Cambridge IELTS Reading 13

:Guideline

 Part1: 1 – 2 – 3 – 4 – 5 – 6 – 7 – 8 – 9 – 10 – 11 – 12 – 13
Part2: 14 – 15 – 16 – 17 – 18 – 19 – 20 – 21 – 22 – 23 – 24 – 25 – 26
Part3: 27 – 28 – 29 -30 – 31 – 32 – 33 – 34 – 35 – 36 – 37 – 38 – 39 – 40

READING PART 1

Questions 1 – 13

Case Study: Tourism New Zealand website

  • New Zealand is a small country of four million inhabitants, a long-haul flight from all the major tourist-generating markets of the world. Tourism currently makes up 9% of the country’s gross domestic product, and is the country’s largest export sector. Unlike other export sectors, which make products and then sell them overseas, tourism brings its customers to New Zealand. The product is the country itself – the people, the places and the experiences. In 1999, Tourism New Zealand launched a campaign to communicate a new brand position to the world. The campaign focused on New Zealand’s scenic beauty, exhilarating outdoor activities and authentic Maori culture, and it made New Zealand one of the strongest national brands in the world.
  • A key feature of the campaign was the website www.newzealand.com, which provided potential visitors to New Zealand with a single gateway to everything the destination had to offer. The heart of the website was a database of tourism services operators, both those based in New Zealand and those based abroad which offered tourism services to the country. Any tourism-related business could be listed by filling in a simple form. T his meant that even the smallest bed and breakfast address or specialist activity provider could gain a web presence with access to an audience of long-haul visitors. In addition, because participating businesses were able to update the details they gave on a regular basis, the information provided remained accurate. And to maintain and improve standards, Tourism New Zealand organised a scheme whereby organisations appearing on the website underwent an independent evaluation against a set of agreed national standards of quality. As part of this, the effect of each business on the environment was considered.
  • To communicate the New Zealand experience, the site also carried features relating to famous people and places. One of the most popular was an interview with former New Zealand All Blacks rugby captain Tana Umaga. Another feature that attracted a lot of attention was an interactive journey through a number of the locations chosen for blockbuster films which had made use of New Zealand’s stunning scenery as a backdrop. As the site developed, additional features were added to help independent travellers devise their own customised itineraries. To make it easier to plan motoring holidays, the site catalogued the most popular driving routes in the country, highlighting different routes according to the season and indicating distances and times.
  • Later, a Travel Planner feature was added, which allowed visitors to click and ‘bookmark; places or attractions they were interested in, and then view the results on a map. The Travel Planner offered suggested routes and public transport options between the chosen locations. There were also links to accommodation in the area. By registering with the website, users could save their Travel Plan and return to it later, or print it out to take on the visit. The website also had a ‘Your Words’ section where anyone could submit a blog of their New Zealand travels for possible inclusion on the website.
  • The Tourism New Zealand website won two Webby awards for online achievement and innovation. More importantly perhaps, the growth of tourism to New Zealand was impressive. Overall tourism expenditure increased by an average of 6.9% per year between 1999 and 2004. From Britain, visits to New Zealand grew at an average annual rate of 13% between 2002 and 2006, compared to a rate of 4% overall for British visits abroad.
  • The website was set up to allow both individuals and travel organisations to create itineraries and travel packages.to suit their own needs and interests. On the website, visitors can search for activities not solely by geographical location, but also by the particular nature of the activity. This is important as research shows that activities are the key driver of visitor satisfaction, contributing 74% to visitor satisfaction, while transport and accommodation account for the remaining 26%. The more activities that visitors undertake, the more satisfied they will be. It has also been found that visitors enjoy cultural activities most when they are interactive, such as visiting a marae (meeting ground) to learn about traditional Maori life. Many long-haul travellers enjoy such. learning experiences, which provide them with stories to take home to their friends and family. In addition, it appears that visitors to New Zealand don’t want to be ‘one of the crowd’ and find activities that involve only a few people more special and meaningful.
  • It could be argued that New Zealand is not a typical destination. New Zealand is a small country with a visitor economy composed mainly of small businesses. It is generally perceived as a safe English-speaking country with a reliable transport infrastructure. Because of the long-haul flight, most visitors stay for longer .(average 20 days) and want to see as much of the country as possible on what is often seen as a once-in-a-lifetime visit. However, the underlying lessons apply anywhere – the effectiveness of a strong brand, a strategy based on unique experiences and a comprehensive and user-friendly website.

