It has been argued that art does not reproduce the visible-it makes

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问题          It has been argued that art does not reproduce the visible-it makes things
   visible-but this does not go far enough. In fact, visual art explores and reveals
   the brain’s perceptual capabilities and the laws governing it, among which two
Line stand supreme: law of constancy and law of abstraction. According to the law of
(5)    constancy, the visual brain’s function is to seek knowledge of the constant
   properties of objects and surfaces: the distance, the viewing point, and the
   illumination conditions change continually, yet the brain is able to discard these
   changes in categorizing an object. It was an unacknowledged attempt to mimic
   the perceptual abilities of the brain that led the founders of Cubism, Picasso and
(10)    Braque, to alter the point of view, the distance and the lighting conditions in
   their early, analytic period.
         The second law is that of abstraction, the process in which the particular is
   subordinated to the general, so that the representation is applicable to many
   particulars. This second law has strong affinities with the first, because without
(15)    it, the brain would be enslaved to the particular; the capacity to abstract is also
   probably imposed on the brain by the limitations of its memory system, because
   it eliminates the need to recall every detail. Art, too, abstracts and thus
   externalizes the inner workings of the brain, so that its primordial function is a
   reflection of the function of the brain.
(20)       Through a process that has yet to be physiologically charted, cells in the
   brain seem to be able to recognize objects in a view-invariant manner after brief
   exposure to several distinct views synthesized by them. The artist, too, forms
   abstractions, through a process that may share similarities with the
   physiological processes now being unraveled but certainly goes beyond them, in
(25)    that the abstract idea itself mutates with the artist’s development. But
   abstraction, a key feature of an efficient knowledge-acquiring system, also
   exacts a heavy price on the individual, for which art may be a refuge and the
   abstract "ideal" can lead to a deep discontent, because the daily experience is
   that of particulars. Michelangelo left three-fifths of his sculptures unfinished,
(30)    but he had not abandoned them in haste: he often worked on them for years,
   because time and again the sublimity of his ideas lay beyond the reach of his
   hands, impressing on him the hopelessness of translating into a single work or a
   series of sculptures the synthetic ideals formed in his brain. Critics have written
   in emotional and lyrical terms about these unfinished works, perhaps because,
(35)    being unfinished, the spectator can finish them and thus satisfy the ideals of his
   or her brain. This is only qualitatively different from finished works with the
   inestimable quality of ambiguity-a characteristic of all great art-that allows
   the brain of the viewer to interpret the work in a number of ways, all of them
   equally valid. [br] The author argues that aesthetic creation is useful to an understanding of the visual brain because it

选项 A、allows abstract ideas to mutate into new and hitherto untested forms
B、helps scientists synthesize several distinct views of the operation of the brain
C、manifests in an observable form the laws by which the brain functions
D、subordinates the particular to the general, streamlining the artistic process
E、establishes the constant and essential properties of objects and surfaces

答案 C

解析

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