Cambridge book 13 test 1 passage 3
Artificial Artists |
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| Answers | Keywords | Location | Explanations |
| 27. B | computer-produced works, first paragraph | Paragraph 1, Line 1 | lists the achievements (The Painting Fool, classical music, artworks). In addition, we can use the exclusion method because paragraph 1 does not contain the information in A, C, D |
| 28. C | Geraint Wiggins, worried by computer art. | Paragraph no. 2, Line 4-5 | the last line, refers to the fact that people are concerned that machines can have the capacity that these special abilities create human quality. |
| 29. C | key difference, Painting Fool, Aaron. | Paragraph no. 4, Lines 2-5 | It’s easy to dismiss A and B because in the comparison of “the Painting Fool” and “Aaron”, the programmer’s background and public response are not. mentioned. Answer C is correct because paragraph 4 refers to the source Aaron uses to paint: “paintbrush and paint on canvas” while “the Painting Fool” takes material from “online”, “web searches” , “Social media sites” |
| 30. D | fourth paragraph, Simon Colton | Paragraph no. 4, Line 7-8 | The reaction of people to the arts from people and from machines based on different criteria. Double standards = different criteria. |
| 31. A | Paintings of a chair. | Paragraph no. 4, Lines 12-14 | Due to technical errors that inadvertently Painting Fool create outstanding effects (striking effect), more specifically the black and white effect. |
| 32. D | Simon Colton, long-term view, important | Paragraph 5, Line 1-2 | The writer mentions information about long-term vision (long term- view) for this software of Colton while comparing to the art of man and machine count as action throughout the period of Colton 5,6,7. |
| 33. A | David Cope’s EMI, surprised people | Paragraph no. 5, Lines 6-8 | The EMI software creates music that is so classy that classical music professionals are no different. |
| 34. E | Geraint Wiggins, criticized, Cope. | paragraph 5, Line 9-11 | Signs answer is Wiggins; Criticized = blasted; not revealing = deliberately vague explanation; technical details = how the software worked. |
| 35. C | Douglas Hofstadter, claimed, EMI. | Paragraph no. 5, Line 11-12 | Signs Douglas Hofstadter answer is; was producing work = created replicas; fully dependent on = reply completely on; imagination of its creator = the original artist’s creative impulses |
| 36. G | Audiences, listened, EMI’s music. | Paragraph no. 5, Line 13-14 | Signs answer is Audiences; outraged = became angry; the truth = Discovering it was the product of a computer program |
| 37. B | participants, David Moffat’s study, assess music without | Paragraph no. 6, Line 2-4 | David Moffat’s answer signs; were not told beforehand = without knowing; Whether the tunes were composed by human or computers = whether it was the work of humans or software. |
| 38. YES | Moffat’s research, explain, reactions, EMI. | Paragraph no. 6, Line 3-8 | Moffats research could help explain the human response to EMI. Explanation: It indicates that the Moffats study “provides a clue”. And right after that is a series of comments, conclusions from Paul, Justin and Colton to explain this phenomenon. |
| 39. NOT GIVEN | Non-experts, Moffat’s study, all responded, predictable way. | Paragraph no. 6, Lines 4 | mention predict the reaction of the music experts, but no mention of predicting the response of “non-Experts” |
| 40. NO | Justin Kruger’s findings, cast doubt, Paul Bloom’s theory. | last paragraph, lines 1 – 5 | show two views of Paul Bloom and Justin Kruger. But these two opinions support each other, not two opposite opinions. Part of the pleasure we get from art = people’s enjoyment of an artwork increases; creative process ~ time and effort was needed to create it |