Unit 4 Meeting the muse（单元分层自测·能力提升卷）英语外研版选择性必修第一册

**基本信息** 本单元卷聚焦“艺术与日常”主题，通过真实艺术情境语篇与梯度化任务设计，适配高二选择性必修一Unit 4复习，有效提升语言能力与创新思维。 **题型特征** |题型|题量/分值|知识覆盖|命题特色| |----|-----------|----------|----------| |阅读|20题/50分|艺术工作坊、壁画创作、互动艺术等语篇理解|设推理判断（如B篇第7题）、主旨概括（D篇第15题），考查思维品质| |语言运用|25题/30分|艺术场景词汇（如完形21题imagine）、非谓语动词（语法填空36题to turn）|语境化设题，完形填空体现“限制与创新”主题，培养语言能力| |写作|2题/40分|邀请信（艺术节邀请）、故事续写（雕塑创作）|续写题引导从日常观察中挖掘灵感，融合文化意识与学习能力|

2026-2027学年高二选择性必修第一册英语单元自测 Unit 4 Meeting the muse·能力提升 （时间：100分钟　满分：120分） 学校：___________　班级：___________　姓名：___________　分数：___________ 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其余结构按新高考英语非听力部分设计。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Everyday Muse Workshops The City Youth Arts Centre is offering four 75-minute workshops for students aged 15–18. Each session begins with something ordinary and asks participants to transform it through artistic choices. Choose one workshop and bring only the material requested. Sound Map — Monday Bring a 30-second recording of an everyday sound, such as a gate closing or water running. You will cut, repeat and arrange sounds to create a short audio journey. Record only in public spaces, and do not include a recognisable private conversation. Code and Colour — Tuesday Turn a simple rule into changing shapes and colours on screen. You will begin with prepared blocks of code, so no programming experience is required. This session suits students who want viewers' movements to influence what appears in an artwork. Material Memory — Thursday Bring one unwanted object that can safely be taken apart. You will explore how scratches, repairs and worn surfaces can suggest a story before rebuilding the pieces into a small sculpture. Do not bring valuable objects or anything belonging to another person without permission. Shadow Stage — Friday Bring a flat object with an interesting outline. In small groups, you will use light, distance and movement to create a silent scene. The aim is not to copy the object's real use but to discover what else its shadow can become. 1．Which workshop best suits a beginner who wants viewers to affect a digital artwork? A. Sound Map. B. Code and Colour. C. Material Memory. D. Shadow Stage. 2．What rule applies in Material Memory? A. An object owned by someone else requires permission. B. Every object must be returned to its original condition. C. Valuable objects are preferred because they hold memories. D. Participants should hide all scratches before rebuilding. 3．What do the four workshops have in common? A. They train students to reproduce famous artworks. B. They require advanced technical or performance skills. C. They judge whether one art form is better than another. D. They turn familiar materials or experiences into new expression. B The Wall That Was Already Speaking Mira won the chance to design a mural for the east stairwell. The theme was “Where We Meet”. Expecting one brilliant image, she filled a folder with bridges, circles and joined hands. Every sketch looked polished but could belong to any school. After a week, she tore the pages from her wall. On Saturday, Mira planned to draw in the town square. Heavy rain closed the buses, leaving her at school. She watched Mr Hall, the caretaker, push his cart up the stairwell. One wheel marked the turning floor. Mira then noticed a worn blue handrail, old exhibition tape and a patch of paint brighter than the wall around it. “This place is already speaking,” Mr Hall said when he saw her looking. He explained that the bright patch had been protected by a notice board for years. The tape lines marked student shows; the rail was smoothest where people paused to talk. He was not offering Mira a design. He was showing her that the wall contained evidence of how the space had been used. Mira began collecting those traces. She asked students to draw their usual routes through the stairwell on transparent sheets. She layered the lines over the marks she had observed and painted them as paths of different widths. Instead of placing one heroic figure at the centre, she left open spaces where the paths crossed. From a distance the mural looked abstract; up close, viewers could find small details from their own routines. At the opening, a teacher asked which person had inspired the work. Mira pointed to the handrail, the tape and the students searching for their paths. Her answer surprised even her. Inspiration had not appeared by carrying her away from the ordinary. It had grown when a specific question—where do we meet?—made her look at the ordinary long enough for hidden patterns to become visible. 4．Why did Mira reject her first sketches? A. They were attractive but not rooted in the particular school space. B. They contained too many details for a stairwell wall. C. They focused on local routines that visitors would recognise. D. They had been copied directly from Mr Hall's photographs. 5．How did the rain affect Mira's creative process? A. It damaged the wall and created a brighter patch. B. It kept her in the stairwell, where she began observing local traces. C. It persuaded her to replace painting with photography. D. It prevented students from contributing their routes. 6．What did Mr Hall help Mira understand? A. A mural should explain the history of every school object. B. A caretaker should decide the final design of public art. C. Ordinary marks could be evidence of how people used the place. D. Abstract art works only when it includes a central figure. 7．Which idea best captures Mira's final understanding of inspiration? A. It depends on leaving familiar places behind. B. It arrives only after an artist masters a technique. C. It should produce one image that everyone interprets alike. D. It can grow from sustained attention guided by a meaningful question. C When the Audience Becomes a Co-author In a traditional gallery, visitors are often asked to look without touching. Interactive art changes that relationship. A light may follow a person's movement, a wall may collect spoken words, or a digital image may alter when several people stand together. The artwork is no longer exactly the same from one moment to the next, and the audience helps produce what later visitors see. Calling the audience a co-author, however, can exaggerate its freedom. The artist still designs the system: which actions are possible, what responses appear and when the experience ends. A visitor may choose where to step, but cannot choose every result. The interesting question is therefore not whether control belongs entirely to artist or audience, but how control is shared and what that sharing means. Participation can deepen attention. When a person's movement changes a field of colour, cause and effect become visible. Yet interaction can also become a button pressed only for novelty. If the most memorable part is making something flash, the technology may attract attention away from the idea it was meant to express. Designers need to ask what visitors understand through acting that they could not understand through watching alone. There are practical responsibilities as well. An installation that records voices or movement should make clear what is being stored. It should also offer meaningful access to visitors who cannot see, hear or move in the expected way. Otherwise, a work described as open to everyone may quietly exclude part of its audience. Interactive art is powerful not because participation automatically improves art, but because it can make the relationship between a work and its viewers visible. Its success depends on deliberate choices: the audience needs room to affect the experience, while the artist needs enough structure for those actions to carry meaning rather than produce noise. 8．Why might calling the audience a co-author be misleading? A. Most visitors refuse to take part in interactive works. B. The artist still sets the range and rules of possible actions. C. Digital artworks always remain unchanged during a visit. D. Visitors usually understand technology better than artists do. 9．What is the purpose of the flashing-button example? A. To show that interaction may become a distraction without meaning. B. To prove that visual effects are unsuitable for serious art. C. To argue that visitors should never control an artwork. D. To explain why watching is always better than acting. 10．What responsibility is mentioned in paragraph 4? A. Allowing visitors to store other people's voices. B. Requiring everyone to interact in the same physical way. C. Explaining data use and providing more than one route to access. D. Removing all technology that records movement from galleries. 