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| Answer | Keywords | Location | Explanation |
|---|---|---|---|
| 27. C | shape-matching test, illustrate | P2, L4-6 | We certainly do have an inclination to follow the crowd. When asked to make … . . .. . people often choose a definitively wrong answer if they see others doing the same.” This clearly means that the writer gives reference to a shape-matching test with the aim of illustrating human tendency that is influenced by the opinions of others. |
| 28. D | Angelina Hawley-Dolan’s findings | P3, L7-8 | It seems that the viewers can sense the artist’s vision in paintings, even if they can’t explain why.” Therefore, Angelina Hawley-Dolan’s findings point out that people have the capacity to recognize the intention behind artwork |
| 29. B | results of studies, Pepperell’s pieces | P4, L6-7 | 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.” This indicates that the results of studies involving Robert Pepperell’s pieces give hint that people find it satisfying to work out what a painting signifies |
| 30. A | experiments, suggest, paintings of Mondrian | P5, L2-4 | .. .. .. eye-tracking studies confirm that they (Mondrian’s) works are meticulously composed, and that simply rotating a piece radically changes the way we view it.” This implies that the paintings of Mondrian are more carefully designed than they seem to be |
| 31. C | impact, Impressionist paintings | P1, L3-5 | 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.” This indicates that Impressionist paintings greatly impact our feelings. Here, emotions = feelings |
| 32. B | Alex Forsythe, precise degree, | paragraph 7, 1-3 | In another experiment, Alex Forsythe of the University of Liverpool analysed 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.” Here, the writer means that Alex Forsythe believes many artists furnish their works with the exact scale of visual intricacy or complexity which most appeals to the viewer’s brain. |
| 33. H | pleasing works, repeated | P 7, L-4-8 | 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 of branches of trees. It is possible that our visual system, which evolved in the great outdoors, finds it easier to process such patterns “motifs=patterns=images pleasing=appealing works of art=pieces occur frequently=are common in the natural world=throughout nature |
| 34. NOT GIVEN | contradicted, previous beliefs | P 7 | we find no information regarding any comparison between Forsythe’s findings and any previous beliefs in this paragraph and the following paragraph. |
| 35. YES | mirror neurons, art appreciation, further verification | 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…” Here, require further verification = the hypothesis will need to be thoroughly tested | |
| 36. NO | taste, current artistic trends | P 8, in lines 7-9 | While the fashion 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.”So, it is not true that people‟s taste in paintings depends entirely on the current artistic trends of the period. trend of the period=fashion of the time |
| 37. NO | precise rules, govern, reactions | lines 2-3, p- last | It would, however, be foolish to reduce art appreciation to set a set of scientific laws.” Therefore, it can be gathered from the lines, it is not correct that scientists should seek to define the precise rules which govern people’s reactions to works of art. Here, rules = laws, people’s reactions to works of art = art appreciation |
| 38. YES | always, cultural context | lines 3-4,last p | We shouldn’t underestimate the importance of the style of a particular artist, their place in history and the artistic environment of their time.” This means that we should consider the cultural context in which an artist worked |
| 39. NOT GIVEN | easier, meaning in science, art | Last P | we find a comparison between art and science, but they are only compared in terms of “looking for systems and decoding meaning so that we can view and appreciate the world in a new way”. There is no comparison in terms of which one’s meaning is easy or difficult. |
| 40. A | In this passage, the writer refers to some scientific experiments, theories and knowledge of the way the brain reacts to abstract art. Neuroaesthectics are mentioned in paragraph 1 in the study of past masterpieces and then, in paragraph 2, the writer asks: “Could the same approach also shed light on abstract twentieth-century pieces…? The rest of the article tries to answer this question. So, the most appropriate subtitle for this article is some scientific insights into how the brain responds to abstract art. insights=shed light on |
Answer for “Neuroaesthetics” with explanations