TPO55-65听力文本

目录

TPO55 ................................................................................................................................................... 4
Conversation1 ....................................................................................................................................... 4
Lecture1 ................................................................................................................................................ 5
Lecture2 ................................................................................................................................................ 6
Conversation2 ....................................................................................................................................... 8
Lecture3 ................................................................................................................................................ 9
Lecture4 .............................................................................................................................................. 10
TPO56 ................................................................................................................................................. 12
Conversation1 ..................................................................................................................................... 12
Lecture1 .............................................................................................................................................. 13
Lecture2 .............................................................................................................................................. 15
Conversation2 ..................................................................................................................................... 16
Lecture1 .............................................................................................................................................. 18
Lecture2 .............................................................................................................................................. 19
TPO57 ................................................................................................................................................. 21
Conversation1 ..................................................................................................................................... 21
Lecture1 .............................................................................................................................................. 22
Lecture2 .............................................................................................................................................. 24
Conversation2 ..................................................................................................................................... 25
Lecture3 .............................................................................................................................................. 26
Lecture4 .............................................................................................................................................. 27
TPO58 ................................................................................................................................................. 29
Conversation1 ..................................................................................................................................... 29
Lecture1 .............................................................................................................................................. 30
Lecture2 .............................................................................................................................................. 31
Conversation2 ..................................................................................................................................... 32
Lecture3 .............................................................................................................................................. 33
Lecture4 .............................................................................................................................................. 34
TPO59 ................................................................................................................................................. 35
Conversation1 ..................................................................................................................................... 35
Lecture1 .............................................................................................................................................. 36
Lecture2 .............................................................................................................................................. 37
Conversation2 ..................................................................................................................................... 38
Lecture3 .............................................................................................................................................. 39
Lecture4 .............................................................................................................................................. 40
TPO60 ................................................................................................................................................. 41
Conversation1 ..................................................................................................................................... 41
Lecture1 .............................................................................................................................................. 42
Lecture2 .............................................................................................................................................. 43
Conversation2 ..................................................................................................................................... 45
Lecture3 .............................................................................................................................................. 46
Lecture4 .............................................................................................................................................. 47
TPO61 ................................................................................................................................................. 48
Conversation1 ..................................................................................................................................... 48
Lecture1 .............................................................................................................................................. 49
Lecture2 .............................................................................................................................................. 50
Conversation2 ..................................................................................................................................... 51
Lecture3 .............................................................................................................................................. 52
Lecture4 .............................................................................................................................................. 53
TPO62 ................................................................................................................................................. 54
Conversation1 ..................................................................................................................................... 54
Lecture1 .............................................................................................................................................. 55
Lecture2 .............................................................................................................................................. 56
Conversation2 ..................................................................................................................................... 57
Lecture3 .............................................................................................................................................. 58
Lecture4 .............................................................................................................................................. 60
TPO63 ................................................................................................................................................. 62
Conversation1 ..................................................................................................................................... 62
Lecture1 .............................................................................................................................................. 63
Lecture2 .............................................................................................................................................. 64
Conversation2 ..................................................................................................................................... 65
Lecture3 .............................................................................................................................................. 66
Lecture4 .............................................................................................................................................. 67
TPO64 ................................................................................................................................................. 69
Conversation1 ..................................................................................................................................... 69
Lecture 1 ............................................................................................................................................. 71
Lecture2 .............................................................................................................................................. 72
Conversation2 ..................................................................................................................................... 73
Lecture3 .............................................................................................................................................. 74
TPO65 ................................................................................................................................................. 76
Conversation1 ..................................................................................................................................... 76
Conversation2 ..................................................................................................................................... 77
Lecture 1 ............................................................................................................................................. 78
Lecture 2 ............................................................................................................................................. 79
Lecture 3 ............................................................................................................................................. 80
TPO55
Conversation1

Narrator
Listen to a conversation between a student and her environmental science professor.

Student: You know, the DVD we watched yesterday on ways we can protect the
environment was really eye-opening.

Professor: Well, I’m glad to hear that. Sometimes a DVD like this can bring to life
concepts that my lectures can’t. Of course, lectures are important, but other forms of
presentation like DVDs helped get across the concepts I want you to understand too.

Student: I agree. And the DVD got me thinking about the project you assigned. Now, I
know we’re not supposed to work with anyone else for this assignment. But two of us
think we have a really good idea.

Professor: Okay, I’m listening.

Student: Well, the student from class who I want to work with is Jessica Smith. You see
she has a part-time job at the hotel on campus where parents and people who are here for
conferences stay.

Professor: Yes, the environmental science department just hosted a conference not too
long ago. And we had several attendees who stayed there. They really enjoyed staying at
that hotel.

Student: I’m sure. Jessica says it’s really nice but it’s not so environmentally friendly.

Professor: Hmm, I see. Well, hotels may be reluctant to make changes to protect the
environment if it could be perceived as negatively affecting the comfort of hotel guests.

Student: Well, that has to do with our idea for the project. Jessica and I want to do an
assessment of the hotel and see what they can do to save energy and create less pollution
without interfering with the positive experience of patrons. And I figure since she works
there it’d be easier for us to do the project together. Plus, she already ran the idea by the
hotel manager and he’s on board with it. He was even telling her how he can use our
work to apply for a grant from a local environmental foundation for money to make
energy-saving upgrades and stuff. So we’d make recommendations, then he’d use our
findings to make real changes.

Professor：That’s certainly a compelling idea. And it definitely fits within the general
guidelines of the project. Okay, just give me an outline of what you plan to do, and, well,
I’m a little worried. I’ll still need you to submit the paper in the format we discussed in
class, not whatever format the hotel manager might want.
Lecture1
Narrator
Listen to part of a lecture in an art history class.

Professor: Okay. So we’ve all heard of the Louvre. Right? Maybe the most famous
museum in
Paris, France.

In 1793, the Louvre was the first museum to open its doors to the public. Up till then,
there were lots of private museums, private collections in the homes of Europe’s royalty
and nobility. But only a select few were invited to see those works of art. The idea of a
public museum was, in essence, a new one.

Now, when the Louvre opened as a public museum it was free to all artists every day of
the week. But to those who were not artists, you know, the rest of the general public,
well, they were only allowed to visit the museum on certain days. And that’s because
the public museum was first seen as a teaching institution, a place where past artistic
achievements would be available to current artists to learn from.

Okay. So you see the first step was taken from museums that were just private
institutions owned by royalty to the Louvre, a museum open to the public with some
restrictions.

But then there was another shift, and that was brought about by a French painter named
Alexandre Lenoir.

Lenoir was a young and enthusiastic artist who had been assigned to be the supervisor
of a storehouse for artworks in 1791.You see, the French revolution was taking place at
that time and many national monuments and other works of art were getting damaged or
destroyed. Consequently, a couple of large buildings in Paris were dedicated as
storehouses for rescued artworks.

Five years later, in 1796, Lenoir did something unique with the art in his storehouse,
something never done before. He classified and displayed the paintings and statues by
period and style, so people began to notice and admire what Lenoir was doing. And soon
he transformed the storehouse into what would become the national museum of French
monuments, which would later become a branch of the very Louvre that started this
whole discussion.

And what’s even more notable is that Lenoir’s system of classification and display, it
became a model for other public art museums, with each room in the museum
representing a different century or period of art.

Lenoir’s belief that a museum should be concerned with public instruction and offer
education according to historical periods, this concept seems obvious now, but it was
groundbreaking back then.

Interestingly, though, not everyone was impressed with Lenoir or with museums in
general, for that matter. There were people, including some artists and historians, who
were as much against museums as Lenoir was for them. In fact, some argued that
museums would pretty much bring an end to art. They contended that works of art
removed from their original contexts were incomplete, that artworks ought to remain in
the places, the mountains, towns, uh, in the locations where they were originally created
and viewed.
Take a painting created in an Italian seaside village for example. Could that painting
maintain its same identity once it was moved to a museum in France?

And nowadays most of us know and appreciate the fact that we can go to a museum and
see many works of art from different time periods, artists, and countries. The fact that
anyone can go into one place and see works of distant cultures, enjoy their beauty, and
even find inspiration in them, benefits us all. The Louvre clearly embraces this concept.
But there are still some skeptics, people today who are just as skeptical of art museums as
the critics were back in Lenoir’s day and for all the same reasons.

Lecture2
Narrator
Listen to par of a lecture in a health science class.

Professor: We’ve all heard that there are health benefits to regular exercise. It’s hard even
to know where to begin. Increased strength, a sense of well-being, weight maintenance, a
healthy heart and cardiovascular system…Need I go on?

Now we’re hearing that exercise also has a positive effect on our high-level intellectual
abilities.
There are a few hypotheses that may explain how exercise affects our brain. But before
we get into that I need to talk a little bit about neurogenesis.

Neurogenesis is the creation of new neurons, nerve cells in the brain. Now, maybe you’ve
heard that the human brain doesn’t generate new neurons after fetal development, that the
neurons you have when you are born are all you’ll ever have, unlike what’s true of cells
in most tissues, which are generated and replaced throughout life.

But some decades ago, research on the ability of adult songbirds to learn new songs
changed that whole paradigm. The research showed that in adulthood, the songbirds’
brains created new neurons and that these new cells helped them remember how to sing
new songs. These findings on songbirds open up the question of whether the same
processes that occur in birds also occur in humans. And subsequent research confirmed
that the adult human brain indeed generates new neurons in the memory center of the
brain.

But how exactly does exercise fit in here?

Well, probably the most studied hypothesis out there proposes that exercise increases the
production of important proteins in the brain. One such protein is called brain-derived
neurotrophic factor, or BDNF. Brain-derived neurotrophic factor helps neurons grown,
multiply, connect, and transmit signals.

We’ve always known that it serves this function during fetal development, but does it
play a role in the proliferation of adult neurons as well? Well, let’s consider what some
animal studies indicate.

In one important rat study, brain signals and responsiveness to those signals were
enhanced within just seconds after rats were administered doses of BDNF. And physical
activity in rats, even just a few minutes of swimming, has been shown to increase BDNF
levels.
Yes, Susan?

Student: Uh, that study was done on rats.

Professor: Well, it’s true that the direct connection between BDNF, physical exercise,
and brain performance in people, hasn’t been proven yet, but the sheer numbers of studies
that indicate a connection in animals say a lot, in my view.

And exercise does seem to have an effect on the human brain.

The research done with brain-imaging techniques shows that the brains of people who
exercise are much denser compared to those who don’t, suggesting that neurons
are branching and making connections with other neurons.

Also, in clinical studies involving active and inactive adults, the active adults scored
much higher on cognitive tests that measure high-level thinking skills than inactive
adults did.

But I’ve always thought that doing crossword puzzles, and, like, reading a lot, was
important if you wanted to maintain your thinking abilities, you know, that you need to
stay mentally stimulated and learn new things.