11．What is the author's attitude towards interactive art? A. Enthusiastic because participation always produces better art. B. Doubtful because shared control destroys artistic intention. C. Indifferent because technology changes only surface appearance. D. Supportive when participation, structure and meaning work together. D Should Every Artwork Explain Itself? Many exhibitions place a label beside each artwork. It can identify materials, provide context or point to the artist's question. For an unfamiliar work, this may offer a necessary doorway. The problem begins when the doorway is mistaken for the whole room and viewers are told exactly what they must see. Complete explanation sounds helpful because it reduces uncertainty. Yet uncertainty is often part of looking closely. A viewer who does not immediately understand a group of empty chairs may begin noticing their distance, direction and shadows. If the label announces that the work “represents loneliness” before this looking happens, the viewer may search only for evidence of loneliness and ignore other relationships the arrangement could suggest. This does not mean that artists should remain silent. Context can prevent confusion from becoming exclusion, especially when a work refers to a specific event or practice unfamiliar to the audience. The key is to provide information that expands attention. A label might describe how the chairs were collected or ask what changes when nobody occupies them. Such guidance gives viewers more to work with without closing the result. Artists' statements are also often treated as final authority. Yet intentions do not control every effect: materials behave unexpectedly, display spaces alter emphasis, and viewers bring different experiences. An interpretation unsupported by the work is not convincing merely because a viewer prefers it; equally, a response is not automatically wrong because the artist did not predict it. The most useful explanation therefore establishes a conversation among intention, artwork and audience. It offers facts, questions or process where they are needed, then leaves room for careful disagreement. Art does not have to become a puzzle with one hidden answer. Nor does openness mean that every answer is equally strong. The work itself remains evidence, and explanation should help us look at that evidence rather than look past it. 12．What problem can arise from an overly complete label? A. It may narrow viewers' attention before they examine the work. B. It may make the materials impossible to identify. C. It may force artists to change their original intentions. D. It may remove the artwork from its exhibition space. 13．What kind of guidance does the author recommend? A. A single emotional meaning that every viewer must accept. B. No information, even when the context is unfamiliar. C. Facts or questions that open further observation. D. Technical language that proves the artist's authority. 14．Why are artists' statements not always the final authority? A. Artists usually forget why they created a work. B. Materials, spaces and viewers can produce effects beyond intention. C. Viewers always possess more historical knowledge than artists. D. An artwork has no connection with its creator's purpose. 15．Which statement best expresses the author's view? A. Art should function as a puzzle with one correct answer. B. Open interpretation means all responses are equally valid. C. Explanations should replace direct attention to the artwork. D. Explanation should support an evidence-based conversation, not end it. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Keep an Inspiration Notebook An inspiration notebook is not a museum for perfect ideas. It is a working place for details that attract your attention before you know why. Record the exact phrase, colour, sound or movement rather than writing only “interesting”. ____16____ A quick sketch, three words or a short voice note is enough to preserve the stimulus. First separate observation from interpretation. Write what was present before explaining what it meant. “Three cups left on a windowsill” gives you material; “a sad scene” gives you a conclusion. ____17____ Keeping the first layer specific allows the same detail to support more than one later idea. Next, place unlike entries beside one another. A rhythm from a train may sit next to the outline of a leaf or a sentence overheard at lunch. ____18____ Ask what quality they share, what would happen if one became the material of another, or which expectation the pairing breaks. Return after some time. The entry that seemed most exciting yesterday may offer little, while an unnoticed detail may connect with a new question. Mark what has changed in your response instead of deleting the earlier note. ____19____ The notebook then records the movement of your attention, not just a collection of results. Finally, give one promising connection a small form. Hum the rhythm, cut the shape from paper or write six lines of dialogue. ____20____ The purpose is to discover what the idea can do when it meets a material. Inspiration becomes useful when observation, connection and experiment begin answering one another. A. An early judgment can close possibilities before they have been examined. B. A notebook should contain only ideas that can become finished work. C. Meaning often begins when two distant observations are allowed to meet. D. Date each return so that the history of the idea remains visible. E. Capture it before improving the wording or deciding how important it is. F. If a connection feels strange, remove it before anyone else sees it. G. Keep the experiment small enough to change without protecting it. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 For the school play, Jia's team had to build a forest with almost no budget. Her drawings showed perfect trees, and she planned to buy new boards. The teacher placed broken umbrellas beside them and asked what the team could ____21____. Jia saw only damage and felt the request was an unfair ____22____. Marcus opened one umbrella and held it upside down. Its metal ribs cast branch-like shadows. He ____23____ that the forest might be made from light rather than heavy scenery. Jia was not immediately ____24____; shadows seemed too uncertain for a performance. Still, she agreed to test one umbrella before rejecting the idea. They fixed a lamp behind the frame. When Marcus moved the umbrella slowly, the branches appeared to ____25____ across the wall. Jia changed the angle and discovered that two small frames could create the ____26____ of a much deeper forest. Instead of hiding the tears in the fabric, she ____27____ narrow pieces over them so that patches of colour moved among the shadows. During rehearsal, an actor stepped in front of the lamp and became part of the forest. The unexpected image looked more ____28____ than Jia's original drawing. She resisted the ____29____ to freeze every movement and asked the actors to explore where their bodies changed the scene. The set became a ____30____ between light, objects and performers. On opening night, one frame came loose. Jia remembered: test first, then adjust. She ____31____ it at a lower angle. The shadow widened, and Marcus followed with the second lamp. The audience never knew the movement was ____32____. After the show, Jia kept one torn umbrella. It reminded her that a limitation could be a ____33____ rather than a wall. Creating did not mean forcing materials to ____34____ an early picture; it could mean letting damaged things suggest a new ____35____. 21．A. purchase　 B. imagine　 C. protect　 D. measure 22．A. limitation　 B. celebration　 C. invitation　 D. reward 23．A. denied　 B. remembered　 C. complained　 D. suggested 24．A. prepared　 B. delighted　 C. convinced　 D. recognised 25．A. disappear　 B. grow　 C. compete　 D. return 26．A. cost　 B. surface　 C. silence　 D. impression 27．A. layered　 B. counted　 C. removed　 D. borrowed 28．A. ordinary　 B. distant　 C. alive　 D. expensive 29．A. permission　 B. urge　 C. method　 D. promise 30．A. conversation　 B. barrier　 C. contest　 D. copy 31．A. ignored　 B. painted　 C. replaced　 D. positioned 32．A. repeated　 B. planned　 C. unplanned　 D. recorded 33．A. starting point　 B. final answer　 C. private joke　 D. heavy cost 34．A. avoid　 B. match　 C. question　 D. divide 35．