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The author mentions the research performed on hamsters and rats most probably in order toA

The author mentions the research performed on hamsters and rats most probably in order to

A．demonstrate a case where the implications of the labeled-line hypothesis clearly do not hold

B．show the limits of experimental inquiry in determining the role of the individual neuron in taste

C．explain the necessity for determining the extent to which visual perception is analogous to gustatory perception

D．provide further corroboration for the predictions made by the across-pattern model of taste neurology

E．prove the salient differences between taste perception in humans and in animals

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更多“The author mentions the resear…”相关的问题

第1题

According to the passage, Pfaffman's theory differs from that which has been most recently

considered by scientists in that it

A．postulates that peripheral neurons do not respond to a greater extent to stimuli representing a single taste quality

B．ignores the crucial difference between central and peripheral gustatory neurons in their role as mechanisms of taste

C．implies that the activity of any individual taste cell, taken by itself, is ambiguous

D．fails to acknowledge that specific gustatory neurons are associated with particular tastes

E．relies primarily upon research data that has come from human, rather than animal, subjects

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第2题

It can be inferred from that passage that hearing differs from seeing and tasting because

A．is primarily analytic in its tendency to separate the qualities of different sounds from one another

B．does not rely on the operation of more than one type of neuron, unlike visual or gustatory perception

C．uses individual neurons, not groups, in order to discriminate between various stimuli

D．is primarily synthetic, in that each combination of sound produces a unique quality for the ear

E．uses neurons which respond to only a single major stimulus, without producing minor effects for minor stimuli

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第3题

It may be debated whether individual neurons are "tuned" to react to only a single tastant

It may be debated whether individual neurons are "tuned" to react to only a

single tastant such as salt or sugar-and therefore signal only one taste

quality-or whether the activity in a given neuron contributes to the neural

Line representation of more than one taste. Studies show that both peripheral and

(5) central gustatory neurons typically respond to more than one kind of stimulus,

and although each neuron is attuned most acutely to one tastant, it usually also

generates a reaction to others with dissimilar taste qualities. How then can the

brain represent various taste qualities if each neuron is receptive to many

different-tasting stimuli?

(10) Electrophysiological studies of gustatory sensory neurons, first performed

by Pfaffmann, demonstrated that peripheral neurons are not specifically

responsive to stimuli representing a single taste quality (which might be

symbolized by the pattern of activity across gustatory neurons because the

activity of any one cell was ambiguous) but instead record a spectrum of tastes.

(15) But in the 1970s and 1980s several scientists began to accumulate data indicating

that individual neurons are tuned maximally for one taste, and they interpreted

this as evidence that activity in a particular type of cell represented a given taste

quality—an idea they called the labeled-line hypothesis. According to this idea,

activity in neurons that experience the strongest reaction to sugar would signal

(20) "sweetness," activity in those that are most sensitive to acids would signal

"sourness", and so forth.

Smith later proved that the same cells that previous researchers had

interpreted as labeled lines actually defined the similarities and differences in

the patterns of activity across taste neurons, suggesting that the same neurons

(25) were responsible for taste-quality representation, whether they were viewed as

labeled lines or as critical parts of an across-neuron pattern. These investigators

further established that the neural distinction among stimuli of different

qualities depended on the simultaneous activation of different cell types, much

as with the function of color vision, but unlike auditory perception. These and

(30) other considerations have led us to favor the idea that the patterns of activity

are key to coding taste information.

Scientists now know that things that taste similarly evoke similar patterns

of activity across groups of taste neurons. Furthermore, we can compare these

patterns and use multivariate statistical analysis to plot the similarities in the

(35) patterns elicited by various tastants. Taste researchers have generated such

comparisons for gustatory stimuli from the neural responses of hamsters and

rats and these correspond very closely to similar plots generated in behavioral

experiments, from which we may infer which stimuli taste alike and which taste

different to animals. Such data show that the across-neuron patterns contain

(40) sufficient information for taste discrimination and this may be a reasonable

explanation for neural coding in taste, though researchers continue to debate

whether individual neuro

A．illustrating the extent to which the physiological principles behind taste mirror those behind vision

B．contrasting the available evidence for the labeled-line and across-neuron theories of taste

C．describing the evolution of theories concerning the neurological mechanisms which determine taste

D．demonstrating the superiority of holistic models over component models in analyzing neuron function

E．showing that individual neurons play a negligible role in the physiological mechanisms of perception

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第4题

Which of the following best states the author's main point about artists who have abandone

d the hierarchical distinction between art and theory?

A．Theirs is a sterile, abstract practice, unlikely to produce few lasting works.

B．They have demonstrated that critics are less important to the art-making process than the public commonly believes.

C．They have laudably focused their energy on exposing the extent to which theory informs their own practice.

D．They have, to the detriment of their work, lost track of inner realm of the creator.

E．They have demonstrated a positive alternative to critics who have abandoned their field to become artists.

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第5题

Which of the following persuasive devices is NOT used in the passage?A．An example of an ar

Which of the following persuasive devices is NOT used in the passage?

