Multiple Choice

Multiple choice
I. Review
B1 : Gạch chân từ khóa trong câu hỏi.

B2 : Xác định vị trí thông tin có trong bài đọc thông qua các từ khóa đã xác
định. Lưu ý, sử dụng kỹ năng
B3 : Xác định và gạch chân các từ khóa có sẵn trong câu trả lời và cố gắng
hiểu các đáp án đó ( rephrase )
B4 : Đọc kỹ đoạn thông tin đã xác định được thật kỹ và đối chiếu với các đáp
án. Lưu ý, nên áp dụng phương pháp loại trừ nếu các đáp án quá giống nhau.
II. Practice
Practice 1 : What destroyed the civilisation of Easter Island?

( Cam 11 reading test 2 part 2 )
A. Easter Island, or Rapu Nui as it is known locally, is home to several
hundred ancient human statues – the moai. After this remote Pacific island
was settled by the Polynesians, it remained isolated for centuries. All the
energy and resources that went into the moai – some of which are ten meters
tall and weigh over 7,000 kilos – came from the island itself. Yet when Dutch
explorers landed in 1722, they met a Stone Age culture. The moai were carved
with stone tools, then transported for many kilometers, without the use of
animals or wheels, to massive stone platforms. The identity of the moai
builders was in doubt until well into the twentieth century. Thor Heyerdahl,
the Norwegian ethnographer and adventurer, thought the statues had been
created by pre-Inca peoples from Peru. Bestselling Swiss author Erich von
Daniken believed they were built by stranded extraterrestrials. Modern
science – linguistic, archaeological and genetic evidence – has definitively
proved the moai builders were Polynesians, but not how they moved their
creations. Local folklore maintains that the statues walked, while researchers
have tended to assume the ancestors dragged the statues somehow, using
ropes and logs.
B
When the Europeans arrived, Rapa Nui was grassland, with only a few
scrawny trees. In the 1970s and 1980s, though, researchers found pollen
preserved in lake sediments, which proved the island had been covered in lush
palm forests for thousands of years. Only after the Polynesians arrived did
those forests disappear. US scientist Jared Diamond believes that the Rapanui
people – descendants of Polynesian settlers – wrecked their own environment.
They had unfortunately settled on an extremely fragile island – dry, cool, and
too remote to be properly fertilized by windblown volcanic ash. When the
islanders cleared the forests for firewood and farming, the forests didn’t grow
back. As trees became scarce and they could no longer construct wooden
canoes for fishing, they ate birds. Soil erosion decreased their crop yields.
Before Europeans arrived, the Rapanui had descended into civil war and
cannibalism, he maintains. The collapse of their isolated civilisation, Diamond
writes, is a ’worst-case scenario for what may lie ahead of us in our own
future’.
C
The moai, he thinks, accelerated the self-destruction. Diamond interprets
them as power displays by rival chieftains who, trapped on a remote little
island, lacked other ways of asserting their dominance. They competed by
building ever bigger figures. Diamond thinks they laid the moai on wooden
sledges, hauled over log rails, but that required both a lot of wood and a lot of
people. To feed the people, even more land had to be cleared. When the wood
was gone and civil war began, the islanders began toppling the moai. By the
nineteenth century none were standing.
D
Archaeologists Terry Hunt of the University of Hawaii and Carl Lipo of
California State University agree that Easter Island lost its lush forests and
that it was an ‘ecological catastrophe’ – but they believe the islanders
themselves weren’t to blame. And the moai certainly weren’t. Archaeological
excavations indicate that the Rapanui went to heroic efforts to protect the
resources of their wind-lashed, infertile fields. They built thousands of
circular stone windbreaks and gardened inside them, and used broken
volcanic rocks to keep the soil moist. In short, Hunt and Lipo argue, the
prehistoric Rapanui were pioneers of sustainable farming.
E
Hunt and Lipo contend that moai-building was an activity that helped keep
the peace between islanders. They also believe that moving the moai required
few people and no wood, because they were walking upright. On that issue,
Hunt and Lipo say, archaeological evidence backs up Rapanui folklore.
Recent experiments indicate that as few as 18 people could, with three strong
ropes and a bit of practice, easily maneuver a 1,000 kg moai replica a few
hundred meters. The figures’ fat bellies tilted them forward, and a D-shaped
base allowed handlers to roll and rock them side to side.
F
Moreover, Hunt and Lipo are convinced that the settlers were not wholly
responsible for the loss of the island’s trees. Archaeological finds of nuts from
the extinct Easter Island palm show tiny grooves, made by the teeth of
Polynesian rats. The rats arrived along with the settlers, and in just a few
years, Hunt and Lipo calculate, they would have overrun the island. They
would have prevented the reseeding of the slow-growing palm trees and
thereby doomed Rapa Nui’s forest, even without the settlers’ campaign of
deforestation. No doubt the rats ate birds’ eggs too. Hunt and Lipo also see no
evidence that Rapanui civilization collapsed when the palm forest did. They
think its population grew rapidly and then remained more or less stable until
the arrival of the Europeans, who introduced deadly diseases to which
islanders had no immunity. Then in the nineteenth century slave traders
decimated the population, which shriveled to 111 people by 1877.
G
Hunt and Lipo’s vision, therefore, is one of an island populated by peaceful
and ingenious moai builders and careful stewards of the land, rather than by
reckless destroyers ruining their own environment and society. ‘Rather than a
case of abject failure, Rapa Nui is an unlikely story of success’, they claim.
Whichever is the case, there are surely some valuable lessons which the world
at large can learn from the story of Rapa Nui.
Choose TWO letters, A-E.

Write the correct letters in boxes 25 and 26 on your answer sheet.
On what points do Hunt and Lipo disagree with Diamond?
A the period when the moai were created
B how the moai were transported
C the impact of the moai on Rapa Nui society
D how the moai were carved
E the origins of the people who made the moai
Practice 2 : Neuroaesthetics( Cam 11 reading test 2 part 3)
An emerging discipline called neuroaesthetics is seeking to bring scientific

objectivity to the study of art, and has already given us a better understanding
of many masterpieces. The blurred imagery of Impressionist paintings seems
to stimulate the brain’s amygdala, for instance. Since the amygdala plays a
crucial role in our feelings, that finding might explain why many people find
these pieces so moving.
Could the same approach also shed light on abstract twentieth-century pieces,
from Mondrian’s geometrical blocks of color, to Pollock’s seemingly
haphazard arrangements of splashed paint on canvas? Skeptics believe that
people claim to like such works simply because they are famous. We certainly
do have an inclination to follow the crowd. When asked to make simple
perceptual decisions such as matching a shape to its rotated image, for
example, people often choose a definitively wrong answer if they see others
doing the same. It is easy to imagine that this mentality would have even more
impact on a fuzzy concept like art appreciation, where there is no right or
wrong answer.
Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this

debate by asking volunteers to view pairs of paintings – either the creations of
famous abstract artists or the doodles of infants, chimps and elephants. They
then had to judge which they preferred. A third of the paintings were given no
captions, while many were labeled incorrectly -volunteers might think they
were viewing a chimp’s messy brush strokes when they were actually seeing
an acclaimed masterpiece. In each set of trials, volunteers generally preferred
the work of renowned artists, even when they believed it was by an animal or
a child. It seems that the viewer can sense the artist’s vision in paintings, even
if they can’t explain why.
Robert Pepperell, an artist based at Cardiff University, creates ambiguous

works that are neither entirely abstract nor clearly representational. In one
study, Pepperell and his collaborators asked volunteers to decide how
powerful they considered an artwork to be, and whether they saw anything
familiar in the piece. The longer they took to answer these questions, the more
highly they rated the piece under scrutiny, and the greater their neural
activity. It would seem that the brain sees these images as puzzles, and the
harder it is to decipher the meaning, the more rewarding is the moment of
recognition.
And what about artists such as Mondrian, whose paintings consist exclusively
of horizontal and vertical lines encasing blocks of colour? Mondrian’s works
are deceptively simple, but eye-tracking studies confirm that they are
meticulously composed, and that simply rotating a piece radically changes the
way we view it. With the originals, volunteers’eyes tended to stay longer on
certain places in the image, but with the altered versions they would flit across
a piece more rapidly. As a result, the volunteers considered the altered
versions less pleasurable when they later rated the work.
In a similar study, Oshin Vartanian of Toronto University asked volunteers to

compare original paintings with ones which he had altered by moving objects
around within the frame. He found that almost everyone preferred the
original, whether it was a Van Gogh still life or an abstract by Miro.
Vartanian also found that changing the composition of the paintings reduced
activation in those brain areas linked with meaning and interpretation.
In another experiment, Alex Forsythe of the University of Liverpool analyzed
the visual intricacy of different pieces of art, and her results suggest that
many artists use a key level of detail to please the brain. Too little and the
work is boring, but too much results in a kind of ‘perceptual overload’,
according to Forsythe. What’s more, appealing pieces both abstract and
representational, show signs of ‘fractals’ – repeated motifs recurring in
different scales, fractals are common throughout nature, for example in the
shapes of mountain peaks or the branches of trees. It is possible that our
visual system, which evolved in the great outdoors, finds it easier to process
such patterns.
It is also intriguing that the brain appears to process movement when we see a
handwritten letter, as if we are replaying the writer’s moment of creation.
This has led some to wonder whether Pollock’s works feel so dynamic because
the brain reconstructs the energetic actions the artist used as he painted. This
may be down to our brain’s ‘mirror neurons’, which are known to mimic
others’ actions. The hypothesis will need to be thoroughly tested, however. It
might even be the case that we could use neuroaesthetic studies to understand
the longevity of some pieces of artwork. While the fashions of the time might
shape what is currently popular, works that are best adapted to our visual
system may be the most likely to linger once the trends of previous
generations have been forgotten.
It’s still early days for the field of neuroaesthetics – and these studies are
probably only a taste of what is to come. It would, however, be foolish to
reduce art appreciation to a set of scientific laws. We shouldn’t underestimate
the importance of the style of a particular artist, their place in history and the
artistic environment of their time. Abstract art offers both a challenge and the
freedom to play with different interpretations. In some ways, it’s not so
different from science, where we are constantly looking for systems and
decoding meaning so that we can view and appreciate the world in a new way.

Choose the correct letter, A, B, C or D.

