MX展现框架中$extend表示（）

A:继承 B:重构 C:覆盖 D:扩展

Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the science; Differences between highly creative art and highly creative science arise in part from a difference in their goal. For the sciences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of date, serving as the means for formulating or testing a new theory. The goal of highly creative art is different: the phenomenon itself becomes the direct product of the creative act. Shakespeare’s Hamlet is not a tract about the behavior of indecisive princes or the uses of political power, nor is Picasso’s painting Guernica primarily a prepositional statement about the Spanish Civil War or the evils of fascism. What ’highly creative activity produces is not a new generalization that ’transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, rather than transcend that form.
This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field; the composer Monteverdi, who created music of the highest aesthetic value, comes to mind. More generally, however, whether or not a composition establishes a new principle in the history of music has no bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, Mozart’s The Marriage of Figaro(费加罗的婚礼) is surely among the masterpiece of music even though its modest innovations are confined to extending existing means. It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention. But a close study of his composition reveals that Beethoven overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits of the rules, forms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bach—in strikingly original ways.
According to the author, distinctions between those engaged in the creative arts and in natural sciences can in part be explained by ______.

A:the different objectives of those involved in these respective pursuits B:the different methods they employ in the collection of data to support their theories C:the different ways in which they attempt to extend accepted conventional forms D:the different principles of organization that they utilize in order to .create new works

Text 3
In the 90’s, people went crazy about wireless. Electronic communications once thought bound permanently to the world of cables and hard-wired connections suddenly were sprung free, and the possibilities seemed endless. Entrenched monopolies would fall, and a new uncabled era would usher in a level of intimate contact that would not only transform business but change human behavior. Such was the view by the end of that groundbreaking decade--the 1890s.
To be sure, the wild publicity of those days wasn’t all hot air. Marconi’s "magic box" and its contemporaneous inventions kicked off an era of profound changes, not the least of which was the ad vent of broadcasting. So it does seem strange that a century later, the debate once more is about how wireless will change everything. And once again, the noisy confusion is justified. Changes are on the way that are arguably as earth shattering as the world’s first wireless transformation.
Certainly a huge part of this revolution comes from introducing the most powerful communication tools of our time. Between our mobile phones, our BlackBerries and Treos, and our Wi-Fi ( Wireless Fidelity) computers, we’re always on and always connected--and soon our cars and our appliances will be, too. While there has been considerable planning for how people will use these tools and how they’ll pay for them, the wonderful reality is that, as with the Internet, much of the action in the wireless world will ultimately emerge from the imaginative twists and turns that are possible when dig ital technology trumps the analog mindset of telecom companies and government regulators.
Wi-Fi is itself a shining example of how wireless innovation can shed the tethers of conventional wisdom. At one point, it was assumed that when people wanted to use wireless devices for things other than conversation, they’d have to rely on the painstakingly drawn, investment-heavy standards adopted by the giant corporations that earn a lot through your monthly phone bill. But then some re searchers came up with a new communications standard exploiting an unlicensed part of the spectrum. It was called 802.11, and only later sexed up with the name Wi-Fi .
Though the range of signal was only some dozens of meters, Wi-Fi turned out to be a great way to wirelessly extend an Internet connection in the home or office. A new class of activist was born: the bandwidth liberator, with a goal of extending free wireless Internet to anyone venturing within the range of a free hotspot. Meanwhile, Apple Computer seized on the idea as a consumer solution, others followed and now Wi-Fi is as common as the modem once was.

From the author's point of view, the Wi-Fi technology（）

A:will be replaced soon. B:will be controlled by giant corporations like Apple. C:will extend to every home and office. D:will become a necessity as a modem.

Despite the doubts, and despite complaints from shop owners, London’s congestion charge --introduced in February 2003 -- has managed to ease the gridlock in the city centre. Traffic is down by 18%, jams by 30%. The scheme’s biggest weakness is that it is crude: drivers pay ￡ 8 ($14) to enter the zone between 7am and 6:30pm, regardless of how congested the roads are, or how long they stay.
So road-pricing fans are watching trials by Transport for London (TfL) of a new detection system, called tag-and-beacon, with interest. Under such a scheme (used in Singapore and on some European roads) cars are fitted with electronic tags that are read by roadside masts. If the trial is successful, TfL says that the city could switch to the system once the contract to run the congestion charge is re-let in 2009.
Currently, cameras are used to read license plates and track motorists. They are not always reliable: an individual camera identifies only around 70% of cars. Most driven get photographed more than once, which boosts the system’s effectiveness to over 95%, but that still leaves several thousand vehicles per day whose details must be laboriously checked by hand. Tag-and-beacon technology is much more accurate, with an identification rate of over 99%.
TfL says the trial is partly designed to see whether the new system could allow drivers to pay charges by direct debit. That would be popular with motorists, who complain that the current payment system is unfriendly: the toll for a day’ s travel must be paid manually -- online, by phone or in a shop -- by midnight, with steep fines levied on forgetful drivers.
More precise detection also allows for more precision in policy, and road-pricing enthusiasts see radical possibilities ahead. TfL says it is considering using the new technology to charge drivers each time they cross the zone boundary (up to a daily maximum), instead of paying once for an entire day’s travel. That would be cheaper for drivers who make few trips into the zone, although drivers who spend a long time trundling around without leaving (thereby causing the most congestion) would get off lightly, too.
Further refinements may be possible. The current system has cut traffic most drastically in the middle of the day, when congestion is at its lowest. Demand for road space would better match supply if charges were variable -- high at the busiest times of day and low in quiet periods.
Such a time-sensitive, variable-charging scheme using a tag-and-beacon system was endorsed last year by Bob Kiley, the TfL’s boss, who also said that he wanted to extend the congestion charge to other parts of London. That would be controversial, and Mr. Kiley’s underlings were quick to insist that his musings were not official policy. But the original scheme was controversial too, yet Ken Livingstone, London’s mayor and its biggest backer, was re-elected after introducing it. It would be a shame if timidity took hold now.

