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— Yes, ______ they were flying in the sky.

Flying to see my mom, I was seated next to a2 man with a warm smile. He asked whether I was going home. I said yes and3 that I would be with my mom for the New Year, the first time without Dad. His smile didn't4 but became soft. He nodded not with5 but with recognition, "I lost my dad a few years ago."

At that moment, my fellow seatmate and I were6 by shared experiences. He was all ears as I told him how my dad had been humorous and willing to7, reminding us not everyone sees the world the same way. With such personality, a love of travel came8 to my father. So, when I think of him, I immediately go somewhere sunny and warm in my mind.

The power of that talk has reshaped how9 my sadness. It is a companion that follows us everywhere, but through the10 we share, our memories of loved ones have deepened while the sorrow of11 them has softened.

After that flight, I12 before putting on my headphones and try to13 the people around me. Not every seatmate may want to talk, and most people might not even14. But some will, and I will be15 to listen.

Belvaev's idea began with observing pedestrians caught in rainstorms. While driving through Saint Petersburg, he noticed streetlamps illuminating crowds sheltering from sudden downpours. This inspired hisconcept: integrating waterproof canopies (伞篷) into existing lampposts. "If streetlights already mark walking paths," he reasoned, "why not equip them to automatically protect people from rain?" The design uses basic sensors to detect rainfall, triggering the umbrella mechanism without complex technology. This practical adaptation transforms urban infrastructure into weather-responsive shelters.

The Lampbrella looks like a normal streetlamp but has a foldable umbrella. A motor inside opens or closes it when needed. Rain sensors trigger the system during showers, giving instant shelter. The umbrella folds back when rain stops, keeping the design simple but practical for weather protection.

The Lampbrella combines rain sensors with a 360°motion detector. This full-circle sensor scans for people standing beneath it. If no movement is detected for three minutes, the umbrella automatically folds up. The dual detection system prevents wasted energy by keeping the canopy closed during dry periods, while ensuring instant shelter activates only when both rain and users are present.

According to the designer, the Lampbrella would move at a relatively low speed, so as not to cause harm to the pedestrians. Besides, it would be grounded to protect from possible lightning strike. Each Lampbrella would offer enough shelter for several people. Being installed at 2 meters off the ground, it would only be a danger for the tallest of pedestrians.

While there are no plans to take the Lampbrella into production, Belvaev says he recently introduced his creation to one Moscow Department, and insists his creation could be installed on any street where a lot of people walk but there are no canopies to provide shelter.

When he was young, Kadur was attracted by Corbett's tales of big cats. Inspired, he once cycled into the jungle with a friend to observe big cats at a watering hole. At night, they really saw a big cat. Bathed in moonlight, he realized his life's goal: to take photos of nature's wonders and share them.

At 12, Kadur borrowed his father's camera — a "magic box" that froze time. His father, a scientist who studies insects, got him looking at the small things. So he began intentionally taking photos of small insects, trying to understand what he was looking at. As he grew older, his love for nature, however, conflicted with academics. Afterwards, he moved to Brownsville, Texas to study hotel management — a choice that unexpectedly refueled his love for storytelling.

In Brownsville, Kadur explored the cloud forests and landed a job as a jungle tour guide. There, he met filmmaker John Bax, who introduced him to documentary work. When they started a documentary project together, Bax withdrew (退出) from it. Kadur, then 19 and untrained in film, carried on the project on his own. He later spent three years in India's Western Ghats, filming species like the "smoke cat" for the first time. His first film, Sahyadris: Mountains of the Monsoon, brought the Western Ghats' biodiversity into attention, aiding its 2012 UNESCO World Heritage status.

Through visual storytelling, Kadur offers his audience chances to know about a rarely-seen natural world, calling on them to protect its weak wildlife. "Visual art has told stories for thousands of years. Now we're doing that with technology, and it will continue to advance." said Kadur, "I think the influence of storytelling can last a lifetime. It can last generations."

