高級英語If-Picasso-Were-a-Pr課件

Unit8IfPicassoWereaProgrammer新世紀(jì)高等院校英語專業(yè)本科生系列教材（修訂版）高級英語1電子教案1Unit8IfPicassoWereaProgr3DetailedReadingContents24516WarmUpGlobalReadingConsolidationActivitiesTextAppreciationFurtherEnhancement23DetailedReadingContents24516Section1:WarmUpWorkingroupsoffouranddiscussthefollowingquestions.Lead-inBackgroundInformationHowiscomputerartdifferentfromtraditionalart?Whattoolsdotraditionalartistsuse?Whatarethetypicalfeaturesoftraditionalart?Whattoolsdocomputerartistsuse?Whatarethetypicalfeaturesofcomputerart?3Section1:WarmUpWorkinSection1:WarmUpLead-inBackgroundInformation4Section1:WarmUpLead-inBackgSection1:WarmUpLead-inBackgroundInformation5Section1:WarmUpLead-inBackgSection1:WarmUpLead-inBackgroundInformation

ArtusingcomputersandtheInternetisanaturalevolutionoftraditionalartforms.Moreover,thesenewcomputerartformsreflectrecenttrendsandareanintegralpartofmodernsociety,technologyandculture.Technologicalinnovationenablesartiststoenjoythebenefitsofinteractivity,multimedia,widespreaddistribution,lowcost,equalcreativeopportunity,accessibilityandsimplicity.Thus,computerarthelpsovercometechnical,financial,politicalandenvironmentalissuesthathavetraditionallylimitedartisticcreation.6Section1:WarmUpLead-inBackg

Today,manyinstitutionsandfunctionsarebeingshiftedtovirtualspace,andthefieldofartisnoexception.Computerartenablesindividualstoexpressthemselveswithoutcensorshipandtocircumventthetraditionalartestablishmentthatuntilnowhasdominatedthefield.Theartworldisonthevergeofarevolutionthatwillcompletelyoverturnartisticconventionsand,infact,ourentireperceptionofart.Computerartisaccessible,multisensual,andinteractive;itvariesovertimeandisconsciousoftheartconsumer.Thesesalientfeaturesofcomputerartcallforareassessmentofourentireconceptionofart.Section1:WarmUpLead-inBackgroundInformation7Today,manyinstitutiSection1:WarmUp

AbouttheAuthorSusanDelsoniseditor-in-chiefofMuseumsMagazines,agroupofcityandregionalpublicationsforactivemuseum-goers.SheisaformerfilmandvideoprogrammerfortheMetropolitanMuseumofArt,whereshealsoservedasaseniorstaffmemberoftheProgramforArtonFilm,ajointventurebetweentheMetandtheJ.PaulGettyTrust.“IfPicassoWereaProgrammer”wasoriginallypublishedinForbes,BestoftheWeb.BackgroundInformationLead-in8Section1:WarmUpAbouttheSection1:WarmUpBackgroundInformationLead-in9Section1:WarmUpBackgroundISection2:GlobalReadingWhatisthetextmainlyabout?StructuralAnalysisMainIdea

Thisarticleushersusintoanewfieldofart—online

artwork,introducesusintothecolorfulandmagnificentworldofthisspecificartisticform,andcausesustothinkaboutthequestionofwhatattitudeweshouldtaketowardsnewthings.10Section2:GlobalReadingWhatSection2:GlobalReadingPleasedividethetextinto3partsandsummarizethemainideaofeachpart.StructuralAnalysisMainIdeaPartI(Paragraphs1-3)Introduction

Thefirstthreeparagraphsserveastheintroduction.Aspecificpieceofonlineartworkismentioned,whichbringsintooursightthegrowingtrendofonlineart.