Yes, it seems that gaining knowledge or abilities is another key. While it’s true that
thousands of new neurons are produced in the brain’s memory center each day, and
that exercise promotes their generation, those new neurons will just die off if they are
not being used for anything.

Animal studies have shown a correlation between acquiring new skills and new neurons
actually surviving in the brain. It seems to be a use-it-or-lose-it kind of thing. So, good
point! Yes, Matt?

Student: I was just wondering how much exercise do we need to keep our brains
making neurons. I imagine the more the better, right?

Professor: Well, interestingly, some studies suggest that less is more here. You see,
there’s a particular stress hormone that’s elevated in response to all methods of exercise,
but more so with more intense regiments. Stress hormones have been implicated in
reducing BDNF levels and can also create a cascade of other problems in the human
body.
Conversation2
Narrator
Listen to a conversation between a student and her academic advisor.

Advisor: Thanks for stopping by, Shelly. Professor Miller sent me an email and I thought
we’d
better have a little chat.

Student: Professor Miller? The Art History professor?

Advisor: Yes. I’m concerned because mid-term grades are due in a couple of weeks and
he says you haven’t completed a single assignment for his course, and he didn’t want to
turn in a failing grade without making sure that…

Student: Wait! I’m not taking his course. I dropped it.

Advisor: You did? Well, according to the Registrar’s Office, you are still enrolled in it.
I pulled up your file. Your schedule shows that you are officially enrolled in
Introduction to Art History with Professor Miller, Islamic Art with Professor
Kamble…well, here, you look at it. You are registered for five courses.

Student: But I’m enrolled in only four courses this semester. I mean, I did sign up for
Introduction to Art History initially, but when Professor Kamble gave me permission to
enroll in his Islamic Art course, I dropped Professor Miller’s course, or at least I
intended to. I had to. They meet at the same time.

Advisor: I see. So your admission to the Islamic Art course was not contingent on your
completion of the Art History course.

Student: Well, Professor Kamble waived the prerequisite in my case because he felt that
I had enough background in art history to handle his course. But you know, now that I
think about it, maybe I just added Professor Kamble’s course and forgot to drop
Professor Miller’s course.

Advisor: I guess it’s possible. Still I’m surprised we didn’t catch it earlier in the semester.
Didn’t
you and I meet at the end of the second week of classes to finalize your course selections?

Student: No. I mean, I remember getting an email about setting up a meeting with my
advisor, but I thought it was only for people who had an enrollment problem or
something they needed to work out. I didn’t realize it was a requirement.

Advisor: Well, it’s strongly recommended that students meet with their advisors early in
the semester. And now you can see why. But there’s no real harm done. However, don’t
forget to file a formal withdrawal from Introduction to Art History with the Registrar’s
Office by Friday when the withdrawal period ends. And you might want to apologize to
Professor Miller as well.

Oh, I’ll definitely make a point of dropping by his office to explain what happened. I was
just so focused on getting admitted into the Islamic Art course and so happy when
Professor Kamble said I could take it that I kind of forgot about everything else.
Lecture3
Narrator
Listen to part of a lecture in an astronomy class. The professor in discussing auroras.

Professor: Okay. The aurora. The aurora refers to the rays of bright colors in the night sky
near the North and South Poles. In the Northern Hemisphere, it’s called the aurora borealis.
And in the Southern Hemisphere, it’s called the aurora australis. You’ve probably seen
pictures of it. It’s quite beautiful. It took centuries to figure out what’s behind these beautiful
colors in the night skies.

In the early 1700s, scientists proposed that there was an electric current that stretched
between the North and South Poles, and that if this electric current was disturbed, an aurora
would form. Others postulated that the phenomenon was caused by light that refracted off
glaciers and snow in the Arctic.

Then in the 1800s, scientific interest in Earth’s magnetic field and strange variations in
Earth’s magnetic field led to the observation that the biggest magnetic disturbances coincided
with dramatic auroras, and also with the timing of the most intense sunspot activity. Sunspots
were first observed centuries earlier, temporary dark spots on the face of the sun. They are
gaseous, highly magnetic regions that move across the sun’s surface. Sunspots’ cycles
are at their height every eleven years, and so are aurora cycles. They peak together.

By the early 20th century, it was found that Earth’s magnetic field is constantly being
bombarded by charged particles streaming from the sun. We call it solar wind. And do I need
to tell you when the solar wind is especially strong? Yup! Every eleven years! When the
magnetic activity of sunspots is peaking. The charged particles interact with Earth’s magnetic
field and they are pulled toward the North and South Poles. Some of them make it into our
upper atmosphere where they collide with atoms, with oxygen and nitrogen atoms. This
collision causes the atoms to light up, to glow. Different types of atoms glow in different
colors. And this is what’s happening when we are seeing an aurora.

Now, let’s jump ahead to the early 1970s, at a discovery made using a device called a
coronagraph.

A coronagraph attaches to a telescope and acts like a disc that blocks out the sun. It creates
an artificial solar eclipse, you could say, when you are looking through the telescope. This
makes the sun’s corona, or outer atmosphere, much easier to observe.

Now, it’s true that whenever there is a total eclipse of the sun you can see the corona, that
outer white circle surrounding the sun. But how long does a total solar eclipse last? Less than
ten minutes. And they occur maybe once a year.

With the coronagraph, you can observe the corona continuously anytime you want. And
during the early 1970s, using a coronagraph mounted on an orbiting satellite we witnessed
what are called coronal mass ejections, or CMEs for short.

So, coronal mass ejections, what are those?

Well, they are huge, magnetized gas clouds that are thrown from the sun during a big
atmospheric storm. They erupt from the sun over the course of several hours. These huge
clouds are made of billions of tons of those charged particles that rush toward the Earth at
incredibly high speeds. This mass reaches our planet’s magnetic field in anywhere from just
several hours to a few days.
So, we found that during CMEs, with their enormous ejections of particles from the sun,
auroras are particularly intense.

Now, as we’ve said, we can predict peaks in sunspot activity, but so far we can’t say the same
for CMEs. We don’t know when they’ll occur or how large they’ll be. But what would be the
advantage in knowing that?

Well, throughout history, we’ve noticed correlations between aurora intensity and technical
problems, disruptions. First with compasses going awry. Then when we developed telegraph
systems, they were affected. And then telephone systems and shortwave radio systems. Today,
even whole electrical power stations. For example, in 1989 there was a really intense magnetic
storm initiated by a flare up on the sun, and it caused electricity to go out for 12 hours in
Quebec, Canada.

Lecture4
Narrator
Listen to part of a lecture in an archaeology class.

Professor: So, last class we talked about the Bronze Age in Europe and the kinds of artifact
we have from, from that time period. One of the most famous prehistoric sites in the world
was built during the Bronze Age. The monument I’m talking about is Stonehenge.

Stonehenge is a circular setting of huge standing stones located on the Salisbury Plain in
southwest England. Now there’s still a lot of debate over what the purpose of the structure
actually was. We generally accept that Stonehenge had some sort of astronomical significance.
Its stones can be used to track the movements of the sun and moon along the horizon, but
beyond that, we can’t know much for sure.

The first thing we should ask is what the stones themselves can tell us. The ones in the outer
ring are mostly a local type of sandstone, but the builders also used foreign stones called blue
stones, these tend to be smaller and make up Stonehenge’s inner ring, or smaller than the
sandstones, that is, but still massive. The blue stones each weighed around 4 tons, and
because of…Oh, is there a question?

Student：Yeah, sorry. You said foreign stones? If they are foreign, where did they come from?
And how did they get there?

Professor: OK, well, there’s actually a debate there too. It’s long been believed that
the Stonehenge blue stones come from the Preseli Hills. The Preseli Hills are in South Wales.
The most widely held view is that the builders of Stonehenge transported the stones all the
way from Preseli over a hundred miles. It’s often accepted as fact actually. Many think that
the Preseli Hills were considered sacred and its blue stones were believed to have healing
properties.

In fact, some supporters of this human-transport hypothesis think that this was one of
Stonehenge’s primary functions: that Stonehenge was a healing site, attracting travelers
because of the stone’s supposed health benefits. And there’s evidence that many of the
ancient people buried nearby were actually travelers. Debris at the site also includes many
small pieces of blue stones that had been chipped off, which would make sense if people
wanted bits of the stone as lucky amulets or healing charms.

Student: Wait, but about this human-transport hypothesis, aren’t those rocks like really heavy?
And it’s not like they had trucks or anything, so…

Professor: Right, that’s a good question. Actually, many archaeologists doubt whether Bronze
Age peoples had the technical capacity to move such massive stones across that distance.
Even if it was possible, there’s not much evidence to justify such a huge effort.

And there are other problems. Researchers have found multiple ax heads that were made
from the blue stone, which could mean that Bronze Age cultures didn’t actually value the
blue stone that highly. After all, why would you use a sacred material to make an ordinary
tool?

Student: But if the blue stone wasn’t special, why would the builders transport it so far?

Professor: Precisely, the competing hypothesis that’s emerged claims that instead of humans
moving the blue stones, glaciers picked up the rocks from the Preseli Hills. Over time, the ice
could’ve carried them to Salisbury where they would’ve been easily available to the builders.

One problem is that while glacier remnants have been found in southwestern England, there’s
little evidence of glacier activity near Stonehenge itself.

There are, however, blue stones on the Salisbury Plain that actually predate Stonehenge. They
were there before the builders even began construction, which makes glacier seem more
likely.

But some recent research has provided new information about the origin of the blue stones.
Geologists analyzed the rocks at Stonehenge and outcrops of rock in the Preseli Hills. This
new research pinpoints the exact location in the hills of the source of this type of blue stone.

But why would glaciers move stones from only one source? I mean glaciers would pick up
rocks at random, you’d expect to find rocks from other places that were also displaced by
glaciers, but we haven’t. On the other hand, we haven’t seen signs of digging or tools, so we
don’t know if humans were there.

With all these contradictions, why do so many people accept the human-transport hypothesis?
It’s often accepted as fact.

Well, for one thing, it’s a good story. I mean, we like to feel empowered, to see evidence that
teamwork can achieve anything. And this is an explanation that has been repeated over and
over, don’t underestimate the power of repetition. Of course, eventually, we may find out
how the blue stones got there. But for the time being, these are the theories and the evidence
we have to work with.
TPO56

Conversation1

Listen to a conversation between a student and her philosophy professor.

Student： Professor Miller.

Professor： Hi Laura. Everything alright?

Student： Yeah. I just wanted to let you know, after this semester, I have decided to change
my major.

Professor： Really? Why? I thought you loved philosophy.

Student ： I do! But ， I don't know. I have to be practical. Its great to take all these
philosophy classes but I mean "l need to start thinking about finding a job after I graduate.

Professor：Because, uh, see, people with a degree in philosophy donJt have anything to offer
employers. Right?