1. 人物简介及事迹；

2. 意义或启示。

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For thousands of years, people have looked to the starry sky and wondered what, or who, is out there. In the early 1600s, Galileo was the first (use) his telescope to explore the sky and since then, telescopes (improve) continually.

One major breakthrough came in 1990, when the Hubble Space Telescope (launch). That Hubble is based in space allows it to see further than ground-based telescopes, and it allows scientists to learn more about the universe. Hubble (observe) have played a crucial role in the discovery of the (mystery) dark energy. Hubble was followed by the Kepler Space Telescope in 2009. Kepler' scientific goal is to search for Earth-size planets (orbit) other stars. life on other planets does exist is yet to be proved, but the signs are promising: Kepler has detected many suitable planets that are almost the same size as the Earth.

In recent years, China has developed advanced telescopes as well. One example is the innovative FAST, is the largest single⁃dish radio telescope in the world. With a dish the size of 30 football fields, FAST is able to carry monitoring with extraordinary sensitivity. One of its scientific goals is to detect communication signals between the stars in the universe.

It is clear that telescopes are crucial tools for space exploration and that developing the required technology will help astronomers all over the world make exciting discovery. How much we will learn from the telescopes is merely limited by (we) imagination.

This is wrong, as was the rapper's motto. I don't believe that eradicating bad feelings is the path to a good life. We have an opportunity here to judge the benefits of negative emotions and experiences instead of trying to push them away.

Negative emotions exist to keep us safe. The main negative emotions include sadness, anger, fear and disgust (厌恶). We experienced them in an unconscious way in response to environmental stimuli (刺激). You never say to yourself, Hey, I think I'll feel afraid now—you just feel it and react with fight or flight, which can save your life. Disgust similarly warns us unconsciously of potential illness.

Negative emotions can also make us more effective in our day-to-day activities. In an article in the journal Psychological Review, two evolutionary psychologists argue that sadness—and even depression—have existed in the face of evolution (进化) because they bring cognitive benefits. Sadness can make us more productive at work by improving focus and helping us learn from mistakes. This is how failure, by means of the resulting negative emotions, can help lead to later success.

Finally, negative emotions make us stronger for when there is a true emergency. Research shows that "stress vaccination training" — in which people learn to cope with anger, fear and anxiety by being brought up to stimuli that cause these feelings — is effective in creating emotional toughness.

In sum, if we want a life full of deep meaning, true love, and emotional strength, it's going to involve the risk of discomfort, fight and loss. This means there will be sadness, fear, anger and disgust. If we remove negative emotions and experiences from our lives, we will be poorer and weaker for having done so.

"Poetry is a great tool for questioning the world," says Sam Illingworth, a poet and a geoscientist who works at the University of Western Australia. Through workshops and a new science-poetry journal, called Consilience, Illingworth is helping scientists to translate their latest results into poems that can attract appreciation from those outside of their immediate scientific field.

Stephany Mazon, a scientist from the University of Helsinki in Finland, joined one of Illingworth's workshops. In the workshop, she was grouped with other scientists and tasked with writing a haiku, a 17-syllable-long poem, which spotlighted water, a fluid that featured in all of the group members' research projects. "It was a lot of fun, and surprisingly easy to write the poem," Mazon says. She plans to continue writing. "We do a disservice (伤害) to ourselves to think that scientists can't be artistic and that art can't be used to communicate scientific ideas," Mazon says.

That viewpoint is echoed by Illingworth, who thinks current science communication initiatives rely too often on public lectures with their hands-off PowerPoint slides. "Actually, when science communication involves writing and sharing poems, it invites a two-way dialogue between experts and nonexperts," he says. Scientist-poet Manjula Silva, an educator at Imperial College London, agrees. Poetry provides a way to translate complex scientific concepts into a language that everyone can understand, Silva says.

Scientists and poets are both trying to understand the world and communicate that understanding with others. The gap between scientists and poets is less than people might think. We're all just people with hopefully really interesting things to say and to share.