11Section2:GlobalReadingPStructuralAnalysisMainIdeaSection2:GlobalReadingPartII(Paragraph4)Transitionalparagraph

Paragraph4isaveryimportanttransitionalparagraphwhichraisesthequestionopenlyanddirectlywhetherornotonlineartshouldbedeemedasart.Inthisparagraph,atentativedefinitionofartisprovidedandthetwoelementsofitproposed—beingbeautifulandchangingthewaypeopleseetheworld—whichareusedinthefollowingparagraphstofurtherthediscussiononthistopic.12StructuralAnalysisMainIdeaSStructuralAnalysisMainIdeaPartIII(Paragraphs5-19)ProvidinganswerstothequestioninParagraph4Paragraphs5-19answerthequestioninParagraph4andraiseseveralotherquestionsconcerningsuchissuesasthedifferentroleoftheviewer,thewaypeopleappreciateandcollectthisnewformofartandtheadvantageofNetart,allcontributingtoabetterunderstandingofthisnewformofartandadeeperthinkingontheattitudeweadoptindealingwithnewthings.Section2:GlobalReading13StructuralAnalysisMainIdeaPForgetpaintbrushesandchisels.Today’shottestnewarttoolsareXMLandJava.1TypeaWebsiteURL—anyURL—into“FEED”,anonlineartworkbyMarkNapier().Immediatelythescreen’sninewindowsjumpintoaction.Textzoomsbyatunreadablespeed.Colorscareenthroughagridoftinysquares.Ahorizontalgraphwhipsupthree-colorspikeslikeademonicEKG.Abruptly,theactionceasesforamoment;thescreenradiatesanalmostmeditativecalm.Andthenitallstartsagain,untiltheentireWebsitehasbeenprocessed.StrippingawaySection3:DetailedReadingIfPicassoWereaProgrammer14ForgetpaintbrushesandchwhatNapiercallsthe“distractingveneerofcontent,”“Feed”turnsWebdataintoadizzyingdisplayofgraphicalactivity—partmathematicalalgorithm,partJacksonPollock.2[1]

Thisisnotyourmother’sover-the-couchart.Napier’s“antibrowser”isjustoneexampleofanewtypeofvisualexpression:digital,dynamicandmadespecificallyfortheInternet.Someworks,like“Feed,”reshapelivedatafromtheWeb.Othersusetelerobotics,FlashanimationandWebbrowsersthewayLeonardodaVinciusedpaintandcharcoal.Asvariedasthetechnologiesthatproduceit,onlineartisSection3:DetailedReading15whatNapiercallsthe“distracflourishing.Thisyearithitthemuseumscene,big-time,andnowgalleriesaretryingtofigureouthowtosellit.3ThisspringsawtherolloutofmajorNetartexhibitionsonbothcoasts,fromtheSanFranciscoMuseumofModernArt’s010101:ArtinTechnologicalTimes

totheWhitney

MuseumofAmerican

Art’srecentDataDynamics.NewYork’sMuseumofModernArt,London’slateBritainandeventhestaidSmithsonianaregettingintotheact.Meanwhile,long-runningdigitalculturesiteslikeRandTactasincubatorsforthishigh-techart.Section3:DetailedReading16flourishing.Thisyearithit4So,online,art’soutthere.But...isitart?Forthepeoplewhomakeit,theanswerisindisputablyyes,“Mycriteriaforartisthatit’sbeautifulandthatitchangesthewayyouseetheworld,”saysMartinWattenberg,whoseworksarefeaturedonseveralmuseumsites.“Tomymind,thisartisboth.”5Butthoseofuswhodon’tprogramsoftwaremightnotbesosure.[2]

Netartislessthanadecadeold,andevenitsmostardentchampionswouldn’tdescribeitasamaturemedium.PhotographytookmorethanhalfacenturytobetakenSection3:DetailedReading174So,online,art’souttherseriouslyasafineartform.Videospentyearsonthecounterculturalfringesbeforereachingthemuseumgallery.Bycomparison,onlineartisstillinitsformativestage.ObservesWattenberg,whohasworkedvisualizingfinancialdataforSmartMsince1996,“[3]

IfNetartwereacompany,rightnowwouldbeacoupleofmonthsbeforetheIPO.”6Fortheartiststhat’spartoftheappeal.[4]