Write the correct letter in boxes 27-30 on your answer sheet.
27. In the second paragraph, the writer refers to a shape-matching test in
order to illustrate
A. the subjective nature of art appreciation.
B. the reliance of modern art on abstract forms.
C. our tendency to be influenced by the opinions of others.
D. A common problem encountered when processing visual data.
28. Angelina Hawley-Dolan’s findings indicate that people

A. mostly favor works of art which they know well.
B. hold fixed ideas about what makes a good work of art.
C. are often misled by their initial expectations of a work of art.
D. have the ability to perceive the intention behind works of art.
29. Results of studies involving Robert Pepperell’s pieces suggest that people
A. can appreciate a painting without fully understanding it.
B. find it satisfying to work out what a painting represents.
C. vary widely in the time they spend looking at paintings.
D. generally prefer representational art to abstract art.
30. What do the experiments described in the fifth paragraph suggest about
the paintings of Mondrian?
A. They are more carefully put together than they appear.
B. They can be interpreted in a number of different ways.
C. They challenge our assumptions about shape and color.
D. They are easier to appreciate than many other abstract works.
Practice 3 : An Introduction to Film Sound ( Cam 11 reading test 4

part 2 )
Though we might think of film as an essentially visual experience, we really
cannot afford to underestimate the importance of film sound. A meaningful
soundtrack is often as complicated as the image on the screen, and is
ultimately just as much the responsibility of the director. The entire
soundtrack consists of three essential ingredients: the human voice, sound
effects and music. These three tracks must be mixed and balanced so as to
produce the necessary emphases which in turn create desired effects. Topics
which essentially refer to the three previously mentioned tracks are discussed
below. They include dialogue, synchronous and asynchronous sound effects,
and music.
Let us start with dialogue. As is the case with stage drama, dialogue serves to
tell the story and expresses feelings and motivations of characters as well.
Often with film characterization the audience perceives little or no difference
between the character and the actor. Thus, for example, the actor Humphrey
Bogart is the character Sam Spade; film personality and life personality seem
to merge. Perhaps this is because the very texture of a performer’s voice
supplies an element of character.
When voice textures fit the performer’s physiognomy and gestures, a whole
and very realistic persona emerges. The viewer sees not an actor working at
his craft, but another human being struggling with life. It is interesting to note
that how dialogue is used and the very amount of dialogue used varies widely
among films. For example, in the highly successful science-fiction film 2001,
little dialogue was evident, and most of it was banal and of little intrinsic
interest. In this way the film-maker was able to portray what Thomas
Sobochack and Vivian Sobochack call, in An Introduction to Film, the
‘inadequacy of human responses when compared with the magnificent
technology created by man and the visual beauties of the universe’.
The comedy Bringing Up Baby, on the other hand, presents practically non-
stop dialogue delivered at breakneck speed. This use of dialogue underscores
not only the dizzy quality of the character played by Katherine Hepburn, but
also the absurdity of the film itself and thus its humor. The audience is
bounced from gag to gag and conversation to conversation; there is no time
for audience reflection. The audience is caught up in a whirlwind of activity in
simply managing to follow the plot. This film presents pure escapism – largely
due to its frenetic dialogue.
Synchronous sound effects are those sounds which are synchronized or

matched with what is viewed. For example, if the film portrays a character
playing the piano, the sounds of the piano are projected. Synchronous sounds
contribute to the realism of film and also help to create a particular
atmosphere. For example, the ‘click’ of a door being opened may simply serve
to convince the audience that the image portrayed is real, and the audience
may only subconsciously note the expected sound. However, if the ‘click’ of an
opening door is part of an ominous action such as a burglary, the sound mixer
may call attention to the ‘click’ with an increase in volume; this helps to
engage the audience in a moment of suspense.
Asynchronous sound effects, on the other hand, are not matched with a visible
source of the sound on screen. Such sounds are included so as to provide an
appropriate emotional nuance, and they may also add to the realism of the
film. For example, a film-maker might opt to include the background sound of
an ambulance’s siren while the foreground sound and image portrays an
arguing couple. The asynchronous ambulance siren underscores the psychic
injury incurred in the argument; at the same time the noise of the siren adds
to the realism of the film by acknowledging the film’s city setting.
We are probably all familiar with background music in films, which has
become so ubiquitous as to be noticeable in its absence. We are aware that it is
used to add emotion and rhythm. Usually not meant to be noticeable, it often
provides a tone or an emotional attitude toward the story and /or the
characters depicted. In addition, background music often foreshadows a
change in mood. For example, dissonant music may be used in film to indicate
an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For

example, a particular musical theme associated with an individual character
or situation may be repeated at various points in a film in order to remind the
audience of salient motifs or ideas.
Film sound comprises conventions and innovations. We have come to expect

an acceleration of music during car chases and creaky doors in horror films.
Yet, it is important to note as well that sound is often brilliantly conceived.
The effects of sound are often largely subtle and often are noted by only our
subconscious minds. We need to foster an awareness of film sound as well as
film space so as to truly appreciate an art form that sprang to life during the
twentieth century – the modern film.

14. In the first paragraph, the writer makes a point that
A. the director should plan the sound track at an early stage in filming.
B. It would be wrong to overlook the contribution of sound to the artistry of
films.
C. The music industry can have a beneficial influence on sound in film.
D. It is important for those working on the sound in a film to have sole
responsibility for it.
15. One reason that the writer refers to Humphrey Bogart is to exemplify
A. the importance of the actor and the character appearing to have similar
personalities.
B. the audience’s wish that actors are visually appropriate for their roles.
C. the value of the actor having had similar feelings to the character.
D. the audience’s preference for dialogue to be as authentic as possible.
16. In the third paragraph, the writer suggests that
A. audiences are likely to be critical of film dialogue that does not reflect their
own experience.
B. film dialogue that appears to be dull may have a specific purpose.
C. filmmakers vary considerably in the skill with which they handle dialogue.
D. the most successful films are those with dialogue of a high Quality.
17. What does the writer suggest about Bringing Up

A. The plot suffers from the filmmaker’s wish to focus on humorous dialogue.
B. The dialogue helps to make it one of the best comedy films ever produced.
C. There is a mismatch between the speed of the dialogue and the speed of
actions.
D. The nature of the dialogue emphasizes key elements of the film.
18. The writer refers to the ‘click’ of a door to make the point that realistic
sounds
A. are often used to give the audience a false impression of events in the film.
B. may be interpreted in different ways by different members of the audience.
C. may be modified in order to manipulate the audience’s response to the film.
D. tend to be more significant in films presenting realistic situations.
Practice 4 : The risks agriculture faces in developing countries

Synthesis of an online debate*
A.Two things distinguish food production from all other productive activities:
first, every single person needs food each day and has a right to it; and second,
it is hugely dependent on nature. These two unique aspects, one political, the
other natural, make food production highly vulnerable and different from any
other business. At the same time, cultural values are highly entrenched in food
and agricultural systems worldwide.
B. Farmers everywhere face major risks, including extreme weather, long-

term climate change, and price volatility in input and product markets.
However, smallholder farmers in developing countries must in addition deal
with adverse environments, both natural, in terms of soil quality, rainfall, etc.,
and human, in terms of infrastructure, financial systems, markets, knowledge
and technology. Counter-intuitively, hunger is prevalent among many
smallholder farmers in the developing world.
C. Participants in the online debate argued that our biggest challenge is to

address the underlying causes of the agricultural system’s inability to ensure
sufficient food for all, and they identified as drivers of this problem our
dependency on fossil fuels and unsupportive government policies.
D. On the question of mitigating the risks farmers face, most essayists called
for greater state intervention. In his essay, Kanayo F. Nwanze, President of
the International Fund for Agricultural Development, argued that
governments can significantly reduce risks for farmers by providing basic
services like roads to get produce more efficiently to markets, or water and
food storage facilities to reduce losses. Sophia Murphy, senior advisor to the
Institute for Agriculture and Trade Policy, suggested that the procurement
and holding of stocks by governments can also help mitigate wild swings in
food prices by alleviating uncertainties about market supply.
E. Shenggen Fan, Director General of the International Food Policy Research

Institute, held up social safety nets and public welfare programmes in
Ethiopia, Brazil and Mexico as valuable ways to address poverty among
farming families and reduce their vulnerability to agriculture shocks.
However, some commentators responded that cash transfers to poor families
do not necessarily translate into increased food security, as these programmes
do not always strengthen food production or raise incomes. Regarding state
subsidies for agriculture, Rokeya Kabir, Executive Director of Bangladesh
Nari Progati Sangha, commented in her essay that these ‘have not
compensated for the stranglehold exercised by private traders. In fact, studies
show that sixty percent of beneficiaries of subsidies are not poor, but rich
landowners and non-farmer traders.’
F. Nwanze, Murphy and Fan argued that private risk management tools, like
private insurance, commodity futures markets, and rural finance can help
small-scale producers mitigate risk and allow for investment in
improvements. Kabir warned that financial support schemes often encourage
the adoption of high-input agricultural practices, which in the medium term
may raise production costs beyond the value of their harvests. Murphy noted
that when futures markets become excessively financialised they can
contribute to short-term price volatility, which increases farmers’ food
insecurity. Many participants and commentators emphasized that greater
transparency in markets is needed to mitigate the impact of volatility, and
make evident whether adequate stocks and supplies are available. Others
contended that agribusiness companies should be held responsible for paying
for negative side effects.
G. Many essayists mentioned climate change and its consequences for small-
scale agriculture. Fan explained that ‘in addition to reducing crop yields,
climate change increases the magnitude and frequency of extreme weather
events, which increase smallholder vulnerability.’ The growing
unpredictability of weather patterns increases farmers’ difficulty in managing
weather-related risks. According to this author, one solution would be to
develop crop varieties that are more resilient to new climate trends and
extreme weather patterns. Accordingly, Pat Mooney, co-founder and
executive director of the ETC Group, suggested that ‘if we are to survive
climate change, we must adopt policies that let peasants diversify the plant
and animal species and varieties/breeds that make up our menus.’
H. Some participating authors and commentators argued in favor of

community-based and autonomous risk management strategies through
collective action groups, co-operatives or producers’ groups. Such groups
enhance market opportunities for small-scale producers, reduce marketing
costs and synchronize buying and selling with seasonal price conditions.
According to Murphy, ‘collective action offers an important way for farmers
to strengthen their political and economic bargaining power, and to reduce
their business risks.’ One commentator, Giel Ton, warned that collective
action does not come as a free good. It takes time, effort and money to
organize, build trust and to experiment. Others, like Marcel Vernooij and
Marcel Beukeboom, suggested that in order to ‘apply what we already know’,
all stakeholders, including business, government, scientists and civil society,
must work together, starting at the beginning of the value chain.
I. Some participants explained that market price volatility is often worsened
by the presence of intermediary purchasers who, taking advantage of
farmers’ vulnerability, dictate prices. One commentator suggested farmers
can gain greater control over prices and minimize price volatility by selling
directly to consumers. Similarly, Sonali Bisht, founder and advisor to the
Institute of Himalayan Environmental Research and Education (INHERE),
India, wrote that community-supported agriculture, where consumers invest
in local farmers by subscription and guarantee producers a fair price, is a
risk-sharing model worth more attention. Direct food distribution systems not
only encourage small-scale agriculture but also give consumers more control
over the food they consume, she wrote.
———————
* The personal names in the text refer to the authors of written contributions
to the online debate

