Land Art, sometimes referred to as Earth Art or Earthworks, is a form of art which involves using physical landscapes to create art, taking art out of the museum and into the outside world. Modern Land Art movement really got going in the 1960s when American artists began creating Land Art on a large scale. Today, works of modern Land Art can be seen all over the world, sometimes right alongside much older pieces of Land Art created by people who lived thousands of years ago.

    Land Art, which is not necessarily unchangeable, can take a number of forms. For examples, in 1970 Robert Smithson created the Spiral Jetty（螺旋状防波堤）, made of a collection of stones and mud, in the Great Salt Lake. The American artist made a large jetty in a spiral shape which sticks out into the waters of the lake.

    Reshaping the landscape is a common characteristic of Land Art, which can be created by moving parts around. People can also add things to the environment to create Land Art, like salt, which is added to the Spiral Jetty. It is possible to use plants. In all cases, Land Art is immovable.

    Land Art is designed to gradually form, change, and eventually decay（衰落）. That's one of the biggest differences between Land Art and most of the art one sees in the museums. Some works of art can exist only for a few hours or days. Others are exposed to rain and wind so that they develop and decay over time, which is part of the attractiveness in the eyes of the artists.

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    Among the most popular forms of dieting is the South Beach diet, developed by Arthur Agatston of Miami, Florida. Dr. Agatston developed the South Beach diet for his patients with heart problems to lose weight. Since weight matters a lot in keeping heart healthy and traditional low-fat diets were too difficult for them to stick to, Dr. Agatston decided to create a plan that could help his patients. At first, the diet was just for his patients. Soon, thanks to his patients' success, the diet became the buzz in Miami, and eventually, word spread across the nation.

    This diet focuses on a healthy balance between carbohydrates（碳水化合物）and fats. It is based on eating a combination of “good” carbohydrates and fats, while limiting those “bad” ones. It is divided into three different phases.

    The first phase lasts for two weeks and is the strictest of the three. During this phase, you are asked to restrict（限制）all carbohydrates (good and bad). You are allowed to eat all types of fish, cheeses, eggs, and nuts, and a large number of vegetables. Most dieters can expect to lose between 8 and 12 pounds during this phase.

    During Phase 2, you are allowed to reintroduce some of those carbohydrates that are not allowed before. You are encouraged to start eating carbohydrates that have a low glycemic index（升糖指数）. But you should keep in mind that the key is moderation（适度）. Most people continue to lose 1-2 pounds per week. You continue with this phase until you reach your target weight.

    Phase 3 is designed to help you keep your weight. During Phase 3, you can reintroduce some of the carbohydrates that have a higher glycemic index, although again, this should be in moderation. Phase 3 is meant to be a way of life.

    Your mobile phone vibrates in your pocket. 'Need to see you,' reads the screen. Nothing new, considering that texting is currently the most common form of long-distance communication. But how were messages conveyed in the past?

    One of the first methods was the smoke signal. This practice was used by Chinese soldiers guarding the Great Wall to warn of the enemy's approach. The Greeks invented a whole alphabet of smoke signals for sending messages. But it was Native Americans who made the system mobile by carrying small bunches of dried grasses around with them. These could be lit quickly from any place at any time.

    Moving on to messages transmitted by sound, an early technique was the drum. Drums are still used today in the rainforests of Africa, Papua New Guinea and Central and South America for broadcasting news. The instrument is made from a piece of wood, which is empty inside, and this is hit with a stick. On receiving the message, each village passes it on to the next, which means that news can travel at up to 150 km an hour.

    In some parts of the world, humans are able to convey messages over long distances without using instruments. On La Gomera, one of the Canary Islands, people use Silbo, or the 'whistling language' to communicate across the valleys. The language involves the use of the tongue, lips and hands to make sounds, which can travel up to 5 km. To ensure its continuation, Silbo is currently a compulsory subject in primary and secondary schools on the island.

    A look at long-distance communication would not be complete without mentioning the art of yodelling. This is a form of singing, in which the voice changes sound levels very quickly, making it easily heard over long distances. It is believed that the technique was developed in the Swiss Alps, but it is also found in other places such as Central Africa. At one time, yodelling was popular in theatres and music halls, but this is no longer so.

