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Conversation 1
Listen to a conversation between a student and her sociology professor.
Man: I’m glad you got my message and we’re able to make it, but where are the other members of your group, Tom and Jane?
Woman: There’re actually at the library.
They have a biology lab assignment that’s due later this afternoon. So I’m here to reprent the wh ole group, but..umm, when we got your email massage about being worried about our rearch pro ject, we were a little confud. We thought you were excited about our idea for the project. Man: Well I think it’s a great rearch topic but when I looked cloly at your plan for accomplish ing the rearch, I realized that your group is probably asking for some trouble.
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Woman: What do you mean? I thought that, you know, by monitoring student studying in the libra ry. We could really..ah..get a good understanding of pe ople’s study habits and stuff.
Man: The thing is, I think you might have a problem becau of the Hawthorne Effect. Woman: The Hawthorne Effect?
Man: The Hawthorne Effect is a technical term for when rearchers…ah…more or less forget ab out a specific variable, the variable of the rearchers themlves. Now, the students in the library, they’re going to know that you are obrving them, right? So you have to consider the effect your very prence will have on the people you’re obrving.
唤醒心中的巨人Woman: But…so you think… I mean, it’s not like our obrvations would be a cret. The student s would know exactly what we would be doing. I mean, we’d put up a sign right outside the librar y.
Man: Yes, but that’s just it. When people know they’re being watched, they act differently. Let me explain how the Hawthorne Effect got its name and…well…you’ll get the idea. See, there was a manufacturing facility called the Hawthorne Plant, and rearchers conducted some experiments t here to e what condition make the workers most productive.
Woman: What sort of conditions?
Man: Well…one thing they experimented with is with the lights. Were workers more productive with the bright lights or dim lights. Well, here’s the thing, whatever the rearches did, the worker
s’ productivity incread. When the lighting was improved, productivity went up. When the lightin g was dimmed, productivity went up again.
企业责任Woman: That doesn’t make a lot of n..
Man: Exactly, so initially the experiment was considered a failure, but then the rearchers realize d that their own prence had affected the workers’ productivity. The workers knew that the rear chers were watching them, and with so much attention on them, the workers felt compelled to wor k harder.
Woman: Oh…I guess that really could be an issue with my group’s rearch.
Man: Yes, but I don’t want to nd ya’ll back to square one, so how about you t up a meeting wi th your group members and discuss this. Then we can meet again and go over your ideas, and I thi nk that we should be able to figure out a way to get around the problem.
Conversation 2
Listen to a conversation between a student and an art professor.
分数的分类S: Hi, Dr. Morga n, I’m Karen Stern. I met you briefly about a year ago when I was applying to the university. You were on a penal professors and you were talking about the art department.
P: Um, and you now a student here, I guess I said the right thing.
S: Yeah, right now I’m doing the intro cours in the art department, but I’m really interested in painting.sophy橡菲旗舰店
P: Well, I teach veral of the painting cours, so I hope to e you in the future.
S: Actually, I was wondering you are in charge of student art exhibitions at the university gallery, right?
P: Right.
S: So I know all the exhibitors are students, but I was wondering how you choo the works to exhibit every month. Is there like a submission process or something?
P: No. There is a submission process, yes, we have a gallery review committee. But we already have our exhibition’s plan for the rest of the school year. Generally our exhibitors are third and forth year students, well into their cour work.
S: Oh, well, I guess that’ll be something to look forward to then. Tell me do you show all kinds of paintings?
P: Well actually, we started doing something different with the gallery this year. We are fetching a specific technique each month. Next month exhibition for will fetch drip paintings.
S: Really? Like Jackson Pollock?
P: Ah, so you are familiar with Pollock’s work.
S: Well, sort of, though I’ve e n photographs of it. I know he dripped paint onto the canvas instead of using a brush. I read his stretched out his canvas on the floor of a studio, and he climbed up on a ladder to pour paint, ordinary hou paint, from a can onto the canvas.
P: That’s right. That was characteristic of Pollock in the late 40s and what we call his drip period. And the object was to produce a constant and stream paint to create continuous lines. Becau as you know, when you u a brush directly on a canvas you get broken lines. So, you like Pollock. S: Yeah, I do. I like abstract towards in general. There’s a class on abstract art right?
P: Actually I teach that class, and drip painting was one of our themes last year. Some students from
last year’s class have continued experimenting with it. They created some incredible pieces, using everything from squeeze bottles to computer control spears.
S: Do they look a lot like Pollock’s work?
P: Well, our goal was to imitate Jackson Pollock. The object was to get students to look at different ways of a planning paint to a canvas. But you don’t have to enroll in a specific cour to be invited to exhibit your work. It just has to fit the theme for one of our exhibitions.
Lecture 1
Listen to part of the lecture in a material science class
Okay. Last time we finished going over some of the fundamental concepts of nanotechnology, the multi-disciplinary science of manipulating or controlling extremely small units of matters on the scale of molecule or even atoms.