Which TWO problems are mentioned which affect farmers with small farms
in developing countries?
A lack of demand for locally produced food
B lack of irrigation programmes
C being unable to get insurance
D the effects of changing weather patterns
E having to sell their goods to intermediary buyers

Which TWO actions are recommended for improving conditions for farmers?
A reducing the size of food stocks
B attempting to ensure that prices rise at certain times of the year
C organizing co-operation between a wide range of interested parties
D encouraging consumers to take a financial stake in farming
E making customers aware of the reasons for changing food prices
Practice 5 : Music and the emotions(Cam 12 reading test 3 part 3)
Neuroscientist Jonah Lehrer considers the emotional power of music
Why does music make us feel? On the one hand, music is a purely abstract art
form, devoid of language or explicit ideas. And yet, even though music says
little, it still manages to touch us deeply. When listening to our favorite songs,
our body betrays all the symptoms of emotional arousal. The pupils in our
eyes dilate, our pulse and blood pressure rise, the electrical conductance of
our skin is lowered, and the cerebellum, a brain region associated with bodily
movement, becomes strangely active. Blood is even redirected to the muscles
in our legs. In other words, sound stirs us at our biological roots.
A recent paper in Nature Neuroscience by a research team in Montreal,

Canada, marks an important step in revealing the precise underpinnings of
the potent pleasurable stimulus’ that is music. Although the study involves
plenty of fancy technology, including functional magnetic resonance imaging
(fMRI) and ligand-based positron emission tomography (PET) scanning, the
experiment itself was rather straightforward. After screening 217 individuals
who responded to advertisements requesting people who experience ‘chills’ to
instrumental music, the scientists narrowed down the subject pool to ten.
They then asked the subjects to bring in their playlist of favorite songs –
virtually every genre was represented, from techno to tango – and played
them the music while their brain activity was monitored. Because the
scientists were combining methodologies (PET and fMRI), they were able to
obtain an impressively exact and detailed portrait of music in the brain. The
first thing they discovered is that music triggers the production of dopamine –
a chemical with a key role in setting people’s moods – by the neurons (nerve
cells) in both the dorsal and ventral regions of the brain. As these two regions
have long been linked with the experience of pleasure, this finding isn’t
particularly surprising.
What is rather more significant is the finding that the dopamine neurons in
the caudate – a region of the brain involved in learning stimulus-response
associations, and in anticipating food and other ‘reward’ stimuli – were at
their most active around 15 seconds before the participants’ favorite moments
in the music. The researchers call this the ‘anticipatory phase’ and argue that
the purpose of this activity is to help us predict the arrival of our favorite
part. The question, of course, is what all these dopamine neurons are up to.
Why are they so active in the period preceding the acoustic climax? After all,
we typically associate surges of dopamine with pleasure, with the processing
of actual rewards. And yet, this cluster of cells is most active when the ‘chills’
have yet to arrive, when the melodic pattern is still unresolved.
One way to answer the question is to look at the music and not the neurons.
While music can often seem (at least to the outsider) like a labyrinth of
intricate patterns, it turns out that the most important part of every song or
symphony is when the patterns break down, when the sound becomes
unpredictable. If the music is too obvious, it is annoyingly boring, like an
alarm clock. Numerous studies, after all, have demonstrated that dopamine
neurons quickly adapt to predictable rewards. If we know what’s going to
happen next, then we don’t get excited. This is why composers often introduce
a keynote in the beginning of a song, spend most of the rest of the piece in the
studious avoidance of the pattern, and then finally repeat it only at the end.
The longer we are denied the pattern we expect, the greater the emotional
release when the pattern returns, safe and sound.
To demonstrate this psychological principle, the musicologist Leonard Meyer,

in his classic book Emotion and Meaning in Music (1956), analyzed the 5th
movement of Beethoven’s String Quartet in C-sharp minor, Op. 131. Meyer
wanted to show how music is defined by its flirtation with – but not
submission to – our expectations of order. Meyer dissected 50 measures (bars)
of the masterpiece, showing how Beethoven begins with the clear statement of
a rhythmic and harmonic pattern and then, in an ingenious tonal dance,
carefully holds off repeating it. What Beethoven does instead is suggest
variations of the pattern. He wants to preserve an element of uncertainty in
his music, making our brains beg for the one chord he refuses to give us.
Beethoven saves that chord for the end.
According to Meyer, it is the suspenseful tension of music, arising out of our
unfulfilled expectations, that is the source of the music’s feeling. While earlier
theories of music focused on the way a sound can refer to the real world of
images and experiences – its ‘connotative’ meaning – Meyer argued that the
emotions we find in music come from the unfolding events of the music itself.
This ‘embodied meaning’ arises from the patterns the symphony invokes and
then ignores. It is this uncertainty that triggers the surge of dopamine in the
caudate, as we struggle to figure out what will happen next. We can predict
some of the notes, but we can’t predict them all, and that is what keeps us
listening, waiting expectantly for our reward, for the pattern to be completed.

32. What point does the writer emphasize in the first paragraph?
A. how dramatically our reactions to music can vary
B. how intense our physical responses to music can be
C. how little we know about the way that music affects us
D. how much music can tell us about how our brains operate
33. What view of the Montreal study does the writer express in the second
paragraph?
A. Its aims were innovative.
B. The approach was too simplistic.
C. It produced some remarkably precise data.
D. The technology used was unnecessarily complex.
34. What does the writer find interesting about the results of the Montreal
study?
A. the timing of participants’ neural responses to the music
B. the impact of the music of participants’ emotional state
C. the section of participants’ brains which was activated by the music
D. the type of music which had the strongest effect on participants’ brains
35. Why does the writer refer to Meyer’s work on music and emotion?
A. to propose an original theory about the subject
B. to offer support for the findings of the Montreal study
C. to recommend the need for further research into the subject
D. to present a view which opposes that of the Montreal researchers
36. According to Leonard Meyer, what causes the listener’s emotional

response to music?
A. the way that the music evokes poignant memories in the listener
B. the association of certain musical chords with certain feelings
C. the listener’s sympathy with the composer’s intentions
D. the internal structure of the musical composition
Practice 6 : Bring back the big cats(Cam 12 reading test 4 part 2 )

It’s time to start returning vanished native animals to Britain, says John Vesty
There is a poem, written around 598 AD, which describes hunting a mystery
animal called a llewyn. But what was it? Nothing seemed to fit, until 2006,
when an animal bone, dating from around the same period, was found in the
Kinsey Cave in northern England. Until this discovery, the lynx – a large
spotted cat with tasseled ears – was presumed to have died out in Britain at
least 6,000 years ago, before the inhabitants of these islands took up farming.
But the 2006 find, together with three others in Yorkshire and Scotland, is
compelling evidence that the lynx and the mysterious llewyn were in fact one
and the same animal. If this is so, it would bring forward the tassel-eared cat’s
estimated extinction date by roughly 5,000 years.
However, this is not quite the last glimpse of the animal in British culture. A
9th-century stone cross from the Isle of Eigg shows, alongside the deer, boar
and aurochs pursued by a mounted hunter, a speckled cat with tasseled ears.
Were it not for the animal’s backside having worn away with time, we could
have been certain, as the lynx’s stubby tail is unmistakable. But even without
this key feature, it’s hard to see what else the creature could have been. The
lynx is now becoming the totemic animal of a movement that is transforming
British environmentalism: rewilding.
Rewilding means the mass restoration of damaged ecosystems. It involves

letting trees return to places that have been denuded, allowing parts of the
seabed to recover from trawling and dredging, permitting rivers to flow freely
again. Above all, it means bringing back missing species. One of the most
striking findings of modern ecology is that ecosystems without large predators
behave in completely different ways from those that retain them. Some of
them drive dynamic processes that resonate through the whole food chain,
creating niches for hundreds of species that might otherwise struggle to
survive. The killers turn out to be bringers of life.
Such findings present a big challenge to British conservation, which has often
selected arbitrary assemblages of plants and animals and sought, at great
effort and expense, to prevent them from changing. It has tried to preserve the
living world as if it were a jar of pickles, letting nothing in and nothing out,
keeping nature in a state of arrested development. But ecosystems are not
merely collections of species; they are also the dynamic and ever-shifting
relationships between them. And this dynamism often depends on large
predators.
At sea the potential is even greater: by protecting large areas from

commercial fishing, we could once more see what 18th-century literature
describes: vast shoals of fish being chased by fin and sperm whales, within
sight of the English shore. This policy would also greatly boost catches in the
surrounding seas; the fishing industry’s insistence on scouring every inch of
seabed, leaving no breeding reserves, could not be more damaging to its own
interests.
Rewilding is a rare example of an environmental movement in which

campaigners articulate what they are for rather than only what they are
against. One of the reasons why the enthusiasm for rewilding is spreading so
quickly in Britain is that it helps to create a more inspiring vision than the
green movement’s usual promise of ‘Follow us and the world will be slightly
less awful than it would otherwise have been.’
The lynx presents no threat to human beings: there is no known instance of

one preying on people. It is a specialist predator of roe deer, a species that has
exploded in Britain in recent decades, holding back, by intensive browsing,
attempts to re-establish forests. It will also winkle out sika deer: an exotic
species that is almost impossible for human beings to control, as it hides in
impenetrable plantations of young trees. The attempt to reintroduce this
predator marries well with the aim of bringing forests back to parts of our
bare and barren uplands. The lynx requires deep cover, and as such presents
little risk to sheep and other livestock, which are supposed, as a condition of
farm subsidies, to be kept out of the woods.
On a recent trip to the Cairngorm Mountains, I heard several conservationists

suggest that the lynx could be reintroduced there within 20 years. If trees
return to the bare hills elsewhere in Britain, the big cats could soon follow.
There is nothing extraordinary about these proposals, seen from the
perspective of anywhere else in Europe. The lynx has now been reintroduced
to the Jura Mountains, the Alps, the Vosges in eastern France and the Harz
mountains in Germany, and has re-established itself in many more places. The
European population has tripled since 1970 to roughly 10,000. As with wolves,
bears, beavers, boar, bison, moose and many other species, the lynx has been
able to spread as farming has left the hills and people discover that it is more
lucrative to protect charismatic wildlife than to hunt it, as tourists will pay for
the chance to see it. Large-scale rewilding is happening almost everywhere –
except Britain.
Here, attitudes are just beginning to change. Conservationists are starting to

accept that the old preservation-jar model is failing, even on its own terms.
Already, projects such as Trees for Life in the Highlands provide a hint of
what might be coming. An organization is being set up that will seek to
catalyze the rewilding of land and sea across Britain, its aim being to
reintroduce that rarest of species to British ecosystems: hope.

