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As I mentioned last week, I’ve recently returned from Australia. While I was there, I visited a eucalyptus forest that, in February, was the scene of an appalling wildfire. Perhaps naively, I had expected to find that many trees had been killed. They hadn’t. They had blackened bark, but were otherwise looking rather well, many of them wreathed in new young leaves. This prompted me to consider fire and the role it plays as a force of nature.
Fossil charcoals tell us that wildfires have been part of life on Earth for as long as there have been plants on land. That’s more than 400 million years of fire. Fire was here long before arriviste plants like grasses; it pre-dated the first flowers. And without wanting to get mystical about it, fire is, in many respects, a kind of animal, albeit an ethereal one. Like any animal, it consumes oxygen. Like a sheep or a slug, it eats plants. But unlike a normal animal, it’s a shape-shifter. Sometimes, it merely nibbles a few leaves; sometimes it kills grown trees. Sometimes it is more deadly and destructive than a swarm of locusts.
The shape-shifting nature of fire makes it hard to study, for it is not a single entity. Some fires are infernally hot; others, relatively cool. Some stay at ground level; others climb trees. Moreover, fire is much more likely to appear in some parts of the world than in others. Satellite images of the Earth show that wildfires are rare in, say, northern Europe, and common in parts of central Africa and Australia. (These days many wildfires are started by humans, either on purpose or by accident. But long before our ancestors began to throw torches or cigarette butts, fires were started by lightning strikes, or by sparks given off when rocks rub together in an avalanche.)
Once a fire gets started, many factors contribute to how it will behave. The weather obviously has a huge effect: winds can fan flames, rains can quench them. The lie of the land matters, too: fire runs uphill more readily than it goes down. But another crucial factor is what type of plants the fire has to eat.
It’s common knowledge that plants regularly exposed to fire tend to have features that help them cope with it — such as thick bark, or seeds that only grow after being exposed to intense heat or smoke. But what is less often remarked on is that the plants themselves affect the nature and severity of fire.
For example, dead branches burn more readily than living branches, so a tree that keeps dead branches (rather than letting them fall) makes it easier for a fire to climb into a forest canopy: the dead branches provide a ladder for the fire. Deadwood also allows fires to get hotter. Leaves that are high in cellulose, or that contain oils, also stoke the flames. Resins and gums are highly flammable. And as any girl scout knows, twigs catch light more readily than branches, so a twiggy sort of plant can catch fire more readily than its non-twiggy sister.
But here’s the odd thing. Many plants that live in places prone to fire are highly flammable — more flammable than plants that live elsewhere. This has led some to speculate that these plants have actually evolved to cause fires: that they “want” fire, and have evolved features that make it more likely that a spark will become a flame, and a flame will become a fire. I call this the torch-me hypothesis.
The argument goes like this. Many plants depend on fire for their propagation. Indeed, without fire, these plants disappear. If, for example, longleaf pine forests do not burn regularly, the pines will be replaced by water oaks and other species. So — runs the argument — fires are desirable because they kill the competition. Plants that enhance fires may thus have an evolutionary advantage: they murder the competition while creating the right circumstances for their own seeds to sprout.
This idea has sparked a heated debate. The problem is, showing that a trait has evolved because it enhances fire is difficult. Yes, oily leaves are more flammable; but perhaps the real advantage of oily leaves is that insects don’t enjoy eating them. Then, their flammability may be a by-product of tasting terrible.
The best evidence that some plants may have evolved to promote fire comes from pines. Some species of pine keep their dead branches; others tend to self-prune. As you would expect under the torch-me hypothesis, the more flammable species — the ones with the dead wood — also tend to have seeds that are released by fire. In short, the two traits go together.
Which is suggestive. But without more data from other plants, the evidence remains thin. If a tree were put in the dock and charged with being an accessory to arson, the jury would, for now, have to return the verdict, “Not proven.” Yet as I think of that great eucalyptus forest in Australia, I can’t help wondering. Have the trees actually evolved to make the fires worse?
Passage: "Fire and the Role it Plays as a Force of Nature"
Q1. The author's observation of the eucalyptus forest in Australia primarily serves to:
(A) provide a real-world example of the resilience of certain plants to fire
(B) evoke a sense of amazement at the destructive power of wildfires
(C) introduce the central theme of the passage and prompt further investigation
(D) challenge the conventional wisdom about the effects of fire on plant life
(E) illustrate the author's personal connection to the subject matter
Q2. The passage suggests that the relationship between fire and plants is:
(A) purely destructive, with fire acting as an indiscriminate force of nature
(B) mostly beneficial, as fire helps to propagate and maintain certain plant species
(C) unidirectional, with plants evolving in response to fire but not influencing it
(D) multifaceted and complex, with plants and fire exhibiting mutual influence
(E) primarily determined by human intervention and land management practices
Q3. Which of the following, if true, would most strengthen the "torch-me hypothesis"?