READING PART 2

Questions 14 – 26

Why being bored is stimulating – and useful, too

This most common of emotions is turning out to be more interesting than we thought

  • A. We all know how it feels – it’s impossible to keep your mind on anything, time stretches out, and all the things you could do seem equally unlikely to make you feel better. But defining boredom so that it can be studied in the lab has proved difficult. For a start, it can include a lot of other mental states, such as frustration, apathy, depression and indifference. There isn’t even agreement over whether boredom is always a low-energy, flat kind of emotion or whether feeling agitated and restless counts as boredom, too. In his book, Boredom: A Lively History, Peter Toohey at the University of Calgary, Canada, compares it to disgust – an emotion that motivates us to stay away from certain situations. ‘If disgust protects humans from infection, boredom may protect them from “infectious” social situations,’ he suggests.
  • B. By asking people about their experiences of boredom, Thomas Goetz and his team at the University of Konstanz in Germany have recently identified five distinct types: indifferent, calibrating, searching, reactant and apathetic. These can be plotted on two axes – one running left to right, which measures low to high arousal, and the other from top to bottom, which measures how positive or negative the feeling is. Intriguingly, Goetz has found that while people experience all kinds of boredom, they tend to specialise in one. Of the five types, the most damaging is ‘reactant’ boredom with its explosive combination of high arousal and negative emotion. The most useful is what Goetz calls ‘indifferent’ boredom: someone isn’t engaged in anything satisfying but still feels relaxed and calm. However, it remains to be seen whether there are any character traits that predict the kind of boredom each of us might be prone to.
  • C. Psychologist Sandi Mann at the University of Central Lancashire, UK, goes further. ‘All emotions are there for a reason, including boredom,’ she says. Mann has found that being bored makes us more creative. ‘We’re all afraid of being bored but in actual fact it can lead to all kinds of amazing things,’ she says. In experiments published last year, Mann found that people who had been made to feel bored by copying numbers out of the phone book for 15 minutes came up with more creative ideas about how to use a polystyrene cup than a control group. Mann concluded that a passive, boring activity is best for creativity because it allows the mind to wander. In fact, she goes so far as to suggest that we should seek out more boredom in our lives.
  • D. Psychologist John Eastwood at York University in Toronto, Canada, isn’t convinced. ‘If you are in a state of mind-wandering you are not bored,’ he says. ‘In my view, by definition boredom is an undesirable state.’ That doesn’t necessarily mean that it isn’t adaptive, he adds. ‘Pain is adaptive – if we didn’t have physical pain, bad things would happen to us. Does that mean that we should actively cause pain? No. But even if boredom has evolved to help us survive, it can still be toxic if allowed to fester.’ For Eastwood, the central feature of boredom is a failure to put our ‘attention system’ into gear. This causes an inability to focus on anything, which makes time seem to go painfully slowly. What’s more, your efforts to improve the situation can end up making you feel worse. ‘People try to connect with the world and if they are not successful there’s that frustration and irritability,’ he says. Perhaps most worryingly, says Eastwood, repeatedly failing to engage attention can lead to a state where we don’t know what to do any more, and no longer care.
  • E. Eastwood’s team is now trying to explore why the attention system fails. It’s early days but they think that at least some of it comes down to personality. Boredom proneness has been linked with a variety of traits. People who are motivated by pleasure seem to suffer particularly badly. Other personality traits, such as curiosity, are associated with a high boredom threshold. More evidence that boredom has detrimental effects comes from studies of people who are more or less prone to boredom. It seems those who bore easily face poorer prospects in education, their career and even life in general. But of course, boredom itself cannot kill – it’s the things we do to deal with it that may put us in danger. What can we do to alleviate it before it comes to that? Goetz’s group has one suggestion. Working with teenagers, they found that those who ‘approach’ a boring situation – in other words, see that it’s boring and get stuck in anyway – report less boredom than those who try to avoid it by using snacks, TV or social media for distraction.
  • F. Psychologist Francoise Wemelsfelder speculates that our over-connected lifestyles might even be a new source of boredom. ‘In modern human society there is a lot of overstimulation but still a lot of problems finding meaning,’ she says. So instead of seeking yet more mental stimulation, perhaps we should leave our phones alone, and use boredom to motivate us to engage with the world in a more meaningful way.