Write the correct letter, A, B, C or D, in boxes 14-18 on your answer sheet.

14. What did the 2006 discovery of the animal bone reveal about the lynx?
A. Its physical appearance was very distinctive.
B. Its extinction was linked to the spread of farming.
C. It vanished from Britain several thousand years ago.
D. It survived in Britain longer than was previously thought.
15. What point does the writer make about large predators in the third
paragraph?
A. Their presence can increase biodiversity.
B. They may cause damage to local ecosystems.
C. Their behavior can alter according to the environment.
D. They should be reintroduced only to areas where they were native.
16. What does the writer suggest about British conservation in the fourth
paragraph?
A. It has failed to achieve its aims.
B. It is beginning to change direction.
C. It has taken a misguided approach.
D. It has focused on the most widespread species.
17. Protecting large areas of the sea from commercial fishing would result in
A. practical benefits for the fishing industry.
B. some short-term losses to the fishing industry.
C. widespread opposition from the fishing industry.
D. certain changes to techniques within the fishing industry.
18. According to the author, what distinguishes rewilding from other

environmental campaigns?
A. Its objective is more achievable.
B. Its supporters are more articulate.
C. Its positive message is more appealing.
D. It is based on sounder scientific principles.
Practice 7 : Artificial artist? ( Cam 13 reading test 1 part 3 )

Can computers really create works of art?
The Painting Fool is one of a growing number of computer programs which,

so their makers claim, possess creative talents. Classical music by an artificial
composer has had audiences enraptured, and even tricked them into believing
a human was behind the score. Artworks painted by a robot have sold for
thousands of dollars and been hung in prestigious galleries. And software has
been built which creates art that could not have been imagined by the
programmer.
Human beings are the only species to perform sophisticated creative acts
regularly. If we can break this process down into computer code, where does
that leave human creativity? ‘This is a question at the very core of humanity,’
says Geraint Wiggins, a computational creativity researcher at Goldsmiths,
University of London. ‘It scares a lot of people. They are worried that it is
taking something special away from what it means to be human.’
To some extent, we are all familiar with computerized art. The question is:
where does the work of the artist stop and the creativity of the computer
begin? Consider one of the oldest machine artists, Aaron, a robot that has had
paintings exhibited in London’s Tate Modern and the San Francisco Museum
of Modern Art. Aaron can pick up a paintbrush and paint on canvas on its
own. Impressive perhaps, but it is still little more than a tool to realize the
programmer’s own creative ideas.
Simon Colton, the designer of the Painting Fool, is keen to make sure his
creation doesn’t attract the same criticism. Unlike earlier ‘artists’ such as
Aaron, the Painting Fool only needs minimal direction and can come up with
its own concepts by going online for material. The software runs its own web
searches and trawls through social media sites. It is now beginning to display
a kind of imagination too, creating pictures from scratch. One of its original
works is a series of fuzzy landscapes, depicting trees and sky. While some
might say they have a mechanical look, Colton argues that such reactions
arise from people’s double standards towards software-produced and human-
produced art. After all, he says, consider that the Painting Fool painted the
landscapes without referring to a photo. ‘If a child painted a new scene from
its head, you’d say it has a certain level of imagination,’ he points out. ‘The
same should be true of a machine.’ Software bugs can also lead to unexpected
results. Some of the Painting Fool’s paintings of a chair came out in black and
white, thanks to a technical glitch. This gives the work an eerie, ghostlike
quality. Human artists like the renowned Ellsworth Kelly are lauded for
limiting their color palette – so why should computers be any different?
Researchers like Colton don’t believe it is right to measure machine creativity
directly to that of humans who ‘have had millennia to develop our skills’.
Others, though, are fascinated by the prospect that a computer might create
something as original and subtle as our best artists. So far, only one has come
close. Composer David Cope invented a program called Experiments in
Musical Intelligence, or EMI. Not only did EMI create compositions in Cope’s
style, but also that of the most revered classical composers, including Bach,
Chopin and Mozart. Audiences were moved to tears, and EMI even fooled
classical music experts into thinking they were hearing genuine Bach. Not
everyone was impressed however. Some, such as Wiggins, have blasted Cope’s
work as pseudoscience, and condemned him for his deliberately vague
explanation of how the software worked. Meanwhile, Douglas Hofstadter of
Indiana University said EMI created replicas which still rely completely on
the original artist’s creative impulses. When audiences found out the truth
they were often outraged with Cope, and one music lover even tried to punch
him. Amid such controversy, Cope destroyed EMI’s vital databases.
But why did so many people love the music, yet recoil when they discovered
how it was composed? A study by computer scientist David Moffat of Glasgow
Caledonian University provides a clue. He asked both expert musicians and
non-experts to assess six compositions. The participants weren’t told
beforehand whether the tunes were composed by humans or computers, but
were asked to guess, and then rate how much they liked each one. People who
thought the composer was a computer tended to dislike the piece more than
those who believed it was human. This was true even among the experts, who
might have been expected to be more objective in their analyses.
Where does this prejudice come from? Paul Bloom of Yale University has a
suggestion: he reckons part of the pleasure we get from art stems from the
creative process behind the work. This can give it an ‘irresistible essence’,
says Bloom. Meanwhile, experiments by Justin Kruger of New York
University have shown that people’s enjoyment of an artwork increases if they
think more time and effort was needed to create it. Similarly, Colton thinks
that when people experience art, they wonder what the artist might have been
thinking or what the artist is trying to tell them. It seems obvious, therefore,
that with computers producing art, this speculation is cut short – there’s
nothing to explore. But as technology becomes increasingly complex, finding
those greater depths in computer art could become possible. This is precisely
why Colton asks the Painting Fool to tap into online social networks for its
inspiration: hopefully this way it will choose themes that will already be
meaningful to us.


27. What is the writer suggesting about computer-produced works in the first
paragraph?
A. People’s acceptance of them can vary considerably.
B. A great deal of progress has already been attained in this field.
C. They have had more success in some artistic genres than in others.
D. the advances are not as significant as the public believes them to be.
28. According to Geraint Wiggins, why are many people worried by computer
art?
A. It is aesthetically inferior to human art.
B. It may ultimately supersede human art.
C. It undermines a fundamental human quality.
D. It will lead to a deterioration in human ability.
29. What is a key difference between Aaron and the Painting Fool?
A. its programmer’s background
B. public response to its work
C. the source of its subject matter
D. the technical standard of its output
30. What point does Simon Colton make in the fourth paragraph?
A. Software-produced art is often dismissed as childish and simplistic.
B. The same concepts of creativity should not be applied to all forms of art.
C. It is unreasonable to expect a machine to be as imaginative as a human
being.
D. People tend to judge computer art and human art according to different
criteria.
31. The writer refers to the paintings of a chair as an example of computer art
which
A. achieves a particularly striking effect.
B. exhibits a certain level of genuine artistic skill.
C. closely resembles that of a well-known artist.
D. highlights the technical limitations of the software.
Practice 8 : MAKING THE MOST OF TRENDS

Experts from Harvard Business School give advice to managers
Most managers can identify the major trends of the day. But in the course of
conducting research in a number of industries and working directly with
companies, we have discovered that managers often fail to recognize the less
obvious but profound ways these trends are influencing consumers’
aspirations, attitudes, and behaviors. This is especially true of trends that
managers view as peripheral to their core markets.
Many ignore trends in their innovation strategies or adopt a wait-and-see

approach and let competitors take the lead. At a minimum, such responses
mean missed profit opportunities. At the extreme, they can jeopardize a
company by ceding rivals the opportunity to transform the industry. The
purpose of this article is twofold: to spur managers to think more expansively
about how trends could engender new value propositions in their core
markets, and to provide some high-level advice on how to make market
research and product development personnel more adept at analyzing and
exploiting trends.
One strategy, known as ‘infuse and augment’, is to design a product or service

that retains most of the attributes and functions of existing products in the
category but adds others that address the needs and desires unleashed by a
major trend. A case in point in the Poppy range of handbags, which the firm
Coach created in response to the economic downturn of 2008. The Coach
brand had been a symbol of opulence and luxury for nearly 70 years, and the
most obvious reaction to the downturn would have been to lower prices.
However, that would have risked cheapening the brand’s image. Instead, they
initiated a consumer-research project which revealed that customers were
eager to lift themselves and the country out of tough times. Using these
insights, Coach launched the lower-priced Poppy handbags, which were in
vibrant colors, and looked more youthful and playful than conventional
Coach products. Creating the sub-brand allowed Coach to avert an across-
the-board price cut. In contrast to the many companies that responded to the
recession by cutting prices, Coach saw the new consumer mindset as an
opportunity for innovation and renewal.
A further example of this strategy was supermarket Tesco’s response to

consumers’ growing concerns about the environment. With that in mind,
Tesco, one of the world’s top five retailers, introduced its Greener Living
program, which demonstrates the company’s commitment to protecting the
environment by involving consumers in ways that produce tangible results.
For example, Tesco customers can accumulate points for such activities as
reusing bags, recycling cans and printer cartridges, and buying home-
insulation materials. Like points earned on regular purchases, these green
points can be redeemed for cash. Tesco has not abandoned its traditional
retail offering but augmented its business with these innovations, thereby
infusing its value proposition with a green streak.
A more radical strategy is ‘combine and transcend’. This entails combining

