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高二英语下学期XB3U1 ART单元练习
（试卷满分80分，考试时间40分钟）
第一部分 阅读(共两节，满分50分)
第一节(共15小题;每小题2.5分，满分37.5分)
阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。
A
In the 1920s, British engineer Sir Giles Gilbert Scott designed the red telephone box. For decades, it stood on nearly every street corner, a beloved symbol of Britain. But by the early 2000s, mobile phones had made public payphones nearly useless. Thousands of red boxes sat empty, collecting dust — or worse, being sent to junkyards.
Then British Telecom (BT) came up with an unusual solution. In 2008, the company launched the “Adopt a Kiosk” program, offering communities the chance to buy a decommissioned phone box for just 1. The only condition They had to find a creative new use for it.
The response was extraordinary. Villages, town councils, and even individuals rushed to adopt the iconic red boxes. Some were turned into mini libraries, where neighbors could borrow and exchange books for free. Others became art galleries, coffee shops, or defibrillator stations. In one village, a phone box was transformed into a solar-powered mobile phone charging station — a poetic twist, given that mobile phones had made the phone box unnecessary in the first place.
To adopt a kiosk, applicants must submit a plan explaining how they will use it. The program is open to parish councils, charities, and community groups. Once approved, the new owner takes responsibility for maintaining the box. BT continues to own the land beneath it, but the structure itself becomes the community’s to keep.
More than 8,000 phone boxes have been adopted so far. What was once a symbol of outdated technology has become a symbol of creativity, community spirit, and the simple belief that nothing — not even an old phone box — should go to waste.
1. How much does it cost to adopt a red telephone box from BT
A. Nothing at all — it’s free.
B. Eight thousand pounds.
C. Just one pound.
D. The price depends on the location.
2. What must a community do before adopting a phone box
A. Submit a plan for its new use.
B. Pay a monthly fee to BT.
C. Turn it into a library or a gallery.
D. Keep it in its original condition.
3. According to the article, what can adopted phone boxes be used for
A. They must be returned to BT after five years.
B. They can only be used as mini libraries.
C. They are mainly used for advertising local businesses.
D. They can be transformed into various community facilities.
4. What is the main purpose of the “Adopt a Kiosk” program
A. To raise money for British Telecom.
B. To preserve Britain’s historical symbols in a creative way.
C. To replace all old phone boxes with new technology.
D. To encourage people to use mobile phones less often.
B
Meredith Leich, a trained painter with a degree from Swarthmore College, never expected her art career to move beyond traditional galleries. That changed during a hike in Virginia with biologist Vince Formica. When she saw a fallen silver maple tree covered with hundreds of forked fungus beetles, known locally as “The Mothership,” she was struck by more than its size. As Formica described the beetles’ social behavior and the way they raise their young beneath the bark, Leich had a sudden realization.
“Vince told me about their social behavior,” she recalls. “And I thought — this is a story that needs to be told with light.”
Bringing that idea to life, however, was difficult. Leich had no background in projection technology or programming. She taught herself 3D scanning and animation software over several months. “No two trees are alike,” she says. “Getting the images to wrap around the bark took hundreds of failed attempts.” Funding was another major obstacle. As an independent artist, she applied for seven grants before receiving support. “For two years, I worked on this project without knowing if it would ever be completed.”
The result was Arborlight, an immersive outdoor installation at Swarthmore College. Using projectors and computer animation, she turned campus trees into glowing screens. Beetles and fungi seemed to move across the bark while forest sounds played through hidden speakers.
The installation drew thousands of visitors, including school groups. Many came away seeing trees differently, not just as scenery, but as living ecosystems. One student wrote, “I used to walk past trees without really seeing them. Now I notice the life happening on and inside them.”
Leich is now developing a larger project focused on urban wildlife. She plans to project stories of pigeons, rats, and weeds onto buildings and bridges, challenging audiences to look more closely at the creatures sharing their cities.
5. What inspired Leich to create Arborlight
A. A conversation with a biologist about beetles.
B. A class assignment at Swarthmore College.
C. A book about forest ecosystems.
D. A grant from an environmental organization.
6. What challenge did Leich face when creating Arborlight
A. The local government opposed her project.
B. She had no formal training in painting.
C. She lacked the technical skills and funding.
D. The trees were too old to work with.
7. How did Leich overcome the technical challenges of her project
A. She hired a team of professional programmers.
B. She abandoned the project and started a new one.
C. She received free equipment from a technology company.
D. She taught herself 3D scanning and animation software.
8. What value does Leich’s work bring to society according to the article
A. It helps scientists study beetle behavior more easily.
B. It encourages people to notice and care about the natural world.
C. It replaces traditional art forms with digital technology.
D. It provides free entertainment for local communities.
C
In northwest China’s Gansu Province, scientists and cultural experts are working to preserve one of the world’s greatest artistic treasures: the Mogao Grottoes in Dunhuang. Dating back to the 4th century, this UNESCO World Heritage Site includes 735 caves carved into a cliff, containing 45,000 square meters of murals and more than 2,000 colored sculptures.