A. warning　 B. rule　 C. audience　 D. direction 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 The aim of our corridor exhibition was ____36____ (turn) an unused space into a place for shared attention. The most difficult part was ____37____ (choose) a theme broad enough for different classes. Some students felt ____38____ (confuse) by the empty walls, while others were ____39____ (excite) by the freedom. We carefully observed the corridor at three times, recording changes in light, sound and movement. Our solution was ____40____ (begin) with objects found in school. One group's idea was ____41____ (hang) transparent shapes near the windows so that sunlight became part of the display. The result was ____42____ (surprise): even familiar shadows looked new. As the shapes changed with the sun, no visit showed the complete work. Visitors appeared ____43____ (interest) in watching the display change during the day rather than seeing a fixed picture. The most rewarding moment was ____44____ (hear) students explain why an ordinary object had caught their attention. Our next step is ____45____ (invite) families to add one small observation of their own. The exhibition is not finished; its purpose is to keep the school looking again. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校艺术节学生负责人李华，请给英国艺术家 Ms Green 写一封正式邀请邮件，邀请她参加“From Ordinary to Art”校园艺术节。内容包括： 1. 艺术节的时间、地点和主题； 2. 主要活动； 3. 邀请她参加开幕式并主持创作工作坊，请其回复。 注意：1．写作词数应为80个左右；2．请按如下格式作答。 Dear Ms Green, ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Asha's sculpture showed two clay hands holding a tiny house. She called it Home. The idea came from watching her grandmother shape dough, yet the work felt stiff. Asha copied photographs and removed each fingerprint. Her art teacher, Ms Chen, asked, “Where can we see what your grandmother gave you besides the shape of her hands?” A week before the exhibition, a crack appeared between the clay wrists. By morning it had widened almost to the house. Asha wanted to start again, but another piece could not dry in time. Her classmate Leo suggested filling and painting over the crack. Asha agreed, although hiding it might make the stiff surface even less alive. That evening, Asha called her grandmother and admitted what had happened. Her grandmother did not offer a repair method. Instead, she held up an old kitchen apron. A line of bright red stitches crossed one pocket. Years earlier, Asha had torn it while trying to carry too many apples. “I could have used matching thread,” her grandmother said, “but I wanted to remember who made the tear and why I mended it.” The crack ran where the hands depended on one another. Asha imagined a red line joining them, but sewing clay sounded impossible. Leo offered red cord, and Ms Chen found a practice tile. They drilled beside its crack and threaded the cord through. The first hole split; the second held. Asha drew the spacing and tested it twice more. The exhibition opened the next afternoon. Asha feared viewers would see only damage. She could hear visitors entering while classmates arranged paintings whose rough surfaces she had once considered unfinished. She carried Home to the display table with the red cord hidden in her pocket. Ms Chen turned on the lamp above the stand and waited. 注意：1. 续写词数应为150个左右。 2. 请按如下格式在答题卡的相应位置作答。 The next morning, Ms Chen placed the cracked sculpture under a single lamp._________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, a visitor stopped before the red line joining the two hands.___________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 原创精品资源学科网独家享有版权，侵权必究！1 1 / 12 学科网（北京）股份有限公司 学科网（北京）股份有限公司 $ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 4 Meeting the muse·能力提升 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 1—5：B A D A B　6—10：C D B A C　11—15：D A C B D 第二节（共5小题；每小题2.5分，满分12.5分） 16—20：E A C D G 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 21—25：B A D C B　26—30：D A C B A　31—35：D C A B D 第二节（共10小题；每小题1.5分，满分15分） 36—45：to turn; choosing; confused; excited; to begin; to hang; surprising; interested; hearing; to invite 第三部分　写作（共两节，满分40分） 第一节（满分15分） Dear Ms Green, Our school requests the pleasure of your company at the opening of the “From Ordinary to Art” Festival in the school hall at 3 pm on 18 October. Student works inspired by everyday sounds, objects and movements will be followed by an interactive light exhibition. We would be honoured if you could then lead a short workshop on finding creative ideas in ordinary life. The event closes at 6 pm. Please let us know by 10 October whether you can join us. We sincerely hope you can attend. Yours sincerely, Li Hua 第二节（满分25分） The next morning, Ms Chen placed the cracked sculpture under a single lamp. Its shadow made the break impossible to ignore. Covering it, Asha realised, would hide the story's most honest part. Following her tests, she drilled along both sides while Leo held the work steady. She threaded red cord through the holes. The uneven line joined the wrists without pretending they had never separated. Asha left fingerprints near the house and changed the title from Home to What Holds Us. At the exhibition, a visitor stopped before the red line joining the two hands. Asha explained the cracked clay, her grandmother's apron and her visible repair. One visitor saw a road home; a small child saw a heartbeat. Their answers differed, yet each began by looking closely. The accident had revealed Asha's idea: home was not a perfect object, but the care that joined people again after something broke. 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 2 学科网（北京）股份有限公司 $ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 4 Meeting the muse·能力提升 学校：___________　班级：___________　姓名：___________　分数：___________ （时间：100分钟　满分：120分） 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其余结构按新高考英语非听力部分设计。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Everyday Muse Workshops The City Youth Arts Centre is offering four 75-minute workshops for students aged 15–18. Each session begins with something ordinary and asks participants to transform it through artistic choices. Choose one workshop and bring only the material requested. Sound Map — Monday Bring a 30-second recording of an everyday sound, such as a gate closing or water running. You will cut, repeat and arrange sounds to create a short audio journey. Record only in public spaces, and do not include a recognisable private conversation. Code and Colour — Tuesday Turn a simple rule into changing shapes and colours on screen. You will begin with prepared blocks of code, so no programming experience is required. This session suits students who want viewers' movements to influence what appears in an artwork. Material Memory — Thursday Bring one unwanted object that can safely be taken apart. You will explore how scratches, repairs and worn surfaces can suggest a story before rebuilding the pieces into a small sculpture. Do not bring valuable objects or anything belonging to another person without permission. Shadow Stage — Friday Bring a flat object with an interesting outline. In small groups, you will use light, distance and movement to create a silent scene. The aim is not to copy the object's real use but to discover what else its shadow can become. 1．Which workshop best suits a beginner who wants viewers to affect a digital artwork? A. Sound Map. B. Code and Colour. C. Material Memory. D. Shadow Stage. 2．What rule applies in Material Memory? A. An object owned by someone else requires permission. B. Every object must be returned to its original condition. C. Valuable objects are preferred because they hold memories. D. Participants should hide all scratches before rebuilding. 3．What do the four workshops have in common? A. They train students to reproduce famous artworks. B. They require advanced technical or performance skills. C. They judge whether one art form is better than another. D. They turn familiar materials or experiences into new expression. 【语篇导读】本文是一则城市青年艺术中心工作坊招募信息，介绍四个从日常材料出发的创作项目及其规则，考查细节与共同点归纳。 1. B　【解析】细节匹配。Code and Colour无需编程经验，并让观众动作影响屏幕作品，完整对应beginner、viewers和digital artwork三个条件。 2. A　【解析】细节理解。活动明确规定不得未经允许携带他人物品，A为同义转述。B、C、D均与拆解、旧痕和安全限制相反。 3. D　【解析】主旨归纳。声音、规则、旧物和影子都来自日常，活动要求通过选择与重组形成新表达。A、B、C均不是共同目的。 【教师点拨】应用文先提取需求中的技能水平、媒介和互动方式，再与项目动作对应；共同点题需概括“日常素材—艺术转换”，不要停在四种媒介的表层差异。 4．Why did Mira reject her first sketches? A. They were attractive but not rooted in the particular school space. B. They contained too many details for a stairwell wall. C. They focused on local routines that visitors would recognise. D. They had been copied directly from Mr Hall's photographs. 5．How did the rain affect Mira's creative process? A. It damaged the wall and created a brighter patch. B. It kept her in the stairwell, where she began observing local traces. C. It persuaded her to replace painting with photography. D. It prevented students from contributing their routes. 