Butitalsomeansthattheideabehindaworkcansometimesbemorecompellingthanwhatactuallyappearsonthescreen.AndSection3:DetailedReadingQUESTION18seriouslyasafineartform.forviewerswithoutathoroughgroundingintechnology—oradvancedmath—themostinnovativevisualprogramscanseemlikelittlemorethanhigh-endscreensavers.7ButWebartismuchmorethanthat.Itsmoststrikingdifferencefromtraditionalartisthemoreactiveroleoftheviewer—orshouldwesay,user—whoseinputisoftenessentialtocompletingthework.Take“Apartment,”aworkbyWattenbergandMarekWalczak.Asuserstypetheirthoughtsintothecomputer,theprogramtranslatestheirwordsintoblueprintsforindividualapartments—themoretalkaboutdreamsandsex,forinstance,thebiggerthe

Section3:DetailedReading19forviewerswithoutathoroughbedroom.[5]

Thebasicset-upcouldn’tbesimpler:nouser,noart.8[6]

Youmightgetusedtointeractingwithyouraxe.Butwillyouwanttocollectthisstuff?ArtdealerscallNetartatoughsell.“Peopleloveobjects,”explainsgalleryownerSandraGering,whofirstworkedwithonlineartbackinthemid-1990s.ThisartisonlyaccessibletothosewithacomputerandaWebconnection.9[7]

Forthetimebeingatleast,worksthatembedNetartinphysicalinstallationsfareconsiderablybetterintheSection3:DetailedReadingQUESTION20bedroom.[5]Thebasicset-upmarketplace.WhilecomputercodeisthecoreofJohnFSimon’sart,Geringsellshisworkassculpturalobjects—software,computerandscreeninacompletepackage.Andinaconceptborrowedfromprintmaking(andvideoart),sheissuestheminlimitededitionsofadozenorless—allofwhichhavesoldout,atpricesrangingfrom$20,000to$50,000.Ifthesoftwarecrashes,thecollectorsimplyshipsthepiecebacktothegalleryforaquickfixbySimon.10Onecollector,NewJerseyphysicianJohnBurger,who’sboughtallfiveeditionstodate,nevereverownedapersonalSection3:DetailedReading21marketplace.Whilecomputercocomputer.Forhim,Simon’sworksareabstractart—“sointelligent,socreative,sounlikeanythingI’deverseen”—[8]

andthedigitalaspectisalmostbesidethepoint.11[9]

OtherdealersbearoutGering’sassessment:youneedanobject—atangiblething—tosell.JuliaFriedman’srecentlyopenedChicagogalleryhandlessculpturalpieceswithWebelements,likeEduardoKac’s“Genesis,”aworkthatincorporateslive,eerilybeautifulWebcamimagesofmutatingbacteria.Section3:DetailedReadingQUESTION22computer.Forhim,Simon’swor12Butothersalesmodelsareemerging.Simonsellsanunlimitededitionof“EveryIcon”—aworkfeaturedinlastyear’sWhitneyBiennial—ontheWebfor$20,inado-it-yourselfdownload.Sofar,he’smovedabout90ofthem,andsaleshavepickedupsinceoperationsmovedtoanAZShop.13Netomat,anonlineapplicationofferingan“alternativebrowsingexperience,”hasbeenavailableforfreedownloadatNsinceJune1999.Sofartherehavebeen750,000downloads.Nowitsdeveloper,MaciejWisniewski,hasquit

Section3:DetailedReading2312ButothersalesmodelsarhispostasanXMLdeveloperatIBM.comtoconverthisartprojectintoaninteractivee-mailclient.14MicheleThursz,directorofNewYork’sMovingImageGallery,isworkingwithartiststosellsharesinlimited-accesscollectingcommunities.Thecollectorswillshareintheongoingcreativeworkofartist-designedWebsites,andinthesaleofanydigitalprintsorotherobjectsthatresult.Etoy,aNetartgrouprepresentedbyNewYork’sPostmastersGalleryhasalreadyissued640,000sharesinitsdigitalcollective,15%ofwhichareownedbycollectors.BuyersevengetsignedSection3:DetailedReading24hispostasanXMLdeveloperacollectiblestockcertificatesemblazonedwiththeartwork.EvenifEtoyartneverappreciates,thecertificatesonyourlivingroomwallmaystillbrightenyourday.15[10]

Surprisingly,corporationsandgovernmentagenciesarebuyingintothisuntestedartform.

