Cambridge 13 Reading Test 1 - Answers With Explanation

1. "Because participating businesses were able to update the details they provided on a regular basis, the information remained accurate."

2. "As part of this, the effect of each business on the environment was considered."

3. "One of the most popular was an interview with former New Zealand All Blacks rugby captain Tana Umaga."

4. "An interactive journey through a number of the locations chosen for blockbuster films."

5. The driving routes feature was "highlighting different routes according to the season and indicating distances and times."

6. "There were also links to accommodation in the area."

7. "Anyone could submit a blog of their New Zealand travels for possible inclusion on the site."

8. The site let visitors "create itineraries and travel packages to suit their own needs" — it didn't hand out ready-made ones — FALSE.

9. Visitors "can search for activities not solely by geographical location, but also by the particular nature of the activity," but nothing says which method most people used first — NOT GIVEN.

10. "Activities are the key driver of visitor satisfaction, contributing 74%... while transport and accommodation account for the remaining 26%." That 26% covers both transport and accommodation together, not accommodation alone — FALSE.

11. "Visitors enjoy cultural activities most when they are interactive, such as visiting a marae... to learn about traditional Maori life" — TRUE.

12. The passage says visitors "prefer activities that involve only a few people," which is about activity size, not hotel size — NOT GIVEN.

13. Long-haul visitors "want to see as much of the country as possible on what is often seen as a once-in-a-lifetime visit" — TRUE.

14. Paragraph A admits "defining boredom so that it can be studied in the lab has proved difficult" — the difficulty of a scientific approach.

15. Paragraph B sorts boredom into "five distinct types: indifferent, calibrating, searching, reactant and apathetic," plotted on two axes — a classification system.

16. Paragraph C: "Mann has found that being bored makes us more creative" — a productive outcome of boredom.

17. Paragraph D warns boredom "can still be toxic if allowed to fester" — a potential danger.

18. Paragraph E links boredom proneness to traits: "People who are motivated by pleasure seem to suffer particularly badly" — identifying who's affected most.

19. Paragraph F offers Wemelsfelder's fresh account of "over-connected lifestyles" as a cause, and her suggestion to "leave our phones alone" as a fix — a new explanation and cure.

20. Toohey compares boredom to disgust: "boredom may protect them from 'infectious' social situations."

21. Goetz found "the most damaging is 'reactant' boredom with its explosive combination of high arousal and negative emotion" — worse than the other four types.

22. Eastwood notes that "your efforts to improve the situation can end up making you feel worse... there is that frustration and irritability."

23. Wemelsfelder suggests "our over-connected lifestyles might even be a new source of boredom."

24. "This causes an inability to focus on anything, which makes time seem to go painfully slowly."

25. "People who are motivated by pleasure seem to suffer particularly badly."

26. "Other personality traits, such as curiosity, are associated with a high boredom threshold."

27. The first paragraph lists real achievements — audiences "enraptured" by artificial composition, robot artworks "sold for thousands of dollars and been hung in prestigious galleries" — showing genuine progress already made.

28. Wiggins says the fear is that computer creativity is "taking something special away from what it means to be human" — a threat to a core human quality.

29. Aaron is "still little more than a tool to realise the programmer's own creative ideas," while the Painting Fool "can come up with its own concepts by going online for material" — the difference is where the subject matter comes from.

30. Colton argues "reactions of scepticism arise from people's double standards towards software-produced and human-produced art" — different criteria for judging each.

31. The chair paintings came out in black and white "due to a technical glitch," giving the work "an eerie, ghostlike quality" — an unexpectedly striking effect.

32. Colton believes it's unfair to measure machine creativity "directly against that of humans who 'have had millennia to develop our skills'" — comparing the artistic achievements of humans and computers over the long term.

33. "EMI even fooled classical music experts into thinking they were hearing genuine Bach" — work indistinguishable from a human composer's.

34. Wiggins "condemned him for his deliberately vague explanation of how the software worked" — criticising Cope for not revealing technical details.

35. Hofstadter said EMI "created replicas which still rely completely on the original artist's creative impulses" — entirely dependent on its creator's imagination.

36. "When audiences found out the truth they were often outraged, and one music lover even tried to punch Cope" — anger followed discovering it was computer-made.

37. "Participants were not told beforehand whether the tunes were composed by humans or computers, but were asked to guess" — they judged without knowing the source.

38. The question "why did so many people love the music, yet recoil when they discovered how it was composed?" is followed directly by "a study by... David Moffat... provides a clue" — YES.

39. The passage says the pattern "was true even among the experts," but never claims every non-expert reacted the same predictable way — NOT GIVEN.

40. Bloom's theory (pleasure comes from the creative process behind a work) and Kruger's finding (enjoyment rises with perceived time and effort) support each other rather than conflict — NO.