2024届高考英语外刊阅读天天练：综合训练十九

高考英语外刊阅读天天练 综合训练十九 I 阅读理解 The Van Gogh effect: immersive art shows are a 'money grab', say leading digital artists 【The Guardian (January 24, 2024)】 From animated floor-to-ceiling paintings to giant fluorescent ball pits, immersive art experiences have proliferated in warehouses, often costing £25-£40 a head. Now experts have claimed that many are overpriced gimmicks. The proliferation of these shows, which often use relatively old technology, is diluting public perception of what immersive experiences could be and risks sidelining more innovative work, the artists have claimed. Lucy Hardcastle, a designer and digital artist who runs an eponymous studio in London, said the commercialisation of immersive experiences did not leave room for many original ideas. Hardcastle drew a distinction between commercial experiences such as the Van Gogh, Monet and Dali exhibitions, which are primarily screen or projection based, and more cutting edge shows where artists have created environments from scratch. For example, the Dutch artist-led Studio Drift's work includes creating an autonomously moving herd of drones, programmed to fly using an algorithm derived from years of research into starling murmurations. This kinds of projects often take years to develop. In contrast, some of the most popular commercial experiences opened since these pioneeringshows primarily used projection mapping --- where displays are projected to simulate environments or augment reality. Hardcastle said she thought the word immersive had become“a gimmicky tagline". Whereas it was once associated with shows that engaged all the senses, it was often now more about creating something that looks good on Instagram. The Dutch artist Ralph Nauta, cofounder of the Amsterdam-based Studio Drift, also said it was comparatively easy for commercial ventures to make a projected animation of a dead artist's work. But their own projects such as Drifter, which involved a floating concrete block, took years of origi