JohnKlima’sNet-basedwork,“ecosystem,”wascommissionedbyZurichCapitalMarketsfortheemployees’loungeofitsNewYorkoffice.[11]

Convertingindividualworldcurrenciesintocompetingflocksofbirds,“ecosystem”trackscurrencyfluctuations—whichdirectlyaffectthewell-beingofeach

Section3:DetailedReading25collectiblestockcertificatesflock—andglobalweather,bothinrealtime.Cost:$14,000andcounting.Andthatdoesn’tincludetheextra$14,000thatZurichspentfora50-inchgasplasmamonitortodisplayitallon.16AnotherKlimawork,“Earth,”hasbeenleasedfor$1,000ayearbytheNationalLibraryofMedicineforitsBethesda,Md.building.“YoulicenseitlikeWindows98,”theartistnotes.“Attheendof18months,they’llstillownthesoftware,buttherearenomoreupdatesortechsupport.”17ArtistWattenbergisalsolookingtodesigncustom-Section3:DetailedReading26flock—andglobalweather,bothinterfaceartforcorporateWebsites.“Icanseeacorporationcommissioningmetodesignabeautifulfrontend,”hesays,“l(fā)ikethebig,impressivesculptureinthefrontlobby.”WithRastheproducer,WattenbergiscurrentlydevelopinganinterfaceforNASA’sartcollectionontheWeb,expectedtolaunchbyearly2002.18It’snotsurprisingthatWeb-basedartdealers,likeE,aregettingintothismarket.TheU.K.-basedcompany,whichbegansellingdigitalphotographyonlineinDecember1999,nowhasadozendigitalartprojectsSection3:DetailedReadingQUESTION27interfaceartforcorporateWeinthepipeline,halfofwhichshouldlaunchthisfall.Likeotherdealers,Eyestormislookingatawiderangeofsalesstrategies,fromcorporatecommissionstolimited-editionCD-ROMsandDVDstomicropaymentsonapay-per-viewbasis.19[12]

Lestyouthinkthemediumispausingtocatchitsbreath,restassured—theenvelopeisstillbeingpushed.Currentlyintheworks:atleastoneshowofartcreatedforpagers,cellphonesandPDAs.Whichbegsthequestion,howdoyoupreventillegalcopyingwhenartisbeingbeamedfromcellphonetocellphone?Section3:DetailedReadingQUESTIONACTIVITY28inthepipeline,halfofwhichSection3:DetailedReadingHowdoartistsperceiveartandespeciallyonlineart?(Paragraphs4and5)Themeasurementofartisthatitisbeautifulandchangesthewaywelookattheworld.Netartthatflourishesnowfulfillsthistask,soitisart.

29Section3:DetailedReadingHowSection3:DetailedReadingWhatistheroleassignedtoviewersofNetart?(Paragraph7)Viewershaveamoreactiveroletoplay.Indeedtheyareusersbecausetheirinputisessentialtocompletingthework.Inotherwords,therewouldbenoNetartwithoutusers.However,thereisatougherrequirementforviewersofNetart.Theymustbetechnology-savvyandhaveaWebconnection.

30Section3:DetailedReadingWhSection3:DetailedReadingWhydidSandraGeringsaythat“youneedanobject—a

tangiblething—to

sell?”(Paragraphs8-11) AsNetartisonlyaccessibletothosewhohaveacomputerandInternetconnection,itisatoughsellinthemarket.Onthecontrary,worksthatembedNetartinphysicalinstallationsfareconsiderablybetterinthemarketplace.Thereasonispossiblythatpeopleloveobjects.

