If humans were truly at home under the light of the moon and stars, we would go in darkness happily, the midnight world as visible to us as it is to the vast number of nocturnal(夜间活动的) species on this planet. Instead, we are diurnal creatures, with eyes adapted to living in the sun's light. This is a basic evolutionary fact, even though most of us don't think of ourselves as diurnal beings. Yet it's the only way to explain what we've done to the night: We've engineered it to  receive us by filling it with light.

    The benefits of this kind of engineering come with consequences 一 called light pollution 一 whose effects scientists are only now beginning to study. Light pollution is largely the result of bad  lighting design, which allows artificial light to shine outward and upward into the sky. III-designed lighting washes out the darkness of night and completely changes the light levels 一 and light  rhythms — to which many forms of life, including, ourselves, have adapted. Wherever human light spills into the natural world, some aspect or life is affected.

    In most cities the sky looks as though it has been emptied of stars, leaving behind a vacant haze(霾) that mirrors our fear of the dark. We've grown so used to this orange haze that the original glory of an unlit nigh, - dark enough for the planet Venus to throw shadow on Earth, is wholly beyond our experience, beyond memory almost.

    We've lit up the night as if it were an unoccupied country, when nothing could be further form the truth. Among mammals alone, the number of nocturnal species is astonishing, Light is a powerful biological force, and on many species it acts as a magnet(磁铁). The effect is so powerful that scientists speak of songbirds and seabirds being “captured” by searchlights on land or by the light from gas flares on marine oil platforms. Migrating at night, birds tend to collide with brightly lit tall buildings.

    Frogs living near brightly lit highways suffer nocturnal light levels that are as much as a million times righter than normal, throwing nearly every aspect of their behavior out of joint including most other creatures ,we do need darkness. Darkness is as essential to our biological welfare, to our internal clockwork, as light itself.

    Living in a glare of our making,we have cut ourselves off from our evolutionary and cultural heritage—the light of the stars and the rhythms of day and night .In a very real sense light pollution causes us to lose sight of our true place in the universe, to forget the scale of our being, which is best measured against the dimensions of a deep night with the Milky Way—the edge of our galaxy arching overhead.

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    A Sydney Pass gives you unlimited and flexible travel on the Explorer Buses: the 'red' Sydney Explorer shows you around our exciting city sights while the 'blue' Bondi Explorer visits Sydney Harbor bays and famous beaches. Take to the water on one of three magnificent daily harbor cruises(游船). You can also travel free on regular Sydney Buses, Sydney Ferries or City Rail services (limited area), so you can go to every corner of this beautiful city.

    Imagine browsing at Darling Harbor, sampling the famous seafood at Watsons Bay or enjoying the city lights on an evening ferry cruise. The possibilities and plans are endless with a Sydney Pass. Wherever you decide to go, remember that bookings are not required on any of our services so tickets are treated on a first in, first seated basis.

    Sydney Passes are available for 3, 5 or 7 days for use over a 7 calendar day period. With a 3 or 5 day pass you choose on which days out of the 7 you want to use it. All Sydney Passes include a free Airport Express inward trip before starting your 3, 5 or 7 days, and the return trip is valid (有效的) for 2 months from the first day your ticket was used.

Sydney Pass Fares

*A child is defined as anyone from the ages of 4 years to under 16 years. Children under 4 years travel free.

**A family is defined as 2 adults and any number of children from 4 to under 16 years of age from the same family.

For some people, music is no fun at all. About four percent of the population is what scientists call "amusic." People who are amusic are born without the ability to recognize or reproduce musical notes (音调). Amusic people often cannot tell the difference between two songs. Amusics can only hear the difference between two notes if they are very far apart on the musical scale.

As a result, songs sound like noise to an amusic. Many amusics compare the sound of music to pieces of metal hitting each other. Life can be hard for amusics. Their inability to enjoy music set them apart from others. It can be difficult for other people to identify with their condition. In fact, most people cannot begin to grasp what it feels like to be amusic. Just going to a restaurant or a shopping mall can be uncomfortable or even painful. That is why many amusics intentionally stay away from places where there is music. However, this can result in withdrawal and social isolation. "I used to hate parties," says Margaret, a seventy-year-old woman who only recently discovered that she was amusic. By studying people like Margaret, scientists are finally learning how to identify this unusual condition.

Scientists say that the brains of amusics are different from the brains of people who can appreciate music. The difference is complex, and it doesn't involve defective hearing. Amusics can understand other nonmusical sounds well. They also have no problems understanding ordinary speech. Scientists compare amusics to people who just can't see certain colors.

