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Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer"s temperament, discovering itself through the camera"s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as an observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography"s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton"s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modem equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing." Cartier-Bresson, in fact, claims that the modem camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. The author is primarily concerned with ______.
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Picture-taking is a technique both for annexing the objective world and for expressing the singular self. Photographs depict objective realities that already exist, though only the camera can disclose them. And they depict an individual photographer"s temperament, discovering itself through the camera"s cropping of reality. That is, photography has two antithetical ideals: in the first, photography is about the world and the photographer is a mere observer who counts for little; but in the second, photography is the instrument of intrepid, questing subjectivity and the photographer is all.These conflicting ideals arise from a fundamental uneasiness on the part of both photographers and viewers of photographs toward the aggressive component in "taking" a picture. Accordingly, the ideal of a photographer as an observer is attractive because it implicitly denies that picture-taking is an aggressive act. The issue, of course, is not so clear-cut. What photographers do cannot be characterized as simply predatory or as simply, and essentially, benevolent. As a consequence, one ideal of picture-taking or the other is always being rediscovered and championed.An important result of the coexistence of these two ideals is a recurrent ambivalence toward photography"s means. Whatever the claims that photography might make to be a form of personal expression on a par with painting, its originality is inextricably linked to the powers of a machine. The steady growth of these powers has made possible the extraordinary informativeness and imaginative formal beauty of many photographs, like Harold Edgerton"s high-speed photographs of a bullet hitting its target or of the swirls and eddies of a tennis stroke. But as cameras become more sophisticated, more automated, some photographers are tempted to disarm themselves or to suggest that they are not really armed, preferring to submit themselves to the limits imposed by premodern camera technology because a cruder, less high-powered machine is thought to give more interesting or emotive results, to leave more room for creative accident. For example, it has been virtually a point of honor for many photographers, including Walker Evans and Cartier-Bresson, to refuse to use modem equipment. These photographers have come to doubt the value of the camera as an instrument of "fast seeing." Cartier-Bresson, in fact, claims that the modem camera may see too fast.This ambivalence toward photographic means determines trends in taste. The cult of the future (of faster and faster seeing) alternates over time with the wish to return to a purer past—when images had a handmade quality. This nostalgia for some pristine state of the photographic enterprise is currently widespread and underlies the present-day enthusiasm for daguerreotypes and the wok of forgotten nineteenth-century provincial photographers. Photographers and viewers of photographs, it seems, need periodically to resist their own knowingness. According to the passage, interest among photographers in each of photography"s two ideals can be described as ______.
国际标准录音制品编码的英文缩写为（ ）。
The energy contained in rock within the earth"s crust represents a nearly unlimited energy source, but until recently commercial retrieval has been limited to underground hot water and/or steam recovery systems. These systems have been developed in areas of recent volcanic activity, where high rates of heat flow cause visible eruption of water in the form of geysers and hot springs. In other areas, however, hot rock also exists near the surface but there is insufficient water present to produce eruptive phenomena. Thus a potential hot dry rock (HDR) reservoir exists whenever the amount of spontaneously produced geothermal fluid has been judged inadequate for existing commercial systems.As a result of recent energy crisis, new concepts for creating HDR recovery systems—which involve drilling holes and connecting them to artificial reservoirs placed deep within the crest—are being developed. In all attempts to retrieve energy from HDRs, artificial stimulation will be required to create either sufficient permeability or bounded flow paths to facilitate the removal of heat by circulation of a fluid over the surface of the rock.The HDR resource base is generally defined to include crustal rock that is hotter than 150℃, is at depths less than ten kilometers, and can be drilled with presently available equipment. Although wells deeper than ten kilometers are technically feasible, prevailing economic factors will obviously determine the commercial feasibility of wells at such depths. Rock temperatures as low as 100℃ may be useful for space heating; however, for producing electricity, temperatures greater than 200℃ are desirable. The geothermal gradient, which specifically determines the depth of drilling required to reach a desired temperature, is a major factor in the recoverability of geothermal resources. Temperature gradient maps generated from oil and gas well temperature-depth records kept by the American Association of Petroleum Geologists suggest that tappable high-temperature gradients are distributed all across the United States. (There are many areas, however, for which no temperature gradient records exist.)Indications are that the HDR resource base is very large. If an average geothermal temperature gradient of 22℃ per kilometer of depth is used, a staggering 13,000,000 quadrillion B.T.U. "s of total energy are calculated to be contained in crustal rock to a ten-kilometer depth in the United States. If we conservatively estimate that only about 0.2 percent is recoverable, we find a total of all the coal remaining in the United States. The remaining problem is to balance the economics of deeper, hotter, more costly wells and shallower, cooler, less expensive wells against the value of the final product, electricity and/or heat. The primary purpose of the passage is to ______.
80.本题包括三道分题，其中A分题有关图书出版，B分题有关期刊出版，C分题有关数字出版。请任选一道分题作答。如果作答不止一道，将按排列在前的分题计分。（本题20分） 80-B. 简答题：根据所给材料回答问题。《四轮驱动》期刊为公开发行的汽车消费类月刊，广告业务实行自营。2013年10月，在该期刊记者站的操办下，驻地汽车生产企业M公司与期刊社签订了广告投放意向书，主要内容是“买下《四轮驱动》期刊2014年全年的底封广告位，每个广告位的价格为22万元”。M公司提出：“你有多少底封，我就上多少期广告。”《四轮驱动》期刊社立即责成广告部与M公司商谈相关操作方案，力求收益最大化。广告部认为，正刊的底封每年总量固定，要想增加，可以考虑在2014年年底前分别出版精选本、精华本和珍藏本，这样就会多出3个底封广告位。M公司对此表示认可，同意对精选本、精华本和珍藏本的底封也按同等价位投放广告。在双方合作期间，为了增进与客户的友好关系，《四轮驱动》期刊广告部人员在M公司配合下，撰写了《M汽车安全技术世界领先》的新闻报道，着力介绍M公司一些新技术的特点。设计版式时，技术编辑应广告部要求，为凸显视觉冲击力而对该文全部采用黑体字。文章很快就刊登在当月的《四轮驱动》期刊上。M公司非常满意这种合作关系，决定增加广告投放量，遂又买下期刊下一期的封二广告位。封二广告由M公司制作，主要画面是我国某位国家领导人视察该企业的照片。经期刊社核实，该领导人确实曾视察该企业并对其发展思路给予肯定。于是，期刊社刊登了该广告。2014年8月，《四轮驱动》期刊社被出版行政主管部门和工商行政管理部门查处。问题一： 广告部所提2014年中出版精选本、精华本和珍藏本，以获得额外3个底封广告位的建议是否妥当？为什么？问题二： 工商行政管理部门为什么查处《四轮驱动》期刊？问题三： 《四轮驱动》期刊在记者站管理、文稿采编、广告刊登和排版设计等业务上有哪些违规或不妥之处？
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