31Section3:DetailedReadingWhySection3:DetailedReadingWhyisitsurprisingthatgovernmentagenciesandcorporationsbuyintoNetartwhileitisnotsurprisingthatWeb-basedartdealersgetintothismarket?(Paragraphs15-18)ItissurprisingthatgovernmentagenciesandcorporationsbuyNetartbecauseNetartisnotmatureenough,oruntested.Itisstillinitsformativestage.ItisnormallybelievedthatNetartcollectorsmustbeavant-gardeindividuals,ratherthangovernmentagenciesorcorporationsthatareusuallyregardedasconventional.Itisnotsurprising,however,thatWeb-basedartdealersgetintothemarket,sincethereisabrightprospectandagreatopportunity.32Section3:DetailedReadingWhySection3:DetailedReadingWhatcanbesaidofthefutureofNetart?(Paragraph19)ThedevelopmentofNetartisinfullswing,anditsapplicationisextendingrapidlytoothermedia,suchasmobilephonesandPDAs.ButthereisaproblemwithNetart—piracy,orillegalcopying.

33Section3:DetailedReadingWhaClassDiscussionsWhatmakessomepeopledoubtthatonlineartisart?WhatisthemoststrikingdifferencebetweenNetartandtraditionalart?Section3:DetailedReading34Section3:DetailedReading34First,itdoesnottakethetraditionalandwidelyacceptedformsofart.Someoftheonlineartworksare,inessence,computerprogramsandtherefore,donothavestableforms.Theseworks,unabletobeappreciateduntiltheprogramsbeingrun,areactuallysomeever-changingprocesses.Second,theproducersoftheseworksaresomuchdifferentfromthetraditionalartists.Toproducesuchapieceofwork,oneshouldacquireathoroughknowledgeofcomputerscience.Thishasgreatlyblurredtheformerlydistinctivedividinglinebetweenartandscienceandmakesthenewformofarthardtodefine.

Section3:DetailedReading35First,itdoesnottakethThird,thisformofartissucharecentdevelopmentthatpeoplehavehardlyhadsufficienttimetoformasoundjudgmentofitsvalue.Netartisonlylessthanadecadeold,whichmakesevenitsmostardentchampionsunabletoacknowledgeitasamaturemedium.Section3:DetailedReading36Third,thisformofartisSection3:DetailedReadingThemoststrikingdifferencebetweenNetartandtraditionalartliesintheroleoftheviewer.Insomeoftheworks,peopleareinvitedtoparticipateinthecreationofthework,whoseeffortsmakethefinalresulthighlyindividual.Tosomeextent,theroleofapassiveappreciatorintraditionalarthasbeenreplacedbythemoreactiveroleofauserinNetartwhoseinputisoftenessentialtocompletingthework.Thegapofstatusbetweenthesuperiorartistandtheinferioraudiencehasbeensomewhatbridged.Whatisreflectedinthischangeisthespiritofdemocracy,whichistheoverwhelmingcharacterofourmoderntimesandacelebrationofindividualitysopopularamongmodernpeople.37Section3:DetailedReadingXMLisametalanguagewritteninSGMLthatallowsonetodesignamarkuplanguage,usedtoallowfortheeasyinterchangeofdocumentsontheWorldWideWeb.Javaisanobject-orientedprogramminglanguagethatisplatformindependent(thesameJavaprogramrunsonallhardwareplatformswithoutmodification).DevelopedbySun,JavaiswidelyusedontheWebforbothclientandserverprocessing.Section3:DetailedReading38XMLisametalanguagewriUniformResourceLocator,theaddressthatdefinestheroutetoafileonanInternetserver(Webserver,FTPserver,mailserver,etc.).URLsaretypedintoaWebbrowsertoaccessWebpagesandfiles,andURLsareembeddedwithinthepagesthemselvesashypertextlinks.TheURLcontainstheprotocolprefix,portnumber,domainname,subdirectorynamesandfilename.Ifaportnumberisnotstatedintheaddress,port80isusedasthedefaultforHTTPtraffic.Section3:DetailedReading39UniformResourceLocator,Section3:DetailedReadingzoom:v.

