Question 27 -31

27. B
Keywords: computer-produced works, first paragraph
Paragraph 1 – Line 1: “The Painting is one of a growing number of computer programs
which, so their makers claim, possess creative talents.”
 The number of computer programs is on the rise  B
28. C
Keywords: Geraint Wiggins, worried by computer art
Paragraph 2 – Line 5: “…It scares a lot of people. They are worried that it is taking
something speacial away from what it means to be human.”
 Worried = scared
 People are worried by it = It scares people
 Undermines = taking something special away from
 Fundamental human quality = what it means to be human.
29. C
Keywords: key difference, Aaron, Painting Fool
Paragraph 4 – Line 2-3: “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.”
__: Painting Fool’s feature
Paragraph 3 – Line 5-6: “…but it is still more than a tool to realise the programmer’s own
creative ideas.”  Aaron’s feature.

30. D
Keywords: fourth paragraph, Simon Colton
Paragraph 4 – Line 7-8: “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.”
 Colton = Simon Colton
 double standards towards software-produced and human-produced art = judge
computer art and human art according to different criteria

31. A
Keywords: paintings of a chair
Paragraph 4 – line 12-14: “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.”
 Painting of chair = painting of chair
 a particularly striking effect = in black and white + an eerie, ghostlike quality.

Question 32 – 37
32. D
Keywords: Simon Colton, important, long-term view
Paragraph 5 – Line 1-2: “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’.”
 Simon Colton = Colton
 Millennia ~ long-term
 comparing the artistic achievements of humans and computers = measure machine
creativity directly to that of humans.
33. A
Keywords: David Cope’s EMI, surprised people
Paragraph 5 – line 4-5: “Audiences were moved to tears, and EMI even fooled classical
music experts into thinking they were hearing genuine Bach.”
 indistinguishable from that of humans = fooled classical music experts into thinking
they were hearing genuine Bach.

34. E
Keywords: Geraint Wiggins; criticized; Cope
Paragraph 5 – line 9-11: “Some, such as Wiggins, have blasted Cope’s work as
pseudoscience, and condemned him for his deliberately vague explanation of how the
software worked.”
 criticised = condemned
 technical details = how the software worked
 not revealing = deliberately vague explanation
35. C
Keywords: Douglas Hofstadter, claimed, EMI
Paragraph 5 – line 11-12: “Meanwhile, Douglas Hofstadter of Indiana University said EMI
created replicas which still rely completely on the original artist’s creative impulses.”
 Douglas Hofstadter = Douglas Hofstadter
 entirely dependent on the imagination of its creator = rely completely on the original
artist's creative impulses
 EMI was producing work = EMI created replicas
36. G
Keywords: Audiences; listened; EMI’s music; angry
Paragraph 5 – line 13-14: “When audiences found out the truth they were often outraged
with Cope, and one music lover even tried to punch him.”
 Audiences = audiences
 angry = outraged
 discovering that it was the product of a computer program = found out the truth

37. B
Keywords: The participants; David Moat’s study; assess music without
Paragraph 6 – line 3-5: “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.”
 The participants assess music =   expert musicians and non-experts - assess six
compositions
 without knowing whether it was the work of humans or software = weren’t told
beforehand whether the tunes were composed by humans or computers
38. A. Yes
Keywords: Moat’s research, help, explain, reactions, EMI.
Paragraph 6 – line 1-2: “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.”
 people's reactions to EMI = recoil when they discovered how it was composed
 Moffat's research may help explain  =   A study by - David Moffat - provides a clue

39. C. NG
Keywords: The non-experts, Moat’s study, all responded, predictable way.
Pa.6 : “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.”
 Non-experts = non experts
 Predictable way?
40. B. No
Keywords: Justin Kruger’s findings; cast doubt; Paul Bloom’s theory
Last paragraph – line 1-5: “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.
 Justin Kruger's findings = people's enjoyment of an artwork increases if they think
more time and effort was needed to create it
 Paul Bloom's theory = the pleasure we get from art stems from the creative process
behind the work. This can give it an 'irresistible essence