Dada and PopArt
Dada was a subversive movement in the arts that flourished mainly in France, Switzerland, and Germany from 1916 to 1923.Dada was based on the principles of deliberate irrationality and anarchy. It rejected laws of beauty and social organization and attempted to discover authentic reality through the destruction of traditional culture and aesthetic forms. The movement’s founders included the French artist JeanArp and the writers Tristan Tzara and HugoBall.At a meeting of young artists in 1916 in Zurich, one of them inserted a paper knife into a French-German dictionary. The knife pointed to the word dada, a French baby-talk word for a hobbyhorse, which the group saw as an appropriate term for their anti-art.
Dada emerged from despair over the First World War and disgust for the conservative values of society.Dada was the first expression of protest against the war.
Dadaists used absurdity to create artworks that mocked society yet defied intellectual analysis, such as the use of "found" objects in sculptures and installations.
The forerunner of theDadaists, and ultimately their leading member, was MarcelDuchamp, who in 1913 created his first "ready-made", the Bicycle Wgeel, consisting of a wheel mounted on the seat of a stool. In his effort to discourage aesthetics,Duchamp shocked the art establishment with these ready-mades--manufactured objects that he selected and exhibited--including a bottle rack and a comB、
TheDada movement extended to literature and music and became international after the war.
In the United States the movement was centered in New YorkCity.Dadaists on both sides of theAtlantic had one goal in common: to demolish current aesthetic standards.
Fifty years after theDadaists, another generation of artists reacted to the standards and values of society. However, instead of rejecting ordinary things, the young artists of the Pop movement of the 1960s embraced them. Pop artists were curious about the commercial media of ads, billboards, newsprint, television, and all aspects of popular culture. Thus, the barrier between "high" and "low" art collapsed, which theDadaists had aimed for and the Pop artists attained with an energy not seen before.
Pop art received its name from critic LawrenceAlloway, who considered Pop to be the culture of the mass media, photographs, and posters--a style that must be popular, transitory, and witty. The subject matter of Pop art was derivative, depicting something that had already been published or produced, such as comic strips, soft-drink bottles, and photographs of movie stars. Pop art caught on quickly; it was art about mass consumption that was eagerly consumed by the masses.
The most popular of the Pop artists was the painter Roy Lichtenstein. Lichtenstein painted enlarged copies of the least "arty" things he could find: romance and adventure comic strips. He was the firstAmerican artist to react to comic strips, finding beauty in these crude designs, along with a distinct sense of style. Lichtenstein also painted other pictorial styles, including blowups of other artists’ brushstrokes and parodies ofCubism andArtDeco.
Andy Warhol, more than any other Pop artist, took on the mind-numbing overload ofAmerican mass culture. Warhol began his career as a commercial illustrator, and in 1962 he had his first exhibition in an art gallery, where he showed his 32Campbell’s SoupCans. The thirty-two soup cans are about sameness: same brand, same size, same paint surface, and same fame. They mimic the condition of mass advertising.All of Warhol’s work flowed from one centr

Human Migration
Human migration: the term is vague. What people usually think of is the permanent movement of people from one home to another. More broadly, though, migration means all the ways—from the seasonal drift of agricultural workers within a country to the relocation of refugees from one country to another.
Migration is big, dangerous, and compelling. It is 60 millionEuropeans leaving home from the 16th to the 20th century. It is some 15 million Hindus, Sikhs, and Muslims swept up in a tumultuous shuffle of citizens between India and Pakistan after the partition of the subcontinent in 1947.
Migration is the dynamic undertow of population change: everyone’s solution, everyone’s conflict.As the century turns, migration, with its inevitable economic and political turmoil, has been called "one of the greatest challenges of the coming century".
But it is much more than that. It is, as has always been, the great adventure of human life. Migration helped create humans, drove us to conquer the planet, shaped our societies, and promises to reshape them again.
"You have a history book written in your genes," said Spencer Wells. The book he’s trying to read goes back to long before even the first word was written, and it is a story of migration.
Wells, a blond geneticist at Stanford University, spent the summer of 1998 exploring remote parts of Transcaucasia andCentralAsia with three colleagues in a Land Rover, looking for drops of bloo
D、In the blood, donated by the people he met, he will search for the story that genetic markers can tell of the long paths human life has taken across theEarth.
A、[■]But however the paths are traced, the basic story is simple: people have been moving since they were people.
B、[■] If early humans hadn’t moved and intermingled as much as they did, they probably would have continued to evolve into different species.
C、[■] From beginnings inAfrica, most researchers agree, groups of hunter-gatherers spread out, driven to the ends of theEarth.
D、[■]
To demographer KingsleyDavis, two things made migration happen. First, human beings, with their tools and language, could adapt to different conditions without having to wait for evolution to make them suitable for a new niche. Second, as populations grew, cultures began to differ, and inequalities developed between groups. The first factor gave us the keys to the door of any room on the planet; the other gave us reasons to use them.
Over the centuries, as agriculture spread across the planet, people moved toward places where metal was found and worked to centers of commerce that then became cities. Those places were, in turn, invaded and overrun by people in later generations called barbarians.
In between, these storm surges were steadier but similarly profound tides in which people moved out to colonize or were captured and brought in as slaves. For a while the population ofAthens, that city of legendary enlightenment was as much as 35 percent slaves.
"What strikes me is how important migration is as a cause and effect in great world events. " Mark Miller, co-author of TheAge of Migration and a professor of political science at the University ofDelaware, told me recently.
It is difficult to think of any great events that did not involve migration. Religions spawned pilgrims or settlers; wars drove refugees before them and made new land available for the conquerors; political upheavals displaced thousands or millions; economic innovations drew workers and entrepreneurs like magnets; environmental disasters like famine or disease pushed their bedraggled survivors anywhere they could replant hope.
"It’s part of our nature, this movement," Miller said, "It’s just a fact of the human condition. " According to Paragraph 1, which of the following

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