tomoveveryquickly;ifpricesorsaleszoom,theyincreasesuddenlyandquickly.e.g.Theygotintothecarandzoomedoff.Inthelastfewmetresoftherace,shesuddenlyzoomedahead.Housepricessuddenlyzoomedlastyear.40Section3:DetailedReadingzooEKGorECGistheabbreviationofelectrocardiographorelectrocardiogram,agraphicalrecordingofthecardiaccycleproducedbyanelectrocardiograph.Section3:DetailedReading41EKGorECGistheabbreviationSection3:DetailedReadingradiate:v.

tospreadoutinalldirectionsfromacentralpointe.g.Flowsoflavaradiatedoutfromthevolcano’scrater.Justbeforethebreedingseason,thesebirdsradiateoutwardstowarmerclimates.42Section3:DetailedReadingradSection3:DetailedReadingPractice:TranslatethefollowingsentencesintoChinese.1)IwastoldbyservantswhosawthemtogetherthataroundEare,Eleanorwouldradiatehappinessandcarryherselflikeabeautifulwoman.

(

=見過他們在一起的仆人們告訴我，埃莉諾只要有厄爾在身邊，就顯得特別高興，舉動就像是一個美人。

)2)Fiveroadsradiatefromthisroundabout.

(=有五條道路以這個環(huán)狀交叉路為中心向各方伸展開。)43Section3:DetailedReadingPraSection3:DetailedReadingveneer:n.

sth.thathidessth.unpleasantorunwantede.g.Shemanagedtohidehercorruptdealingsunderaveneerofrespectability.Practice:TranslatethefollowingsentenceintoChinese.Theislandsconsistofoysterreefscoveredwithathinveneerofblackmud.（=由牡蠣礁構(gòu)成的小島上覆蓋著一層薄薄的黑色軟泥。)44Section3:DetailedReadingvenSection3:DetailedReadingalgorithm:n.

asetofmathematicalinstructionsthatmustbefollowedinafixedorder,andthat,especiallyifgiventoacomputer,willhelptocalculateananswertoamathematicalproblem

(算法，計算程序)45Section3:DetailedReadingalgSection3:DetailedReadingJacksonPollock:

a20th-centuryAmericanpainter,famousforcreatingabstractpaintingsbydrippingorpouringpaintonacanvasincomplexswirlsandspatters46Section3:DetailedReadingJacSection3:DetailedReadingLeonardodaVinciwasanItalianRenaissancepolymath:painter,sculptor,architect,musician,scientist,mathematician,zoologist,engineer,inventor,anatomist,geologist,cartographer,botanist,andwriterwhosegenius,perhapsmorethanthatofanyotherfigure,epitomizedtheRenaissancehumanistideal.Leonardowasandisrenownedprimarilyasapainter.Amonghisworks,theMonaLisaisisthemostfamousandmostparodiedportraitandTheLastSupperthemostreproducedreligiouspaintingofalltime.47Section3:DetailedReadingSection3:DetailedReading48Section3:DetailedReading48Section3:DetailedReading49Section3:DetailedReading49Section3:DetailedReading50Section3:DetailedReading50Section3:DetailedReadingfigureout:Ifyoufigureoutasolutiontoaproblemorthereasonforsomething,yousucceedinsolvingitorunderstandingit.e.g.Ittookthemaboutonemonthtofigureouthowtostarttheequipment.They’retryingtofigureoutthepoliticsofthiswholesituation.Idon’thavetobeadetectivetofigurethatout.51Section3:DetailedReadingfigSection3:DetailedReadingPractice:TranslatethefollowingsentencesintoChinese.1)Onlybyfindingouttheirownweaknessandsolvingtherealproblemscanenterprisesfigureoutapracticalandeffectivecostcontrolsystem.（=企業(yè)只有找出自身的弱點(diǎn)，對癥下藥，才能真正制定出一套貼切有效的成本控制體系。）2)Consequently,researchersaredeterminedtofigureouthowtomakecomplexmicroprocessorsoutofothermaterials.（=因此，科學(xué)家決心研究出如何用其他材料制造復(fù)雜的微處理器。