6．What did Mr Hall help Mira understand? A. A mural should explain the history of every school object. B. A caretaker should decide the final design of public art. C. Ordinary marks could be evidence of how people used the place. D. Abstract art works only when it includes a central figure. 7．Which idea best captures Mira's final understanding of inspiration? A. It depends on leaving familiar places behind. B. It arrives only after an artist masters a technique. C. It should produce one image that everyone interprets alike. D. It can grow from sustained attention guided by a meaningful question. 【语篇导读】本文是一篇议论文，讨论作品标签应说明来源与可观察问题，在意图、作品与观众之间建立诚实对话。 4. A　【解析】因果推断。首段说草图精致，却像可属于任何学校，说明缺乏与具体空间的联系。B、C、D均无依据。 5. B　【解析】情节作用。雨使公交停运，Mira留在楼梯间，继而注意车轮痕迹、扶手和胶带线，推动灵感转向现场观察。 6. C　【解析】句意归纳。第三段明确指出Mr Hall并非提供设计，而是让她看到墙面痕迹记录空间使用方式，因此C准确。 7. D　【解析】主旨大意。末段明确把灵感解释为在具体问题引导下长时间观察日常，从而发现隐藏规律。A、B、C均与经历相反。 【教师点拨】抓住Mira对“灵感”的两次理解：先等待一个耀眼图像，后用具体问题观察空间痕迹。情节题要说明雨和Mr Hall如何改变观察方向。 B The Wall That Was Already Speaking Mira won the chance to design a mural for the east stairwell. The theme was “Where We Meet”. Expecting one brilliant image, she filled a folder with bridges, circles and joined hands. Every sketch looked polished but could belong to any school. After a week, she tore the pages from her wall. On Saturday, Mira planned to draw in the town square. Heavy rain closed the buses, leaving her at school. She watched Mr Hall, the caretaker, push his cart up the stairwell. One wheel marked the turning floor. Mira then noticed a worn blue handrail, old exhibition tape and a patch of paint brighter than the wall around it. “This place is already speaking,” Mr Hall said when he saw her looking. He explained that the bright patch had been protected by a notice board for years. The tape lines marked student shows; the rail was smoothest where people paused to talk. He was not offering Mira a design. He was showing her that the wall contained evidence of how the space had been used. Mira began collecting those traces. She asked students to draw their usual routes through the stairwell on transparent sheets. She layered the lines over the marks she had observed and painted them as paths of different widths. Instead of placing one heroic figure at the centre, she left open spaces where the paths crossed. From a distance the mural looked abstract; up close, viewers could find small details from their own routines. At the opening, a teacher asked which person had inspired the work. Mira pointed to the handrail, the tape and the students searching for their paths. Her answer surprised even her. Inspiration had not appeared by carrying her away from the ordinary. It had grown when a specific question—where do we meet?—made her look at the ordinary long enough for hidden patterns to become visible. 8．Why might calling the audience a co-author be misleading? A. Most visitors refuse to take part in interactive works. B. The artist still sets the range and rules of possible actions. C. Digital artworks always remain unchanged during a visit. D. Visitors usually understand technology better than artists do. 9．What is the purpose of the flashing-button example? A. To show that interaction may become a distraction without meaning. B. To prove that visual effects are unsuitable for serious art. C. To argue that visitors should never control an artwork. D. To explain why watching is always better than acting. 10．What responsibility is mentioned in paragraph 4? A. Allowing visitors to store other people's voices. B. Requiring everyone to interact in the same physical way. C. Explaining data use and providing more than one route to access. D. Removing all technology that records movement from galleries. 11．What is the author's attitude towards interactive art? A. Enthusiastic because participation always produces better art. B. Doubtful because shared control destroys artistic intention. C. Indifferent because technology changes only surface appearance. D. Supportive when participation, structure and meaning work together. 【语篇导读】本文是一篇记叙文，讲述Mira受雨中车轮痕迹启发，放弃通用图纸、让墙面自身参与壁画设计的创作觉醒过程。 8. B　【解析】细节理解。第二段指出艺术家仍设计系统、行动范围和反应，观众并非拥有全部控制权，故B正确。 9. A　【解析】例证作用。按键闪光说明互动若只带来新奇感，技术可能抢走对作品思想的注意。B、C、D都把条件性批评绝对化。 10. C　【解析】细节概括。第四段要求说明声音或动作数据如何存储，并为感官或行动方式不同的访客提供有意义的参与途径，C概括两点。 11. D　【解析】观点态度。作者认可互动艺术的潜力，同时强调意义、结构、隐私和可及性条件，属于有条件支持。 【教师点拨】C篇不是简单赞成或反对互动艺术。阅读时抓住三组限定：共享控制不等于完全自由，新奇不等于意义，开放不等于自动可及。 C When the Audience Becomes a Co-author In a traditional gallery, visitors are often asked to look without touching. Interactive art changes that relationship. A light may follow a person's movement, a wall may collect spoken words, or a digital image may alter when several people stand together. The artwork is no longer exactly the same from one moment to the next, and the audience helps produce what later visitors see. Calling the audience a co-author, however, can exaggerate its freedom. The artist still designs the system: which actions are possible, what responses appear and when the experience ends. A visitor may choose where to step, but cannot choose every result. The interesting question is therefore not whether control belongs entirely to artist or audience, but how control is shared and what that sharing means. Participation can deepen attention. When a person's movement changes a field of colour, cause and effect become visible. Yet interaction can also become a button pressed only for novelty. If the most memorable part is making something flash, the technology may attract attention away from the idea it was meant to express. Designers need to ask what visitors understand through acting that they could not understand through watching alone. There are practical responsibilities as well. An installation that records voices or movement should make clear what is being stored. It should also offer meaningful access to visitors who cannot see, hear or move in the expected way. Otherwise, a work described as open to everyone may quietly exclude part of its audience. Interactive art is powerful not because participation automatically improves art, but because it can make the relationship between a work and its viewers visible. Its success depends on deliberate choices: the audience needs room to affect the experience, while the artist needs enough structure for those actions to carry meaning rather than produce noise. 12．What problem can arise from an overly complete label? A. It may narrow viewers' attention before they examine the work. B. It may make the materials impossible to identify. C. It may force artists to change their original intentions. D. It may remove the artwork from its exhibition space. 13．What kind of guidance does the author recommend? A. A single emotional meaning that every viewer must accept. B. No information, even when the context is unfamiliar. C. Facts or questions that open further observation. D. Technical language that proves the artist's authority. 14．Why are artists' statements not always the final authority? A. Artists usually forget why they created a work. B. Materials, spaces and viewers can produce effects beyond intention. C. Viewers always possess more historical knowledge than artists. D. An artwork has no connection with its creator's purpose. 15．Which statement best expresses the author's view? A. Art should function as a puzzle with one correct answer. B. Open interpretation means all responses are equally valid. C. Explanations should replace direct attention to the artwork. D. Explanation should support an evidence-based conversation, not end it. 【语篇导读】本文是一篇说明议论文，探讨互动艺术中观众成为"共同作者"的条件与风险，强调意义、结构与隐私边界。 12. A　【解析】细节理解。第二段以空椅子为例，说明先给出“孤独”结论会使观众只寻找该证据，忽略其他关系，即过早收窄注意。 13. C　【解析】观点细节。作者建议说明材料来源、提出可观察问题，让信息expand attention而不封闭结论，因此C正确。 14. B　【解析】因果理解。第四段说明材料意外表现、展示空间与观众经验都会产生创作者未完全控制的效果，B为准确概括。 15. D　【解析】主旨大意。末段主张说明建立意图、作品与观众之间的对话，并让作品本身继续作为证据，D覆盖全文限定。 【教师点拨】先分清作者反对的是“封闭解释”而非“所有说明”。主旨题要同时保留两端：提供必要入口，也让观众依据作品继续观察和讨论。 