aspects of the product’s existing value proposition with attributes addressing
changes arising from a trend, to create a novel experience – one that may land
the company in an entirely new market space. At first glance, spending
resources to incorporate elements of a seemingly irrelevant trend into one’s
core offerings sounds like it’s hardly worthwhile. But consider Nike’s move to
integrate the digital revolution into its reputation for high-performance
athletic footwear. In 2006, they teamed up with technology company Apple to
launch Nike+, a digital sports kit comprising a sensor that attaches to the
running shoe and a wireless receiver that connects to the user’s iPod. By
combining Nike’s original value proposition for amateur athletes with one for
digital consumers, the Nike+ sports kit and web interface moved the company
from a focus on athletic apparel to a new plane of engagement with its
customers.
A third approach, known as ‘counteract and reaffirm’, involves developing
products or services that stress the values traditionally associated with the
category in ways that allow consumers to oppose – or at least temporarily
escape from – the aspects of trends they view as undesirable. A product that
accomplished this is the ME2, a video game created by Canada’s iToys. By
reaffirming the toy category’s association with physical play, the ME2
counteracted some of the widely perceived negative impacts of digital gaming
devices. Like other handheld games, the device featured a host of exciting
interactive games, a full-color LCD screen, and advanced 3D graphics. What
set it apart was that it incorporated the traditional physical component of
children’s play: it contained a pedometer, which tracked and awarded points
for physical activity (walking, running, biking, skateboarding, climbing
stairs). The child could use the points to enhance various virtual skills needed
for the video game. The ME2, introduced in mid-2008, catered to kids’ huge
desire to play video games while countering the negatives, such as associations
with lack of exercise and obesity.
Once you have gained perspective on how trend-related changes in consumer

opinions and behaviors impact on your category, you can determine which of
our three innovation strategies to pursue. When your category’s basic value
proposition continues to be meaningful for consumers influenced by the trend,
the infuse-and-augment strategy will allow you to reinvigorate the category. If
analysis reveals an increasing disparity between your category and
consumers’ new focus, your innovations need to transcend the category to
integrate the two worlds. Finally, if aspects of the category clash with
undesired outcomes of a trend, such as associations with unhealthy lifestyles,
there is an opportunity to counteract those changes by reaffirming the core
values of your category.
Trends – technological, economic, environmental, social, or political – that

affect how people perceive the world around them and shape what they expect
from products and services present firms with unique opportunities for
growth.
27. In the first paragraph, the writer says that most managers
A. fail to spot the key consumer trends of the moment.
B. make the mistake of focusing only on the principal consumer trends.
C. misinterpret market research data relating to current consumer trends.
D. are unaware of the significant impact that trends have on consumers’ lives.
28. According to the third paragraph, Coach was anxious to

A. follow what some of its competitors were doing.
B. maintain its prices throughout its range.
C. safeguard its reputation as a manufacturer of luxury goods.
D. modify the entire look of its brand to suit the economic climate.
29. What point is made about Tesco’s Greener Living programme?

A. It did not require Tesco to modify its core business activities.
B. It succeeded in attracting a more eco-conscious clientele.
C. Its main aim was to raise consumers’ awareness of environmental issues.
D. It was not the first time that Tesco had implemented such an initiative.
30. What does the writer suggest about Nike’s strategy?

A. It was an extremely risky strategy at the time.
B. It was a strategy that only a major company could afford to follow.
C. It was the type of strategy that would not have been possible in the past.
D. It was the kind of strategy which might appear to have few obvious
benefits.
31. What was original about the ME2?

A. It contained technology that had been developed for the sports industry.
B. It appealed to young people who were keen to improve their physical
fitness.
C. It took advantage of a current trend for video games with colorful 3D
graphics.
D. It was a handheld game that addressed people’s concerns about unhealthy
lifestyles.
Practice 9 : Book Review ( Cam 13 reading test 4 part 3 )
The Happiness Industry: How the Government and Big Business Sold Us Well-
Being
By William Davies
‘Happiness is the ultimate goal because it is self-evidently good. If we are

asked why happiness matters we can give no further external reason. It just
obviously does matter.’ This pronouncement by Richard Layard, an
economist and advocate of ‘positive psychology’, summarizes the beliefs of
many people today. For Layard and others like him, it is obvious that the
purpose of government is to promote a state of collective well-being. The only
question is how to achieve it, and here positive psychology – a supposed
science that not only identifies what makes people happy but also allows their
happiness to be measured – can show the way. Equipped with this science,
they say, governments can secure happiness in society in a way they never
could in the past.
It is an astonishingly crude and simple-minded way of thinking, and for that

very reason increasingly popular. Those who think in this way are oblivious to
the vast philosophical literature in which the meaning and value of happiness
have been explored and questioned, and write as if nothing of any importance
had been thought on the subject until it came to their attention. It was the
philosopher Jeremy Bentham (1748-1832) who was more than anyone else
responsible for the development of this way of thinking. For Bentham it was
obvious that the human good consists of pleasure and the absence of pain. The
Greek philosopher Aristotle may have identified happiness with self-
realization in the 4th century BC, and thinkers throughout the ages may have
struggled to reconcile the pursuit of happiness with other human values, but
for Bentham all this was mere metaphysics or fiction. Without knowing
anything much about him or the school of moral theory he established – since
they are by education and intellectual conviction illiterate in the history of
ideas – our advocates of positive psychology follow in his tracks in rejecting as
outmoded and irrelevant pretty much the entirety of ethical reflection on
human happiness to date.
But as William Davies notes in his recent book The Happiness Industry, the
view that happiness is the only self-evident good is actually a way of limiting
moral inquiry. One of the virtues of this rich, lucid and arresting book is that
it places the current cult of happiness in a well-defined historical framework.
Rightly, Davies begins his story with Bentham, noting that he was far more
than a philosopher. Davies writes, ‘Bentham’s activities were those which we
might now associate with a public sector management consultant’. In the
1790s, he wrote to the Home Office suggesting that the departments of
government be linked together through a set of ‘conversation tubes’, and to
the Bank of England with a design for a printing device that could produce
unforgeable banknotes. He drew up plans for a ‘frigidarium’ to keep
provisions such as meat, fish, fruit and vegetables fresh. His celebrated design
for a prison to be known as a ‘Panopticon’, in which prisoners would be kept
in solitary confinement while being visible at all times to the guards, was very
nearly adopted. (Surprisingly, Davies does not discuss the fact that Bentham
meant his Panopticon not just as a model prison but also as an instrument of
control that could be applied to schools and factories.)
Bentham was also a pioneer of the ‘science of happiness’. If happiness is to be

regarded as a science, it has to be measured, and Bentham suggested two ways
in which this might be done. Viewing happiness as a complex of pleasurable
sensations, he suggested that it might be quantified by measuring the human
pulse rate. Alternatively, money could be used as the standard for
quantification: if two different goods have the same price, it can be claimed
that they produce the same quantity of pleasure for the consumer. Bentham
was more attracted by the latter measure. By associating money so closely to
inner experience, Davies writes, Bentham ‘set the stage for the entangling of
psychological research and capitalism that would shape the business practices
of the twentieth century’.
The Happiness Industry describes how the project of a science of happiness has
become integral to capitalism. We learn much that is interesting about how
economic problems are being redefined and treated as psychological maladies.
In addition, Davies shows how the belief that inner states of pleasure and
displeasure can be objectively measured has informed management studies
and advertising. The tendency of thinkers such as J B Watson, the founder of
behaviorism*, was that human beings could be shaped, or manipulated, by
policymakers and managers. Watson had no factual basis for his view of
human action. When he became president of the American Psychological
Association in 1915, he ‘had never even studied a single human being’: his
research had been confined to experiments on white rats. Yet Watson’s
reductive model is now widely applied, with ‘behavior change’ becoming the
goal of governments: in Britain, a ‘Behaviour Insights Team’ has been
established by the government to study how people can be encouraged, at
minimum cost to the public purse, to live in what are considered to be socially
desirable ways.
Modern industrial societies appear to need the possibility of ever-increasing

happiness to motivate them in their labors. But whatever its intellectual
pedigree, the idea that governments should be responsible for promoting
happiness is always a threat to human freedom.
———————–
27. What is the reviewer’s attitude to advocates of positive psychology?

A. They are wrong to reject the ideas of Bentham.
B. They are over-influenced by their study of Bentham’s theories.
C. They have a fresh new approach to ideas on human happiness.
D. They are ignorant about the ideas they should be considering.
28. The reviewer refers to the Greek philosopher Aristotle in order to suggest
that happiness
A. may not be just pleasure and the absence of pain.
B. should not be the main goal of humans.
C. is not something that should be fought for.
D. is not just an abstract concept.
29. According to Davies, Bentham’s suggestion for linking the price of goods
to happiness was significant because
A. it was the first successful way of assessing happiness.
B. it established a connection between work and psychology.
C. it was the first successful example of psychological research.
D. it involved consideration of the rights of consumers.
Practice 10 : The growth of bike-sharing schemes around the world
How Dutch engineer Luud Schimmelpennink helped to devise urban bike-
sharing schemes
A.The original idea for an urban bike-sharing scheme dates back to a

summer’s day in Amsterdam in 1965. Provo, the organization that came up
with the idea, was a group of Dutch activists who wanted to change society.
They believed the scheme, which was known as the Witte Fietsenplan, was an
answer to the perceived threats of air pollution and consumerism. In the
center of Amsterdam, they painted a small number of used bikes white. They
also distributed leaflets describing the dangers of cars and inviting people to
use the white bikes. The bikes were then left unlocked at various locations
around the city, to be used by anyone in need of transport.
B. Luud Schimmelpennink, a Dutch industrial engineer who still lives and

cycles in Amsterdam, was heavily involved in the original scheme. He recalls
how the scheme succeeded in attracting a great deal of attention – particularly
when it came to publicizing Provo’s aims – but struggled to get off the ground.
The police were opposed to Provo’s initiatives and almost as soon as the white
bikes were distributed around the city, they removed them. However, for
Schimmelpennink and for bike-sharing schemes in general, this was just the
beginning. ‘The first Witte Fietsenplan was just a symbolic thing,’ he says.
‘We painted a few bikes white, that was all. Things got more serious when I
became a member of the Amsterdam city council two years later.’
C. Schimmelpennink seized this opportunity to present a more elaborate

Witte Fietsenplan to the city council. ‘My idea was that the municipality of
Amsterdam would distribute 10,000 white bikes over the city, for everyone to
use,’ he explains. ‘I made serious calculations. It turned out that a white
bicycle – per person, per kilometer – would cost the municipality only 10% of
what it contributed to public transport per person per kilometer.’
Nevertheless, the council unanimously rejected the plan. ‘They said that the
bicycle belongs to the past. They saw a glorious future for the car,’ says
Schimmelpennink. But he was not in the least discouraged.
D. Schimmelpennink never stopped believing in bike-sharing, and in the mid-
90s, two Danes asked for his help to set up a system in Copenhagen. The result
was the world’s first large-scale bike-share programme. It worked on a
deposit: ‘You dropped a coin in the bike and when you returned it, you got
your money back.’ After setting up the Danish system, Schimmelpennink
decided to try his luck again in the Netherlands – and this time he succeeded
in arousing the interest of the Dutch Ministry of Transport. ‘Times had
changed,’ he recalls. ‘People had become more environmentally conscious,
and the Danish experiment had proved that bike-sharing was a real
possibility.’ A new Witte Fietsenplan was launched in 1999 in Amsterdam.
However, riding a white bike was no longer free; it cost one guilder per trip
and payment was made with a chip card developed by the Dutch bank
Postbank. Schimmelpennink designed conspicuous, sturdy white bikes locked
in special racks which could be opened with the chip card – the plan started
with 250 bikes, distributed over five stations.
E. Theo Molenaar, who was a system designer for the project, worked
alongside Schimmelpennink. ‘I remember when we were testing the bike
racks, he announced that he had already designed better ones. But of course,
we had to go through with the ones we had.’ The system, however, was prone
to vandalism and theft. ‘After every weekend there would always be a couple
of bikes missing,’ Molenaar says. ‘I really have no idea what people did with
them, because they could instantly be recognised as white bikes.’ But the
biggest blow came when Postbank decided to abolish the chip card, because it
wasn’t profitable. ‘That chip card was pivotal to the system,’ Molenaar says.
‘To continue the project we would have needed to set up another system, but
the business partner had lost interest.’
F. Schimmelpennink was disappointed, but – characteristically – not for long.

