蜗牛、蚂蚁、蚯蚓、金鱼等都是____。

    Whenever Michael Carl, the fashion market director at Vanity Fair, goes out to dinner with friends, he plays something called the “phone stack” game: Everyone1 their phones in the middle of the table; whoever looks at their device before the check arrives 2for dinner.

    Brandon Holley, the former editor of Lucky magazine, had trouble 3 her iPhone when she got home from work. So about six months ago, she 4putting her phone into a milk tin the moment she walked in. It remains there until after dinner. And Marc Jacobs, the fashion designer, didn't 5 to sleep close to a beeping gadget. So, he6_digital devices from his bedroom—a house rule he 7 with audiences during a recent screening of Disconnect, a film that dramatizes how technology has alienated(使疏远) people from one another.

    As smartphones 8to make their way into our lives, and wearable devices like Google Glass9 our personal space even further, overtaxed users are exploring their own device-free zones. Whether it's a physical barrier(no iPads at the dinner table) or a conceptual one (turn off devices by 11 p.m.), users say these disconnecting 10 are improving their relationships---and11their brains.

    “Disconnecting is a luxury that we all12,” said Lesley M. M. Blume, a New York writer who keeps her phone away from the dinner table at home. “The expectation that we must always be13to employers, colleagues and family creates a real obstacle in trying to 14private time. But that private time is more important than ever.”

    A popular method for disconnecting is to choose a box for your cellphone, like the milk tin that MS. Holley uses. “15my phone is buzzing or lighting up, it's still a distraction, so it16in the box.” said Ms. Holley. Others choose new17 “No screens after 11 p. m.” said Ari. Melber, a TV host. “We found the evenings were more 18and we were sleeping better.” he added.

    Sleeping is a big factor, which is why some 19 to leave their phones out of their bedrooms. “I don't want to sleep next to something full of phones and emails.” said Peter Som, a fashion designer, who keeps his phone charging in the living room overnight. “It 20is a head-clearer and distinguishes daytime and sleep time.”

阅读下面的文字，回答文后各题。

魏晋新风

李泽厚

    内的追求是与外的否定连在一起的，人的觉醒是在对旧传统旧信仰旧价值旧风习的破坏、对抗和怀疑中取得的。“不如饮美酒，被服纨与素”，与儒家教义显然不相容，是对抗着的。曹氏父子破坏了东汉重节操伦常的价值标准，正始名士进一步否定了传统观念和礼俗。但“非汤、武而薄周、孔”，嵇康终于被杀头，可见思想对立和争斗之改变。从哲学到文艺，从观念到风习，看来是如此狂诞不经的新东西，毕竟战胜和取代了一本正经却更加虚伪的旧事物。人在这里不再如两汉那样以外在的功业、节操、学问，而主要以其内在的思辨风神和精神状态，受到尊敬和顶礼。是人和人格而不是外在事物，日益成为这一历史时期哲学和文艺的中心。

    当然，这里讲的“人”仍是有具体社会性的，他们即门阀士族。由对人生的感喟咏叹到对人物的讲究品评，由人的觉醒意识的出现到人的存在风貌的追求，正以门阀士族的政治制度和取才标准为中介。后者在将这一着眼点转向人的内在精神的社会氛围和心理状况上，有直接的关系。自曹丕确定九品中正制度以来，对人的评议正式成为社会、政治、文化谈论的中心。又由于它不再停留在东汉时代的道德、操守、儒学、气节的品评，于是人的才情、气质、格调、风貌、性分、能力便成了重点所在。总之，不是人的外在的行为节操，而是人的内在的精神性（亦即被看做是潜在的无限可能性），成了最高的标准和原则。完全适应着门阀士族们的贵族气派，讲求脱俗的风度神貌成了一代美的理想。不是一般的、世俗的、表面的、外在的，而是表达出某种内在的、本质的、特殊的、超脱的风貌姿容，才成为人们所欣赏、所评价、所议论、所鼓吹的对象。

    这当然反映在哲学——美学领域内。不是外在的纷繁现象，而是内在的虚无本体，不是自然观（元气论），而是本位论，成了哲学的首要课题。只有具备潜在的无限可能性，才可发为丰富多样的现实性。外在的任何功业事物都是有限和能穷尽的，只是内在的精神本体，才是原始、根本、无限和不可穷尽的，有了后者才可能有前者。而这陆探微便正是“穷理尽性，事绝言象”的。反过来，也可说是，要求树立一种表现为静（性、本体）的具有无限可能性的人格理想，其中蕴涵着动（情、现象、功能）的多样现实性。“言不尽意”“气韵生动”“以形写神”是当时确立而影响久远的中国艺术美学原则。它们的出现离不开人的觉醒这个主题，是这个“人的主题” 的具体审美表现。人的主题是封建前期的文艺新内容，文的自觉则是它的新形式。两者的密切适应和结合，形成这一历史时期各种艺术形式的准则。以曹丕为最早标志，它们确乎是魏晋新风。

（选自《美的历程》，有删改）

如图所示，水平放置的正方形光滑玻璃板abcd，边长L，距地面的高度为H，玻璃板正中间有一个光滑的小孔O，一根细线穿过小孔，两端分别系着小球A和小物块B，当小球A以速度v在玻璃板上绕O点做匀速圆周运动时，AO间的距离为r．已知A的质量为m_A，重力加速度g．