D Should Every Artwork Explain Itself? Many exhibitions place a label beside each artwork. It can identify materials, provide context or point to the artist's question. For an unfamiliar work, this may offer a necessary doorway. The problem begins when the doorway is mistaken for the whole room and viewers are told exactly what they must see. Complete explanation sounds helpful because it reduces uncertainty. Yet uncertainty is often part of looking closely. A viewer who does not immediately understand a group of empty chairs may begin noticing their distance, direction and shadows. If the label announces that the work “represents loneliness” before this looking happens, the viewer may search only for evidence of loneliness and ignore other relationships the arrangement could suggest. This does not mean that artists should remain silent. Context can prevent confusion from becoming exclusion, especially when a work refers to a specific event or practice unfamiliar to the audience. The key is to provide information that expands attention. A label might describe how the chairs were collected or ask what changes when nobody occupies them. Such guidance gives viewers more to work with without closing the result. Artists' statements are also often treated as final authority. Yet intentions do not control every effect: materials behave unexpectedly, display spaces alter emphasis, and viewers bring different experiences. An interpretation unsupported by the work is not convincing merely because a viewer prefers it; equally, a response is not automatically wrong because the artist did not predict it. The most useful explanation therefore establishes a conversation among intention, artwork and audience. It offers facts, questions or process where they are needed, then leaves room for careful disagreement. Art does not have to become a puzzle with one hidden answer. Nor does openness mean that every answer is equally strong. The work itself remains evidence, and explanation should help us look at that evidence rather than look past it. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Keep an Inspiration Notebook An inspiration notebook is not a museum for perfect ideas. It is a working place for details that attract your attention before you know why. Record the exact phrase, colour, sound or movement rather than writing only “interesting”. ____16____ A quick sketch, three words or a short voice note is enough to preserve the stimulus. First separate observation from interpretation. Write what was present before explaining what it meant. “Three cups left on a windowsill” gives you material; “a sad scene” gives you a conclusion. ____17____ Keeping the first layer specific allows the same detail to support more than one later idea. Next, place unlike entries beside one another. A rhythm from a train may sit next to the outline of a leaf or a sentence overheard at lunch. ____18____ Ask what quality they share, what would happen if one became the material of another, or which expectation the pairing breaks. Return after some time. The entry that seemed most exciting yesterday may offer little, while an unnoticed detail may connect with a new question. Mark what has changed in your response instead of deleting the earlier note. ____19____ The notebook then records the movement of your attention, not just a collection of results. Finally, give one promising connection a small form. Hum the rhythm, cut the shape from paper or write six lines of dialogue. ____20____ The purpose is to discover what the idea can do when it meets a material. Inspiration becomes useful when observation, connection and experiment begin answering one another. A. An early judgment can close possibilities before they have been examined. B. A notebook should contain only ideas that can become finished work. C. Meaning often begins when two distant observations are allowed to meet. D. Date each return so that the history of the idea remains visible. E. Capture it before improving the wording or deciding how important it is. F. If a connection feels strange, remove it before anyone else sees it. G. Keep the experiment small enough to change without protecting it. 作答：16．______　17．______　18．______　19．______　20．______ 【语篇导读】本文是一篇说明文，介绍灵感笔记的记录方法：先捕捉尚不知原因的细节，再定期回顾并寻找关联。 【16题】答案 E。前文要求记录尚不知原因的细节，E项的Capture it before improving说明先保存、后判断，并与后句quick sketch呼应。 【17题】答案 A。本段区分观察与解释，A项说明过早判断会封闭可能性，承接两个示例。 【18题】答案 C。前文要求并置不同条目，后文讨论共同性质与媒介转换，C项概括远距离观察相遇产生意义。 【19题】答案 D。前文要求保留反应变化，D项以日期保存回看历史，后句movement of your attention继续解释其作用。 【20题】答案 G。本段要求把连接做成小形式，G项强调实验要小到便于改变，与后文meet a material形成推进。 【教师点拨】先建立流程：准确捕捉—区分观察与解释—并置远距材料—带日期回看—做小型实验。再核对指代与同义复现。 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 For the school play, Jia's team had to build a forest with almost no budget. Her drawings showed perfect trees, and she planned to buy new boards. The teacher placed broken umbrellas beside them and asked what the team could ____21____. Jia saw only damage and felt the request was an unfair ____22____. Marcus opened one umbrella and held it upside down. Its metal ribs cast branch-like shadows. He ____23____ that the forest might be made from light rather than heavy scenery. Jia was not immediately ____24____; shadows seemed too uncertain for a performance. Still, she agreed to test one umbrella before rejecting the idea. They fixed a lamp behind the frame. When Marcus moved the umbrella slowly, the branches appeared to ____25____ across the wall. Jia changed the angle and discovered that two small frames could create the ____26____ of a much deeper forest. Instead of hiding the tears in the fabric, she ____27____ narrow pieces over them so that patches of colour moved among the shadows. During rehearsal, an actor stepped in front of the lamp and became part of the forest. The unexpected image looked more ____28____ than Jia's original drawing. She resisted the ____29____ to freeze every movement and asked the actors to explore where their bodies changed the scene. The set became a ____30____ between light, objects and performers. On opening night, one frame came loose. Jia remembered: test first, then adjust. She ____31____ it at a lower angle. The shadow widened, and Marcus followed with the second lamp. The audience never knew the movement was ____32____. After the show, Jia kept one torn umbrella. It reminded her that a limitation could be a ____33____ rather than a wall. Creating did not mean forcing materials to ____34____ an early picture; it could mean letting damaged things suggest a new ____35____. 21．A. purchase　 B. imagine　 C. protect　 D. measure 22．A. limitation　 B. celebration　 C. invitation　 D. reward 23．A. denied　 B. remembered　 C. complained　 D. suggested 24．A. prepared　 B. delighted　 C. convinced　 D. recognised 25．A. disappear　 B. grow　 C. compete　 D. return 26．A. cost　 B. surface　 C. silence　 D. impression 27．A. layered　 B. counted　 C. removed　 D. borrowed 28．A. ordinary　 B. distant　 C. alive　 D. expensive 29．A. permission　 B. urge　 C. method　 D. promise 30．A. conversation　 B. barrier　 C. contest　 D. copy 31．A. ignored　 B. painted　 C. replaced　 D. positioned 32．A. repeated　 B. planned　 C. unplanned　 D. recorded 33．A. starting point　 B. final answer　 C. private joke　 D. heavy cost 34．A. avoid　 B. match　 C. question　 D. divide 35．A. warning　 B. rule　 C. audience　 D. direction 【语篇导读】本文是一篇记叙文，讲述Jia的团队用一把旧伞在限制条件下创作出光影森林布景，领悟限制亦是创作起点。 21. B　【解析】教师面对旧伞询问团队能想象出什么，imagine承接创作任务。 22. A　【解析】Jia原想购买新板材，旧伞要求在她看来是不公平限制，limitation与结尾呼应。 23. D　【解析】Marcus由伞骨影子提出用光造森林的设想，suggested符合语义。 24. C　【解析】后句说影子太不确定，说明她未被说服，not convinced准确。 25. B　【解析】移动伞架使墙上树枝般的影子生长，grow构成视觉变化。 26. D　【解析】两个小框架制造更深森林的印象，the impression of搭配自然。 27. A　【解析】她没有隐藏破口，而是在其上叠加窄布条，layered与移动色块呼应。 28. C　【解析】演员进入光影后成为森林一部分，比静态原图更鲜活，alive最合语境。 29. B　【解析】她克制把动作全部固定的冲动，resist the urge为固定搭配。 30. A　【解析】布景由光、物体和表演者相互作用形成，conversation为比喻性概括。 31. D　【解析】框架松动后，她把它置于更低角度，positioned与at a lower angle搭配。 32. C　【解析】临场调整并非预设，但观众没有察觉，unplanned符合情节。 33. A　【解析】结尾反转“限制是墙”，说明限制也可成为创作起点。 34. B　【解析】她不再强迫材料匹配早期图像，match与原来追求完美图纸呼应。 35. D　【解析】破损材料通过特性提示新的创作方向，direction完成主题总结。 【教师点拨】先还原“旧伞限制—伞骨影子—小范围测试—演员进入—临场调整”的因果链。21、24、29、33、35控制态度转变与主题。 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 The aim of our corridor exhibition was ____36____ (turn) an unused space into a place for shared attention. The most difficult part was ____37____ (choose) a theme broad enough for different classes. Some students felt ____38____ (confuse) by the empty walls, while others were ____39____ (excite) by the freedom. We carefully observed the corridor at three times, recording changes in light, sound and movement. Our solution was ____40____ (begin) with objects found in school. One group's idea was ____41____ (hang) transparent shapes near the windows so that sunlight became part of the display. The result was ____42____ (surprise): even familiar shadows looked new. As the shapes changed with the sun, no visit showed the complete work. Visitors appeared ____43____ (interest) in watching the display change during the day rather than seeing a fixed picture. The most rewarding moment was ____44____ (hear) students explain why an ordinary object had caught their attention. Our next step is ____45____ (invite) families to add one small observation of their own. The exhibition is not finished; its purpose is to keep the school looking again. 