Student：Well, kind of. Lots of my friends are business majors. I need to study something
that actually prepare me for a career.

Professor： Oh, if I had a dollar for every time I heard that. Okay. Studying something like
business is great preparation of course, especially for people who already know their career
goals. But for those who don't well What's yours? What are your goals?

Student： I have no idea.

Professor： So for you, perhaps its not the best option.

Student： That's a good point.

Professor：With a major in philosophy, besides the possibility of grad school, which I think
would be wonderful for you, you know lots of things that are valuable in any career.

Student： Like what? How Johnson tried to refute Berkeley's empiricism?

Professor： Well, what did Johnson do?

Student：Well, you know, what Berkeley said was that we can't really know any objects we
can just perceive them .Its all about our senses perceiving things. Berkeley basically made the
point that it doesn't really make sense to believe in actual physical matter. What Johnson did
was, Johnson was trying to disprove that. So he kicked a big stone. He said that refuted
Berkeley.

Professor： Uh huh. So what do you think of that?

Student： Well, not that I'm convinced by Berkeley either, but I really don't think Johnson
refuted anything and I think Berkeley would just say that Johnson still doesn't know anything
apart from what he senses. Seeing the stone, feeling his foot hurting after he kicked it.It's all
still just based on his perceptions. Johnson can't argue that he knows anything other than what
his senses have told them.

Professor： You know what you just did?

Student： Told you something that’s not relevant anywhere but a philosophy class?

Professor：No, you demonstrated well developed analytical skills. Philosophy majors can
critique other people's reasoning, make a convincing argument summarize, and communicate
very effectively. These things are important in any career and in life.

Student： Okay, but still, you don't see any of that in job descriptions.

Professor： Really? I think you do. I have seen so many articles lately by heads of companies,
in all kinds of fields, complaining that its hard to find employees who can do that. Ask at the
career services office. They II tell you the same thing.

Student： Well, I guess career services would know.

Professor ： Also, why don't you think about -you know, our department always has
information about summer internships. That will give you some concrete experience to put on
your resume.

Student： That's an idea.

Professor： An internship could help you get your foot in the door.

Lecture1
Listen to part of a lecture in an art history class.

Okay. At the end of our last class I started to talk a little bit about a dominant movement in
the United States painting in the late 1940s and the 1950S,and I said that the artists involved
shared a spirit of revolt against tradition and belief in spontaneous freedom of expression.
This significant art movement is know as Abstract Expressionism.
Now, Abstract Expressionism is kind of hard to define but ifs basically an attempt by the
artist to convey meaning or feeling in an abstract way. So the artists didn't worry about
whether they were painting familiar subject matter like the kinds of things you'd see in the
world around you. They paint, well, abstract things, on a huge canvas, which itself was a
break from traditional technique, and it was common among artists to apply the paint to the
canvas very rapidly and with great force.
So let’s look at the work of the most famous American abstract expressionist, Jackson
Pollock.
There was nothing in Jackson Pollocks training as an artist that suggested he would come to
be seen as some sort of artistic revolutionary. In the 1930s he studied drawing and painting at
the Arts Students League, a popular art school in New York City.

What he did later, in the 1940s, was a startling innovation. Jackson Pollock used a technique,
the so called "pour and drip" technique, for which he is best know. He didn't use the
traditional easel. He laid his wall-sized canvas flat on the floor so he could move around it
and work it from all sides. Then he poured and dripped his paint onto the canvas without
touching it Vvith a brush. Just poured and dripped.

Now, the physical movements involved in Pollocks painting technique have led people to call
it "action painting", which almost suggests that the process of creating the painting,
physically, was at least as important as the end product itself. In fact, people used to watch
him work in his studio, dripping and pouring paint and other materials onto his canvases.

This could make you think of Pollocks work is being kind of like, wild or chaotic or random,
but the truth is that Pollock was in complete control of his materials and his paintings.
Pollocks pour and drip works were quite revolutionary and at first they shocked the art world.
Pollock used massive canvases. They seem more like portable murals than anything else.

A good example of his technique is the painting Autumn Rhythm, which Pollock painted in
1950. Autumn Rhythm, at first glance, looks like basically just a whole lot of squiggly lines.
Rather bizarre, just like a bunch of pointless drips and swirls. But if you look closely, you see
why it's so admired. Beneath all the apparent chaos there's really a very definite structure of
lines, rhythms and sensations that makes the whole piece work. Sheer randomness would not
be nearly as Usually appealing as this painting is. You need some structure, even if it's not
readily apparent.

I read some articles by other scholars who。in their discussion of Pollock some of them like
to point out that he painted his canvases while looking down at them since they were on the
ground, as I said, but when we go to a museum they're up on a wall. They think this is
significant because it makes our perspective different.

But I mean, well, think of photography. We've all seen photos of the sky, the ground,
meaning that the photographer was shooting from different angles. Does that mean that we
should put a photo of the sky on the ceiling? Of course not! It wouldn't matter if you're
looking at it on the wall or in a photo album on your lap and I think it's the same with Pollock.
It doesn't matter from which angle we view his paintings. it's ok that he painted on the floor
and we look at it on the wall.

But in spite of his work being shocking and even misunderstood at first. Pollocks work
became so influential in the development of Abstract Expressionism that the artistic
community started to shift its attention from Paris, which had been the center of the art world,
to New York, where Pollock lived and worked. So Pollocks breakthrough work helped move
the focus of contemporary art and that's one of the measures of his greatness really.
Lecture2
Listen to part of a lecture in a zoology class.

Professor: Okay, we've been talking about birds, modem birds and their environments but it
might be interesting to say something about ancient birds, especially the one called
archaeopteryx. Difficult word I know, but all it means is “ancient wing”.

Thee first archaeopteryx was discovered in 1861, fossilized in a piece of stone from a quarry
in Germany. From a paleontologist point of view this was a real stroke of luck. Not only were
the fragile bones of this ancient bird extremely well preserved, and that's pretty rare for a bird,
which is why we don't find very many of them in the fossil record, but the fine details of this
fossil were really quite extraordinary. You could even detect impressions of the feathers on it,
amazing hull? Yes, Mike?
Student: Why was it that details like that showed up in this particular fossil?

Professor: Well, I mentioned before that the archaeopteryx fossil was found in a quarry, you
know, where people cut stone, in this case exceptionally fine grained limestone. And the point
is, the particles that this limestone was made of was so fine that the limestone preserved much
of the fossil in exquisite detail. And as I said revealed impressions of details even as small as
the lines in a feather.

But that's pretty rare. There are not many fossils of ancient birds in general, being so fi agile,
much less archaeopteryx fossils. So we don't know for sure as much as we'd like to but there
are lots of opinions .It's like, say, the Mona Lisa, you guys have seen copies of that painting
right? The Mona Lisa. Well one of the great things about it is that each person who sees that
painting understands it a little differently, according to their own biases. You might say that
the archaeopteryx is a scientific Mona Lisa.

Student: How so?

Professor: Oh, well, ornithologists who study modem birds tend to see the archaeopteryx as
an early ancestor of the birds we see today, but paleontologists, the ones who study fossils
and forms of ancient life, point out its similarity to some dinosaur species.

I mean, it is very different from modem birds in some important ways, I mean, there is no
beak, the tail is long and bony the way a reptile's is rather than short and stubby like a modem
bird's and it has claws at the end of what are called its wing fingers. They are generally absent
in modem birds.
Student: So ornithologists think it's a bird and paleontologists say it isn't?

Professor: Oh, did I say that? Oh no, no, I'm sorry. That's not what the debate is about. The
archaeopteryx had feathers and creatures with feathers are classified as birds.

Student: So then, what is the debate about?

Professor: Okay. Well, like I said, even with the lack of a beak and with its tail and claws, it's
still classified as a bird. The debate is, well, evolutionarily speaking, where does
archaeopteryx fit? For the paleontologist who studies other dinosaurs of that period, it's well,
in a lot of ways nothing all that unusual.

Student: Except for the feathers.

Professor: Except for the feathers, exactly. Paleontologists see the archaeopteryx in terms of
its wider evolutionary relationships .They see it as a kind of link, almost, between dinosaurs
and modem birds or at least closely related to one.

And for the ornithologists, the archaeopteryx is a bird with exceptional features and the
earliest bird on record. A basic belief of ornithologists is that birds evolved or that their
evolution is closely related to their developing the ability to fly. But some of those features I
mentioned earlier, the lack of a birdlike tail, the claws, these don't do much to support the
notion that the archaeopteryx could fly but then again it did have other modem birdlike
features so it probably could rise up off the ground but only very awkwardly and it probably
wasn't too graceful once it got into the air. Actually though, as to whether the archaeopteryx
could fly, we don't really have any conclusive evidence one way or the other.

Student: So do you agree with the paleontologists professor, or the ornithologists?

Professor: Well, the most recent research is based on some fossils being found in China .It's
hardly complete but I find its conclusions really compelling. Apparently, the features of the
archaeopteryx may have evolved not for flight, but either for display, males using colorful
features to attract a mate, or for insulation .And features are very useful for conserving body
heat in cold temperatures.

Conversation2
Listen to a conversation between a student and a university employee.

Student:
Hi Louis, I have that information you need for our club trip.

Employee:
I'm sorry, George, I don't remember, so many students have needed transportation
arrangements this week. Uh, which trip is it that you're organizing?

Student:
It's the jazz club trip. The one we're taking into the city to see that concert by the Victory Jazz
Quartet.

Employee:
Oh, right, that famous group you were telling me about. Last time we talked you didn't know
how many students wanted to go.

Student:
Well, according to the signup sheet, 27 students have bought a concert ticket and want a seat
on the bus.
Employee: 27 huh? That won't fill up a bus. We'll have to use a couple of vans which is
actually good. It will be easier for them to find parking in the city.

Student:
Okay. We were thinking that the bus, the vans, should leave around 3 o'clock, that way we'll
be in the city around 4:30.

Employee:
Or later. Don't forget about rush hour.

Student:
It will still give us plenty of time. We already have tickets but this theatre doesn't have
assigned seating so we need to get there early, like around 7:30, to get good seats.

Employee:
So what are you going to do with all that extra time?

Student:
Oh, go find dinner, walk around, whatever. Then we'll meet back at the theatre.

Employee:
why not eat together?

Student:
Well, if people get their own meals then we don't have to worry about restaurant reservations,
about finding a place that can handle such a large group.

Employee:
But if you all go separate ways there's bound to be somebody who will turn up late or get lost
or something.

Student:
Oh, I know this group they're not like that.

Employee:
You know, I have scheduled a lot of student trips .If I were you, I'd think about going out for
something like, oh say, pizza, some of those places are pretty big and who doesn't like pizza?

Student:
Well, I Will check with the group and see what they think. Anyway, the ticket say that the
concert ends at around 10 but I'm pretty sure it'll be later than that before we get out of the
theatre, you know, with encores and the crowds.