So, I want to talk about how nanotechnology has been ud today. And just to give you an idea, we will look at one particular application. A team of material scientists in Massachutts have been working on a new ultrathin coating, a nana coating that might be applied to objects like bathroom mir
rors, car windows and eye glass to prevent fogging. And the coating has the potential to be a permanent solution, unlike the kinds of anti-fogging spray-on liquids that run on the market today.不可磨灭是什么意思
Now, fogging often occurs when a cold surface comes into contact with warm moist air, such as when a glass shower door or a mirror fogs up during a warm shower. Now, what’s actually happening is, or what the fog is, is thousands of tiny spherical water droplets condensing on the surface of the glass. Light hits the water droplets and is scattered in random directions, causing the fogging effect. Now, the kind of spray-on treatment, I mentioned, well they wear off. What happens is they cau the tiny water droplets to flatten when they conden on the surface of shower door or bathroom mirror or whatever the object it is, it’s been applied to. Becau the droplets are flatten when the light hits them, the light doesn’t scatter, but, as I said, tho kind of treatment don’t last very long.
The new coating has two important components: one, negatively charged the silica nano-particles, the are basically tiny particles of glass, and two, a positively charged polymer which you already know. A polymer is a chemical compound. They are layered over each other. The polymer then the silica nanoparticles, the polymer then the silica nanoparticles, you e. They are layered in such a way that the silica nanoparticles don’t pack together tightly, in other words, the structure has pores or
holes, little tiny pockets throughout it. The coating prevents fog from developing, becau it loves water. It attracts the water droplets, sucking them into the tiny pores, and that offers the shape of the droplets, the droplets are forced to flatten and to join together into a single sheet of water rather than remaining as single droplets, each of which is a sphere that scatters the light into different directions. Okay. So, instead of being scattered, the light pass through the thin sheet of water. So, there is no fogging effect. The ultrathin coating can be made more durable by heating it and of cour the object is applied to, to an extremely hot temperature, 500 degree Celsius, what that does is burning the polymer away and fu the silica nanoparticles together while maintaining the structure of pores. But that’s possible only on materials that they can withstand high heat. Glass, yes, plastics, no. But they are working on solving that problem, trying to come up with a way to coat plastics and other materials durably and effectively.
Interestingly, it was a plant, the lotus’ plant that inspired this work, I guess you can say, inspired it in an indirect sort of way. The leaves of this plant are what we call super-hydrophobic. Lotus’ leaves been super-hydrophobic don’t attract water. They repel it in a big way. When raindrops fall on lotus’ leaves, they remain spherical, they roll right off. So for a long time, the Massachutts scientists try to create a coating that active like the lotus’ leaves, a coating that was super-hydrophobic. But, then they begin to
think of the opposite of extreme. Could they accomplish their goal by making a coating that instead of repelling water, actually attracting water? Well, they em to get quite far with this approach. It’s really strong work with a range of interesting consumer applications. It’s not costly to manufacture the coating. Some car makers are interested in planning to their windshields, looks likable, probably we e it on the markets and everyday products in the next few years.
Lecture 2
Listen to part of the lecture in an introduction to drama class.
Professor: Now, throughout the history of drama, there’s been a, well, a relationship between the structure of a play, and the structure of the space where the play was performed. And this goes all the way back to the ancient Greeks. The Greeks built the first theatre in the 5th century BCE. The were out-door theatres. The architects looked for sight where you had a natural bowl-like formation on the side of a hill, and that’s where they t the theatre. All Greek theatres were pretty much the same. There was some natural variation to accommodate the size and shape of the site. But as far as the basic elements went, tho remained constant.
Have a look at this diagram. Let's start with the area where the actors performed, like what we called
the stage today. The Greeks referred to this space as the “skene”. Eh, there’s some confusion about the u of words “skene” by different scholars. Some authors u it to refer only to the structure behind the stage, while others u it to refer to the structure and the stage together, and that’s how I’ll u the term, to refer to both the stage and the building. Em, so, anyway, the “skene” started as a simple wooden platform, but eventually became much more elaborate. The front wall of the building was decorated like a palace or a temple, and rved its background scenery for the play. The building was also a storage place for customs, props, things like that.
Yes, Robber?
Student: So, did they decorate the “skene” for each play or, em, change the scenery during the play, like we do today, or did the whole story take place in one tting?
Professor: Well, everything the audiences saw happened in that one tting usually in front of either a temple or a palace. But audiences didn’t witness all events in the story. Some of them couldn’t be prented convincingly so the playwrights had them take place somewhere off the stage where the audiences couldn't e them, and then news of the event would be reported by one of the characters. ..Diane?
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Student: Last summer I saw Hippolytus.
Professor: Excellent! I hope you enjoy it.