For centuries, these murals have been damaged by wind, sand, and changing temperature and humidity. Many have faded, discolored, or begun to peel. As Yu Tianxiu, director of the Dunhuang Academy’s cultural relic digitalization institute, explains, the original colors and textures have enormous artistic and historical value, but natural forces and human activity have gradually destroyed much of their original appearance.
Since the late 1980s, the Dunhuang Academy has been creating digital copies of the murals. Researchers and technicians take thousands of high-resolution（高分辨率的）photos of each cave wall and stitch them together on computers to build complete digital images. According to Yu, the digitized versions are clearer and even appear larger on screen than in the caves themselves.
More recently, 3D laser scanning has made the process much faster. Today, experts can document 20 to 30 caves a year, compared with just one or two in the early years. So far, the Academy has completed digital photography of hundreds of caves and 3D reconstruction of more than one hundred.
Artificial intelligence is also helping restore faded murals. A study published in npj Heritage Science introduced a deep-learning model that can recreate colors and fine textures with high accuracy. Using a generative adversarial network（生成对抗网络）with an attention mechanism, the method reduces false colors and improves image clarity.
The Academy has also shared its digital records with the public. In 2022, it launched an online platform offering more than 6,500 high-definition records. Scholars and art lovers around the world can now explore the murals from home.
Yu acknowledges that digital copies cannot replace seeing the originals in person. But, he says, digitization allows more people to appreciate the art while protecting the fragile murals from further harm.
9. What does paragraph 2 mainly tell us about the Mogao Grottoes’ murals
A. The damage they have suffered.
B. Their historical background.
C. The techniques used to create them.
D. Their influence on modern art.
10. How has technology helped preserve the Mogao Grottoes’ murals
A. By replacing traditional painting methods.
B. By training young artists in digital techniques.
C. By creating digital copies and restoring faded colors.
D. By selling digital copies to international museums.
11. What can be learned about the AI method mentioned in paragraph 5
A. It has been used at Mogao Grottoes for over 30 years.
B. It requires painting the murals again by hand.
C. It was developed by a team of European scientists.
D. It helps recreate the original colors of faded murals.
12. What message does Yu Tianxiu convey at the end of the article
A. Digital copies are more valuable than the originals.
B. Technology has made the murals more widely available.
C. Only experts should have access to the digital archives.
D. Traditional conservation methods are no longer useful.
D
For centuries, art and science have been studied separately — art in the domain of emotion and beauty, science in the domain of logic and facts. But a growing field called “neuroaesthetics” is breaking down this wall by using brain-imaging technology to understand what happens in our brains when we experience art.
Recently, researchers at Southeast University in Nanjing have extended this field to study traditional Chinese art forms. Their study, published in Frontiers in Psychology, proposes a new framework for understanding how the brain responds to Chinese calligraphy, ink painting, and other traditional art symbols.
The researchers argue that current neuroaesthetic models are mostly based on Western art traditions, such as European paintings and sculptures. “There is a significant degree of cultural bias in existing theoretical models,” they write. Chinese calligraphy, for example, emphasizes the dynamic movement of brushstrokes and the concept of “Qiyun” (vital resonance) — the energy and spirit flowing through the artwork. These features require different neural processing mechanisms than those used for Western art.
The study proposes three culturally specific mechanisms. The first is “Embodied Calligraphic Resonance” — the brain’s ability to mentally simulate the brushstroke movements when viewing calligraphy. The second involves “Yijing Empathy” — the emotional connection to the artistic conception in traditional Chinese painting. The third relates to how cultural knowledge helps viewers understand deeper meanings in artworks.
These findings have practical applications for art education. Understanding how the brain processes traditional Chinese art can help educators design more effective teaching methods. It can also promote cultural confidence by revealing the unique cognitive value of China’s artistic heritage.
“This research moves neuroaesthetics toward a culturally pluralistic perspective,” the authors conclude. In other words, beauty is not just in the eye of the beholder — it is also shaped by the culture in which the beholder lives.