Employee:
Alright then I will have the vans pick you up at 10:15 but everybody better be there the van
drivers won't wait around.

Student:
Well, in that case let's make it a little later like 10:30?

Employee:
Alright, did you bring the deposit?

Student:
Yeah, I did what you suggested: asked everybody to give me some money to reserve their
space on the bus. They know they'll have to pay more once we know what the total is.

Employee:
I will have to run a few numbers to get the final cost. Vans are a lot cheaper than buses but
we'll have to pay for 2 drivers. They'll charge us by the hour. Of course you will get the
normal student discount from the van company and I'll deduct your deposit. I can let you
know the balance tomorrow.

Student:
Great, I'll come by after class.
Lecture1
Professor:
We've been talking about techniques for locating and dating archeological rtifacts. Now, in
some places, archeological investigations are difficult and we have to use some special
techniques, in the country of Iceland for example. Now, Iceland is a volcanic island, located
in the North Atlantic Ocean and about l0% of it is covered by glaciers.

Student:
So, is it too cold to work there? Or maybe everything is under the ice?

Professor:
Uh no, that's not the problem. It's that Iceland has virtually no trees to hold down soil and so
there's been a lot of erosion, especially erosion of soil from highlands to lower coastal areas.
And this erosion has buried much of Iceland under deep deposits of soil. And remember what
I said about few trees? Well, with so little wood available, the earliest dwellings in Iceland
were built mainly from compressed peat.

Student:
Did you say peat?

Professor: Yes, peat. That's a light kind of airy soil that comes from bogs and wetlands and
contains a high proportion of decayed organic matter. Anyway, the peat can be compressed
and dried and made into big thick blocks. And that's what the walls of the early Icelandic
houses were made of, mostly. Now, since the walls of these old houses were made basically
of a kind of soil, they're really hard to locate underground because the material these buried
structures are made of doesn't differ very much from the soil that surrounds them.

Student:
So how do you find these peat walls buried in all that other soil?

Professor:
Well, one way is to borrow a modern technique used by geophysicists.

Student:
Uh, sorry if you said this already but, what are they looking for in Iceland anyway?

Professor:
Uh, yes, good question. Iceland and stories about it, uh, Icelandic sagas, have intrigued
people for centuries. The sagas seem to be historical accounts of actual Norse explorers and
settlers. But since we’ve always lacked hard evidence to support the truth of the stories, they
seem to be more like legends.
There's always been a draw though, almost like a calling for some of us to verify the truth of
these stories. Historians, astronomers, navigators, they've all tried to find proof that people
settled where the stories indicate. And we archeologists have too, by trying to locate
dwellings, evidence of animal domestication or farming or iron smelting, any signs of early
settlement.
Student:
Cool! Are you talking about like, the time of the Vikings?

Professor: Yes, yes, that's exactly it. One of these Icelandic sagas tells of some Vikings
explorers who were probably the first Europeans to cross the Atlantic and live in North
America.

Student:
North America? But I thought you were talking about Iceland.

Professor: I am. See, the story tells of a Viking family from Iceland called Thorfinnssons,
who settled in North America for a few years but then moved back to Iceland, which is not
that far away. So there is a great interest in investigating Viking era sites in Iceland,
especially in the place where the saga says this family finally settled.

But, back to my point, one team of archeologists working there, decided to use an
electromagnetic remote sensing tool, to try to locate buried structures. Now, this remote
sensing tool, which, as I mentioned before, is usually used by geophysicists, uh, this tool can
distinguish between different materials that look the same to the eye but have different
compositions.

Here's how it works. Regular soil conducts electricity well, but walls made of peat do not
conduct electricity well. So the tool sends down alternating currents of electricity and then
measures how well the electric current travels through the ground in different places. Then
you look at all of your data. Look for patterns of electrical resistance and this reveals where
walls are located. So anyway, the team wanted to investigate a site in Iceland that looks like
the place where the old saga says the Thorfinnssons built their home. And so they use this
technique and found the remains of a large farmhouse there that they think probably did
belong to the Thorfinnsson family because when they dated the building, it corresponded
exactly to when the Thorfinnsson family should have been there, according to the sagas.

Now the team is working to find other evidence, especially personal artifacts, to show that it
really was that family who lived there. Everyone had always thought the Thorfinnsson house
might be in that area though probably right underneath the nearby museum where it might
had been damaged during museum construction. But in fact, this Viking era structure was
located in the field behind the museum, buried just below the surface. Thank goodness for the
remote sensing tool or this house might never have been found.

Lecture2
Listen to part of a lecture in an environmental science class.

Before we get started, I want to tell you a little story. I guess it was about 10 years ago, I
decided, with my family, I decided it was time to buy a house and my two kids really wanted
a house near the ocean, as close to the beach as possible. Well, I tried to explain all the
reasons that building near the ocean just didn't make sense environmentally, but the kids still
wanted a house near the ocean. So, my wife and I looked at a few houses and they were
beautiful. There was one we saw that I still call our family's dream house. But we were lucky,
and I'll tell you why in a moment, when we realized that we just couldn't afford any of those
houses.

So I said building near the ocean doesn't make sense environmentally, but what is it about the
coastal environment that makes most of the land there unsuitable as a building site? Let me
explain coastal zones first.

Imagine standing at the water's edge and moving away from the ocean. We come across
different coastal zones. Going in order they are: the beach, which I'm sure you're all familiar
with, second is the primary dune, which is the most fragile zone. Next is the trough. That's
trough, T-R-O-U-G-H. After the trough is the secondary dune and finally you come to what's
called the back dune.

So, the beach, if I say it's not advisable to build houses on the beach, right on the shoreline, I
don't think you'd find it difficult to imagine why. You got the sand, which is not very
supportive for building and you got daily tidal fluctuations. Keep in mind too that the sands
are always shifting and the shoreline is moving.

Right near here you got Sandy Peninsula and you can walk out on that peninsula almost a
mile, to Sandy Point, but it wasn't that long ago, I think back when my grandfather was a boy,
that Sandy Point was an island and you couldn't walk there from the main land right?

The sands shift and the shorelines move. Before we continue this imaginary walk, I want you
to think for a minute. Why are these coastal zones important? Well, environmentally, their
role is protecting the inshore areas from being flooded with salt water, from being damaged
during storms and they allow vegetations to grow further inland by providing sort of a buffer
zone, to protect against wind and salt spray.

Alright, let's go back to our walk on the beach. Okay, after the beach I said you've got the
primary dune. Now, you shouldn't build on the beach but it's okay for recreation. That's good.
But the primary dune really cannot support building or recreation. It's more sensitive than the
beach.

If you think of a sand dune as just a windblown pile of sand, that's wrong. Sand dunes can
support vegetation and the primary dune is where vegetation first begins to take hold, but it's
fragile and easily disturbed. And what happens when the vegetation is disturbed is that the
sand dunes from the beach can migrate inland leaving less sand on the beach, and less sand
on the beach, well that's beach erosion. You've probably seen beaches which used to be very
wide that seem to be shrinking. Beach erosion is often caused by destroying the primary dune.
After the primary dune we come to the trough.

Now, the trough is tolerant of limited recreational use and some building. The vegetation is
thicker and the ground more stable. Care should be taken to preserve the quality of the ground
water, but in general it's ok to build here. After the trough is the secondary dune.

This is sort of the final defense against the sea and like the primary dune, no building should
take place here. The last zone we'll look at is the back dune. It's further inland and more
suitable for development than any of the other zones. So, the first two zones we looked at, the
beach and the primary dune, are probably the worst places for building and where do people
most want to build? Exactly! The beach and the primary dune. We're talking about very
valuable real estate, right on the ocean!

I mean to build on the beach, today you may be a hundred meters from the water's edge and
in a few years the water's edge may be right in your living room. And that's what happened to
our dream house. A storm brought the water's edge right up to the house. Afterwards, the
water receded but the action of the waves removed so much sand that the house was now
unstable. It was now impossible to live in this beautiful and very expensive house.
 TPO57
Conversation1

Listen to a conversation between a student and a professor.

Professor:
Hi, Eric, How are things going?

Student:
Oh, I am really busy with my workload. Some professors assign so much reading that it's like
they think we have no other homework.

Professor:
One of the most important things you'll learn in college is how to manage your time, how to, you
know, prioritize, when to say "no" to a social engagement if you have a paper due, that sort of
thing.

Student:
I guess so.

Professor:
So how are you finding the material we're covering in class?

Student:
I've actually come to talk to you about it. I have a 6-month-old niece so I find early childhood
development really interesting. Piaget, that Swiss psychologist you told us about, his
development theory is really cool.

Professor:
Yes, his theory that cognitive development in children occurs in four stages that you can actually
observe.

Student:
Yea, um, so my niece, she's in the sensory motor stage now, right at the part where she thinks
things disappear when they're out of sight.

Professor:
Very good! She probably won't understand that objects continue to exist, even when they are out
of sight, until she's a month or so older.

Student:
Yea, yesterday, we were knocking a little ball around and it rolled under the couch. She
immediately lost interest and reached for something else.

Professor:
Because to her, the ball ceased to exist.
Student: Yeah. I've actually been taking notes on her behavior because I'd like to write my term
paper about her, if it's ok with you.

Professor:
Your term paper?

Student: Yeah. I'd like to do a case study or something. Piaget watched his kids, and like,
changed the whole world of psychology.

Professor:
Wait a minute. Piaget didn't just observe his own children. He did exhaustive research over 30
years to develop and test his theory. And anyway, your assignment isn't to do a study, it's to
research the literature on a particular psychological topic and write about it and I gave you a list
of suggested topics to choose from.

Student:
Well, what if I research something like, is it possible to speed up cognitive development? Like, if
I reached under the couch to get the ball while she watched me, would she learn earlier that
objects don't disappear or can't 6-month-old babies think that ay yet?

Professor: Uh, hmmm, I do applaud your initiative, Eric. However, I sincerely doubt you could
get any kind of valid or meaningful information from such an experiment.

Student:
But I already put so much time into watching my niece.

Professor:
Remember, this is only a freshman psychology class, you weren't trained in carrying out an
original research project. I wish you'd come to me earlier but you know there's still some time
before the due date. I suggest that you recheck the list of topics. At least one of them relates to
cognitive development. Then come see me again if you have any questions.

Student: Okay.

Lecture1
Listen to part of a lecture in a theater history class. The class is discussing 18th century plays
in Europe and the United States.

Professor:
By far, the most popular genre of plays during the sentimental comedy. Now, in order to sort
of get our heads around what a sentimental comedy is, where it came from and why on Earth
it was so popular, we nee d to understand what sentimentality was as a philosophical
movement.