(A) Plants in fire-prone areas have a higher moisture content in their leaves.
(B) Fire-resistant plants are more likely to have seeds dispersed by wind.
(C) Flammable plants have a higher rate of seed germination after a wildfire.
(D) Non-flammable plants have a competitive advantage in areas with infrequent fires.
(E) Wildfires are more common in regions with a higher density of plant species.
Q4. The passage implies that the "torch-me hypothesis" is controversial because:
(A) there is insufficient evidence to support the evolutionary advantage of flammable traits
(B) the correlation between flammable traits and fire-dependent reproduction is weak
(C) it challenges the conventional understanding of fire as a purely destructive force
(D) it suggests that plants have a more active role in shaping their environment
(E) it relies on anecdotal evidence from a limited number of plant species
Q5. According to the passage, which of the following plant traits would be LEAST likely to support the "torch-me hypothesis"?
(A) The presence of flammable resins and gums in the plant tissues
(B) The retention of dead branches that can act as a ladder for fire
(C) A high proportion of twigs and small branches that easily catch fire
(D) The production of seeds that require fire-related cues for germination
(E) The development of deep root systems to access water during wildfires
Q6. The author's reference to a "jury" and a "verdict" in the last paragraph serves to:
(A) emphasize the legal implications of plants' role in starting wildfires
(B) suggest that the scientific community is divided on the "torch-me hypothesis"
(C) underscore the need for more evidence to reach a definitive conclusion
(D) imply that the "torch-me hypothesis" is likely to be proven false in the future
(E) criticize the use of anthropomorphic language in describing plant behavior
Q7. The passage suggests that the flammability of longleaf pine forests is:
(A) an unintended consequence of their adaptation to fire-prone environments
(B) a key factor in their ability to outcompete other plant species
(C) primarily determined by the presence of water oaks and other non-pine species
(D) unrelated to the frequency of wildfires in their native habitat
(E) a direct result of human intervention and fire suppression efforts
Q8. Which of the following statements best captures the main idea of the passage?
(A) Wildfires have played a significant role in shaping plant evolution and ecology.
(B) The "torch-me hypothesis" offers a compelling explanation for plant flammability.
(C) Human activity is the primary cause of wildfires in most parts of the world.
(D) Plants have developed diverse adaptations to cope with the challenges posed by fire.
(E) The relationship between fire and plants is an active area of scientific research and debate.
Q1. (C) Q2. (D) Q3. (C) Q4. (A) Q5. (E) Q6. (C) Q7. (B) Q8. (E)
DI
The integration of artificial intelligence (AI) in the realm of artistic creation has sparked a fierce debate, challenging traditional notions of creativity, originality, and artistic expression. Proponents argue that AI can serve as a tool to help artists explore new possibilities and push the boundaries of their creative endeavors. Critics, however, worry that the involvement of AI may lead to the homogenization of art and the dehumanization of the creative process, ultimately diminishing the emotional resonance and aesthetic value of artistic works.
At the heart of this debate lies the question of how to define and understand "creativity" in the context of artistic creation. The traditional view holds that creativity stems from the unique lived experiences, emotions, and imagination of human beings, a capacity that is irreplicable and unquantifiable. However, AI advocates argue that creativity can also be viewed as a problem-solving process based on algorithms and data. By learning from and analyzing vast amounts of artistic works, AI can identify patterns of creation, generate novel ideas and styles, demonstrating a form of creativity that is distinct from human creativity but equally valid.
This debate also touches upon the balance between technical skill and emotional expression in the artistic creative process. Critics fear that an overreliance on AI may lead artists to focus excessively on the technical aspects of their work, neglecting the emotional and meaningful content that the artwork is intended to convey. They argue that the essence of art lies in the expression of human emotions and experiences, something that AI cannot truly achieve. Supporters of AI, however, contend that technology and emotion are not mutually exclusive. Rather, AI can assist artists in exploring and expressing emotions in new ways while also offering audiences fresh perspectives on interpreting and experiencing art.
From an economic standpoint, the rise of AI-generated art presents both opportunities and challenges for the art market. On the one hand, AI can lower the barriers to entry for artistic creation, enabling more individuals to participate in the creative process and potentially expanding the supply and demand for artworks. On the other hand, the valuation and attribution of AI-generated artworks may disrupt the traditional workings of the art market. In 2018, an AI-created painting sold for $432,500, sparking widespread discussions about the economic value of AI art.