A．An example of an artist whose work critics misunderstand

B．The contrast of different points of view

C．The repetition of key ideas and expressions

D．A mention of the most recent trends in art-making

E．Evaluative or judgmental words

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第6题

The author's primary purpose in mentioning van Gogh is most likely toA．cite the case of an

The author's primary purpose in mentioning van Gogh is most likely to

A．cite the case of an artist whose intention was to increase the mystification of the artistic process

B．discuss an artist whose life has been consistently distorted by biographers and filmmakers

C．give an example of an artist depicted as incapable of comprehending his own art work but able to do so in fact

D．provide an instance of an artist whose work can scarcely be understood without the assistance of art critics

E．mention the example of an artist whose critical faculties were rightly overshadowed by his artistic abilities

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第7题

The passage suggests that the post-modernist relegation of an artwork's author to a minor

and irrelevant post

A．has resulted in a greater embrace of art forms that are sometimes wholly electronic

B．has failed to entirely counter the notion that art-making originates at some point with an individual

C．has enabled artists to demonstrate the visual and textual connections between art and art criticism

D．has tended to increase the intimacy of creation at the expense of the cognition of artists

E．has tended to subtly reinforce the ways in which artists are perceived as martyrs

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第8题

The passage suggests that the mystification of the artistic process by certain art histori

ans and artists can be traced to

A．the necessity of protecting artistic meaning from a general public who would most likely misunderstand and object to it

B．an unconscious tendency of non-artists to lionize those artists whom the public admires but fails to understand

C．a desire to protect and maintain the isolation between those who make art and those who analyze it, so as to reinforce the creative/critical distinction

D．a movement to expunge the challenging texts of dual artist/critics like Leonardo da Vinci and Mary Kelly from the critical canon

E．a distinction between the methodology of scholars, who tend to be erudite, and that of artists, who are more intuitive in their thinking processes

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第9题

It can be inferred from the passage that prior to the modern era artistic practice was reg

arded as

A．a hermetic field without potential for collaboration, given that it was almost exclusively populated by "misunderstood geniuses"

B．a field less isolated from the practice of critical analysis than the artistic process of the present era

C．more meaningful and useful as a self-critical force than the aesthetic judgments of non-artists, especially art historians

D．primarily concerned with the masking and concealment of artistic meanings from the general public

E．seldom times as specialized as the various branches of science from which art has traditionally been distinguished

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第10题

The distinction between making art and thinking and writing about it should imply neither

The distinction between making art and thinking and writing about it

should imply neither a mutual exclusiveness nor a hierarchic differentiation of

these processes. Leonardo demonstrated that producing art and theorizing about

Line it need not be antithetically opposed activities and that meaningful contributions

(5) can be achieved successfully in more than one field. Inexplicably, few theorists

have built as memorable architectural structures as his and even fewer artists

have been entrusted with the directorship of an influential art institution.

Unfortunately, as theory and practice became more specialized in the modern

era and their operational framework clearly defined both in the cultural milieu

(10) and the educational process, their independent paths and boundaries have

curtailed possibilities of interaction. The creations of categories and divisions

have further emphasized highly individualized idiosyncrasies and, by exposing

differences, diminished the value of a unifying artistic vocabulary. The

transformative cultural process of the last decades has critically examined the

(15) artificial separations between theoretical and studio practices and disclosed

viable connections between making, writing, thinking, looking and talking

about art. The recent dialogue between the various components of the artistic

discourse has recognized the common denominators shared by theoretical

analyses and artistic production, one of which is clearly exposed by the

(20) argument that the central objective of the theorist and artist is to unmask and

understand artistic meanings in painting or text.

The notion that "true" art is the product of individuals who are incapable of

in-depth understanding, in stark contrast to erudite, restrained and controlled

scholars, is an outdated model. The assumption that artists make art but cannot

(25) or do not have to talk or write about it and that theorists rarely know anything

about the creative process, has been consistently refuted by the many texts

written from Leonardo da Vinci to Mary Kelly. Even van Gogh, a martyr of the

stereotypical "misunderstood genius," whose artistic career has been distorted

by scores of films and books, wrote with lucidity and insight about art and his

(30) work. Apparently, the "mystery" of the creative process, jealously protected

by artists but also selectively cultivated by some art historians has been both a

fascination and frustration for those extrinsic to the process and artists have

exposed the intimacy of creativity while acknowledging the role of cognition in

creativity.

(35) Even the ironic and subversive demise of authorship of the post-modern and

electronic age acknowledges, at least indirectly, the value of the artist's

individual participation. However, many contemporary artists have abandoned

the hierarchic segregation of the inner realm of the creator and, by combining

theoretical and studio practices, brought a reconciliatory tone to the processes

(40) of making art and analyzing it. Their works, which are often simultaneously

artistic productions and critique of the artistic discourse, make use of visual and

&nbs

A．reduce the level of control artists have over artistic institutions

B．increase the usefulness of creating a unifying artistic vocabulary

C．permit a greater level of development of knowledge concerning both

D．curtail interactions and establish false boundaries between the two fields

E．complicate the educational process of artists in an unfortunate manner

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