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Despite what you might think from its name, the Museum of Afghan Civilization will be the very model of a modern major museum when it opens in January. It will be housed in an angular, postmodern building, designed by France’s Yona Friedman. It will display the art of Afghanistan from prehistory to today, with works collected from all over the world. And it will have a nifty website, complete with high-definition reproductions and interactive information guides. What the museum won’t have is a front door, a parking lot, or a cafeteria. That’s because the museum is the first designed as a virtual building only. Why put the objects in an imaginary building, instead of just creating a website full of pictures Pascale Bastide, President of the Paris-based association Afghanculture, says she hopes that hiring an architect will imbue her project (afghanculturemuseum.org) with the gravitas of a traditional museum, as well as make viewers feel as though they are actively traveling to a museum rather than passively seeing reproductions of its artwork. Bastide is quick to admit that "nothing replaces real contact with an objet d’art (小艺术品，古玩), but the site’s interactive approach comes close. Visitors will encounter a digital image of Friedman’s design, set against its imagined location: the Bamiyan caves, where two monumental Buddha statues had stood since the fourth century A. D. before being destroyed by the Taliban in 2001. Viewers can spin the building to view it from all sides, then click to enter multimedia " pavilions," which can be organized chronologically, geographically, or thematically. Friedman’s design will serve as the shell. The interior will change just like in a real-world museum, where curators (馆长) erect temporary walls according to an exhibition’s needs. Bricks and mortar (传统实体企业) aside, the Museum of Afghan Civilization will operate like a typical art institution. The website will have a director (Bastide) and a team of curators (a Princeton professor, a French museum conservator, an Afghan archeologist, and an Afghan linguist). Oh, and there’s also a designer with a background in videogames. Afghanculturemuseum.org obviously isn’t the only museum with a website, but its purely virtual form could affect the traditional museum world. For one thing, it all but eliminates the debate over whether a museum’s priority should be to display artworks or preserve them. Today’s digital reproduction technologies are generally harmless to the art (unlike the light and air in a museum), so they allow the public to see works otherwise accessible only to those with white gloves and doctorates. Virtual museums still take money to launch; Bastide is looking for $10 million in private and government funding. They won’t make the traditional museums obsolete, either. But their lower maintenance costs and sustainable approach to exhibitions might mean fewer traditional museums created in the future. That said, Bastide hopes that one day, in a stable, democratic Afghanistan, a physical Museum of Afghan Civilization might be built. But for now, the virtual approach will allow the museum to live—without having to exist. Why does Afghanculturemuseum. org eliminate the debate on whether a museum’s priority should be to display artworks or to preserve them
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情景： 假定你是班长，通知同学周六搞活动。要求同学上午7：30在校门集合。上午参观艺术博物馆，下午去公园植树。自备午餐。天气预报有雨。要带好雨伞。 任务：请你用英语写一个50字左右的通知。 请用下面格式： Notice Attention please, everyone! Monitor of Class One
When the United Nations and world leaders made universal primary education one of their eight millennium development goals, more than 100 million children were not in school. They aimed to bring that number down to zero by 2015. This week, marking the halfway point, ministers, donors, and others are meeting in Dakar to assess their progress. Ronald Siebes is co-president of the US-based Fast Track Initiative, an organization aimed at channeling extra funding from partners including the World Bank, the United Nations, and the European Union to the poorest countries to help them achieve the education goals. "We are really making progress," he said. "There are huge challenges, but progress is being made to achieve this important goal." After a slow start in the 32 countries funded by the Fast Track Initiative, their annual report says by 2010 most will have 100 percent of kids starting first grade. An official with the same organization, Desmond Bermingham, says countries in West Africa, whether funded by the Fast Track Initiative or not, are making progress. "I would say the most critical issue is that the governments are making education a priority," he said. "It is a political will issue and they are really making very rapid progress. They have got a lot of catching up to do. They are moving faster than any region has ever moved before." But he says part of the reason is that West Africa had the farthest to go. In some countries in the region, more than three-quarters of school-age children do not attend school. Bermingham says several countries are putting measures in place to block corruption in the education sector, rampant in many African countries. "Where it is working really well is where there is a very short accountability line between the school and the parents," he noted. "They have a really strong interest in making sure the money is used properly. Several countries are now introducing systems of publishing the school budget in the newspapers or even on the door of the school. Uganda is one of them, Kenya is one of them, and Niger has introduced a similar system." But Lucia Fry, of the South Africa-based Global Campaign for Education, says if progress continues at the current pace, it will be impossible to meet the development goals by 2015. She says aid fails far short of what is needed. "Overall, we need another $6 billion US per year just to get every child to complete a primary cycle of education," she explained. And she says too much emphasis is being put on enrolling kids in school without ensuring that they stay long enough to finish. "Although primary enrollment has risen we have also got in 50 countries worldwide, less than half of all children worldwide complete primary school," she added. And she says there is still a long way to go to address the needs of children on the margins, including those with handicaps, who live in conflict zones, or who work to support their families. The US-based Fast Track Initiative ______ to aid the poorest countries to help them achieve the education goals.
