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文章講解：

①In the early twentieth century, small magazines and the innovative graphics used on them created the face of the avant-garde.?②It was a look that signaled progressive ideas and unconventionality because it dispensed with the cardinal rule of graphic design: to take an idea and make it visually clear, concise, and instantly understood.?③Instead, graphics produced by avant-garde artists exclusively for the avant-garde (as opposed to their advertising work) were usually difficult to decipher, ambiguous, or nonsensical. ④This overturning of convention, this assailing of standard graphic and typographic formats, was part of a search for intellectual freedom. ⑤The impulse toward liberation enabled avant-gardists to see with fresh eyes untried possibilities for arranging and relating words and images on paper.

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the face of sth

·?the nature or character of an organization, industry, system etc, and the way it appears to people?某事物的本質(zhì)[特征]

①事實(shí)

↓

②?? ③

? ? ? ? ? ↓

? ? ? ? ?④

? ? ? ? ? ↓

?? ? ? ? ⑤

1. According to the passage, the?primary purpose?of?conventional graphic design?is to?直接細(xì)節(jié)，而非信息目的

A.render unpopular ideas palatable to a wider audience?沒有證據(jù)

B.capture readers’ attention with?bold fonts?沒有證據(jù)，典型陪跑

C.communicate nonsensical notions to a wide public?無關(guān)/相反

D. communicate ideas as efficiently andunambiguously as possible

E. introduce?previously unknown ideas?to the general public?沒有證據(jù)

??

For the following question, consider each of the choices separately and select all that apply.

?2. According to the passage, avant-garde artists of the early twentieth-century created?ambiguous or nonsensical graphics?as part of an attempt to?直接細(xì)節(jié)+可多選

A. expand the potential for expression through visual art?擴(kuò)大可能性對應(yīng)freedom和possibilities

B.?compete?with advertisements for reader’s attention?沒有證據(jù)，括號里的as?只是表比較，不是as to?表示不了目的

C. encourage the expansion of small magazines?沒有證據(jù)/IR