READING PART 3

Questions 27 – 40

Artificial artists

?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 computerised 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 realise 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 EHsworth Kelly are lauded for limiting their colour 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 EMl’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.

READING PART 1

Questions 1 – 2

Cork

  • Cork – the thick bark of the cork oak tree (Quercus suber) – is a remarkable material. It is tough, elastic, buoyant, and fire-resistant, and suitable for a wide range of purposes. It has also been used for millennia: the ancient Egyptians sealed their sarcophagi (stone coffins) with cork, while the ancient Greeks and Romans used it for anything from beehives to sandals.
  • And the cork oak itself is an extraordinary tree. Its bark grows up to 20 cm in thickness, insulating the tree like a coat wrapped around the trunk and branches and keeping the inside at a constant 20°c all year round. Developed most probably as a defence against forest fires, the bark of the cork oak has a particular cellular structure – with about 40 million cells per cubic centimetre – that technology has never succeeded in replicating. The cells are filled with air, which is why cork is so buoyant. It also has an elasticity that means you can squash it and watch it spring back to its original size and shape when you release the pressure.
  • Cork oaks grow in a number of Mediterranean countries, including Portugal, Spain, Italy, Greece and Morocco. They flourish in warm, sunny climates where there is a minimum of 400 millimetres of rain per year, and not more than 800 millimetres. Like grape vines, the trees thrive in poor soil, putting down deep roots in search of moisture and nutrients. Southern Portugal’s Alentejo region meets all of these requirements, which explains why, by the early 20th century, this region had become the world’s largest producer of cork, and why today it accounts for roughly half of all cork production around the world.
  • Most cork forests are family-owned. Many of these family businesses, and indeed many of the trees themselves, are around 200 years old. Cork production is, above all, an exercise in patience. From the planting of a cork sapling to the first harvest takes 25 years, and a gap of approximately a decade must separate harvests from an individual tree. And for top-quality cork, it’s necessary to wait a further 15 or 20 years. You even have to wait for the right kind of summer’s day to harvest cork. If the bark is stripped on a day when it’s too cold – or when the air is damp – the tree will be damaged.
  • Cork harvesting is a very specialised profession. No mechanical means of stripping cork bark has been invented, so the job is done by teams of highly skilled workers. First, they make vertical cuts down the bark using small sharp axes, then lever it away in pieces as large as they can manage. The most skilful corkstrippers prise away a semi-circular husk that runs the length of the trunk from just above ground level to the first branches. It is then dried on the ground for about four months, before being taken to factories, where it is boiled to kill any insects that might remain in the cork. Over 60% of cork then goes on to be made into traditional bottle stoppers, with most of the remainder being used in the construction trade. Corkboard and cork tiles are ideal for thermal and acoustic insulation, while granules of cork are used in the manufacture of concrete.
  • Recent years have seen the end of the virtual monopoly of cork as the material for bottle stoppers, due to concerns about the effect it may have on the contents of the bottle. This is caused by a chemical compound called 2,4,6-trichloroanisole (TCA), which forms through the interaction of plant phenols, chlorine and mould. The tiniest concentrations – as little as three or four parts to a trillion – can spoil the taste of the product contained in the bottle. The result has been a gradual yet steady move first towards plastic stoppers and, more recently, to aluminium screw caps. These substitutes are cheaper to manufacture and, in the case of screw caps, more convenient for the user.
  • The classic cork stopper does have several advantages, however. Firstly, its traditional image is more in keeping with that of the type of high quality goods with which it has long been associated. Secondly – and very importantly – cork is a sustainable product that can be recycled without difficulty. Moreover, cork forests are a resource which support local biodiversity, and prevent desertification in the regions where they are planted. So, given the current concerns about environmental issues, the future of this ancient material once again looks promising.