）52Section3:DetailedReadingPraSection3:DetailedReadingsee:

v.

tobethetimeorplacewhensth.happense.g.Thissummerhasseentheendofwaterrestrictionsintheareathankstoanewreservoir.YesterdaysawtheresignationoftheactingInteriorMinister.53Section3:DetailedReadingseeSection3:DetailedReadingrollout:n.

theinaugurationorinitialpublicexhibitionofanewproduct,service,orpolicye.g.ThefilmisscheduledforrolloutinFebruary2002andwillfeaturecomputeranimationandstunningphoto-realenvironments.54Section3:DetailedReadingrolSection3:DetailedReading

010101:ArtinTechnologicalTimeswasashowfilledwithanimated“paintings”,virtualrealityart,cybersculpturesandothertechnologicalcreations,andashowabouttechnologyanditstremendousimpactonourdailylives.ItwassponsoredbyIntel.Thenumber“010101”referstodigitalcodeaswellasthedate—Jan.1,2001—whentheInternetartcomponentoftheshowopenedonthemuseum’sWebsite.55Section3:DetailedReadingSection3:DetailedReadingTheWhitneyMuseumofAmericanArt,whichwasfoundedin1930byGertrudeVanderbiltWhitneyinNewYorkCity,wasanoutgrowthoftheWhitneyStudio(1914-1918),theWhitneyStudioClub(1918-1928),andtheWhitneyStudioGalleries(1928-1930).Openedtothepublicin1931,themuseumactivelysupportsAmericanartthroughthepurchaseandexhibitionoftheworksoflivingartists.Itsextensivepermanentcollectioncontainssculpture,paintings,drawings,andprints,whichareexhibitedregularly.Biennialshowsofworksinvariousmediaprovidecomprehensivereviewsofeachyear’sAmericanart.ThespaciousMadisonAvenuebuildingdesignedbyMarcelBreuertohousethecollectionwasopenedin1966.56Section3:DetailedReadingSection3:DetailedReading57Section3:DetailedReading57

DataDynamicsisanexhibitionofInternetartthatfocusesonaprominentissueinthisnewmedium:thesearchforvisualmodelsthatrepresentacontinuouslychangingflowofdataandinformation.Thesemodelsoffernavigationalpossibilitiesforexperiencingvisualandtextualinformation.TheInternetartprojectsincludedinitareexhibitedbothasinstallationsintheMuseumandintheWhitney’sonlinegallery.Eachoftheworksfocusesondifferentdynamicsofdata,whetherinthecontextofmappinglanguage,stories,memories,ortrafficinphysicalandvirtualspaces.DataDynamicsincludesfiveNetartprojectsbyMarekWalczakandMartinWattenberg,MarkNapier,MaciejWisniewski,BethStrykerandSawadBrooks,andAdrianneWortzel.ItissponsoredbyFranceTelecomNorthAmerica.Section3:DetailedReading58DataDynamicsisanexhiSection3:DetailedReadingBritainreferstotheBritishMuseum.Foundedin1753,theBritishMuseumisoneoftheworld’spremierculturalhistorymuseums,housingmorethan7millionobjectsinitscollectionofartifacts.Morethan4.5millionvisitorseachyearcometoseesuchancientrelicsastheRosettaStone,theElginMarbles,andtheBlackObelisk,aswellascollectionsofAfricanart,Chineseporcelain,artifactsfromtheRomanoccupationofEngland,andmuchmorefromaroundtheworld.59Section3:DetailedReadingSection3:DetailedReading60Section3:DetailedReading60Section3:DetailedReadingSmithsonianreferstotheSmithsonianInstitution.EnabledbythebequestoftheEnglishchemistJamesSmithson(1765-1829),itwasestablishedinWashington,D.C.byan1846actofCongress.TheSmithsonianadministersnumerousbureaus,includingtheFreerGalleryofArt,theJohnF.KennedyCen