劍橋雅思13Test1閱讀passage3真題+翻譯(1)

劍橋雅思13Test1閱讀passage3真題+翻譯(1) 關(guān)于這個(gè)問(wèn)題下面小編就來(lái)為各個(gè)考生解答下。

劍橋雅思13Test1閱讀passage3真題+翻譯

READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40, which are based on Reading Passage 3 below.

Artificial artists

人工智能藝術(shù)家

Can computers really create works of art?

電腦真的能創(chuàng)作藝術(shù)嗎?

The Painting Fool is one of a growing number of computer programs which, so their makers claim, possess creative talents. Classical music by an artificial composer has had audiences enraptured, and even tricked them into believing a human was behind the score. Artworks painted by a robot have sold for thousands of dollars and been hung in prestigious galleries. And software has been built which creates art that could not have been imagined by the programmer.

傻瓜繪圖和不斷增多的電腦程序一樣,是有著創(chuàng)作才能的--至少它們的開(kāi)發(fā)者如是說(shuō)。一個(gè)智能作曲家所譜曲的古典音樂(lè)曾讓聽(tīng)眾們極度癡迷,以至于堅(jiān)信這些樂(lè)譜是人類(lèi)所作。一臺(tái)機(jī)器人作畫(huà)的藝術(shù)作品被賣(mài)到上千美元,也曾被掛進(jìn)名聲斐然的藝術(shù)館。而某些軟件創(chuàng)作出的藝術(shù)品也曾讓開(kāi)發(fā)它的程序員們感到意外。

Human beings are the only species to perform sophisticated creative acts regularly. If we can break this process down into computer code, where does that leave human creativity? This is a question at the very core of humanity,，says Geraint Wiggins, a computational creativity researcher at Goldsmiths, University of London. It scares a lot of people. They are worried that it is taking something special away from what it means to be human.'

人類(lèi)是一個(gè)會(huì)經(jīng)常創(chuàng)作復(fù)雜藝術(shù)作品的生物。假設(shè)我們把這個(gè)創(chuàng)作過(guò)程解構(gòu)成電腦代碼,那人類(lèi)的創(chuàng)作性又將如何自處?“事關(guān)人性最為核心的本質(zhì)?！眰惗卮髮W(xué)戈德史密斯學(xué)院電腦創(chuàng)作研究人員Geraint Wiggins說(shuō)?！斑@可嚇壞了許多人。他們擔(dān)心這將會(huì)使獨(dú)屬于人的某種特質(zhì)從人性中分除?！?/p>

To some extent, we are all familiar with computerised art. The question is: where does the work of the artist stop and the creativity of the computer begin? Consider one of the oldest machine artists, Aaron, a robot that has had paintings exhibited in London’s Tate Modern and the San Francisco Museum of Modern Art. Aaron can pick up a paintbrush and paint on canvas on its own. Impressive perhaps, but it is still little more than a tool to realise the programmer’s own creative ideas.

從某種程度上來(lái)說(shuō),我們對(duì)于電腦藝術(shù)并不陌生。問(wèn)題是,人類(lèi)藝術(shù)和電腦創(chuàng)造力的分界線(xiàn)在哪里呢?想一想最早的機(jī)器藝術(shù)家Aaron,它的作品曾在倫敦泰特現(xiàn)代藝術(shù)館和舊金山現(xiàn)代藝術(shù)博物館展出過(guò)。它可以拿起筆刷,自己在畫(huà)布上作畫(huà)?？赡芰钊斯文肯嗫?但它依然不過(guò)是一臺(tái)實(shí)現(xiàn)了程序員的創(chuàng)作理念的工具罷了。

Simon Colton, the designer of the Painting Fool, is keen to make sure his creation doesn’t attract the same criticism. Unlike earlier ‘a(chǎn)rtists，such as Aaron, the Painting Fool only needs minimal direction and can come up with its own concepts by going online for material. The software runs its own web searches and trawls through social media sites. It is now beginning to display a kind of imagination too, creating pictures from scratch. One of its original works is a series of fuzzy landscapes, depicting trees and sky. While some might say they have a mechanical look, Colton argues that such reactions arise from people's double standards towards software-produced and human-produced art. After all, he says, consider that the Painting Fool painted the landscapes without referring to a photo. 'If a child painted a new scene from its head, you'd say it has a certain level of imagination,’ he points out. The same should be true of a machine.’ Software bugs can also lead to unexpected results. Some of the Painting Fool's paintings of a chair came out in black and white, thanks to a technical glitch. This gives the work an eerie, ghostlike quality. Human artists like the renowned Ellsworth Kelly are lauded for limiting their colour palette - so why should computers be any different?

傻瓜繪圖軟件的設(shè)計(jì)者Simon colton急于確保自己的創(chuàng)造不會(huì)遭受相同的批判。與以往的“藝術(shù)家”如Aaron所不同的是,傻瓜繪圖軟件只需要極少的指令,它能夠通過(guò)從網(wǎng)上搜尋材料來(lái)確定自己的繪圖概念。這個(gè)軟件配有獨(dú)立的網(wǎng)絡(luò)搜索,巨細(xì)無(wú)遺地搜尋所有社交媒體站點(diǎn)。它現(xiàn)在也開(kāi)始展現(xiàn)某種想象力,能夠從頭創(chuàng)作一幅畫(huà)。它的原創(chuàng)作品中,有一系列模糊的風(fēng)景畫(huà),描繪著樹(shù)木和天空。有人可能會(huì)說(shuō)看上去很呆板、機(jī)械,但Colton卻覺(jué)得這樣反應(yīng)了來(lái)自于人們?cè)u(píng)判電腦作品和人類(lèi)作品時(shí)的雙重標(biāo)準(zhǔn)。他說(shuō),無(wú)論如何,想想看傻瓜繪圖在畫(huà)這幅風(fēng)景的時(shí)候,可沒(méi)有參照過(guò)任何照片?！叭绻粋€(gè)孩子用他腦海里的畫(huà)面畫(huà)了幅畫(huà),你就會(huì)說(shuō)他有一定的想象力”,他指出。“同樣的標(biāo)準(zhǔn)應(yīng)當(dāng)也適用于機(jī)器。”軟件錯(cuò)誤有時(shí)也能帶來(lái)一些意想不到的效果。傻瓜繪圖有一系列椅子的畫(huà),畫(huà)出來(lái)只有黑白兩色的,多拜技術(shù)故障所賜。這使得這些作品有一種怪異而鬼魅的特質(zhì)。人類(lèi)藝術(shù)家如聲名顯赫的Ellsworth Kelly經(jīng)常被褒揚(yáng)用色克制—那為什么到了電腦這里就不行呢?

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