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Museums have changed. They are no longer places that one "should" go to but now they are places to enjoy.At a science museum in Canada, you can feel your hair stand on end as harmless electricity passes through your body. At the Children’s Museum in New York, you can play an African drum. There are no "Do Not Touch" signs in some other museums in the USA.More and more museum directors have realized that people learn best when they can become part of what they are seeing. In many science museums, the visitors are encouraged to touch, listen, operate and experiment so as to discover scientific rules for themselves.The purpose is not only to provide fun, but also help people feel at home in the world of science. If people don’t understand science, they will be afraid of it; and if they are afraid of science, they will not make the best use of it.One cause of all these changes is the increase in wealth and spare time. Another cause is the growing number of young people in the population. Many of them are college students or college graduates. They see things in a new and different way. They want art that they can take part in. The same is true of science and history.The old museums have been changing and the government is encouraging the building of new and modern museums. In the United States and Canada, there are more than 6,000 museums, almost twice as many as there were 25 years ago. How many museums or so were there in the United States and Canada 25 years ago()
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In the United States at the time of World War Ⅱ, (When) soldiers were screened (for military service) the army defined (a minimal level) of literacy as that (was normally achieved) in the fifth grade.
CARIFF, Wales poets, singers and musicians from across the globe gathered in Wales to celebrate the tradition of storytelling."It might seem strange that people still want to listen to it instead of watching television, but this is an unusual art form whose time has come again," said David Ambrose, director of "Beyond the Border", an international storytelling festival in Wales."Some of the tales, like those of the Inuit from Canada, are thousands of years old. So our storytellers have come from distant lands to connect us with the distance of time," he said early this month.Two Inuit women, both in their mid 60s, are among the few remaining who can do Kntadjait, or throat singing, which has few words and much sound.Their art is governed by the cold of their surroundings forcing them to say little but listen attentively.Ambrose started the festival in 1993, after several years of working with those reviving storytelling in Wales."It came out of a group of people who wanted to reconnect with traditions and as all the Welsh are storytellers, it was in good hands here," Ambrose said. According to the writer, which of the following is NOT true()
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As one works with color in a practical or experimental way, one is impressed by two apparently unrelated facts. Color as seen is a mobile changeable thing depending to a large extent on the relationship of the color to other colors seen simultaneously. It is not fixed in its relation to the direct stimulus which creates it. On the other hand, the properties of surfaces that give rise to color do not seem to change greatly under a wide variety of illumination colors, usually (but not always) looking much the same in artificial light as in daylight. Both of these effects seem to be due in large part to the mechanism of color adaptation mentioned earlier. When the eye is fixed on a colored area, there is an immediate readjustment of the sensitivity of the eye to color in and around the area viewed. This readjustment does not immediately affect the color seen but usually does affect the next area to which the gaze is shifted. The longer the time of viewing, the higher the intensity, and the larger the area, the greater the effect will be in terms of its persistence in the succeeding viewing situation. As indicated by the work of Wright and Shouted, it appears that, at least for a first approximation, full adaptation takes place over a very brief time if the adapting source is moderately bright and the eye has been in relative darkness just previously. As the stimulus is allowed to act, however, the effect becomes more persistent in the sense that it takes the eye longer to regain its sensitivity to lower intensities. The net result is that, if the eye is so exposed and then the gaze is transferred to an area of lower intensity, the loss of sensitivity produced by the first area will still be present and appear as an "afterimage" superimposed on the second. The effect not only is present over the actual area causing the "local adaptation" but also spreads with decreasing strength to adjoining areas of the eye to produce "lateral adaptation." Also, because of the persistence of the effect if the eye is shifted around from one object to another, all of which are at similar brightness or have similar colors, the adaptation will tend to become uniform over the whole eye. Whether a colored object would, on two viewings separated in time, appear to the viewer as similar or different in color would depend mostly on ______.
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