So, during the 18th century, some thinkers, philosophers, political theorists, came up with this
idea of sentimentality. The main point in sentimentality is that people are inherently good,
people are good by nature. In the past, in other times, some people had believed or claimed
that men and women are naturally selfish or naturally evil. During the 17th century there was
a very popular theory known as the social contract set up by thinkers like Thomas Hobbes
which argued that people are naturally selfish. During the 18th century, on the other hand,
thinkers associated with sentimentality came along and said: "No, no, no, people are naturally
good". Yes, Diane, question.
Student:
Yea sorry to interrupt but why was it called that first one, social contract, why was it called
that? I mean, if people are supposed to be naturally selfish, isn't that the opposite of being
social?

Professor:
The emphasis was more on the contract part. If people are naturally inclined to
do what's in their own self interest, then in order to have people living together in peace, you
need develop some kind of a social contract, a sort of agreement. I won't hit you over the head
and take your stuff if you don't hit me over the head and take my stuff. But in the 18th century
the sentimental theorists came along and said that people are naturally good.

Student:
Hard to believe sometimes if you watch the evening news.

Professor: OK, if you try to argue that people are naturally good, you're going to have to
answer the question: What about the fact that bad things happen? How do we account for the
fact that people do bad things? Sentimental theorists claimed that evil deeds happen because
people are led astray by bad influences. That is, people can be pressured or seduced or tricked
into doing something wrong. And the other question that comes up in relation to
sentimentality is: If you are led astray, how can you be redeemed? and you be brought back to
your state of natural goodness. What do you think?

Student: I think, Yeah, if you think people are basically good then you probably also think
they can be, you know, brought back to being good again.

Professor:
That's right! And they said you do this by appealing to a person's natural instincts. Trying to
return them or connect them to their natural state especially via the emotions. Making
someone cry then could make them good again. Picture, for example, the evil villain smirking
at his latest robbery, in fact, who happens to see a lost child walking down the street, sobbing,
and he starts to sniffle and cry and maybe his heart goes out to this lost child and he wants to
help the child and somehow he realizes that he's been bad or rather been behaving badly,
since according to sentimentalist theory he was never truly bad to begin with. Alright. That's
sort of the hallmark of sentimentality and it's what became the driving force behind
sentimental comedies.

Student: I don't get why they're comedies. They don't sound funny.

Professor:
Uh, you're right a sentimental comedy is not specifically funny. The goal isn't to make the
audience laugh and in fact the goal is to make the audience cry. Thus a sentimental comedy
will usually depict someone virtuous but in some sort of distress. Perhaps a good virtuous
man or woman who, who's suffering financial hardships and we see them desperate for food,
barely able to survive, tempted to rob someone. But they resist that temptation and still
triumph in the end. And again, seeing this, the audience is expected to cry and thus, reconnect
with their natural emotional state.
Lecture2
Listen to part of a lecture in an astronomy class.

Professor:
Traditionally, astronomers worked out how old geologic features of planets and moons are by
the number of marks on the surface. The more craters in the surface, say, on a lava flow, the
more asteroids and comets that place encountered over time, so the older it must be. This
seems to make sense for relative age. That is, a surface feature with fewer craters is younger
than one with more craters.

But absolute age, actual age, is trickier. We have to know exactly how old one surface is. For
example, we do have a very clear idea of the ages of some surfaces of the moon from rocks
we brought back and then this information can allow us to extrapolate the age of another
surface that has a similar concentration of craters. That's the traditional way to calculate it.

But two developments have brought this traditional way into question. For one, a recent study
of the craters on one of Jupiter's moons, EUROPA, suggests that at least 95% of its small
craters were formed by secondary impacts. Ok, secondary impacts. They're the impacts of the
chunks of rock or ice that break off as a result of the primary impact. The primary impact
refers to the impactor itself, asteroid, comet, hitting the planet or moon, and when that
happens, pieces of rock or ice break off and go flying and when those chunks come back
down and smash into the planet, those are the secondary impacts.

So using the old way we would have assumed that the surface of EUROPA is much older
than it might actually be. And it's conceivable that a very large strike from an impactor might
throw out some fairly large chunks, ones that are larger than some of the smaller direct strikes.
So we can't use size to determine if a crater is the result of a primary impact or a secondary
one. And of course impactors come in different sizes, though actually we think there are
fewer small ones than there used to be.

What really tells us more though is the arrangement, the way the craters are clustered together
or not. For example, on Venus the craters are distributed randomly, they're all over the place,
which is what we'd expect. This suggests that there hasn't been much geologic activity lately
on Venus, lava or whatever, but on EUROPA, the craters are in clusters. And since asteroids
come from all directions if the craters are arranged in bunches, it's a signal, especially if
they're arranged in long ray patterns from a center point, that there was a single primary
impact that threw fragments outward from the impact site.

Another thing, primary impactors hit a lot harder and usually more directly than secondary
ones. So, primary craters tend to be deeper, more bowl-shaped and almost always circular,
which isn't the case with secondaries. Anyway, now, let's assume EUROPA is representative
of the inner solar system. That would mean there are a lot more secondaries on Mars or on
Earth's moon or other bodies than we had originally thought.

And here's some more proof. We got our hands on some nice photos of one particular crater
on Mars, Zunil, and it turns out that this one impact caused many more secondary craters than
 we'd thought, I mean like 9 million more. So, if the impact causing each large primary crater,
and Zunil isn't even that big, results in this many secondaries then most of the craters on Mars
must be secondary. And that make sense actually since if all the craters, especially the small
ones, if all of them were primary craters, well, there simply wouldn't have been enough small
objects out there in space to account for all of those craters.

And unfortunately, this means most craters probably aren't at all useful for dating surfaces on
Mars. So for example, some lava flows on Mars, which have been dated at about 5 million
years old, very young, because of the relatively few craters there, well, it might only mean
that this area was one of the random areas that wasn't hit by a primary impactor. It just makes
it less clear. This lava flow could be a l00 million years old instead. In this case, we can't
predict the age with any accuracy unless we have actual samples from the planets. You know,
we're getting great information and photos from our space probes all the time, but they also
remind us of just how much more we need to learn.

Conversation2

Listen to a conversation between a student and a librarian.

Librarian: Hi, can I help you?

Student: I hope so.

Librarian: Okay.

Student: I need to find an article in a journal called contemporary research in linguistics. And
I’ve looked all over the stacks for it, but I can’t find it anywhere. Could you look to see if it’s
been checked out?

Librarian: OK. That may not be the problem.

Student: But I just checked the computer catalog over there and it’s listed there and it says it’s
available.

Librarian: When you looked up the book locator number, did you see the letters LAN.

Student: Oh okay, yeah, I saw that, but I didn’t know what it meant.

Librarian: Well, that means it’s in the language department library. We don’t have it here.

Student: Oh.

Librarian: Yes. The university actually has nine libraries, so you always have to check the library
code when you’re looking for a book.

Student: Oh okay, but it is available, but not in this library?

Librarian: Right. But we do have a number of other linguistics journals here.

Student: No, I need this one specifically. This article mentioned in a bunch of other articles I’ve
already read. And I wanted to have a look at the original this one, you know in case there’s more
stuff I could use in my paper. Okay?

Librarian: Well you know, all the university library shared their resources. So if you like, I could
call the language department library and ask them to send it over. and we’d have it for you here . .
oh. day after tomorrow around noon?

Student: Oh, I appreciate that, but I can’t wait that long. I need this article for a paper I’m writing
that’s due the day after tomorrow. Um, could you tell me where the language department library
is?

Librarian: Sure, it’s on the other campus in the basement of Pearson Hall, across from the
listening lab, but I doubt you’ll be able to make it over there in time today.

Student: No, especially since I don’t have a car, but my sister does, and I’m pretty sure she let me
borrow it. If I go over there, first thing tomorrow morning, will I be able to check it out right
away?

Librarian: I don’t see why not, just make sure you have your student ID with you.

Student: Okay. That’s what I’ll do then. Thank you very much.

Librarian: Sure.

Lecture3
Listen to part of a lecture. in a biology class.

Okay, I'd like to get started, please. Today we're gonna look at some very unusual plants and
animals that have evolved on some remote ocean islands. And of course, when I say that, the
first thing that probably comes to mind is. the Galapagos islands. right? The Galapagos
islands, which are located. in the pacific ocean, off the coast of. south America. That's right,
about 600 miles off the coast and being so isolated from the mainland.

The species that developed there were quite different from those that developed on the
mainland. and of course, after Charles Darwin observed all of this, it got his wheels turning.
And he eventually came up with his famous theory of natural selection. And that's why you've
all heard of the Galapagos silence. But we're not gonna talk about the Galapagos silence
today. No. no way. Out in the middle of the Indian ocean, somewhere between Africa and
India, there's another little cluster violence, not nearly as famous, but every bit is fascinating,
in my opinion. Um. A little group of islands called the Seychelles. how many have heard of
them? ok, a few of you then. well, it just so happens that I spent some time in the Seychelles a
few years ago. so they're kind of close to my heart. um, and just like in the Galapagos islands,
an amazing variety of unusual species have evolved there, things you won't find anywhere
else in the world. for example, one of the things I saw there was a tiny frog that's not a whole
lot bigger than an ant.

In fact, it's one of the smallest vertebrates on earth. ok. Here's a little mystery for you. you
rarely get frogs colonies on remote ocean islands like the Seychelles. um, you have some
other animals that an ocean current could carry out there from the mainland. but frogs are too
delicate. They couldn't withstand the salt and the sun and so on for that length of time. so how
do you think the ancestors of these little frogs got there, ken? people brought them. Um, good
guess. People have been responsible for transporting a lot of species from one place to
another. no. oh, maybe there used to be some kind. of law. land bridge that used to connect
the islands to the. uh and you. you know, like the one that used to connect Asia and North
America. a that's close, ken, actually, the theory is millions and millions of years ago, the
earth had only two huge land masses to super continents. and then around 200 million years
ago, part of one of these land masses broke away and began to move slowly out into the
ocean. And as that chunk moved away, fragments of it also broke off and were left behind.
and that's how the Seychelles formed. and so the theory goes, many of the plants and animals
living on these islands were stranded out there in the middle of the ocean and isolated from
the mainland. these tiny frogs are just one of the species descended from those stranded
species. Diane, I'm just curious.

How did they figure out that the Seychelles were once part of one big continent? okay, that's a
fair question. well, there are two ways that I know of. first you have some species in the
Seychelles who's closest relatives are in Asia, and then you have others there that have distant
relatives in both Asia and Africa. now, of course, various species of animals and plants can
drift or fly from island to island, so that in itself doesn't prove anything. um. And then I'm not
a geologist, so I I don't know all the details, but I do know that part of how they came to that
conclusion was because the Seychelles are made up of solid granite. Bedrock granite is a type
of rock that's typical of continents. Islands are typically made of volcanic rock. so if an
island's made of granite, that suggests that it once was part of a continent. in fact, the
Seychelles are the only islands in the middle of an ocean made of solid granite, the Galapagos
islands, the Hawaiian islands, their products of underwater volcanoes, their compositions very
different from that of the Seychelles.