13. What does the field of neuroaesthetics study according to the article
A. The economic value of art in modern society.
B. The history of different art movements.
C. The brain activity behind artistic experiences.
D. The techniques used to create traditional paintings.
14. Why did the Chinese researchers propose a new framework
A. Existing models may not fully explain Chinese art experiences.
B. Western art is less valuable than Chinese art.
C. Brain-imaging technology is not reliable.
D. Traditional Chinese art has no connection to the brain.
15. What is the “Embodied Calligraphic Resonance” mechanism about
A. The emotional response to colors in paintings.
B. The brain’s mental simulation of brushstroke movements.
C. The memory of famous calligraphy works.
D. The physical act of writing calligraphy.
16. What does the underlined sentence in the last paragraph imply
A. Western standards of beauty should be applied to all art forms.
B. Beauty has nothing to do with personal feelings.
C. Chinese art is more beautiful than Western art.
D. People from different cultures may experience the same artwork differently.
第二节（共5小题；每小题2.5分，分12.5分）
阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。
How to Support Public Art in Your Community
Public art — murals, sculptures, performances in parks — transforms ordinary spaces into places of wonder. From murals that brighten blank walls to sculptures in public squares, public art has the power to bring people together and make neighborhoods feel more alive. But public art doesn‘t appear by magic. It requires community support. ___17___ Here’s how you can help.
Attend local arts events. Your presence matters. When you show up to a gallery opening, an outdoor concert, or a poetry reading, you‘re not just enjoying yourself. Whether it’s a street art festival or a community theater performance, every person in the audience represents support. ___18___ Numbers matter to funders and city officials.
___19___ Many public art projects fail not because the art isn‘t good, but because neighbors didn’t know about them until construction started. Follow your local arts council on social media. Sign up for their newsletter. Show up to planning meetings. Your voice matters. The earlier you get involved, the more you can shape the outcome.
Talk to your local representatives. Let your city council members know that public art is a priority for you. ___20___ A few emails or phone calls can make a surprising difference. Elected officials pay attention when their constituents speak up about what matters to them.
Donate. Even small amounts help. Local arts organizations run on tight budgets. If you can‘t give money, give time. Volunteer at a community mural day or help hang artwork for a local show. Every bit of support helps keep public art alive.
Public art belongs to everyone. When communities take ownership of public art, they do more than beautify their surroundings — they build stronger, more connected neighborhoods. ___21___
A.Stay informed about proposed projects.
B.You’re sending a message that art matters to this community.
C.They need to hear from people who live in their districts.
D.Your $10 matters as much as someone else’s $1,000.
E.Public art is often the first thing to be cut from budgets.
F.Many cities have public art ordinances that require funding.
G.Without engaged citizens, even the best ideas can go unrealized.
语言运用(共30分)
阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。
High in the mountains of southern Italy, the tiny village of San Giovanni has seen an unexpected revival. Ten years ago, most young people had left for the cities, and the village was nearly ___22___ (desert). Today, thanks to an art project, it is home to more than 50 painters, sculptors, and musicians.
The project, ___23___ (call) “Residenza d‘Artista” (Artist Residency), was created by a group of Milanese artists searching for affordable studio space. They found San Giovanni’s empty stone houses and saw not ruin, ___24___ possibility. As Elena Rossi, one of the founders, says, “These walls have stories to tell. We just needed to listen.”
The artists rented houses for as little as 50 euros ___25___ month, restored old buildings, painted murals, and transformed a former church into a concert hall. Soon, tourists began arriving, a small cafe opened, and some ___26___ (former) villagers returned.
Today, San Giovanni’s population has grown to over 300. The village also hosts an annual arts festival ___27___ attracts visitors from across Europe. Local children, who once had little access to the arts, can now attend free painting and music classes ___28___ (offer) by the resident artists.
“Art didn’t just save our village,” says Maria, ___29___ 82-year-old resident who has lived in San Giovanni for her entire life. “It gave us back our future.”
San Giovanni’s success, once home to only 50 elderly residents and considered a lost cause, has inspired more than 20 other ___30___ (decline) villages across Italy to launch similar projects. As Rossi explains, the goal is not to become a city, but to celebrate what already ___31___ (exist) — the history, the silence, the stones — and let art bring it to life.参考答案
1 2 3 4 5 6 7 8 9 10
C A D B A C D B A C
11 12 13 14 15 16 17 18 19 20
D B C A B D G B A C
21 22 23 24 25 26 27 28 29 30
D deserted called but for former That/which offered an declining
31
exists

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