READING PART 2

Questions 3 – 4

COLLECTING AS A HOBBY

  • Collecting must be one of the most varied of human activities, and it’s one that many of us psychologists find fascinating. Many forms of collecting have been dignified with a technical name: an archtophilist collects teddy bears, a philatelist collects postage stamps, and a deltiologist collects postcards. Amassing hundreds or even thousands of postcards, chocolate wrappers or whatever, takes time, energy and money that could surely be put to much more productive use. And yet there are millions of collectors around the world. Why do they do it?
  • There are the people who collect because they want to make money – this could be called an instrumental reason for collecting; that is, collecting as a means to an end. They’ll look for, say, antiques that they can buy cheaply and expect to be able to sell at a profit. But there may well be a psychological element, too – buying cheap and selling dear can give the collector a sense of triumph. And as selling online is so easy, more and more people are joining in.
  • Many collectors collect to develop their social life, attending meetings of a group of collectors and exchanging information on items. This is a variant on joining a bridge club or a gym, and similarly brings them into contact with like-minded people.
  • Another motive for collecting is the desire to find something special, or a particular example of the collected item, such as a rare early recording by a particular singer. Some may spend their whole lives in a hunt for this. Psychologically, this can give a purpose to a life that otherwise feels aimless. There is a danger, though, that if the individual is ever lucky enough to find what they’re looking for, rather than celebrating their success, they may feel empty, now that the goal that drove them on has gone.
  • If you think about collecting postage stamps, another potential reason for it – or, perhaps, a result of collecting – is its educational value. Stamp collecting opens a window to other countries, and to the plants, animals, or famous people shown on their stamps. Similarly, in the 19th century, many collectors amassed fossils, animals and plants from around the globe, and their collections provided a vast amount of information about the natural world. Without those collections, our understanding would be greatly inferior to what it is.
  • In the past – and nowadays, too, though to a lesser extent-a popular form of collecting, particularly among boys and men, was trainspotting. This might involve trying to see every locomotive of a particular type, using published data that identifies each one, and ticking off each engine as it is seen. Trainspotters exchange information, these days often by mobile phone, so they can work out where to go to, to see a particular engine. As a byproduct, many practitioners of the hobby become very knowledgeable about railway operations, or the technical specifications of different engine types.
  • Similarly, people who collect dolls may go beyond simply enlarging their collection, and develop an interest in the way that dolls are made, or the materials that are used. These have changed over the centuries from the wood that was standard in 16th century Europe, through the wax and porcelain of later centuries, to the plastics of today’s dolls. Or collectors might be inspired to study how dolls reflect notions of what children like, or ought to like.
  • Not all collectors are interested in learning from their hobby, though, so what we might call a psychological reason for collecting is the need for a sense of control, perhaps as a way of dealing with insecurity. Stamp collectors, for instance, arrange their stamps in albums, usually very neatly, organising their collection according to certain commonplace principles – perhaps by country in alphabetical order, or grouping stamps by what they depict – people, birds, maps, and so on.
  • One reason, conscious or not, for what someone chooses to collect is to show the collector’s individualism. Someone who decides to collect something as unexpected as dog collars, for instance, may be conveying their belief that they must be interesting themselves. And believe it or not, there is at least one dog collar museum in existence, and it grew out of a personal collection.
  • Of course, all hobbies give pleasure, but the common factor in collecting is usually passion: pleasure is putting it far too mildly. More than most other hobbies, collecting can be totally engrossing, and can give a strong sense of personal fulfilment. To non-collectors it may appear an eccentric, if harmless, way of spending· time, but potentially, collecting has a lot going for it.