Uh, okay, where was I. oh oh oh okay. ok. So then you had a relatively small number of
plants and animals isolated for a long time out in the middle of the ocean. uh, maybe with a
few new comers drifting in. Now and then. and so you got some very interesting things
evolving. And speaking of that, I just happened to have with me a few hundred slides I took
when I was there. No, no, just kidding. but I do have a few slides of some things you've
probably never seen before. alright? Would someone get the lights please?

Lecture4
Listen to part of a lecture in a united states history class.

I'd like to talk today about an important paradigm in the history of the united states and how it
came to be changed upon a second look in 1893, an eminent American historian by the name
of Frederick Jackson turner delivered a lecture at the American historical association. and his
lecture was entitled the significance of the frontier in American history. now when he was
talking about the frontier, he was referring to the part of the American west that wasn't yet
settled. the pouring term made in his lecture was that the 1890 US senses had provided new
data about settlement.

And those data showed show that, well, there was no longer a frontier. This disappearance of
the frontier seemed to him tremendously significant and prompted him to gather ideas about
how the frontier might have shaped American history. And the American character, turner
asserted that the existence of a frontier with cheaper or virtually Free land for the taking
available for individuals to sort of try their luck tended to promote certain ideals that were
central to the American character ideals of economic self sufficiency, individualism, political
independence, small town democracy, suspicion of large government, things like that. he saw
these things being really shaped by the economic and social conditions of the frontier. and for
turner, the end of the frontier in 1890 meant the end of this particular era of American
character. and that Americans would become less individualistic, less independent minded.
and the frontier thesis was pretty much the accepted paradigm of the history of the American
west until the 1970s.

Then, for a variety of reasons, historians studying the American west began to question this
thesis. And ultimately many of them ended up pretty much turning it on its head. and this is
what fascinates me about this debate. the change that happened was not so much a matter of
people finding new evidence that hadn't been available to turner. it was more a question of
people looking at the same evidence with a different eye with different emphases. there are
two main areas of Challenge to turner that arose in what's been called the new western history.
one was that turner tended to overemphasize the importance of Americans of European
descent on the western frontier. this was somewhat of an unconscious bias on his part. But
you know if you look to turn as picture of the frontier, it was basically white men from
Europe who set the tone and define the culture. a new western historians took another look at
the west and realized that it was actually a pretty culturally diverse place. you had, obviously,
American Indians, Mexicans, Chinese, and others. so the cultural uniformity of the frontier
that turner saw, the new western historians look at it and see something very, very different.
the other main area of Challenge by the new western historians was that turner really, in their
view, underestimated the role of the federal government and large corporations in shaping the
economic life of the frontier?

I mean, just as a for instance, the federal government to this day is the largest landowner west
of the Mississippi river. and people's lives when they got to the frontier were really dictated
by market forces beyond pretty much beyond their control. you know, you grow, wait, you
exported it to Europe. And whether you prosper or not depended at least partly on the price of
wheat, which you had relatively little control over, ah, so these two main areas of Challenge
result in a very different picture of the western frontier. the new western historians see a
culturally diverse place, a place where people weren't really in charge of their destiny. Even
before the end of the frontier. people are, you know, their destinies were controlled by large
impersonal forces, federal policy changes in the prices of agricultural products, things like
that. for turner, the end of the availability of cheap land marks a crucial change in united
states history. but for the new western historians, it's really more of the same. A continuation
of the same kind of conflicts that had gone on in the days before the so called closing of the
frontier. so again, as I say, it's so interesting because it's a case of a shift in perception rather
than a shift in the underlying evidence that that guy did the initial perception.
 TPO58

Conversation1

Listen to a conversation between a student and an employee in the university work study office.

Student: Hi, I'm Paul Benson.

Employee:
Paul Benson, That's a coincidence. The museum director sent a fax about you, your two month
review, your job review.

Student: oh OK. I guess we can do that first.

Employee: All right. Let's see. Overall you're doing a good job. I have to stress that. But the
director did know that you invited friends over during working hours, instead of greeting visitors
and answering questions about the outdoor sculpture garden Like you're supposed to. You talked
with your friends.
It was only that one time, and they just showed up. I I did not invite them. I strained it out with
the director.

Student: ok, but you're still expected to behave professionally. Do your job. I know. But actually,
the fact is, I'd really like to work somewhere else, maybe in a library or is a tutor somewhere. I
was hoping you could help. I brought my updated resume.

Employee: I don't know you applied at the museum because you're a fine arts major. And you
apparently made a very good impression on the museum director at your interview. You ask good
questions about the sculptures and took notes it says here. that's why they hired you and why they
were willing to pay you. museums normally use volunteers you know.

Student: I did enjoy learning about the sculptures. Good. And your job is to share that
Information with the public.

Employee: yeah, I know, but I'm always worried. I'll give out wrong Information. If I can't
answer a question, it's embarrassing. So the problem is the public nature of your work yeah, I
didn't realize how uncomfortable i'd feel doing this. I applied there because I'd like to be a
museum curator someday.

Student: well, There are museum jobs that don't involve interacting with the public. you know,
Working behind the scenes, you could help set up exhibits, document new acquisitions, maybe
work as an assistant to the curators office. It wouldn't hurt to ask about their opportunities there.

Employee: Would you call and ask if I could like you said work with the curator? I've only met
her a couple of times, but she I think you should call. tell the curator what you told me and ask if
they could use any help.
Student: What if she says no, well, you could still ask for Information that might help you in the
future, like what courses you should take and what kind of work experience is necessary to
become a curator? Yeah, that would definitely help. But then would you be willing to help me
find a job somewhere else?

Employee: I suppose if it came to that. But you know, if you just educated yourself more about
the sculpture garden, then you'd gain more confidence and maybe enjoy your current job more.

Student: Yeah, I guess you're right.

Lecture1
Listen to part of a lecture in a biology class.

So those are some of the common theories on bird migration. Now let's talk about homing.
Homing is more than just the return flight home from migratory trips. Homing can take place at
any time and from any location. It's the ability that some birds have of finding their way back to
an exact location, regardless of their starting point or how far away they are, or the time of year
and so on.

You've all heard of homing pigeons, but there are lots of bird species that have highly refined
homing skills. So maybe there's some evolutionary advantage. Why would birds be so good at
this? TOM?

Well, baby birds stay in the nest while the parents go out and hunt for food. If the parents have to
fly all over the place to find the food, they'd need to be able to find the nest again. And Once
you've found food, you want to get home quickly, wouldn't you? to feed your young. so you'd
want the most direct path home, you wouldn't want to retrace whatever winding meandering path
you'd taken while you were searching for food. Being able to fly home directly is very efficient.
The offspring get food faster and their parents are home sooner to look out for them. But it isn't
just the offspring that benefit, the adult birds get back to a safe place sooner as well.

Right! now, what about finding your way home after going south for the winter? well, It'd be nice
if you could go back to a place you knew was okay, one that's got water or food, not too many
predators, someplace where you might even still have a nest.

Good. Now, so far we've been talking about times when birds intentionally or at least
instinctively leave home. But are there other reasons why a bird might find itself away from its
nest? Birds are vulnerable to really strong winds. Storms could blow them pretty far off course.

But finding your way back to your nest when you've been accidentally displaced is a little
different from getting home after your annual migration to a warmer climate. So do you think all
those mechanisms we discussed that birds use when migrating apply to homing as well?

I think so. I mean, we talked about using the sun and the stars as navigational guides, and that
would certainly be helpful for homing. And so with that ability to sense earth's magnetic poles,
the one in the studies you described about the internal magnetic compass birds have, yeah, in
should be the same. Okay. So celestial bodies make good navigational aids. Anything else? For
short distances, you could just memorize the area, use landmarks, like when my friend tells me to
turn left after I see the post office to get to his house.

So when birds are out searching for food, they can memorize landmarks, mountains, rivers, who
knows? Maybe even the post office studies of gannets have shown that this is one way they
navigate. Gannets are sea birds, so when they wind up in an unfamiliar location overland, they fly
in outward spirals until they reach the coast. Then they use the coastline to find their way home.
Of course, when we say that birds memorize their terrain, that may not be accurate. It's not
always a good idea to use human analogies when trying to understand animal behavior,
particularly when it comes to navigation, which we as a species are spectacularly bad at. I even
with maps, how often do we get lost? But with birds, they're actually over engineer to be good at
navigation. Just think about all those tools we've discussed, celestial bodies, magnetic fields,
landmarks. They've got a lot of sensory cues at their disposal. But how do they use them? For
example ,do birds use one navigational cue at a time, like the sky is clear and using magnetic
fields when it's cloudy? Or do they use all these tools simultaneously? Calibrate in their location
from multiple queues at the same time? Does the answer depend on the particular species? This is
a really rich subject for research. In fact, let's talk about how you might go about designing some
experiments to answer these questions. Keeping in mind, as I said, that your personal experiences
won't be of much use as you try to come up with hypotheses to test.

Lecture2
listen to part of a lecture in a business management class.

Before the break, David asked a question when planning to start a business or even just to
compete more effectively. How important is it to analyze your competitors? well, it's extremely
important. In particular, you need to try to understand the assumptions that the competition
makes. Before you develop your own business strategy. You see, every company makes
assumptions.

For example, they may believe they've got a terrific sales force when maybe they really don't. or
perhaps they think they've got the most innovative technology that's available. When in fact,
there's something much more advanced out there. but how do you go about identifying a
competitors assumptions? well, there are a number of factors you could decide to look at, but I'd
like to focus on two really important ones that, in my opinion, are quite frequently ignored. okay?
You need to look at your competitors passed its history companies are like people, they respond
to events, current events based on their past experience, whether positive or negative. for
example, if a company has always been successful against its competitors, it may assume that it
can't or won't ever lose those battles. or, and this is a lot more common. If it's had a significant
failure in its past, it may assume that it should never again try to engage in that particular activity.

Clearly, a smart company learns from its mistakes, but companies aren't always good at
recognizing when the business environments changed. they don't always realize when past
experience is no longer a good predictor of future performance. what else? Oh, yeah. You also
need to take an in depth. Look at the leadership of the company. Even the biggest corporations
are run by some group of individuals, and their personal experiences will play a large role in
establishing the company's assumptions. managers have histories to their influenced by past
successes and failures. Just the way corporations are. those personal histories shape their
management assumptions, but it's not just the past experiences they've had at that particular
company that influence managers. some managers are hard from other companies rather than
being promoted from within. And these outsiders bring new perspectives, which may not fit
neatly with the company's existing assumptions.