Many amusics are happy when their condition is finally diagnosed (诊断). For years, Margaret felt embarrassed about her problem with music. Now she knows that she is not alone. There is a name for her condition. That makes it easier for her to explain. "When people invite me to a concert, I just say, ‘No thanks, I'm amusic,'" says Margaret. "I just wish I had learned to say that when I was seventeen and not seventy." (335 words)

    Like many children, young Lotte Reiniger was crazy about movies, which at the time were a completely new invention. She taught herself how to cut paper silhouettes（剪影）, of people, animals, and objects. I could cut silhouettes almost as soon as I could manage to hold a pair of scissors, Reiniger said. “I could paint, too, and read...But everybody was surprised at the scissor cuts”

    At first, Reiniger wanted to be an actress, but her skill at making silhouettes drew the attention of the German film industry. Before 1927, films were silent. To help the audience understand the film, title cards with printed text appeared during the film between scenes. Reiniger helped create title cards for films, using her silhouettes. In 1918, she was asked to provide stop-motion animation（定格动面）, in which objects are photographed（拍摄）in a series of slightly different positions and then replayed at high speed so that the objects appear to move on their own, for wooden rats（老鼠）in the movie The Pied Piper of Hamelin. It was a breakthrough that led to her own films, first short films and then, in 1926, The Adventures of Prince Achmed, the first full-length animated film.

    Although Reiniger once described herself as “a primitive（原始的）caveman artist”, her work is not simple. She carefully cut bits of card, paper, and wire, creating wonderful shapes, and then made them move and dance by hand. The black shapes were then placed on colorful backgrounds. She made more than 60 films, around 40 of which survive, all cut by her own hands. Most were based on timeless fairy tales, like Cinderella and Sleeping Beauty.

    Reiniger was truly a pioneer both in animation and for women in film-making. Though her last film came out in 1980, her style is still influential and can often be seen in today's films.

    Long long ago there were a lot of donkeys. The donkeys worked hard every day. They had no time to play or to relax, but they never felt appreciated（得到赏识的）for the work they did.

    One day two donkeys got bored. They wanted to live a comfortable life, so the donkeys went to see a wise old man. They told him their problem. The wise old man agreed they worked too hard, and he wanted to help the donkeys. “I have an idea,” he said.

    “What is your idea?” asked the donkeys.

    “I will paint you and no one will know you are donkeys,” said the man.

    The man went off to find some paint and he returned in just a matter of minutes. He had two pots of paints. One pot was filled with white paint, and the other black paint.

    The old man first painted them white, and then painted stripes（斑纹）over the white paint. When he finished, the donkeys did not look like donkeys at all. “You no longer look like donkeys,” the old man said. “Everyone will be fooled（欺骗）. I will call you something else, zebras（斑马）.”

    The zebras went to a field to eat grass. Now they did not have to work.

    Soon, other donkeys saw the zebras. They asked the zebras where they came from. When the zebras told the donkeys their secret, the donkeys all rushed to see the old man.

    “Please make us into zebras, too,” they pleaded. So the wise old man painted more donkeys. As he did, more and more donkeys came.

    The old man could not paint fast enough. Soon the donkeys became impatient （不耐烦的）. They began to kick about, and they knocked over the paint pots.

    There was no more paint. The painted donkeys ran off to become zebras. The unpainted donkeys, because of their impatience, had to return to work.

    Hadi Partovi, founder of Code.org believes every student should learn the basics of computer science just like they do math, physics, or biology, regardless of what they want to do in the future. The expert says knowledge about the subject is important to understand how the world around us works and compares it to learning about photosynthesis(光合作用), even though not every student is going to be a botanist. To spark students' interest, he created the “Hour of Code,” which introduces the world of computing to anyone, from ages 14 to 104, in a fun, interactive manner. Observed annually during Computer Science Week, the event now draws tens of millions of kids from over 180 countries.

    The “Hour of Code”, which can be scheduled anytime during Computer Science Week, begins with an introductory video on computer science. Participants can then select from hundreds of fun assignments that are sorted by both grade level and coding experience. Though each project is designed to last just sixty minutes, beginners can deal with as many challenges as they desire.

    To help introduce computer science in classrooms on a more regular basis, Code.org has also developed a catalog of online courses that can be incorporated(纳入)in a school's regular curriculum. Since the nonprofit began offering the courses in 2013, over 704, 000 teachers have signed up to teach introductory computer science to over 22 million students worldwide.

    Thanks to the efforts of the pioneer, about 40 percent of US schools now offer computer science as a subject. The numbers are even higher—an impressive 70 percent—if after-school offerings such as robotics clubs are included. Even more encouraging, eight years ago, just 19, 390 students took an Advanced Placement Computer Science exam. By the spring of 2017, the number had jumped 415 percent to 99, 868.