n)
name=n;
public______String getDescription（　）;
public String getName（　）(
return name;

private string name;

A:static B:private C:abstract D:final

阅读下面代码 abstract class Person { 　public Person(String n) { 　　name=n; 　} 　public______String getDescription（　）； 　public String getName（　） { 　　return name； 　} 　private String name； } 在下画线处应填入的修饰符是

A:static B:abstract C:protected D:final

为使下列代码正常运行，应该在下划线处填入的选项是（）
　　abstract class Person
　　public Person(String n)！
　　name=n;
　　
　　public____String getDescription（　）；
public String getName（　）

　　return name;
　　
　　private String name;
　　
　　

A:static B:private C:abstract D:final

为使下列代码正常运行，应该在下划线处填入的选项是（）　　abstract class Person{　　public Person（String n）！　　name=n;　　}　　public____String getDescription（）；　　public String getName（）{　　return name;　　}　　private String name;　　}

A:static B:private C:abstract D:final

阅读下列代码段
abstract class Person{
public Person(String n){
name=n;
}
public______String getDescription（　）;
public String getName（　）{
}
private String name;
}
在下画线处应填入的修饰符是（）

A:static B:abstract C:protected D:final