In 2002 he got a call from the French advertising corporation JC Decaux, who
wanted to set up his bike-sharing scheme in Vienna. ‘That went really well.
After Vienna, they set up a system in Lyon. Then in 2007, Paris followed. That
was a decisive moment in the history of bike-sharing.’ The huge and
unexpected success of the Parisian bike-sharing programme, which now
boasts more than 20,000 bicycles, inspired cities all over the world to set up
their own schemes, all modeled on Schimmelpennink. ‘It’s wonderful that this
happened,’ he says. ‘But financially I didn’t really benefit from it, because I
never filed for a patent.’
G. In Amsterdam today, 38% of all trips are made by bike and, along with
Copenhagen, it is regarded as one of the two most cycle-friendly capitals in
the world – but the city never got another Witte Fietsenplan. Molenaar
believes this may be because everybody in Amsterdam already has a bike.
Schimmelpennink, however, cannot see that this changes Amsterdam’s need
for a bike-sharing scheme. ‘People who travel on the underground don’t carry
their bikes around. But often they need additional transport to reach their
final destination.’ Although he thinks it is strange that a city like Amsterdam
does not have a successful bike-sharing scheme, he is optimistic about the
future. ‘In the ‘60s we didn’t stand a chance because people were prepared to
give their lives to keep cars in the city. But that mentality has totally changed.
Today everybody longs for cities that are not dominated by cars.’

Choose TWO letters, A-E

Which TWO of the following statements are made in the text about the
Amsterdam bike-sharing scheme of 1999?
A It was initially opposed by a government department.
B It failed when a partner in the scheme withdrew support.
C It aimed to be more successful than the Copenhagen scheme.
D It was made possible by a change in people’s attitudes.
E It attracted interest from a range of bike designers.

Which TWO of the following statements are made in the text about
Amsterdam today?
A The majority of residents would like to prevent all cars from entering the
city.
B There is little likelihood of the city having another bike-sharing scheme.
C More trips in the city are made by bike than by any other form of
transport.
D A bike-sharing scheme would benefit residents who use public transport.
E The city has a reputation as a place that welcomes cyclists.
Practice 11 : Why zoos are good ( Cam 14 reading test 4 part 2 )
Scientist David Hone makes the case for zoos
A.In my view, it is perfectly possible for many species of animals living in zoos
or wildlife parks to have a quality of life as high as, or higher than, in the wild.
Animals in good zoos get a varied and high-quality diet with all the
supplements required, and any illnesses they might have will be treated. Their
movement might be somewhat restricted, but they have a safe environment in
which to live, and they are spared bullying and social ostracism by others of
their kind. They do not suffer from the threat or stress of predators, or the
irritation and pain of parasites or injuries. The average captive animal will
have a greater life expectancy compared with its wild counterpart, and will
not die of drought, of starvation or in the jaws of a predator. A lot of very
nasty things happen to truly ‘wild’ animals that simply don’t happen in good
zoos, and to view a life that is ‘free’ as one that is automatically ‘good’ is, I
think, an error. Furthermore, zoos serve several key purposes.
B. Firstly, zoos aid conservation. Colossal numbers of species are becoming

extinct across the world, and many more are increasingly threatened and
therefore risk extinction. Moreover, some of these collapses have been sudden,
dramatic and unexpected, or were simply discovered very late in the day. A
species protected in captivity can be bred up to provide a reservoir population
against a population crash or extinction in the wild. A good number of species
only exist in captivity, with many of these living in zoos. Still more only exist
in the wild because they have been reintroduced from zoos, or have wild
populations that have been boosted by captive bred animals. Without these
efforts there would be fewer species alive today. Although reintroduction
successes are few and far between, the numbers are increasing, and the very
fact that species have been saved or reintroduced as a result of captive
breeding proves the value of such initiatives.
C. Zoos also provide education. Many children and adults, especially those in
cities, will never see a wild animal beyond a fox or pigeon. While it is true that
television documentaries are becoming ever more detailed and impressive,
and many natural history specimens are on display in museums, there really is
nothing to compare with seeing a living creature in the flesh, hearing it,
smelling it, watching what it does and having the time to absorb details. That
alone will bring a greater understanding and perspective to many, and
hopefully give them a greater appreciation for wildlife, conservation efforts
and how they can contribute.
D. In addition to this, there is also the education that can take place in zoos
through signs, talks and presentations which directly communicate
information to visitors about the animals they are seeing and their place in the
world. This was an area where zoos used to be lacking, but they are now
increasingly sophisticated in their communication and outreach work. Many
zoos also work directly to educate conservation workers in other countries, or
send their animal keepers abroad to contribute their knowledge and skills to
those working in zoos and reserves, thereby helping to improve conditions and
reintroductions all over the world.
E. Zoos also play a key role in research. If we are to save wild species and
restore and repair ecosystems we need to know about how key species live, act
and react. Being able to undertake research on animals in zoos where there is
less risk and fewer variables means real changes can be effected on wild
populations. Finding out about, for example, the oestrus cycle of an animal of
its breeding rate helps us manage wild populations. Procedures such as
capturing and moving at-risk or dangerous individuals are bolstered by
knowledge gained in zoos about doses for anaesthetics, and by experience in
handling and transporting animals. This can make a real difference to
conservation efforts and to the reduction of human-animal conflicts, and can
provide a knowledge base for helping with the increasing threats of habitat
destruction and other problems.
F. In conclusion, considering the many ongoing global threats to the

environment, it is hard for me to see zoos as anything other than essential to
the long-term survival of numerous species. They are vital not just in terms of
protecting animals, but as a means of learning about them to aid those still in
the wild, as well as educating and informing the general population about
these animals and their world so that they can assist or at least accept the need
to be more environmentally conscious. Without them, the world would be, and
would increasingly become, a much poorer place.

Which TWO of the following are stated about zoo staff in the text?
A Some take part in television documentaries about animals
B Some travel to overseas locations to join teams in zoos.
C Some get experience with species in the wild before taking up zoo jobs.
D Some teach people who are involved with conservation projects.
E Some specialize in caring for species which are under threat.

Which TWO of these beliefs about zoos does the writer mention in the text?
A They can help children overcome their fears of wild animals.
B They can increase public awareness of environmental issues.
C They can provide employment for a range of professional people.
D They can generate income to support wildlife conservation projects.
E They can raise animals which can later be released into the wild.
Practice 12 Driverless cars ( Cam 15 reading test 1 part 2 )

A. The automotive sector is well used to adapting to automation in
manufacturing. The implementation of robotic car manufacture from the
1970s onwards led to significant cost savings and improvements in the
reliability and flexibility of vehicle mass production. A new challenge to
vehicle production is now on the horizon and, again, it comes from
automation. However, this time it is not to do with the manufacturing process,
but with the vehicles themselves.
Research projects on vehicle automation are not new. Vehicles with limited
self-driving capabilities have been around for more than 50 years, resulting in
significant contributions towards driver assistance systems. But since Google
announced in 2010 that it had been trialing self-driving cars on the streets of
California, progress in this field has quickly gathered pace.
B. There are many reasons why technology is advancing so fast. One
frequently cited motive is safety; indeed, research at the UK’s Transport
Research Laboratory has demonstrated that more than 90 percent of road
collisions involve human error as a contributory factor, and it is the primary
cause in the vast majority. Automation may help to reduce the incidence of
this.
Another aim is to free the time people spend driving for other purposes. If the
vehicle can do some or all of the driving, it may be possible to be productive,
to socialize or simply to relax while automation systems have responsibility for
safe control of the vehicle. If the vehicle can do the driving, those who are
challenged by existing mobility models – such as older or disabled travelers –
may be able to enjoy significantly greater travel autonomy.
C. Beyond these direct benefits, we can consider the wider implications for
transport and society, and how manufacturing processes might need to
respond as a result. At present, the average car spends more than 90 percent
of its life parked. Automation means that initiatives for car-sharing become
much more viable, particularly in urban areas with significant travel demand.
If a significant proportion of the population choose to use shared automated
vehicles, mobility demand can be met by far fewer vehicles.
D. The Massachusetts Institute of Technology investigated automated mobility
in Singapore, finding that fewer than 30 percent of the vehicles currently used
would be required if fully automated car sharing could be implemented. If
this is the case, it might mean that we need to manufacture far fewer vehicles
to meet demand. However, the number of trips being taken would probably
increase, partly because empty vehicles would have to be moved from one
customer to the next.
Modeling work by the University of Michigan Transportation Research
Institute suggests automated vehicles might reduce vehicle ownership by 43
percent, but that vehicles’ average annual mileage double as a result. As a
consequence, each vehicle would be used more intensively, and might need
replacing sooner. This faster rate of turnover may mean that vehicle
production will not necessarily decrease
E. Automation may prompt other changes in vehicle manufacture. If we move

to a model where consumers are tending not to own a single vehicle but to
purchase access to a range of vehicles through a mobility provider, drivers
will have the freedom to select one that best suits their needs for a particular
journey, rather than making a compromise across all their requirements.
Since, for most of the time, most of the seats in most cars are unoccupied, this
may boost production of a smaller, more efficient range of vehicles that suit
the needs of individuals. Specialized vehicles may then be available for
exceptional journeys, such as going on a family camping trip or helping a son
or daughter move to university.
F. There are a number of hurdles to overcome in delivering automated

vehicles to our roads. These include the technical difficulties in ensuring that
the vehicle works reliably in the infinite range of traffic, weather and road
situations it might encounter; the regulatory challenges in understanding how
liability and enforcement might change when drivers are no longer essential
for vehicle operation; and the societal changes that may be required for
communities to trust and accept automated vehicles as being a valuable part
of the mobility landscape.
G. It’s clear that there are many challenges that need to be addressed but,
through robust and targeted research, these can most probably be conquered
within the next 10 years. Mobility will change in such potentially significant
ways and in association with so many other technological developments, such
as telepresence and virtual reality, that it is hard to make concrete predictions
about the future. However, one thing is certain: change is coming, and the
need to be flexible in response to this will be vital for those involved in
manufacturing the vehicles that will deliver future mobility.

