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Which paragraph contains the following information?

Write the correct letter, A-G, in boxes 14-17 on your answer sheet.

14 The reason for the deployment of a variety of investigative methods 15 An example of an unexpected find

16 How the surface of the site was surveyed from above 17 The reason why experts are interested in the site

Questions 18-25

Complete the summary below.

Choose NO MORE THAN THREE WORDS from the passage for each answer. Write your answers in boxes 18-25 on your answer sheet.

Exploring the ancient city of Pteria

Archaeologists began working ten years ago. They started by taking photographs of the site from the ground and then from a distance in a 18__________. They focused on what lay below the surface using a magnetometer, which identifies variations in the magnetic field. These variations occur when the 19__________ in buried structures have changed direction as a result of great heat. They line up with the surrounding magnetic field just as a 20__________ would do.

The other remote-sensing technique employed was resistivity. This uses a 21__________ to fire electrical pulses into the earth. The principle is that building materials like 22__________ and stone do not conduct electricity well, while 23__________ does this much more effectively. This technique is mainly employed during the 24__________, when conditions are more favourable. Resistivity is mainly being used to 25__________ some images generated by the magnetometer

Question 26

Choose the correct letter, A, B, C or D. 精品文档

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Write the correct letter in box 26 on your answer sheet.

How do modem remote-sensing techniques help at the Pteria site? A They detect minute buried objects for the archaeologists to dig up. B They pinpoint key areas which would be worth investigating closely. C They remove the need for archaeologists to excavate any part of the site. D They extend the research period as they can be used at any time of year.

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READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40 which are based on Reading Passage 3 below.

Designed to Last: Could Better Design Cure Our Throwaway Culture?

Jonathan Chapman, a senior lecturer at the University of Brighton, UK, is one of a new breed of ‘sustainable designers’. Like many of us, they are concerned about the huge waste associated with Western consumer culture and the damage this does to the environment. Some, like Chapman, aim to create objects we will want to keep rather than discard. Others are working to create more efficient or durable consumer goods, or goods designed with recycling in mind. The waste entailed in our fleeting relationships with consumer durables is colossal.

Domestic power tools, such as electric drills, are a typical example of such waste. However much DIY the purchaser plans to do, the truth is that these things are thrown away having been used, on average, for just ten minutes. Most will serve ‘conscience time’, gathering dust on a shelf in the garage; people are reluctant to admit that they have wasted their money. However, the end is inevitable: thousands of years in landfill waste sites. In its design, manufacture, packaging, transportation and disposal, a power tool consumes many times its own weight of resources, all for a shorter active lifespan than that of the average small insect. To understand why we have become so wasteful, we should look to the underlying motivation of consumers. “People own things to give expression to who they are, and to show what group of people they feel they belong to,” Chapman says. In a world of mass production, however, that symbolism has lost much of its potency. For most of human history, people had an intimate relationship with objects they used or treasured. Often they made the objects themselves, or family members passed them on. For more specialised objects, people relied on expert manufacturers living close by, whom they probably knew personally. Chapman points out that all these factors gave objects a history — a narrative — and an emotional connection that today’s mass- produced goods cannot possibly match. Without these personal connections, consum- erist culture idolizes novelty instead. People know that they cannot buy happiness, but the chance to remake themselves with glossy, box-fresh products seems irresistible. When the novelty fades, they simply renew the excitement by buying more. Chapman’s solution is what he calls ‘emotionally durable design’. He says the challenge for designers is to create things we want to keep. This may sound like a tall order, but it can be surprisingly straightforward. A favorite pair of old jeans, for example, just do not have the right feel until they have been worn and washed a hundred times. It is as if they are sharing the wearer’s life story. The look can be faked, but it is simply not the same. Walter Stahel, visiting professor at the University of Surrey, UK, calls this ‘the teddy bear factor’. No matter how ragged and worn a favorite teddy becomes, we don’t rush out and buy another one. As

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adults, our teddy bear connects us to our childhood and this protects it from obsolescence. Stahel argues that this is what sustainable design needs to do with more products.

The information age was supposed to lighten our economies and reduce our impact on the environment, but, in fact, the reverse seems to be happening. We have simply added information technology to the industrial era and speeded up the developed world’s metabolism. The cure is hardly rocket science: minimise waste, stop moving things around so much and use people more. So what will post-throwaway consumerism look like? It might be as simple as installing energy-saving light bulbs, more efficient washing machines or choosing locally produced groceries with less packaging. In general, we will spend less on goods and more on services. Instead of buying a second car, for example, we might buy into a car-sharing network. Rather than following our current wasteful practices, we will buy less and rent a lot more; why own things such as tools that you use infrequently, especially things are likely to be updated all the time?

Consumer durables will increasingly be sold with plans for their disposal. Electronic goods such as mobile phones will be designed to be recyclable, with the extra cost added into the retail price. Following Chapman’s notion of emotionally durable design, there will be a move away from mass production and towards tailor-made articles and products designed and manufactured with greater craftsmanship, products which will be repaired rather than replaced, in the same way as was done in our grandparents’ time. Companies will replace profit from bulk sales by servicing and repairing products chosen because we want them to last.

Chapman acknowledges that it will be a challenge to persuade people to buy fewer goods, and ones that they intend to keep. At the moment, price competition between retailers makes it cheaper for consumers to replace rather than repair.

Products designed to be durable and emotionally satisfying are likely to be more expensive, so how will we be persuaded to choose sustainability? Tim Cooper, from Sheffield Hallam University in the UK, points out that many people are already happy to pay a premium for quality, and that they also tend to value and care more for expensive goods. Chapman is also positive: “People are ready to keep things for longer,” he says, “The problem is that a lot of industries don’t know how to do that.” Chapman believes that sustainable design is here to stay. “The days when large corporations were in a position to choose whether to jump on the sustainability bandwagon or not are coming to an end,” he says. Whether this is also the beginning of the end of the throwaway society remains to be seen.

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