Which of the following statements is true about TfL（）

A:It will re-let the contract to run the congestion charge. B:It conducts the trim of the new detection system. C:It is thinking of charging drivers once for an entire day’s travel. D:Its boss ever wanted to extend the congestion charge to other cities.

Extraordinary creative activity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation, highly creative activity transcends the limits of an existing form and establishes a new principle of organization. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it may be valid for the science; Differences between highly creative art and highly creative science arise in part from a difference in their goal. For the sciences, a new theory is the goal and end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. Such phenomena as a brilliant diamond or a nesting bird are relegated to the role of date, serving as the means for formulating or testing a new theory. The goal of highly creative art is different: the phenomenon itself becomes the direct product of the creative act. Shakespeare’s Hamlet is not a tract about the behavior of indecisive princes or the uses of political power, nor is Picasso’s painting Guernica primarily a prepositional statement about the Spanish Civil War or the evils of fascism. What ’highly creative activity produces is not a new generalization that ’transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, rather than transcend that form.
This is not to deny that a highly creative artist sometimes establishes a new principle of organization in the history of an artistic field; the composer Monteverdi, who created music of the highest aesthetic value, comes to mind. More generally, however, whether or not a composition establishes a new principle in the history of music has no bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, Mozart’s The Marriage of Figaro(费加罗的婚礼) is surely among the masterpiece of music even though its modest innovations are confined to extending existing means. It has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention. But a close study of his composition reveals that Beethoven overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits of the rules, forms, and conventions that he inherited from predecessors such as Haydn and Mozart, Handel and Bach—in strikingly original ways.

According to the author, distinctions between those engaged in the creative arts and in natural sciences can in part be explained by （）

A:the different objectives of those involved in these respective pursuits B:the different methods they employ in the collection of data to support their theories C:the different ways in which they attempt to extend accepted conventional forms D:the different principles of organization that they utilize in order to .create new works

Despite the doubts, and despite complaints from shop owners, London’s congestion charge --introduced in February 2003 -- has managed to ease the gridlock in the city centre. Traffic is down by 18%, jams by 30%. The scheme’s biggest weakness is that it is crude: drivers pay ￡ 8 ($14) to enter the zone between 7am and 6:30pm, regardless of how congested the roads are, or how long they stay.
So road-pricing fans are watching trials by Transport for London (TfL) of a new detection system, called tag-and-beacon, with interest. Under such a scheme (used in Singapore and on some European roads) cars are fitted with electronic tags that are read by roadside masts. If the trial is successful, TfL says that the city could switch to the system once the contract to run the congestion charge is re-let in 2009.
Currently, cameras are used to read license plates and track motorists. They are not always reliable: an individual camera identifies only around 70% of cars. Most driven get photographed more than once, which boosts the system’s effectiveness to over 95%, but that still leaves several thousand vehicles per day whose details must be laboriously checked by hand. Tag-and-beacon technology is much more accurate, with an identification rate of over 99%.
TfL says the trial is partly designed to see whether the new system could allow drivers to pay charges by direct debit. That would be popular with motorists, who complain that the current payment system is unfriendly: the toll for a day’ s travel must be paid manually -- online, by phone or in a shop -- by midnight, with steep fines levied on forgetful drivers.
More precise detection also allows for more precision in policy, and road-pricing enthusiasts see radical possibilities ahead. TfL says it is considering using the new technology to charge drivers each time they cross the zone boundary (up to a daily maximum), instead of paying once for an entire day’s travel. That would be cheaper for drivers who make few trips into the zone, although drivers who spend a long time trundling around without leaving (thereby causing the most congestion) would get off lightly, too.
Further refinements may be possible. The current system has cut traffic most drastically in the middle of the day, when congestion is at its lowest. Demand for road space would better match supply if charges were variable -- high at the busiest times of day and low in quiet periods.
Such a time-sensitive, variable-charging scheme using a tag-and-beacon system was endorsed last year by Bob Kiley, the TfL’s boss, who also said that he wanted to extend the congestion charge to other parts of London. That would be controversial, and Mr. Kiley’s underlings were quick to insist that his musings were not official policy. But the original scheme was controversial too, yet Ken Livingstone, London’s mayor and its biggest backer, was re-elected after introducing it. It would be a shame if timidity took hold now.
Which of the following statements is true about TfL

A:It will re-let the contract to run the congestion charge. B:It conducts the trim of the new detection system. C:It is thinking of charging drivers once for an entire day’s travel. D:Its boss ever wanted to extend the congestion charge to other cities.

Which muscle can flex the hip joint and extend the knee joint （）.

A:sartorius B:adductor longus C:biceps femoris D:quadriceps femoris E:gracilis

{{B}}第三篇{{/B}}

Which statement is NOT true according to the authors?

A:There are now more age-related diseases B:Health care costs are on the rise C:Too little has been done to extend life D:A systematic attack on aging is needed