We see this a lot, especially if the new managers not coming in with the experiences from the
same business sector, but rather from one that operates with very different rules and assumptions,
like moving from making automobiles to selling insurance. there's another reason to study the
leadership. we want. we expect Top executives to be generalists. they have to be familiar with all
aspects of their businesses. But the reality is that most of them have some specific area of
expertise that influences their decision making. for example, um, an executive with a financial
background can't help viewing the world differently from a manager who's trainings mostly in
production. but you can make some pretty good guesses about how their backgrounds may
influence their strategic assumptions. if the Top person selects a management team where
everyone has the same functional background, well, how hard is it gonna be to determine that
team's assumptions? okay, let's imagine that we've made a comprehensive list of a competitors
assumptions.

Now we need to figure out if those assumptions are accurate. companies treat their assumptions
like facts, but they shouldn't. For example, company a assumes it has highly loyal customers. So
it doesn't worry when company b starts selling similar products at lower prices. since company a
is sure its customers are loyal, it decides not to lower its own prices. if it's assumptions, right? It
won't lose any, or at least not many customers. But if it's assumptions wrong, well, it could lose a
lot of customers before it realizes its mistake. assumptions can create blind spots, situations
where the company doesn't uh, can't see the whole business picture. with blind spots. A company
misses the significance of events or reacts to them too slowly. and of course, identifying your
competitors, blind spots can create terrific opportunities for you. and it doesn't really matter if the
blind spot is based on arrogance, meaning the competition overestimates their own strength or
under estimates yours, or whether that blind spots something, they're afraid of where they shy
away from making the same error all over again. in either case, if you move aggressively, it's
likely that their response will be too little, too late.

Conversation2

Listen to a conversation between a student and a professor.

Student: Hi, professor Johnson!

Professor: Hi, how can I help you?

Student: Well, My name’s Matthew, Matthew Burns. I signed up to take film 200 next year,

Professor: Film 200 film 200. Now where did I put that in Roman sheet? I wasn’t expecting
anyone to turn up quite this early, but they did send me the preliminary enrollment and found it!
Your last name again, is?

Student: Burns, Matthew Burns.

Professor: Yes, Matthew, here you are. So what’s..?

Student: I’m a bit nervous about taking a film class for the first time and I thought maybe I could
get a head start over the summer. I already have an idea for a script. And I was wondering if you
could give me a couple of tips.

Professor: a script?

Student: Yeah, a script for a film.

Professor: But film 200, it is not a filmmaking class.

Student: It’s not?

Professor: Oh, oh, We watch films, discuss them, analyze them, write about them. We do a lot of
writing, but we don’t write a film script. I guess he were thinking it was a filmmaking class.

Student: Well, yeah.

Professor: No, 200 is film narrative. It deals with how films tell stories, what narrative techniques
are used in film, by analyzing a number of the classics
.
Student: oh, I see,

Professor: Yeah, we’ll talk about how narratives in film differ from stories and books. Did you
read the class description?

Student: I was so excited to enroll in a film class that I guess I didn’t pay enough attention to
what kind of film class it was. I thought I was registering for a filmmaking class. Sorry.

Professor: No, no problem. I mean, I can see how this kind of misunderstanding could happen.
You know, there are a couple of filmmaking classes if that’s what interests you, but I don’t teach
them. You’d have to talk with professor web. Actually, though, there’s no reason why you
couldn’t take my class as well as a filmmaking class.

Student: I wonder if I could swing that. I can’t get out of my English, biology and French classes
they’re required. And I wanted my fourth class to be filmmaking.

Professor: Which English class are you registered for?

Student: English composition? It’s a required writing class. All students have to take it.

Professor: Oh, Yes. English comp. You’ll be writing a lot for that class. You know, this film
class might fulfill your English requirement. You’d have to check with the English department.
It’s totally up to you. But let me ask you, do you watch a lot of movies?

Student: Tons, mostly modern ones.

Professor: If you want to be a filmmaker, you need to be acquainted with the classics. Professor
Web could tell you more about what you should do. I recommend you talk to her, Then you can
think about it over the summer. You can always add or drop a class in the fall.

Student: Yeah, I think I’ll do that. Thank you, professor Johnson. You’ve been very helpful.

Lecture3
Listen to part of a lecture in an astronomy class.

So your reading assignment focused on the technology telescopes and how they've changed
astronomy. and there was a section on the hooker telescope. so why was the hooker telescope so
important? let's talk about that before we move on to some of the newer technologies. now, back
in the 1920s, the hooker telescope was the most powerful telescope in the world. and through it
we could see for the first time that the universe extends far, far beyond the milky way Galaxy.
We could see that there are multiple galaxies beyond it, and all these galaxies are moving away
from one another.

So multiple galaxies moving away from each other LED to the theory, the Big Bang theory.
Exactly. And that theory that 15 billion years ago when explosion started the expansion of the
universe. well, at the time that was a pretty revolutionary idea. and the hooker telescope was
responsible for that. Yes, because it allowed us to see that far. And being able to see that far LED
to, well, it led to the Big Bang theory. but let's move on the reading assignment. Discussed
another tool for scanning the universe, the interferometer. Claudia. What can you tell me about
inter for amateurs? Okay. An interferometer is a machine made of two or more conventional
telescopes. I think the example they gave in the book was made from six, and they're spread out.
They're not right next to each other.

And then the light, the star light that those telescopes gather travels through pipes to some
computers. and then the computers put all the light together to make one image. ok, good.
although maybe that explanation is a bit simplistic. there may be a thousand or so meters of pipe
carrying the star light from the telescopes to the computers, and then getting all those
components to work together to synchronize. So the light from all the different telescopes reaches
the computers at exactly the same time. that's the Challenge of working with inter for amateurs.
what else can you tell me? What's the advantage here? Paul? all right. I think the idea isn't that it
sees farther, but that the image you see is a lot sharper. There's more detail, a lot more detail. the
image we get is something like 50 times finer than what you get with a single mirror
conventional telescope. so why is that important? now think back a minute. A couple weeks ago,
we looked at castor in the Gemini constellation. what do you remember about that? well, through
our telescope here, a conventional telescope, castor looked like a single star, but you told us that
it wasn't.

It's actually six stars orbiting a kind of dancing around each other. Oh, I get it. and an
interferometer would be able to see six separate stars. yes. remember, single stars like our sun are
the exception, not the rule. so more often than not, you have 23 or more stars clustered around
each other, like COSTA. not only that, but even a stars dimensions, a conventional telescope
won't tell you, you can't determine the stars dimension, because you can't tell exactly how far
away it is. and there are other things as well. how do stars behave as the age? Why do they
cluster together? what was our son like in the past? can we predict giant flares or periods of
dimming an interferometer, as will certainly help us find planets? and of course the more planets
you find, the greater the possibility of finding planets that may support life. so do you think inter
for amateurs will have the kind of impact the hooker telescope had? I doubted. remember, Big
Bang was a really revolutionary theory. but then again, if an interferometer is used to locate a
planet that supports life, well, that's another story altogether.

Lecture4
Listen to part of a lecture in an African American history class. The professor has been
discussing the early part of the 20th century.

Harlem renaissance, unprecedented in united states culture and history, introduced a significant
period that emphasized self identity as well as group consciousness among black people both in
the United States and abroad. Now, to sharpen my definition a bit, it was a literary awakening
that occurred among African Americans that was characterized by an assertiveness on their part
and an outburst of creativity never seen before. There were several major figures or writers who
produced fiction, nonfiction, poetry, and so forth during the period. The writers such as Langston
Hughes and Zora Neale Hurston.

Langston Hughes fashioned innovative literary forms. What Hughes really wanted to do was to
somehow capture the folk traditions of his people and incorporate them into new forms he he
wanted to create, and to improve upon conventional forms. It's not that he was against using
conventional forms. It's just that he wanted to improve upon them or create one's more reflective
of the heritage of his people. So in doing that, what he did was incorporate blues, Jazz, spiritual
zahn, many of the forms of the African American musical idiom into his poetry. he was the first,
for example, uh, to write a gospel play. And then there was Zora Neale Hurston, who published
her classic novel. Their eyes were watching god in 1937. She was one who celebrated like
Hughes. She celebrated the folk traditions of African Americans and infused dialect folklore. she
was an anthropologist and a folklorist. So he worked within those mediums to produce worker, a
celebrity of her heritage.

Most of the cultural activity was centered in Harlem in New York city, which was at the time one
of the largest cosmopolitan communities in the world. But the kinds of changes that were
occurring among African Americans at Harlem were also taking place across the country. In
various cities, especially in the urban North, like Washington, DC, Chicago, Illinois, even
Cleveland, Ohio. so a more general term is sometimes used to describe the kinds of changes that
took place, and that's the new negro renaissance. and what about du bois? Wasn't he responsible
for the start of this renaissance? It's dubious. well, historians have traditionally dated the Harlem
renaissance or the beginnings of the renaissance to the 1920s. but though these dates are
debatable, some feel that the sudden flourishing of literature, you see in the twenties was a result
of the movements that started much earlier. for instance, in 1903 de boys publication, the souls of
black folks do boys. Book was one of the first works that began to explore black identity and
personality, uh, with this emphasis on double consciousness of blacks, or as the boys put it, this
sense of always looking at oneself through the eyes of others. in 1906, the boys LED a meeting in
the town of Niagara falls of various leaders from the African American communities.

And they advocated racial, social, and economic equality for African Americans. and this was the
beginning of the so called Niagara movement, which spawned a number of civil rights
organizations that were formed during the time. another factor was the great migration that began
at the turn of the century and lasted well into the 1930s. it was a movement of more than 1
million blacks who left the rural communities in the southern US and moved to the city's, many
of them in the North, like Chicago, Cleveland, or New York city. and why did they leave? There
were many reasons, but for the most part, they left because they were in search of the economic
dream. There was a shortage of labor in the cities, and African Americans from the south were
seeking paid labor. they were also trying to escape the inherent inequities and institutional racism
of the south. When you say they were seeking to get away from unfair treatment in the south was
living in the North really that much different from living in the south back then?
you might think it was. But those discriminatory practices existed everywhere in the US they
were in the south, but in the North as well. this was also a problem, black world war one veterans
faced. When they returned from fighting in the war in 1918, they had risked their lives for the
country. So when they got home, they were no longer willing to accept second class citizenship.
and they began to advocate equality and to become more defiant and assertive. And so this was a
mood, of course, that was characteristic of the Harlem renaissance.

TPO59

Conversation1

Listen to part of a conversation between a student and the dean of admissions.

Student: Hello, dean Benson. If you have a minute, I thought maybe we could go over the results
of the survey?

Dean: survey?

Student: You remember we discussed it when you came to our last campus life meeting?

Dean: Oh, right. The campus life survey. A great idea, by the way.

Student: Well, I had to do a survey for my statistics class anyway, and it seemed to tie in with
what you were saying about recruiting new students.

