【正文】 , and the Bantu Peoples(TPO7) 244 RISE OF TEOTIHUACAN(TPO8) 251 OF THE DINOSAURS(TPO8) 259 WATER ON MARS(TPO8) 267 the Americas via the Northwest Coast(TPO9) 274 IN TEACHING(TPO9) 282 ARRIVAL OF PLANT LIFE IN HAWAII(TPO9) 290 HABITS OF EAST AFRICAN HERBIVORES(OG) 297 FULLER(OG) 303 ICEBERGS(OG) 309 Pottery(TPO10) 315 in the Climate(TPO10) 322 European Economic Growth(TPO10) 329 Egyptian Sculpture(TPO11) 336 and Navigation(TPO11) 342 by Nestlings(TPO11) 349 Hand Did They Use? (TPO12) 356 to Sound in Film(TPO12) 363 in the Desert(TPO12) 370 of Social Groups(TPO13) 376 Clocks(TPO13) 382 of Studying Infant Perception(TPO13) 389APPLIED ARTS AND FINE ARTSAlthough we now tend to refer to the various crafts according to the materials used to construct themclay, glass, wood, fiber, and metalit was once mon to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of appliedart objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike。 that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object39。s primary function. Sensitivity to physical laws is thus an important consideration for the maker of appliedart objects. It is often taken for granted that this is also true for the maker of fineart objects. This assumption misses a significant difference between the two disciplines. Fineart objects are not constrained by the laws of physics in the same way that appliedart objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overe by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor39。s aesthetic intentions, placed the ball there. That this device was a necessary structural promise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant. It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overe the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials. Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct themclay, glass, wood, fiber, and metalit was once mon to think of crafts in terms of function, which led to their being known as the applied arts. Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports. There is no way around the fact that containers, shelters, and supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. Since the laws of physics, not some arbitrary decision, have determined the general form of appliedart objects, they follow basic patterns, so much so that functional forms can vary only within certain limits. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike。 that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object39。s primary function. 3. The word they in the passage refers to ○Appliedart objects ○The laws of physics ○Containers ○The sides of pots 4. Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information. ○Functional appliedart objects cannot vary much from the basic patterns determined by the laws of physics. ○The function of appliedart objects is determined by