作答：36．______　37．______　38．______　39．______　40．______ 　　　41．______　42．______　43．______　44．______　45．______ 【语篇导读】本文是一篇记叙文，讲述走廊展览的筹备过程，重点考查非谓语动词、从句连接词与名词形式等语法。 【36题】答案 to turn。主语aim表示目标，表语常用不定式说明要实现的动作：the aim was to turn。 【37题】答案 choosing。表语说明“最困难的部分”所指的活动，使用动词-ing形式choosing。 【38题】答案 confused。学生是感到困惑的人，-ed形式作表语说明人的感受。 【39题】答案 excited。主语others指学生，表示他们感到兴奋，应用-ed形式excited。 【40题】答案 to begin。solution后用不定式作表语说明拟采取的解决办法：was to begin。 【41题】答案 to hang。idea在此指计划或打算，表语用不定式说明具体行动。 【42题】答案 surprising。主语result是带来惊喜的事物，使用-ing形容词surprising。 【43题】答案 interested。visitors是产生兴趣的人，appear后用-ed形式interested作表语。 【44题】答案 hearing。表语说明“最有收获的时刻”的具体体验，使用动词-ing形式hearing。 【45题】答案 to invite。next step表示下一步计划，表语用不定式to invite。 【教师点拨】先判断表语是在说明目标/计划、具体活动，还是主语的感受或事物特征：目标计划常用to do，活动可用-ing，人感到如何多用-ed，事物令人如何多用-ing。 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校艺术节学生负责人李华，请给英国艺术家 Ms Green 写一封正式邀请邮件，邀请她参加“From Ordinary to Art”校园艺术节。内容包括： 1. 艺术节的时间、地点和主题； 2. 主要活动； 3. 邀请她参加开幕式并主持创作工作坊，请其回复。 注意：1．写作词数应为80个左右；2．请按如下格式作答。 Dear Ms Green, ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 【写作思路】正式提出邀请 → 交代主题、时间和地点 → 概述展览与互动活动 → 邀请出席开幕式并主持工作坊 → 给出回复期限。 【参考范文】 Dear Ms Green, Our school requests the pleasure of your company at the opening of the “From Ordinary to Art” Festival in the school hall at 3 pm on 18 October. Student works inspired by everyday sounds, objects and movements will be followed by an interactive light exhibition. We would be honoured if you could then lead a short workshop on finding creative ideas in ordinary life. The event closes at 6 pm. Please let us know by 10 October whether you can join us. We sincerely hope you can attend. Yours sincerely, Li Hua 【评分建议】内容覆盖6分，语言准确与正式得体5分，连贯和格式4分。重点检查活动信息、受邀职责、回复要求及正式邀请语气。 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Asha's sculpture showed two clay hands holding a tiny house. She called it Home. The idea came from watching her grandmother shape dough, yet the work felt stiff. Asha copied photographs and removed each fingerprint. Her art teacher, Ms Chen, asked, “Where can we see what your grandmother gave you besides the shape of her hands?” A week before the exhibition, a crack appeared between the clay wrists. By morning it had widened almost to the house. Asha wanted to start again, but another piece could not dry in time. Her classmate Leo suggested filling and painting over the crack. Asha agreed, although hiding it might make the stiff surface even less alive. That evening, Asha called her grandmother and admitted what had happened. Her grandmother did not offer a repair method. Instead, she held up an old kitchen apron. A line of bright red stitches crossed one pocket. Years earlier, Asha had torn it while trying to carry too many apples. “I could have used matching thread,” her grandmother said, “but I wanted to remember who made the tear and why I mended it.” The crack ran where the hands depended on one another. Asha imagined a red line joining them, but sewing clay sounded impossible. Leo offered red cord, and Ms Chen found a practice tile. They drilled beside its crack and threaded the cord through. The first hole split; the second held. Asha drew the spacing and tested it twice more. The exhibition opened the next afternoon. Asha feared viewers would see only damage. She could hear visitors entering while classmates arranged paintings whose rough surfaces she had once considered unfinished. She carried Home to the display table with the red cord hidden in her pocket. Ms Chen turned on the lamp above the stand and waited. 注意：1. 续写词数应为150个左右。 2. 请按如下格式在答题卡的相应位置作答。 The next morning, Ms Chen placed the cracked sculpture under a single lamp._________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, a visitor stopped before the red line joining the two hands.___________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 【续写要点】第一段：灯光使裂缝更明显，Asha决定不遮盖；依据试验打孔、用红绳连接，并调整作品标题。第二段：观众从红线得到不同但有文本依据的理解；Asha认识到意外推动她发现作品真正主题。 【参考范文】 The next morning, Ms Chen placed the cracked sculpture under a single lamp. Its shadow made the break impossible to ignore. Covering it, Asha realised, would hide the story's most honest part. Following her tests, she drilled along both sides while Leo held the work steady. She threaded red cord through the holes. The uneven line joined the wrists without pretending they had never separated. Asha left fingerprints near the house and changed the title from Home to What Holds Us. At the exhibition, a visitor stopped before the red line joining the two hands. Asha explained the cracked clay, her grandmother's apron and her visible repair. One visitor saw a road home; a small child saw a heartbeat. Their answers differed, yet each began by looking closely. The accident had revealed Asha's idea: home was not a perfect object, but the care that joined people again after something broke. 【评分建议】内容与原文衔接10分，语言与句式8分，篇章连贯5分，主题意义与书写2分。重点检查修复方案是否建立在试验上、观众解释是否自然，以及灵感与作品意义是否落地。 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司1 / 23 学科网（北京）股份有限公司 $………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… 此卷只装订不密封 ………………○………………内………………○………………装………………○………………订………………○………………线………………○……………… ………………○………………外………………○………………装………………○………………订………………○………………线………………○……………… … 学校：______________姓名：_____________班级：_______________考号：______________________ 2026-2027学年高二选择性必修第一册英语单元自测 Unit 4 Meeting the muse·能力提升 （时间：100分钟　满分：120分） 学校：___________　班级：___________　姓名：___________　分数：___________ 注意事项： 1．答题前，考生务必将学校、班级、姓名填写在相应位置。 2．选择题选出答案后填涂在答题卡上；非选择题写在答题卡相应区域。 3．本卷不设听力，其余结构按新高考英语非听力部分设计。 第一部分　阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A Everyday Muse Workshops The City Youth Arts Centre is offering four 75-minute workshops for students aged 15–18. Each session begins with something ordinary and asks participants to transform it through artistic choices. Choose one workshop and bring only the material requested. Sound Map — Monday Bring a 30-second recording of an everyday sound, such as a gate closing or water running. You will cut, repeat and arrange sounds to create a short audio journey. Record only in public spaces, and do not include a recognisable private conversation. Code and Colour — Tuesday Turn a simple rule into changing shapes and colours on screen. You will begin with prepared blocks of code, so no programming experience is required. This session suits students who want viewers' movements to influence what appears in an artwork. Material Memory — Thursday Bring one unwanted object that can safely be taken apart. You will explore how scratches, repairs and worn surfaces can suggest a story before rebuilding the pieces into a small sculpture. Do not bring valuable objects or anything belonging to another person without permission. Shadow Stage — Friday Bring a flat object with an interesting outline. In small groups, you will use light, distance and movement to create a silent scene. The aim is not to copy the object's real use but to discover what else its shadow can become. 1．Which workshop best suits a beginner who wants viewers to affect a digital artwork? A. Sound Map. B. Code and Colour. C. Material Memory. D. Shadow Stage. 2．What rule applies in Material Memory? A. An object owned by someone else requires permission. B. Every object must be returned to its original condition. C. Valuable objects are preferred because they hold memories. D. Participants should hide all scratches before rebuilding. 3．What do the four workshops have in common? A. They train students to reproduce famous artworks. B. They require advanced technical or performance skills. C. They judge whether one art form is better than another. D. They turn familiar materials or experiences into new expression. B The Wall That Was Already Speaking Mira won the chance to design a mural for the east stairwell. The theme was “Where We Meet”. Expecting one brilliant image, she filled a folder with bridges, circles and joined hands. Every sketch looked polished but could belong to any school. After a week, she tore the pages from her wall. On Saturday, Mira planned to draw in the town square. Heavy rain closed the buses, leaving her at school. She watched Mr Hall, the caretaker, push his cart up the stairwell. One wheel marked the turning floor. Mira then noticed a worn blue handrail, old exhibition tape and a patch of paint brighter than the wall around it. “This place is already speaking,” Mr Hall said when he saw her looking. He explained that the bright patch had been protected by a notice board for years. The tape lines marked student shows; the rail was smoothest where people paused to talk. He was not offering Mira a design. He was showing her that the wall contained evidence of how the space had been used. Mira began collecting those traces. She asked students to draw their usual routes through the stairwell on transparent sheets. She layered the lines over the marks she had observed and painted them as paths of different widths. Instead of placing one heroic figure at the centre, she left open spaces where the paths crossed. From a distance the mural looked abstract; up close, viewers could find small details from their own routines. At the opening, a teacher asked which person had inspired the work. Mira pointed to the handrail, the tape and the students searching for their paths. Her answer surprised even her. Inspiration had not appeared by carrying her away from the ordinary. It had grown when a specific question—where do we meet?