Which TWO benefits of automated vehicles does the writer mention?
A Car travelers could enjoy considerable cost savings.
B It would be easier to find parking spaces in urban areas.
C Travellers could spend journeys doing something other than driving.
D People who find driving physically difficult could travel independently.
E A reduction in the number of cars would mean a reduction in pollution.

Which TWO challenges to automated vehicle development does the writer
mention?
A making sure the general public has confidence in automated vehicles
B managing the pace of transition from conventional to automated vehicles
C deciding how to compensate professional drivers who become redundant
D setting up the infrastructure to make roads suitable for automated vehicles
E getting automated vehicles to adapt to various different driving conditions
Practice 13 : What is exploration? ( Cam 15 reading test 1 part 3 )

We are all exploring. Our desire to discover, and then share that new-found
knowledge, is part of what makes us human – indeed, this has played an
important part in our success as a species. Long before the first caveman
slumped down beside the fire and grunted news that there were plenty of
wildebeest over yonder, our ancestors had learnt the value of sending out
scouts to investigate the unknown. This questing nature of ours undoubtedly
helped our species spread around the globe, just as it nowadays no doubt
helps the last nomadic Penan maintain their existence in the depleted forests
of Borneo, and a visitor negotiate the subways of New York.
Over the years, we’ve come to think of explorers as a peculiar breed –

different from the rest of us, different from those of us who are merely ‘well
traveled’, even; and perhaps there is a type of person more suited to seeking
out the new, a type of caveman more inclined to risk venturing out. That,
however, doesn’t take away from the fact that we all have this enquiring
instinct, even today; and that in all sorts of professions – whether artist,
marine biologist or astronomer – borders of the unknown are being tested
each day.
Thomas Hardy set some of his novels in Egdon Heath, a fictional area of
uncultivated land, and used the landscape to suggest the desires and fears of
his characters. He is delving into matters we all recognise because they are
common to humanity. This is surely an act of exploration, and into a world as
remote as the author chooses. Explorer and travel writer Peter Fleming talks
of the moment when the explorer returns to the existence he has left behind
with his loved ones. The traveler ‘who has for weeks or months seen himself
only as a puny and irrelevant alien crawling laboriously over a country in
which he has no roots and no background, suddenly encounters his other self,
a relatively solid figure, with a place in the minds of certain people’.
In this book about the exploration of the earth’s surface, I have confined
myself to those whose travels were real and who also aimed at more than
personal discovery. But that still left me with another problem: the word
‘explorer’ has become associated with a past era. We think back to a golden
age, as if exploration peaked somehow in the 19th century – as if the process
of discovery is now on the decline, though the truth is that we have named
only one and a half million of this planet’s species, and there may be more
than 10 million – and that’s not including bacteria. We have studied only 5
per cent of the species we know. We have scarcely mapped the ocean floors,
and know even less about ourselves; we fully understand the workings of only
10 percent of our brains.
Here is how some of today’s ‘explorers’ define the word. Ran Fiennes, dubbed
the ‘greatest living explorer’, said, ‘An explorer is someone who has done
something that no human has done before – and also done something
scientifically useful.’ Chris Bonington, a leading mountaineer, felt exploration
was to be found in the act of physically touching the unknown: ‘You have to
have gone somewhere new.’ Then Robin Hanbury-Tenison, a campaigner on
behalf of remote so-called ‘tribal’ peoples, said, ‘A traveler simply records
information about some far-off world, and reports back; but an explorer
changes the world.’ Wilfred Thesiger, who crossed Arabia’s Empty Quarter
in 1946, and belongs to an era of unmechanised travel now lost to the rest of
us, told me, ‘If I’d gone across by camel when I could have gone by car, it
would have been a stunt.’ To him, exploration meant bringing back
information from a remote place regardless of any great self-discovery.
Each definition is slightly different – and tends to reflect the field of endeavor
of each pioneer. It was the same whoever I asked: the prominent historian
would say exploration was a thing of the past, the cutting-edge scientist would
say it was of the present. And so on. They each set their own particular
criteria; the common factor in their approach being that they all had, unlike
many of us who simply enjoy travel or discovering new things, both a very
definite objective from the outset and also a desire to record their findings.
I’d best declare my own bias. As a writer, I’m interested in the exploration of
ideas. I’ve done a great many expeditions and each one was unique. I’ve lived
for months alone with isolated groups of people all around the world, even
two ‘uncontacted tribes’. But none of these things is of the slightest interest to
anyone unless, through my books, I’ve found a new slant, explored a new idea.
Why? Because the world has moved on. The time has long passed for the great
continental voyages – another walk to the poles, another crossing of the
Empty Quarter. We know how the land surface of our planet lies; exploration
of it is now down to the details – the habits of microbes, say, or the grazing
behavior of buffalo. Aside from the deep sea and deep underground, it’s the
era of specialists. However, this is to disregard the role the human mind has in
conveying remote places; and this is what interests me: how a fresh
interpretation, even of a well-traveled route, can give its readers new insights.

27. The writer refers to visitors to New York to illustrate the point that
A. exploration is an intrinsic element of being human.
B. most people are enthusiastic about exploring.
C. exploration can lead to surprising results.
D. most people find exploration daunting.
28. According to the second paragraph, what is the writer’s view of explorers?
A. Their discoveries have brought both benefits and disadvantages.
B. Their main value is in teaching others.
C. They act on an urge that is common to everyone.
D. They tend to be more attracted to certain professions than to others.
29. The writer refers to a description of Egdon Heath to suggest that

A. Hardy was writing about his own experience of exploration.
B. Hardy was mistaken about the nature of exploration.
C. Hardy’s aim was to investigate people’s emotional states.
D. Hardy’s aim was to show the attraction of isolation.
30. In the fourth paragraph, the writer refers to ‘a golden age’ to suggest that
A. the amount of useful information produced by exploration has decreased.
B. fewer people are interested in exploring than in the 19th century.
C. recent developments have made exploration less exciting.
D. we are wrong to think that exploration is no longer necessary.
31. In the sixth paragraph, when discussing the definition of exploration, the
writer argues that
A. people tend to relate exploration to their own professional interests.
B. certain people are likely to misunderstand the nature of exploration.
C. the generally accepted definition has changed over time.
D. historians and scientists have more valid definitions than the general
public.
32. In the last paragraph, the writer explains that he is interested in

A. how someone’s personality is reflected in their choice of places to visit.
B. the human ability to cast new light on places that may be familiar.
C. how travel writing has evolved to meet changing demands.
D. the feelings that writers develop about the places that they explore.
Practice 14 : Having a laugh ( Cam 15 reading test 2 part 3 )

The findings of psychological scientists reveal the importance of humor
Humans start developing a sense of humor as early as six weeks old, when
babies begin to laugh and smile in response to stimuli. Laughter is universal
across all human cultures and even exists in some form in rats, chimps, and
bonobos. Like other human emotions and expressions, laughter and humor
provide psychological scientists with rich resources for studying human
psychology, ranging from the development of language to the neuroscience of
social perception.
Theories focusing on the evolution of laughter point to it as an important

adaptation for social communication. Take, for example, the recorded
laughter in TV comedy shows. Back in 1950, US sound engineer Charley
Douglass hated dealing with the unpredictable laughter of live audiences, so
started recording his own ‘laugh tracks’. These were intended to help people
at home feel like they were in a social situation, such as a crowded theater.
Douglass even recorded various types of laughter, as well as mixtures of
laughter from men, women, and children. In doing so, he picked up on a
quality of laughter that is now interesting researchers: a simple ‘haha’
communicates a remarkable amount of socially relevant information.
In one study conducted in 2016, samples of laughter from pairs of English-
speaking students were recorded at the University of California, Santa Cruz.
A team made up of more than 30 psychological scientists, anthropologists, and
biologists then played these recording to listeners from 24 diverse societies,
from indigenous tribes in New Guinea to city-dwellers in India and Europe.
Participants were asked whether they thought the people laughing were
friends or strangers. On average, the results were remarkably consistent:
worldwide, people’s guesses were correct approximately 60% of the time.
Researchers have also found that different types of laughter serve as codes to
complex human social hierarchies. A team led by Christopher Oveis from the
University of California, San Diego, found that high-status individuals had
different laughs from low-status individuals, and that strangers’ judgements
of an individual’s social status were influenced by the dominant or submissive
quality of their laughter. In their study, 48 male college students were
randomly assigned to groups of four, with each group composed of two low-
status members, who had just joined their college fraternity group, and two
high-status members, older student took a turn at being teased by the others,
involving the use of mildly insulting nicknames. Analysis revealed that, as
expected, high-status individuals produced more dominant laughs and fewer
submissive laughs relative to the low-status individuals. Meanwhile, low-status
individuals were more likely to change their laughter based on their position
of power; that is, the newcomers produced more dominant laughs when they
were in the ‘powerful’ role of teasers. Dominant laughter was higher in pitch,
louder, and more variable in tone than submissive laughter.
A random group of volunteers then listened to an equal number of dominant

and submissive laughs from both the high- and low-status individuals, and
were asked to estimate the social status of the laughter. In line with
predictions, laughers producing dominant laughs were perceived to be
significantly higher in status than laughers producing submissive laughs.
‘This was particularly true for low-status individuals, who were rated as
significantly higher in status when displaying a dominant versus submissive
laugh,’ Oveis and colleagues note. ‘Thus, by strategically displaying more
dominant laughter when the context allows, low-status individuals may
achieve higher status in the eyes of others.’ However, high-status individuals
were rated as high-status whether they produced their natural dominant
laugh or tried to do a submissive one.
Another study, conducted by David Cheng and Lu Wang of Australian

National University, was based on the hypothesis that humor might provide a
respite from tedious situations in the workplace. This ‘mental break’ might
facilitate the replenishment of mental resources. To test this theory, the
researchers recruited 74 business students, ostensibly for an experiment on
perception. First, the students performed a tedious task in which they had to
cross out every instance of the letter ‘e’ over two pages of text. The students
then were randomly assigned to watch a video clip eliciting either humor,
contentment, or neutral feelings. Some watched a clip of the BBC comedy Mr.
Bean, others a relaxing scene with dolphins swimming in the ocean, and
others a factual video about the management profession.
The students then completed a task requiring persistence in which they were
asked to guess the potential performance of employees based on provided
profiles, and were told that making 10 correct assessments in a row would
lead to a win. However, the software was programmed such that it was nearly
impossible to achieve 10 consecutive correct answers. Participants were
allowed to quit the task at any point. Students who had watched the Mr. Bean
video ended up spending significantly more time working on the task, making
twice as many predictions as the other two groups.
Cheng and Wang then replicated these results in a second study, during which
they had participants complete long multiplication questions by hand. Again,
participants who watched the humorous video spent significantly more time
working on this tedious task and completed more questions correctly than did
the students in either of the other groups.
‘Although humor has been found to help relieve stress and facilitate social
relationships, traditional view of task performance implies that individuals
should avoid things such as humor that may distract them from the
accomplishment of task goals,’ Cheng and Wang conclude. ‘We suggest that
humor is not only enjoyable but more importantly, energizing.’
27. When referring to laughter in the first paragraphs, the writer
emphasizes
A. its impact on language.
B. its function in human culture.
C. its value to scientific research.
D. its universality in animal societies.
28. What does the writer suggest about Charley Douglass?