Overall, the application of AI in the artistic domain remains in an exploratory phase, with its long-term impacts yet to be seen. As drivers of artistic innovation, art institutions face the challenge of embracing AI while preserving the diversity and humanistic spirit of art. The outcome of this debate will have far-reaching implications for the future direction of artistic development.
Questions:
Q1. The passage suggests that the debate surrounding the application of AI in the field of art primarily stems from:
(A) The potential economic disruption AI-generated art may cause in the art market
(B) The lack of technical skill and expertise among human artists in comparison to AI
(C) The differing perspectives on the nature and source of creativity in artistic creation
(D) The fear that AI will completely replace human artists in the future
(E) The inability of AI to generate artworks that are aesthetically pleasing to audiences
Q2. According to the passage, which of the following is NOT mentioned as a concern raised by critics of AI's involvement in art?
(A) AI may lead to the homogenization and dehumanization of the creative process
(B) Overreliance on AI may cause artists to neglect the emotional content of their work
(C) AI-generated art may lack the emotional resonance and depth of human-created art
(D) The use of AI in art may widen the socioeconomic gap between artists who can afford the technology and those who cannot
(E) AI may not be capable of truly expressing and capturing human emotions and experiences
Q3. The author's stance on the debate regarding the application of AI in the field of art can best be described as:
(A) Strongly supportive of the integration of AI in artistic creation
(B) Highly critical of the potential negative consequences of AI-generated art
(C) Optimistic about the future prospects of AI in revolutionizing the art world
(D) Cautiously neutral, presenting both sides of the argument without taking a definitive position
(E) Dismissive of the concerns raised by critics and fully embracing the potential of AI in art
Q4. The passage mentions the sale of an AI-created painting for $432,500 in 2018. This information is primarily used to:
(A) Demonstrate the superior value and quality of AI-generated art compared to human-created art
(B) Highlight the potential economic opportunities and challenges posed by the rise of AI art
(C) Argue that the art market is more interested in the novelty of AI than the artistic merit of the works
(D) Suggest that AI-generated art will eventually replace human-created art in the market
(E) Criticize the art world for prioritizing financial gain over artistic integrity and authenticity
Q5. Which of the following, if true, would most strengthen the argument in favor of AI's potential to enhance artistic creativity?
(A) A study finding that AI algorithms can generate artworks that are indistinguishable from those created by human artists
(B) An interview with a renowned artist who expresses concern about the loss of human touch in AI-generated art
(C) A survey indicating that the majority of art audiences prefer artworks created by human artists over those generated by AI
(D) An experiment demonstrating that collaboration between human artists and AI leads to more innovative and emotionally compelling artworks
(E) A report showing that art institutions are increasingly investing in AI technology to streamline their operations and cut costs
Answers:
Q1. (C)
Q2. (D)
Q3. (D)
Q4. (B)
Q5. (D)
CR
Several residents of Coastal Village reported seeing a typhoon pass through their area last week, describing intense winds and heavy rainfall. However, the local weather monitoring station, equipped with state-of-the-art technology, recorded no data indicating the presence of a typhoon during that time. Meteorologists at the station concluded that the villagers must have misidentified the weather phenomenon they experienced.
Which of the following, if true, most strengthens the meteorologists' conclusion?
A) The weather monitoring station has a perfect track record of detecting typhoons in the region over the past decade.
B) Many of the villagers who reported seeing the typhoon had never personally experienced one before.
C) The weather conditions required for typhoon formation were not present in the area during the time in question.
D) Local fishermen, known for their weather prediction skills, also reported no signs of a typhoon in the vicinity.
E) The village experienced unusually strong winds and heavy rainfall due to a rare meteorological phenomenon that closely resembles a typhoon but is not classified as one.
Paleontologists have discovered a large number of ancient animal fossils with the bodies positioned in an unusual head-down, tail-up posture. The scientists hypothesize that this peculiar position resulted from the animals dying en masse from a certain disease.
Which of the following, if true, would most weaken the scientists' hypothesis?
(A) The fossils were found in a location known for other mass extinction events in the distant past.
(B) Modern animals afflicted with a similar disease have been observed to die in the same head-down, tail-up position.
(C) The rock layer in which the fossils were found contains high levels of volcanic ash deposits.
(D) Animals that die of other diseases can also end up in a head-down, tail-up position after death.
(E) The species represented by the fossils is not closely related to any species living today.
答案：
EC
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发表于 2024-9-16 09:55:12