—made her look at the ordinary long enough for hidden patterns to become visible. 4．Why did Mira reject her first sketches? A. They were attractive but not rooted in the particular school space. B. They contained too many details for a stairwell wall. C. They focused on local routines that visitors would recognise. D. They had been copied directly from Mr Hall's photographs. 5．How did the rain affect Mira's creative process? A. It damaged the wall and created a brighter patch. B. It kept her in the stairwell, where she began observing local traces. C. It persuaded her to replace painting with photography. D. It prevented students from contributing their routes. 6．What did Mr Hall help Mira understand? A. A mural should explain the history of every school object. B. A caretaker should decide the final design of public art. C. Ordinary marks could be evidence of how people used the place. D. Abstract art works only when it includes a central figure. 7．Which idea best captures Mira's final understanding of inspiration? A. It depends on leaving familiar places behind. B. It arrives only after an artist masters a technique. C. It should produce one image that everyone interprets alike. D. It can grow from sustained attention guided by a meaningful question. C When the Audience Becomes a Co-author In a traditional gallery, visitors are often asked to look without touching. Interactive art changes that relationship. A light may follow a person's movement, a wall may collect spoken words, or a digital image may alter when several people stand together. The artwork is no longer exactly the same from one moment to the next, and the audience helps produce what later visitors see. Calling the audience a co-author, however, can exaggerate its freedom. The artist still designs the system: which actions are possible, what responses appear and when the experience ends. A visitor may choose where to step, but cannot choose every result. The interesting question is therefore not whether control belongs entirely to artist or audience, but how control is shared and what that sharing means. Participation can deepen attention. When a person's movement changes a field of colour, cause and effect become visible. Yet interaction can also become a button pressed only for novelty. If the most memorable part is making something flash, the technology may attract attention away from the idea it was meant to express. Designers need to ask what visitors understand through acting that they could not understand through watching alone. There are practical responsibilities as well. An installation that records voices or movement should make clear what is being stored. It should also offer meaningful access to visitors who cannot see, hear or move in the expected way. Otherwise, a work described as open to everyone may quietly exclude part of its audience. Interactive art is powerful not because participation automatically improves art, but because it can make the relationship between a work and its viewers visible. Its success depends on deliberate choices: the audience needs room to affect the experience, while the artist needs enough structure for those actions to carry meaning rather than produce noise. 8．Why might calling the audience a co-author be misleading? A. Most visitors refuse to take part in interactive works. B. The artist still sets the range and rules of possible actions. C. Digital artworks always remain unchanged during a visit. D. Visitors usually understand technology better than artists do. 9．What is the purpose of the flashing-button example? A. To show that interaction may become a distraction without meaning. B. To prove that visual effects are unsuitable for serious art. C. To argue that visitors should never control an artwork. D. To explain why watching is always better than acting. 10．What responsibility is mentioned in paragraph 4? A. Allowing visitors to store other people's voices. B. Requiring everyone to interact in the same physical way. C. Explaining data use and providing more than one route to access. D. Removing all technology that records movement from galleries. 11．What is the author's attitude towards interactive art? A. Enthusiastic because participation always produces better art. B. Doubtful because shared control destroys artistic intention. C. Indifferent because technology changes only surface appearance. D. Supportive when participation, structure and meaning work together. D Should Every Artwork Explain Itself? Many exhibitions place a label beside each artwork. It can identify materials, provide context or point to the artist's question. For an unfamiliar work, this may offer a necessary doorway. The problem begins when the doorway is mistaken for the whole room and viewers are told exactly what they must see. Complete explanation sounds helpful because it reduces uncertainty. Yet uncertainty is often part of looking closely. A viewer who does not immediately understand a group of empty chairs may begin noticing their distance, direction and shadows. If the label announces that the work “represents loneliness” before this looking happens, the viewer may search only for evidence of loneliness and ignore other relationships the arrangement could suggest. This does not mean that artists should remain silent. Context can prevent confusion from becoming exclusion, especially when a work refers to a specific event or practice unfamiliar to the audience. The key is to provide information that expands attention. A label might describe how the chairs were collected or ask what changes when nobody occupies them. Such guidance gives viewers more to work with without closing the result. Artists' statements are also often treated as final authority. Yet intentions do not control every effect: materials behave unexpectedly, display spaces alter emphasis, and viewers bring different experiences. An interpretation unsupported by the work is not convincing merely because a viewer prefers it; equally, a response is not automatically wrong because the artist did not predict it. The most useful explanation therefore establishes a conversation among intention, artwork and audience. It offers facts, questions or process where they are needed, then leaves room for careful disagreement. Art does not have to become a puzzle with one hidden answer. Nor does openness mean that every answer is equally strong. The work itself remains evidence, and explanation should help us look at that evidence rather than look past it. 12．What problem can arise from an overly complete label? A. It may narrow viewers' attention before they examine the work. B. It may make the materials impossible to identify. C. It may force artists to change their original intentions. D. It may remove the artwork from its exhibition space. 13．What kind of guidance does the author recommend? A. A single emotional meaning that every viewer must accept. B. No information, even when the context is unfamiliar. C. Facts or questions that open further observation. D. Technical language that proves the artist's authority. 14．Why are artists' statements not always the final authority? A. Artists usually forget why they created a work. B. Materials, spaces and viewers can produce effects beyond intention. C. Viewers always possess more historical knowledge than artists. D. An artwork has no connection with its creator's purpose. 15．Which statement best expresses the author's view? A. Art should function as a puzzle with one correct answer. B. Open interpretation means all responses are equally valid. C. Explanations should replace direct attention to the artwork. D. Explanation should support an evidence-based conversation, not end it. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项。 How to Keep an Inspiration Notebook An inspiration notebook is not a museum for perfect ideas. It is a working place for details that attract your attention before you know why. Record the exact phrase, colour, sound or movement rather than writing only “interesting”. ____16____ A quick sketch, three words or a short voice note is enough to preserve the stimulus. First separate observation from interpretation. Write what was present before explaining what it meant. “Three cups left on a windowsill” gives you material; “a sad scene” gives you a conclusion. ____17____ Keeping the first layer specific allows the same detail to support more than one later idea. Next, place unlike entries beside one another. A rhythm from a train may sit next to the outline of a leaf or a sentence overheard at lunch. ____18____ Ask what quality they share, what would happen if one became the material of another, or which expectation the pairing breaks. Return after some time. The entry that seemed most exciting yesterday may offer little, while an unnoticed detail may connect with a new question. Mark what has changed in your response instead of deleting the earlier note. ____19____ The notebook then records the movement of your attention, not just a collection of results. Finally, give one promising connection a small form. Hum the rhythm, cut the shape from paper or write six lines of dialogue. ____20____ The purpose is to discover what the idea can do when it meets a material. Inspiration becomes useful when observation, connection and experiment begin answering one another. A. An early judgment can close possibilities before they have been examined. B. A notebook should contain only ideas that can become finished work. C. Meaning often begins when two distant observations are allowed to meet. D. Date each return so that the history of the idea remains visible. E. Capture it before improving the wording or deciding how important it is. F. If a connection feels strange, remove it before anyone else sees it. G. Keep the experiment small enough to change without protecting it. 第二部分　语言运用（共两节，满分30分） 第一节（共15小题；每小题1分，满分15分） 阅读下面短文，从每题所给的A、B、C、D四个选项中选出可以填入空白处的最佳选项。 For the school play, Jia's team had to build a forest with almost no budget. Her drawings showed perfect trees, and she planned to buy new boards. The teacher placed broken umbrellas beside them and asked what the team could ____21____. Jia saw only damage and felt the request was an unfair ____22____. Marcus opened one umbrella and held it upside down. Its metal ribs cast branch-like shadows. He ____23____ that the forest might be made from light rather than heavy scenery. Jia was not immediately ____24____; shadows seemed too uncertain for a performance. Still, she agreed to test one umbrella before rejecting the idea. They fixed a lamp behind the frame. When Marcus moved the umbrella slowly, the branches appeared to ____25____ across the wall. Jia changed the angle and discovered that two small frames could create the ____26____ of a much deeper forest. Instead of hiding the tears in the fabric, she ____27____ narrow pieces over them so that patches of colour moved among the shadows. During rehearsal, an actor stepped in front of the lamp and became part of the forest. The unexpected image looked more ____28____ than Jia's original drawing. She resisted the ____29____ to freeze every movement and asked the actors to explore where their bodies changed the scene. The set became a ____30____ between light, objects and performers. On opening night, one frame came loose. Jia remembered: test first, then adjust. She ____31____ it at a lower angle. The shadow widened, and Marcus followed with the second lamp. The audience never knew the movement was ____32____. After the show, Jia kept one torn umbrella. It reminded her that a limitation could be a ____33____ rather than a wall. Creating did not mean forcing materials to ____34____ an early picture; it could mean letting damaged things suggest a new ____35____. 21．A. purchase　 B. imagine　 C. protect　 D. measure 22．A. limitation　 B. celebration　 C. invitation　 D. reward 23．A. denied　 B. remembered　 C. complained　 D. suggested 24．A. prepared　 B. delighted　 C. convinced　 D. recognised 25．A. disappear　 B. grow　 C. compete　 D. return 26．A. cost　 B. surface　 C. silence　 D. impression 27．A. layered　 B. counted　 C. removed　 D. borrowed 28．A. ordinary　 B. distant　 C. alive　 D. expensive 29．A. permission　 B. urge　 C. method　 D. promise 30．A. conversation　 B. barrier　 C. contest　 D. copy 31．A. ignored　 B. painted　 C. replaced　 D. positioned 32．A. repeated　 B. planned　 C. unplanned　 D. recorded 33．A. starting point　 B. final answer　 C. private joke　 D. heavy cost 34．A. avoid　 B. match　 C. question　 D. divide 35．A. warning　 B. rule　 C. audience　 D. direction 第二节（共10小题；每小题1.5分，满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 The aim of our corridor exhibition was ____36____ (turn) an unused space into a place for shared attention. The most difficult part was ____37____ (choose) a theme broad enough for different classes. Some students felt ____38____ (confuse) by the empty walls, while others were ____39____ (excite) by the freedom. We carefully observed the corridor at three times, recording changes in light, sound and movement. Our solution was ____40____ (begin) with objects found in school. One group's idea was ____41____ (hang) transparent shapes near the windows so that sunlight became part of the display. The result was ____42____ (surprise): even familiar shadows looked new. As the shapes changed with the sun, no visit showed the complete work. Visitors appeared ____43____ (interest) in watching the display change during the day rather than seeing a fixed picture. The most rewarding moment was ____44____ (hear) students explain why an ordinary object had caught their attention. Our next step is ____45____ (invite) families to add one small observation of their own. The exhibition is not finished; its purpose is to keep the school looking again. 第三部分　写作（共两节，满分40分） 第一节（满分15分） 假定你是校艺术节学生负责人李华，请给英国艺术家 Ms Green 写一封正式邀请邮件，邀请她参加“From Ordinary to Art”校园艺术节。内容包括： 1. 艺术节的时间、地点和主题； 2. 主要活动； 3. 邀请她参加开幕式并主持创作工作坊，请其回复。 注意：1．写作词数应为80个左右；2．请按如下格式作答。 Dear Ms Green, ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours sincerely, Li Hua 第二节（满分25分） 阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 Asha's sculpture showed two clay hands holding a tiny house. She called it Home. The idea came from watching her grandmother shape dough, yet the work felt stiff. Asha copied photographs and removed each fingerprint. Her art teacher, Ms Chen, asked, “Where can we see what your grandmother gave you besides the shape of her hands?” A week before the exhibition, a crack appeared between the clay wrists. By morning it had widened almost to the house. Asha wanted to start again, but another piece could not dry in time. Her classmate Leo suggested filling and painting over the crack. Asha agreed, although hiding it might make the stiff surface even less alive. That evening, Asha called her grandmother and admitted what had happened. Her grandmother did not offer a repair method. Instead, she held up an old kitchen apron. A line of bright red stitches crossed one pocket. Years earlier, Asha had torn it while trying to carry too many apples. “I could have used matching thread,” her grandmother said, “but I wanted to remember who made the tear and why I mended it.” The crack ran where the hands depended on one another. Asha imagined a red line joining them, but sewing clay sounded impossible. Leo offered red cord, and Ms Chen found a practice tile. They drilled beside its crack and threaded the cord through. The first hole split; the second held. Asha drew the spacing and tested it twice more. The exhibition opened the next afternoon. Asha feared viewers would see only damage. She could hear visitors entering while classmates arranged paintings whose rough surfaces she had once considered unfinished. She carried Home to the display table with the red cord hidden in her pocket. Ms Chen turned on the lamp above the stand and waited. The next morning, Ms Chen placed the cracked sculpture under a single lamp._________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ At the exhibition, a visitor stopped before the red line joining the two hands.___________________________ ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 试题 第3页（共12页） 试题 第4页（共12页） 试题 第1页（共12页） 试题 第2页（共12页） 学科网（北京）股份有限公司 $