A. He understood the importance of enjoying humor in a group setting.
B. He believed that TV viewers at home needed to be told when to laugh.
C. He wanted his shows to appeal to audiences across the social spectrum.
D. He preferred shows where audiences were present in the recording studio.
29. What makes the Santa Cruz study particularly significant?

A. the various different types of laughter that were studied
B. the similar results produced by a wide range of cultures
C. the number of different academic disciplines involved
D. the many kinds of people whose laughter was recorded
30. Which of the following happened in the San Diego study?

A. Some participants became very upset.
B. Participants exchanged roles.
C. Participants who had not met before became friends.
D. Some participants were unable to laugh.
31. In the fifth paragraph, what did the results of the San Diego study
suggest?
A. It is clear whether a dominant laugh is produced by a high- or low-status
person.
B. Low-status individuals in a position of power will still produce submissive
laughs.
C. The submissive laughs of low- and high-status individuals are surprisingly
similar.
D. High-status individuals can always be identified by their way of laughing.
Practice 15 : Environmental practices of big businesses
The environmental practices of big businesses are shaped by a fundamental

fact that for many of us offend our sense of justice. Depending on the
circumstances, a business may maximize the amount of money it makes, at
least in the short term, by damaging the environment and hurting people.
That is still the case today for fishermen in an unmanaged fishery without
quotas, and for international logging companies with short-term leases on
tropical rainforest land in places with corrupt officials and unsophisticated
landowners. When government regulation is effective, and when the public is
environmentally aware, environmentally clean big businesses may out-
compete dirty ones, but the reverse is likely to be true if government
regulation is ineffective and if the public doesn’t care.
It is easy for the rest of us to blame a business for helping itself by hurting
other people. But blaming alone is unlikely to produce change. It ignores the
fact that businesses are not charities but profit-making companies, and that
publicly owned companies with shareholders are under obligation to those
shareholders to maximize profits, provided that they do so by legal means. US
laws make a company’s directors legally liable for something termed ‘breach
of fiduciary responsibility’ if they knowingly manage a company in a way that
reduces profits. The car manufacturer Henry Ford was in fact successfully
sued by shareholders in 1919 for raising the minimum wage of his workers to
$5 per day: the courts declared that, while Ford’s humanitarian sentiments
about his employees were nice, his business existed to make profits for its
stockholders.
Our blaming of businesses also ignores the ultimate responsibility of the

public for creating the condition that let a business profit through destructive
environmental policies. In the long run, it is the public, either directly or
through its politicians, that has the power to make such destructive policies
unprofitable and illegal, and to make sustainable environmental policies
profitable.
The public can do that by suing businesses for harming them, as happened
after the Exxon Valdez disaster, in which over 40,000m3 of oil were spilled off
the coast of Alaska. The public may also make their opinion felt by preferring
to buy sustainably harvested products; by making employees of companies
with poor track records feel ashamed of their company and complain to their
own management; by preferring their governments to award valuable
contracts to businesses with a good environmental track record; and by
pressing their governments to pass and enforce laws and regulations requiring
good environmental practices.
In turn, big businesses can exert powerful pressure on any suppliers that
might ignore public or government pressure. For instance, after the US public
became concerned about the spread of a disease known as BSE, which was
transmitted to humans through infected meat, the US government’s Food and
Drug Administration introduced rules demanding that the meat industry
abandon practices associated with the risk of the disease spreading. But for
five years the meat packers refused to follow these, claiming that they would
be too expensive to obey. However, when a major fast-food company then
made the same demands after customer purchases of its hamburgers
plummeted, the meat industry complied within weeks. The public’s task is
therefore to identify which links in the supply chain are sensitive to public
pressure: for instance, fast-food chains or jewelry stores, but not meat packers
or gold miners.
Some readers may be disappointed or outraged that I place the ultimate

responsibility for business practices harming the public on the public itself. I
also believe that the public must accept the necessity for higher prices for
products to cover the added costs, if any, of sound environmental practices.
My views may seem to ignore the belief that businesses should act in
accordance with moral principles even if this leads to a reduction in their
profits. But I think we have to recognize that, throughout human history, in
all politically complex human societies, government regulation has arisen
precisely because it was found that not only did moral principles need to be
made explicit, they also needed to be enforced.
To me, the conclusion that the public has the ultimate responsibility for the
behavior of even the biggest businesses is empowering and hopeful, rather
than disappointing. My conclusion is not a moralistic one about who is right
or wrong, admirable or selfish, a good guy or a bad guy. In the past,
businesses have changed when the public came to expect and require different
behavior, to reward businesses for behavior that the public wanted, and to
make things difficult for businesses practicing behaviors that the public didn’t
want. I predict that in the future, just as in the past, changes in public
attitudes will be essential for changes in businesses’ environmental practices.

32
The main idea of the third paragraph is that environmental damage
A. requires political action if it is to be stopped.
B. is the result of ignorance on the part of the public.
C. could be prevented by the action of ordinary people.
D. can only be stopped by educating business leaders.
33
In the fourth paragraph, the writer describes ways in which the public can
A. reduce their own individual impact on the environment.
B. learn more about the impact of business on the environment.
C. raise awareness of the effects of specific environmental disasters.
D. influence the environmental policies of businesses and governments.
34
What pressure was exerted by big business in the case of the disease BSE?
A. Meat packers stopped supplying hamburgers to fast-food chains.
B. A fast-food company forced their meat suppliers to follow the law.
C. Meat packers persuaded the government to reduce their expenses.
D. A fast-food company encouraged the government to introduce legislation.

Multiple Choice

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Multiple Choice

Uploaded by

Copyright:

Available Formats

B1 : Gạch chân từ khóa trong câu hỏi.

Practice 1 : What destroyed the civilisation of Easter Island?

Choose TWO letters, A-E.

An emerging discipline called neuroaesthetics is seeking to bring scientific

Angelina Hawley-Dolan, of Boston College, Massachusetts, responded to this

Robert Pepperell, an artist based at Cardiff University, creates ambiguous

In a similar study, Oshin Vartanian of Toronto University asked volunteers to

Choose the correct letter, A, B, C or D.

28. Angelina Hawley-Dolan’s findings indicate that people

Practice 3 : An Introduction to Film Sound ( Cam 11 reading test 4

Synchronous sound effects are those sounds which are synchronized or

Background music may aid viewer understanding by linking scenes. For

Film sound comprises conventions and innovations. We have come to expect

Choose the correct letter, A, B, C or D.

17. What does the writer suggest about Bringing Up

Practice 4 : The risks agriculture faces in developing countries

B. Farmers everywhere face major risks, including extreme weather, long-

C. Participants in the online debate argued that our biggest challenge is to

E. Shenggen Fan, Director General of the International Food Policy Research

H. Some participating authors and commentators argued in favor of

Choose TWO letters, A-E.

Choose TWO letters, A-E.

A recent paper in Nature Neuroscience by a research team in Montreal,

To demonstrate this psychological principle, the musicologist Leonard Meyer,

Choose the correct letter, A, B, C or D.

36. According to Leonard Meyer, what causes the listener’s emotional

Practice 6 : Bring back the big cats(Cam 12 reading test 4 part 2 )

Rewilding means the mass restoration of damaged ecosystems. It involves

At sea the potential is even greater: by protecting large areas from

Rewilding is a rare example of an environmental movement in which

The lynx presents no threat to human beings: there is no known instance of

On a recent trip to the Cairngorm Mountains, I heard several conservationists

Here, attitudes are just beginning to change. Conservationists are starting to

Write the correct letter, A, B, C or D, in boxes 14-18 on your answer sheet.

18. According to the author, what distinguishes rewilding from other

Practice 7 : Artificial artist? ( Cam 13 reading test 1 part 3 )

The Painting Fool is one of a growing number of computer programs which,

Choose the correct letter, A, B, C or D.

Practice 8 : MAKING THE MOST OF TRENDS

Many ignore trends in their innovation strategies or adopt a wait-and-see

One strategy, known as ‘infuse and augment’, is to design a product or service

A further example of this strategy was supermarket Tesco’s response to

A more radical strategy is ‘combine and transcend’. This entails combining

Once you have gained perspective on how trend-related changes in consumer

Trends – technological, economic, environmental, social, or political – that

28. According to the third paragraph, Coach was anxious to

29. What point is made about Tesco’s Greener Living programme?

30. What does the writer suggest about Nike’s strategy?

31. What was original about the ME2?

‘Happiness is the ultimate goal because it is self-evidently good. If we are

It is an astonishingly crude and simple-minded way of thinking, and for that

Bentham was also a pioneer of the ‘science of happiness’. If happiness is to be

Modern industrial societies appear to need the possibility of ever-increasing

27. What is the reviewer’s attitude to advocates of positive psychology?

A.The original idea for an urban bike-sharing scheme dates back to a

B. Luud Schimmelpennink, a Dutch industrial engineer who still lives and

C. Schimmelpennink seized this opportunity to present a more elaborate

F. Schimmelpennink was disappointed, but – characteristically – not for long.

Choose TWO letters, A-E

Choose TWO letters, A-E

B. Firstly, zoos aid conservation. Colossal numbers of species are becoming

F. In conclusion, considering the many ongoing global threats to the