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For some people, the light of human attention has an unbearable brilliance. Like ivy along the dim edge of a garden, they prefer the social shadows, shunning parties, publicity and fame of any sort. Then there are the flowers of the human arboretum. For them, being in the view of others seems necessary for life itself. From Hollywood to fabricated prime-time reality, this spotlight-dependent species is thriving. But what about the individuals who crave attention for more desperate reasons Those who resort to unusual ways to get it Lately, it seems, a dark bloom of these characters has emerged. For motives known only to themselves, they have won notoriety by drawing on an almost sacred well of social status: victim hood. In early April, US national news outlets tracked the disappearance of Audrey Seiler, a sophomore at the University of Wisconsin in Madison. Police and hundreds of concerned citizens searched for four days before Seiler was discovered. Seiler said she was kidnapped. Within hours, however, her story fell apart. Police announced that her abduction had been a hoax. Why would a popular student make herself disappear Her motive remains a mystery, but perhaps it had something to do with the search parties and the news bulletins that surrounded her. Sympathy is a powerful sentiment that can connect complete strangers. But if it’s used to manipulate, the backlash can be much more intense. In February, a Waterbury, Connecticut, man was arrested as a result of exploiting sympathy. Edward Valentin told reporters that he had received word that his wife, serving in Iraq, had been killed in an explosion. Police said Valentin admitted the fabrication, reasoning that if people felt sorry for him maybe the military would send his wife home. Evidence, however, points elsewhere. In its extreme form, such a craving shows up in mental disorders, where sufferers may seek attention by causing themselves harm. But even when it comes with no diagnosis, a deep craving to be noticed can have a wide impact. For these individuals, victim hood represents a "pure state of guilt-free entitlement," said psychologist Richard Levak, of Del Mar, California. "They go from being utterly deprived to being utterly indulged. In today’s world ... people have become more depressed and disconnected from each other. So you get people who crave affection and attention and approval. They don’t know how to ask for it and they don’t know how to get it. That leaves them vulnerable," Levak said. The word "notoriety" underlined in Paragraph 2 is closest in meaning to ______.
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If you left your book on the table overnight, you would find the following morning that it was still exactly when you had left it, provided nobody had moved it. If a ball is made to roll on a very smooth surface, it will roll a long distance unless something stops it or changes its direction. This tendency of an object to remain at rest unless something moves it and to continue moving unless something stops it is known as the Law of Inertia. The following examples show the truth of this law.(a) Put a table-cloth on a table and arrange a pile of books on it. Hold one edge of the tablecloth and pull it quickly. The table-cloth will come off, leaving the pile of books undisturbed.(b) Place a small piece of cardboard on an open jar and place a coin on it directly over its mouth. Use one finger to flick the piece of cardboard away. You will notice that the coin drops into the jar.(c) Sitting in a car which starts suddenly, you feel you are jerked backwards. In fact, you are not jerked backwards. Your lower half, which is in contact with the cushion, is forced to move forward with the car, and the upper part of your body, which remained at rest, is left behind. In this passage, inertia means ______.
As with any work of art, the merit of Chapman Kelley’s "Wildflower Works I" was in the eye of the beholder. Kelley, who normally works with paint and canvas, considered the twin oval gardens planted in 1984 at Daley Bicentennial Park his most important piece. The Chicago Park District considered it a patch of raggedy vegetation on public property that could be dug up and replanted at will like the flower boxes along Michigan Avenue. And that’s what happened in June 2004, when the district decided to create a more orderly vista for pedestrians crossing from Millennium Park via the new Frank Gehry footbridge. If you’re looking for evidence that the rubes who run the Park District don’t know art when they see it, all you have to do is visit what’s left of Kelley’s masterpiece. The exuberant 1.5-acre tangle of leggy wildflowers is now confined to a tidy rectangle, restrained on all sides by a knee-high hedge and surrounded by a closely cropped lawn. White hydrangeas and pink shrub roses complete the look. We don’t know who’s responsible for the redesign, but We’ll bet the carpet in his home doesn’t go with the furniture. Still, you’d think the Park District Was within its rights to plow under the prairie. Wrong. Kelley just won at lawsuit in which he argued that the garden was public are and therefore protected by the federal Visual Artists Rights Act. Under that law, the district should have given him 90 days’ notice that it intended to mess with his artwork instead of rushing headlong into the demolition, a la Meigs Field. That way Kelley could have mounted a legal challenge, or at least removed the plants. Park District officials said they never considered the garden a work of art, even though it was installed by an established artist and not, say, Joe’s Sod and Landscaping. We can understand their confusion. Just recently, we figured out that the caged greenery directly south of Pritzker Pavilion is supposed to be an architectural statement and not a Christmas tree lot. All that’s left is for the district to compensate Kelley for his loss. Whatever price the parties settle on, let’s hope the agreement also provides for the removal of the rest of "Wildflower Works I. " If it was’t an eyesore before—and plenty of people thought it was... it sure is now. According to the passage, the one who redesigned the Park must ______.
As with any work of art, the merit of Chapman Kelley’s "Wildflower Works I" was in the eye of the beholder. Kelley, who normally works with paint and canvas, considered the twin oval gardens planted in 1984 at Daley Bicentennial Park his most important piece. The Chicago Park District considered it a patch of raggedy vegetation on public property that could be dug up and replanted at will like the flower boxes along Michigan Avenue. And that’s what happened in June 2004, when the district decided to create a more orderly vista for pedestrians crossing from Millennium Park via the new Frank Gehry footbridge. If you’re looking for evidence that the rubes who run the Park District don’t know art when they see it, all you have to do is visit what’s left of Kelley’s masterpiece. The exuberant 1.5-acre tangle of leggy wildflowers is now confined to a tidy rectangle, restrained on all sides by a knee-high hedge and surrounded by a closely cropped lawn. White hydrangeas and pink shrub roses complete the look. We don’t know who’s responsible for the redesign, but We’ll bet the carpet in his home doesn’t go with the furniture. Still, you’d think the Park District Was within its rights to plow under the prairie. Wrong. Kelley just won at lawsuit in which he argued that the garden was public are and therefore protected by the federal Visual Artists Rights Act. Under that law, the district should have given him 90 days’ notice that it intended to mess with his artwork instead of rushing headlong into the demolition, a la Meigs Field. That way Kelley could have mounted a legal challenge, or at least removed the plants. Park District officials said they never considered the garden a work of art, even though it was installed by an established artist and not, say, Joe’s Sod and Landscaping. We can understand their confusion. Just recently, we figured out that the caged greenery directly south of Pritzker Pavilion is supposed to be an architectural statement and not a Christmas tree lot. All that’s left is for the district to compensate Kelley for his loss. Whatever price the parties settle on, let’s hope the agreement also provides for the removal of the rest of "Wildflower Works I. " If it was’t an eyesore before—and plenty of people thought it was... it sure is now. What’s the author’s attitude towards the present "Wildflower Works I"
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