A Want to improve your writing skills New Writing South is directing the way! Towner Writer Squad (班组）for kids aged 13-17 Led by comedy and TV writer, Marian Kilpatrick, Towner Writer Squad will meet once a month at the contemporary art museum for 11 months, starting 12 October, 2014. The FREE squad sessions will include introductions to a wide range of writing styles, from poetry to play writing and lyrics (抒情诗）to flash fiction, to support the development of young writers. Application & Selection If you would like to apply to be part of the Towner Writer Squad, please send a sample piece of your writing (about 500 words), responding to the title‘LUNCH,’with your name, age, address and e-mail address to: debo@newwritingsouth.com. Once all applications are in, com you will be invited to an open selection event on 17 September，4-5pm, at the gallery of Towner. This will be an informal opportunity to meet the Squad Leader, Squad Associate and other young people. You will also have a chance to get to know the fantastic gallery space and get a taste of what’s to come. Deadline for applications: 8 September, 2014 For further information go to: facebook.com/towner or towner.org.uk or newwritingsouth.com Any questions 一 feel free to send your e-mail to Towner Writer Squad Associate: whame@towner.gov.uk * * * * * * * * * Beginner Writing Project for kids aged 10-13 Due to popular demand, a writing project will be started for eager beginners. Start time: 6 September, 2014 Meet every other Saturday，2-4pm, at the Towner Study Centre. Study and write at your own pace 一 you do not have to rush 一 as you have a year to go through the project. Practise under the guidance of some experienced writers and teachers who can help you with basic writing skills. Most importantly, build confidence and have fun while writing! No previous experience or special background is required. Many others have been successful this way. If they can do it, why can’t you Fee: ￡179 For more information go to: newtowner.org.uk or generate.org.uk Towner Writer Squad will be started _______.

A:to train comedy and TV writers B:to explore the fantastic gallery space C:to introduce a contemporary art museum D:to promote the development of young writers

Text 2
"We find that the fleeting uses of the wordsK ‘penis’,‘vaginal’,‘ass’,‘bastard’ and ‘ bitch’uttered in the context of the programs cited in the complaints, do not render the material patently offensive under contemporary community standards for the broadcast medium." Making decisions like this is one of the more thankless tasks of America’s media regulator, the Federal Communications Commission. Since 1927 the FCC has tried to protect children from "indecency"--sexual content and swear words--on broadcast television and radio.
Under pressure from social conservatives, America’s politicians are now threatening to extend indecency regulation further. If they get their way, not just broadcast television and radio but cable and satellite TV, and possibly satellite radio, would be monitored by the FCC for indecency. America’s media firms have been shaken by this threat.
Every society, of course, has the right to protect children from adult material. But increasing censorship by the central government is the wrong way to go about this. A wiser course would be to eliminate the government’ s role and rely more on parents. Fortunately, changes in technology and the media industry itself now make this approach more feasible than ever.
Television has changed beyond recognition since indecency rules were first imposed. In 1978 the Supreme Court upheld the FCC’s right to punish indecency on the grounds that broadcasters had what it called a "uniquely pervasive presence in the lives of all Americans." Back then, that was a plausible argument. But with television fragmenting in to so many outlets such unique pervasiveness no longer prevails. Over four-fifths of American households, for instance, subscribe to cable or satellite television. They are just as likely to be watching one of the hundreds of cable channels they have at home as one of the main six broadcast networks. With so much choice, avoiding the indecent is easier than it was 30 years ago when most people had only three channels.
At the same time, new technology now allows families to filter the television they receive. Cable and satellite TV come with set-top boxes that can screen out individual channels. Digital cable set-top boxes are particularly precise, and allow parents to block individual programmes at the touch of a button on their remote control. Every new television set sold in America since 2000 is equipped with a "v-chip", a blocking device that Bill Clinton forced on the media industry in 1996. It is only thanks to the v-chip and set-top boxes, in fact, that children get any protection from violence, since the FCC regulates only sex and bad language. America is the only country where blocking technology is already in the vast majority of homes, thanks to the ubiquity of pay television. But it is likely soon to be available elsewhere as well.

A:capability of keeping the young from violence. B:context of contemporary community. C:complaints of programs. D:standards for the broadcast media.

Modern technology and science have produced a wealth of new materials and new ways of using 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 (超现实主义). 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 judgments 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 messages 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. The author argues that Freud’’s studies

A:are less comprehensible than most scientific inventions. B:are more controversial than any other scientific findings. C:have imposed much interference upon contemporary arts. D:have found their expression in the Surrealism’’s claims.

Modern technology and science have produced a wealth of new materials and new ways of using 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 (超现实主义). 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 judgments 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 messages 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. The author argues that Freud’’s studies

A:are less comprehensible than most scientific inventions. B:are more controversial than any other scientific findings. C:have imposed much interference upon contemporary arts. D:have found their expression in the Surrealism’’s claims.

Modern technology and science have produced a wealth of new materials and new ways of using 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 (超现实主义). 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 judgments 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 messages 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. The author argues that Freud’’s studies

A:are less comprehensible than most scientific inventions. B:are more controversial than any other scientific findings. C:have imposed much interference upon contemporary arts. D:have found their expression in the Surrealism’’s claims.

A:makes little use of management terms B:summarizes various studies concisely C:serves as an exit for leadership researchers D:sets a model for contemporary corporate leaders