The design features of human language include the following features EXCEPT____.A.duali

design and superior performance.

nguage.()

A.function

B.design features

C.importance

D.performance

A. connection speed

B. number of remote sites

C. features to be supported

D. types of devices at the remote site

A.stated objectives

B.syllabus specifications

C.types of activities

D.roles of teachers, learners and materials

A. connection speed

B. number of remote sites

C. features to be supported

D. types of devices at the remote site

E. whether packets are encrypted using 3DES or AES

F. number of routes in the routing table at the remote site

A. It encourages industry standardization by defining what functions occur at each layer of the model.

B. It necessitates changes in functionality in one layer to other layers.

C. It enables equipment efficiency from different vendors to use the same electronic components.

D. It divides the network communication process into smaller and simpler components, thus aiding component development, design, and troubleshooting.

E. It supports the evolution of multiple competing standards, and thus enhances business equipment manufacturing opportunities.

ctions, their dimensions and appearances, were determined by technologists, artisans, designers, inventors, and engineers using nonscientific modes of thought. Many features and qualities of the objects that a technologist thinks about cannot be reduced to unambiguous verbal descriptions; they are dealt with in the mind by a visual, nonverbal process. In the development of Western technology, it has been nonverbal thinking, by and large, that has fixed the outlines and filled in the details of our material surroundings. Pyramids, cathedrals, and rockets exist not because of geometry or thermodynamics, but because they were first a picture in the minds of those who built them.

The creative shaping process of a technologist's mind can be seen in nearly every artifact that exists. For example, in designing a diesel engine, a technologist might impress individual ways of nonverbal thinking on the machine by continually using an intuitive sense of rightness and fitness. What would be the shape of the combustion chamber？ Where the valves should be placed？ Should it have a long or short piston？ Such questions have a range of answers that are supplied by experience, by physical requirements, by limitations of available space, and not least by a sense of form. Some decisions, such as wall thickness and pin diameter, may depend on scientific calculations, but the nonscientific component of design remains primary.

Design courses, then should be an essential element in engineering curricula. Nonverbal thinking, a central mechanism in engineering design, involves perceptions, the stock-in-trade of the artist, not the scientist. Because perceptive processes are not assumed to entail "hard thinking", non- verbal thought is sometimes seen as a primitive stage in the development of cognitive processes and inferior to verbal or mathematical thought. But it is paradoxical that when the staff of the Historic American Engineering Record wished to have drawings made of machines and isometric views of industrial processes for its historical record of American engineering, the only college students with the requisite abilities were not engineering students, but rather students attending architectural schools.

If courses in design, which in a strongly analytical engineering curriculum provide the back- ground required for practical problem-solving, are not provided, we can expect to encounter silly but costly errors occurring in advanced engineering systems. For example, early models of high-speed railroad cars loaded with sophisticated controls were unable to operate in a snowstorm because a fan sucked snow into the electrical system. Absurd random failures that plague automatic control systems are not merely trivial aberrations; they are a reflection of the chaos that results when design is assumed to be primarily a problem in mathematics.

The author write this passage mainly to______.

A．introduce a new idea.

B．stress the importance of nonverbal thinking.

C．criticize the education for omitting an important part of knowledge.

D．propose a suggestion.

1in AD.1500 He buit a spaceship powered by 47rockets using. 2 His idea was crazy, but his dreamof fight, 3 500 years later when China successfully launched its first manned Shenzhou V spaceship.The second one is about the Spruce Goose, a_ 4designed to meet the need of 5 troops andmaterials during World War I. It was made entirely of6 and still holds the recordfor，Z Althoughit wasnever put to use, many of its design features have been incorporated into today's 8 The last is about Leonardo da Vincl, the most famous artist of the Renaissance. Apart from his great artistic work, he also drew sketches of.9 with flapping wingscorntrlled and steered by .10 Five hundred years later, a professional parachutist made a successful jump using a wood and canvas parachute based on one of da Vincil 's desins/sketches.

A.human pilots; B.the greatest wingspan; C.cametrue; D.spaceflight;

E.wood; F.flying devices;G gunpowder; H.cargo planes;I.transporting; J.flying boat

rom its current location in the suburban town of Merion, Pa., to a site in Philadelphias museum district caused an argument — not only because it shamelessly went against the will of the founder, Albert C. Barnes, but also because it threatened to dismantle(拆开)a relationship among art, architecture and landscape critical to the Barness success as a museum.

For any architect taking on the challenge of the new space, the confusion of moral and design questions might seem overwhelming. What is an architects responsibility to Barness vision of a marvelous but odd collection of early Modern artworks housed in a rambling(布局凌乱的)1920s Beaux-Arts pile？ Is it possible to reproduce its spirit in such a changed setting？ Or does trying to replicate(复制)the Barness unique atmosphere only doom you to failure？ The answers of the New York architects taking the commission are not reassuring. The new Barnes will include many of the features that have become virtually mandatory(强制性的)in the museum world today — conservation and education departments, temporary exhibition space, auditorium, bookstore, cafe — making it four times the size of the old Barnes. The architects have tried to compensate for this by laying out these spaces in an elaborate architectural procession that is clearly intended to replicate the peaceful-ness, if not the fantastic charm, of the old museum.

But the result is a complicated design. Almost every detail seems to ache from the strain of trying to preserve the spirit of the original building in a very different context. The failure to do so, despite such an earnest effort, is the strongest argument yet for why the Barnes should not be moved in the first place.

The old Barnes is by no means an obvious model for a great museum. Inside the lighting is far from perfect, and the collection itself, mixing masterpieces by Cezanne, Picasso and Soutine with second-rate paintings by lesser-known artists, has a distinctly odd flavor. But these apparent flaws are also what have made the Barnes one of the countrys most charming exhibition spaces. But today the new Barnes is after a different kind of audience. Although museum officials say the existing limits on crowd size will be kept, it is clearly meant to draw bigger numbers and more tourist dollars. For most visitors the relationship to the art will feel less immediate.

The Old Barnes becomes a successful museum mainly because of______.

A. the beneficial geographical position in a suburban town

B. its unique design and orderly collection of arts

C. the influence of its founder Albert C. Barnes

D. the perfect connection among art, architecture and landscape