    The goings-on in the consulting room have become more transparent(透明的）recently. Thank goodness. We know more than the lines supplied by the movies in which the therapist knows all and gives wisdom to those who, sitting on a couch, consult with them. Therapists are interested in how the individual, the couple or the family experiences and understands their difficulties. That has to be a starting place. We can be of value if our first port of call is to listen, to gradually feel ourselves into the shoes of the other, to absorb the feelings that are being conveyed and to think and then to say some words.

    The thinking and talking that I do inside the consulting room is at odds with many features of ordinary conversation. Not that it is mysterious, but it isn't concerned with traditional ways of sharing or identifying. The therapist makes patterns and theories, but they are also reflecting on the words that are spoken, how they are delivered and how the words, once spoken, affect the speaker and the therapist themselves.

    Words can give voice to previously unknown feelings and thoughts. That's why it's called the talking cure. But just as words reveal so, too, can they obscure, and this gets us to the listening and feeling part of the therapy. Whatever and however the words are delivered, they will have an impact on me as a therapist. I might feel hopeless, I might feel energized, I might feel pushed away, I might feel demanded of, I might feel pulled to find solutions.

    The influence of the other is what makes any relationship possible or impossible. A therapist is trained to reflect on how those who consult with them affect them. As I try to step into the shoes of the other and then out again, my effort is to hold both those experiences, plus an awareness of my ease or discomfort with what I encounter in the relationship.

    Feelings are the bread and butter of our work in the consulting room. They inform or modify our ideas and they enable us to find an emotional bridge to what can so hurt for the people we are working with. Along with the more commonly thought-about theories and ideas we have about the psyche, they are an essential part of the therapist's toolkit, certainly for me. The talking cure means talking, yes. It also means the therapist is listening, thinking and feeling.

    Two of the hardest things to accomplish in this world are to acquire wealth by honest effort and, having gained it, to learn how to use it properly. Recently I walked into the locker room of a rather well­known golf club after finishing a round. It was in the late afternoon and most of the members had left for their homes. But a half­dozen or so men past middle age were still seated at tables talking aimlessly and drinking more than was good for them. These same men can be found there day after day, and, strangely enough, each one of these men had been a man of affairs and wealth, successful in business and respected in the community. If material prosperity were the chief necessity for happiness, then each one should have been happy. Yet, it seemed to me, something very important was missing, else­there would not have been the constant effort to escape the realities of life through scotch and soda. They knew, each one of them, that their productivity had ceased (停止). When a fruit tree ceases to bear its fruit, it is dying. And it is even so with man.

    What is the answer to a long and happy existence in this world of ours? I think I found it long ago in a passage from the book of Genesis which caught my eye while I was looking through my Bible. The words were few, but they became memorably impressed on my mind. "In the sweat of the face shall you eat the bread."

    To me, that has been a challenge from my earliest recollections (memories). In fact, the battle of life, of existence, is a challenge to everyone. The immortal words of St. Paul, too, have been and always will be a great inspiration to me. At the end of the road I want to be able to feel that I have fought a good fight, I have finished the course, I have kept the faith.

Chinese brocade(云锦) has a history of 1,300 years. It {#blank#}1{#/blank#}(be) once for the Chinese elite. Now, young fashion{#blank#}2{#/blank#}(design) like it. Things like flames, beasts, weapons, and stars decorate the brocade. Flowers are a common pattern, like in a silk piece from the middle of the 18th century.

This art is very complex. Old craftsmen can only make about two{#blank#}3{#/blank#} (inch) of cloth a day. Traditional looms are 18 feet long and have thousands of parts. {#blank#}4{#/blank#} (Operate) them needs dozens of steps. Artisans sing songs to remember the process. The made fabric is bright, {#blank#}5{#/blank#} patterns made of silk, gold, and peacock-feather yarn.

The {#blank#}6{#/blank#} (early) Chinese brocade is from the Tang Dynasty. Different regional kinds {#blank#}7{#/blank#} (develop) in places like Nanjing and Chengdu. Silk museums there let tourists buy real brocade scarves and bags. Factories can't copy this complex fabric. It can only be made on traditional looms. It is a proud symbol of cultural heritage and {#blank#}8{#/blank#}(appeal) to older Chinese people. More and more new fashion designers are working with{#blank#}9{#/blank#} (tradition) weavers. Designer Chen Liwen launched a series of scarves and accessories for Gen Z consumers last year with the hu bu tiger pattern. Ancient brocade seems closely tied {#blank#}10{#/blank#}China's future.