READING PART 3

Questions 5 – 7

What’s the purpose of gaining knowledge?

  • A‘I would found an institution where any person can find instruction in any subject.’ That was the founder’s motto for Cornell University, and it seems an apt characterization of the different university, also in the USA, where I currently teach philosophy. A student can prepare for a career in resort management, engineering, interior design, accounting, music, law enforcement, you name it. But what would the founders of these two institutions have thought of a course called ‘Arson for Profit’? I kid you not: we have it on the books. Any undergraduates who have met the academic requirements can sign up for the course in our program in ‘fire science’.
  • BNaturally, the course is intended for prospective arson investigators, who can learn all the tricks of the trade for detecting whether a fire was deliberately set, discovering who did it, and establishing a chain of evidence for effective prosecution in a court of law. But wouldn’t this also be the perfect course for prospective arsonists to sign up for? My point is not to criticize academic programs in fire science: they are highly welcome as part of the increasing professionalization of this and many other occupations. However, it’s not unknown for a firefighter to torch a building. This example suggests how dishonest and illegal behavior, with the help of higher education, can creep into every aspect of public and business life.
  • CI realized this anew when I was invited to speak before a class in marketing, which is another of our degree programs. The regular instructor is a colleague who appreciates the kind of ethical perspective I can bring as a philosopher. There are endless ways I could have approached this assignment, but I took my cue from the title of the course: ‘Principles of Marketing’. It made me think to ask the students, ‘Is marketing principled?’ After all, a subject matter can have principles in the sense of being codified, having rules, as with football or chess, without being principled in the sense of being ethical. Many of the students immediately assumed that the answer to my question about marketing principles was obvious: no. Just look at the ways in which everything under the sun has been marketed; obviously it need not be done in a principled (=ethical) fashion.
  • Dls that obvious? I made the suggestion, which may sound downright crazy in light of the evidence, that perhaps marketing is by definition principled. My inspiration for this judgement is the philosopher Immanuel Kant, who argued that any body of knowledge consists of an end (or purpose) and a means.
  • ELet us apply both the terms ‘means’ and ‘end’ to marketing. The students have signed up for a course in order to learn how to market effectively. But to what end? There seem to be two main attitudes toward that question. One is that the answer is obvious: the purpose of marketing is to sell things and to make money. The other attitude is that the purpose of marketing is irrelevant: Each person comes to the program and course with his or her own plans, and these need not even concern the acquisition of marketing expertise as such. My proposal, which I believe would also be Kant’s, is that neither of these attitudes captures the significance of the end to the means for marketing. A field of knowledge or a professional endeavor is defined by both the means and the end; hence both deserve scrutiny. Students need to study both how to achieve X, and also what X is.
  • FIt is at this point that ‘Arson for Profit’ becomes supremely relevant. That course is presumably all about means: how to detect and prosecute criminal activity. It is therefore assumed that the end is good in an ethical sense. When I ask fire science students to articulate the end, or purpose, of their field, they eventually generalize to something like, ‘The safety and welfare of society,’ which seems right. As we have seen, someone could use the very same knowledge of means to achieve a much less noble end, such as personal profit via destructive, dangerous, reckless activity. But we would not call that firefighting. We have a separate word for it: arson. Similarly, if you employed the ‘principles of marketing’ in an unprincipled way, you would not be doing marketing. We have another term for it: fraud. Kant gives the example of a doctor and a poisoner, who use the identical knowledge to achieve their divergent ends. We would say that one is practicing medicine, the other, murder.
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