The never-ceasing pace of scientific accomplishment often surpasses the progress of moral thought, leaving people struggling to make sense, initially at least, of whether heart transplants are ethical or test-tube babies desirable. Over the past three decades scientists have begun to investigate a branch of medicine that offers astonishing promise—the ability to repair the human body and even grow new organs—but which destroys early-stage embryos to do so. In "The Stem Cell Hope" Alice Park, a science writer at Time magazine, chronicles the scientific, political, ethical and personal struggles of those involved in the work. Embryonic stem cells are pluripotent (多能性的): they have the ability to change into any one of the 200- odd types of cell that compose the human body; but they can do so only at a very early stage. Once the bundle has reached more than about 150 cells, they start to specialize. Research into repairing severed spinal cords or growing new hearts has thus needed a supply of stem cells that come from entities that, given a more favorable environment, could instead grow into a baby. Immediately after the announcement of the birth of Dolly the sheep—the clone of an adult ewe whose mammary (乳腺的) cells Ian Wilmut had tricked into behaving like a developing embryo—American scientists were hauled before the nation’s politicians who were uneasy at the implication that people might also be cloned. Concern at the speed of scientific progress had previously stalled publicly funded research into controversial topics, for example, into in vitro fertilization. But it did not stop the work from taking place: instead the IVF industry blossomed in the private sector, funded by couples desperate for a baby and investors who had spotted a profitable new market. That is also what happened with human stem cells. After a prolonged struggle over whether to ban research outright—which pitted Nancy Reagan, whose husband suffered from Alzheimer’s disease, against a father who asked George Bush’s advisers, "Which one of my children would you kill"—Mr. Bush blocked the use of government money to fund research on any new human embryonic stem-cell cultures. But research did not halt completely: Geron, a biopharmaceutical (生物制的) company based in Menlo Park, California, had started "to mop up this orphaned innovation", as Ms Park puts it, by recruiting researchers whose work brought them into conflict with the funding restrictions. Meanwhile, in South Korea a scientist claimed not only to have cloned human embryos but also to have created patient-specific cultures that could, in theory, be used to patch up brain damage or grow a kidney. Alas, he was wrong. But a Japanese scientist did manage to persuade adult skin cells to act like stem cells. If it proves possible to scale up his techniques, that would remove the source of the controversy over stem-cell research. Three months after he took office, Barack Obama lifted restrictions on federal funding for research on new stem-cell cultures, saying that he thought sound science and moral values were consistent with one another. But progress has been slow: the first human trials in America, involving two people with spinal-cord injuries who have been injected with stem cells developed by Geron, are only just under way. The sick children who first inspired scientists to conduct research into stem cells in order to develop treatments that might help them are now young adults. As Ms Park notes, the fight over stem-cell research is not over, and those who might benefit from stem-cell medicine remain in need. What does the author mean by saying Geron "had started to ’mop up this orphaned innovation’" (Paragraph 4)
Despite what you might think from its name, the Museum of Afghan Civilization will be the very model of a modern major museum when it opens in January. It will be housed in an angular, postmodern building, designed by France’s Yona Friedman. It will display the art of Afghanistan from prehistory to today, with works collected from all over the world. And it will have a nifty website, complete with high-definition reproductions and interactive information guides. What the museum won’t have is a front door, a parking lot, or a cafeteria. That’s because the museum is the first designed as a virtual building only. Why put the objects in an imaginary building, instead of just creating a website full of pictures Pascale Bastide, President of the Paris-based association Afghanculture, says she hopes that hiring an architect will imbue her project (afghanculturemuseum.org) with the gravitas of a traditional museum, as well as make viewers feel as though they are actively traveling to a museum rather than passively seeing reproductions of its artwork. Bastide is quick to admit that "nothing replaces real contact with an objet d’art (小艺术品，古玩), but the site’s interactive approach comes close. Visitors will encounter a digital image of Friedman’s design, set against its imagined location: the Bamiyan caves, where two monumental Buddha statues had stood since the fourth century A. D. before being destroyed by the Taliban in 2001. Viewers can spin the building to view it from all sides, then click to enter multimedia " pavilions," which can be organized chronologically, geographically, or thematically. Friedman’s design will serve as the shell. The interior will change just like in a real-world museum, where curators (馆长) erect temporary walls according to an exhibition’s needs. Bricks and mortar (传统实体企业) aside, the Museum of Afghan Civilization will operate like a typical art institution. The website will have a director (Bastide) and a team of curators (a Princeton professor, a French museum conservator, an Afghan archeologist, and an Afghan linguist). Oh, and there’s also a designer with a background in videogames. Afghanculturemuseum.org obviously isn’t the only museum with a website, but its purely virtual form could affect the traditional museum world. For one thing, it all but eliminates the debate over whether a museum’s priority should be to display artworks or preserve them. Today’s digital reproduction technologies are generally harmless to the art (unlike the light and air in a museum), so they allow the public to see works otherwise accessible only to those with white gloves and doctorates. Virtual museums still take money to launch; Bastide is looking for $10 million in private and government funding. They won’t make the traditional museums obsolete, either. But their lower maintenance costs and sustainable approach to exhibitions might mean fewer traditional museums created in the future. That said, Bastide hopes that one day, in a stable, democratic Afghanistan, a physical Museum of Afghan Civilization might be built. But for now, the virtual approach will allow the museum to live—without having to exist. The second paragraph doesn’t claim that the Museum of Afghan Civilization ______.
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