Dean: Exactly right. I mean, applications this year are down by twenty percent. And since our
reputation for academics remains pretty strong, our rankings always been competitive with other
schools in the area. We want to focus on improving the quality of life on campus to make the
school more attractive to prospective students.

Student: Well, in that case, I think you’ll be interested in what I found. I sent the survey out all
the students on the main campus and got over two hundred responses. That’s about oh, thirty
percent. Definitely enough data for my assignment.

Dean: Okay. Um.

Student: Well the first part asked them to rate their satisfaction with academics and campus life
and well, as you might have expected, the academic ratings were a lot higher than the campus life
ratings.

Dean: Yes. And?

Student: So, I broke down aspects of campus life into ten categories and most of them actually
received pretty high ratings. But there were a couple that stood out as being way below the others.
Let me guess, one of them has to be the cafeteria food.

Student: Well, uh no, actually that did pretty well. It was the gym that came out on the bottom.

Dean: Hmm, well, I know the equipment in our athletic center is pretty out of date. They had it in
the budget to get replaced, but the athletic funding got cut when they built the new auditorium.

Student: It sounds like the students had pretty strong feelings about it. A lot of them commented
about other schools they visited where they have like rock climbing walls, Olympic sized pools,
weight training rooms.

Dean: Well, those kinds of expenses would be prohibitive for a school of our size, but we could
try to move on some basic improvements. That’s one job we could tackle. Anyway. What else?

Student: The other problem area was the lounges. The ones in the dorms are in really bad shape.
They’re like dingy and depressing, so hardly anybody ever uses them. Oh, and that big one
upstairs from the cafeteria, the heating is always on the blank. It’s been empty all winter. Maybe
you could do something about that.

Dean: Now that would be a lot more realistic. Let’s see. We could spruce them up a bit. Maybe
some repainting a few new rugs and couches and better lighting and send maintenance to check
out the heating and cooling systems. That’s something we could do right away.

Lecture1
Listen to part of a lecture in an ecology class.

So we've spent a lot of time in this class studying ecosystems sand. Now I wanna talk about a
specific instance of an ecosystem changing over time, changing significantly. And um,
unexpectedly, uh, I'm talking about the illusion islands, um, off the coast of Alaska. The illusion
islands up until the 18th century were grassland ecosystem. now the grasslands on some of the
islands have disappeared. And what we have there now is tundra, primarily low scrubby
vegetation. and this started happening in the 18th century. Okay, so why… Jeff ?

Um excuse me. professor. I thought. tundra referred to frozen ground. Wouldn't all the islands
have that?

Okay, right. Tundra often refers to a region where the underground soils permanently frozen.
and the primary vegetation is moss, lichen, and maybe a few dwarf shrubs. But it's the vegetation
that classifies a region as tundra, not the temperature of the soil. Anyway, in the 18th century,
traders introduced foxes on to the islands, and those fox's preyed on the ground nesting sea birds.
And you're saying that change the entire ecosystem?

Oh, yes. And drastically introducing a single species can gradually transform an entire ecosystem.
And a study that was done on the illusion island shows one way this can happen. Um. So all right,
the foxes were introduced and the most obvious impact was a decrease of the sea bird population.
that's a direct impact. Right? the fox is preyed on the sea, birds, and they started to disappear.
well, there were indirect effects to changes in the soil and vegetation. And these effects weren't
obvious. For a long time. They were much harder to detect. So this study, um, a biologist LED a
team of researchers to the Aleutian islands, where they noticed significant differences in the
islands that had foxes and the islands that didn't, especially in the vegetation. it was so thick on
the islands without foxes that they could barely get through it. But on the islands with foxes, it
was only up to their ankles. and the biologist had a theory about this. can anyone guess what it
might be?

Um. So the foxes are eating the sea. Birds may be the um, the sea birds were using up the grass,
like for nesting materials or something.

Well, think about what that would mean.

Oh, right.

And what the biologist thought was, but he thought it might have something to do with the soil
nutrients. so these researchers to investigate this theory, they analyzed the soil on these islands.
they wanted to determine the nutrient content to see if it played some kind of role in transforming
the vegetation from grassland to tundra.

Well, what they found was, I think, very interesting. Now, first the soil on the Aleutian islands is
volcanic soil, nutrient poor soil that formed from volcanic rock. and what the researchers learned
was that the islands without foxes were receiving regular doses of fertilizer from the droppings of
the sea birds. The fox's preyed on the sea, birds eat fish, and they were bringing ocean derived
nutrients to the islands in the form of droppings. When they came there to nest. now the islands
with foxes weren't getting this fertilizer because the birds were disappearing. so now we see the
indirect effects of the foxes. Right? The fox is because of their impact on the sea. Birds deprive
the soil of fertilizer, which caused the grasslands to disappear and be replaced by tundra. tundra
vegetation does well in nutrient poor soil. now that's a pretty huge impact and one that no one
predicted. so what can we do about it?

Well, we want to bring back the sea birds, and we're doing that. We're removing the foxes, and
we've been successful. most of the foxes are off the islands now, and the sea birds are starting to
come back. but see birds, most sea birds that is have only one offspring a year. well, we've
learned that there are now only half the number of breeding sea birds on the islands that had the
foxes as there are on the islands that didn't. and there were major changes in the vegetation, and
the foxes were there for a long time. so does this mean that non native species should never be
introduced into an ecosystem? well, not necessarily. a scientists introduced species in many
different places around the world. And for a number of reasons, we'll talk more about that over
the course of the semester. it does point out the dangers of unforeseen consequences, though, and
it certainly suggests the need for careful planning and for further studies of the effects in habitats
such as these, where new species have already been introduced.

Lecture2
Listen to part of a lecture in an art history class. The professor has been discussing 19th century
European art.

Yesterday, during our discussion of realism in art, I made reference to some new art forms. And
we'll be talking about several of these over the next few days. uh, prints, watercolors, landscapes.
uh, but I want to start with when you're probably less familiar with panorama as uh, panorama, as
were huge canvases, sometimes several stories tall. and they were intended to be viewed in a
circle. In other words, they surrounded the viewer.

Uh, incidentally, the word panorama, which is part of our everyday language now, uh, was
actually invented by a friend of Robert Barker, who was the first successful painter of this new
art form. marker painted the first official panorama in 1787. his accomplishment was remarkable
for two reasons. first, he figured out how to paint a circular painting so that it looked realistic.
without going into all the details. A barker found a solution for the complicated perspective
problems that this kind of painting presented. the other key thing is that barker recognized the
need for a special viewing space to display this new kind of a painting. in fact, a a new kind of
building. other people at that time were coming up with similar ideas. But barker was the one
who had the foresight to get a patent for it, which meant he had the right to the invention. he
described it as an apparatus for displaying views of nature at large. the patent description said
that the building was to be circular, and it was only to allow light in from above.

It even specified the height of the platforms people would stand on and how far away they should
be from the painting. when barker opened his new panorama building in London in 1794, it was a
big hit, but he didn't have a monopoly on his invention for long as his license expired in 1801.
and in fact, after 1800, panorama as multiplied rapidly, practically every major city in Europe
and North America had special buildings for displaying them. most of the buildings and paintings
have disappeared. So we don't talk about panorama as much anymore. but they were a very
popular form of entertainment in their day, which doesn't mean that they weren't good art. many
panorama as were painted under the supervision of first rate artists who were aiming for a faithful
reproduction of an actual scene. panoramic artists developed a number of techniques to uh,
intensify the illusion of reality for viewers, like special lighting effects. and they would hide the
edges of the painting with curtains. So there was no appearance of a frame or border at the Top or
bottom. sometimes they placed plants and trees in the space between the viewer and the painting.
in that respect, you see, uh, panorama as were very much part of this new movement of realism.

Of course, paintings of large vistas had been done before. It was a common subject for
renaissance painters, but panorama painters transformed them by offering a full 360 degree view.
And the choice of perspective, using a bird's eye view on an aerial perspective was new. It's
probably not a coincidence that hot air balloons made their debut around that time, or that the
first high rise buildings were going up. As one writer put it, people were developing a panoramic
consciousness. Interestingly, a popular subject for panorama, as was detailed views of the cities
in which they were exhibited. It can seem strange today that people were fascinated by detailed
recreation of places they already knew. But the fact that the scenes were familiar was apparently
part of the fascination. One panorama that millions went to see was called a view of Paris from
the roof of that will a res. Now, anyone willing to climb to the Top of a tower in Paris could see
exactly the same view. So viewers were checking to see if the artists got the details right.

And of course, finding that, yes, every last detail was right, they were astonished and impressed.
Ironically, the word panorama has lasted longer than most examples of the art form itself. The
owners of the buildings where panorama as were displayed charged admission. And they could
make a lot of money, but only if audiences kept coming back. So they were forced to change the
paintings every year or two, which meant that a lot of panorama as were painted over, or they
were cut up and sold so that new ones could go up in their place. So when their popularity waned
in the second half of the 19th century, when illustrated newspapers and photography began to
satisfy people's desire for realistic images, there weren't a lot of panorama is left to preserve.

Conversation2

Listen to a conversation between a student and a professor.

Student: Professor Jennings.

Professor: Afternoon. Pete, how are you today?

Student: Fine. Thanks. I…

Professor: Actually, I’m glad you stopped by. I’ve been meaning to talk to you.

Student: It’s about last week’s test, isn’t it? Have uh you had a chance to grade me?

Professor: Um, I’m working on them. I don’t have them with me right now. But if I remember
correctly you did very well.

Student: Oh, great. I wasn’t sure, but then…

Professor: Well I’ve been talking to some of the other professors in the department about
activities for students who are interested in foreign languages. Well, a couple of years ago they
started a Spanish club. Have you heard about it?

Student: Yeah, actually my roommate Frank joined it last semester. I think he goes to their events
movies special dinner stuff like that.
Professor: Okay, yeah, it’s a pretty popular club and it occurred to me that well there aren’t as
many French students as Spanish, but there’s still quite a few and I was thinking a French club
might be worth a try, you know, to give students a chance to practice the language together
informally, maybe watch films or bring in a guest speaker.

Student: Okay.

Professor: Uh, yeah. And while these clubs are overseen by a professor, it’s the students who do
all the planning and things who basically run the club. So I was wondering if you’d be interested
in starting a French club. You’re pretty enthusiastic in my class. You speak very well. So actually
how are you liking the class? Is it what you expected? Interesting? challenging? boring?

Student: Uh. No, no, I like it. I mean I studied French in high school, so I have some background,
but your intermediate classes so much more depth. I’m getting a lot out of it.

Professor: Ok. Good. I’m glad. Uh so anyway, what do you think about the club?

Student: I don’t know. I actually was present in my high school French club and there was a lot
of work, plus I have so many classes this semester.

Professor: Well I’d certainly help you get started, making announcements in class and seeing if
anyone else is interested in helping organize events. You wouldn’t have to do everything yourself.
I think it could be a lot of fun. not to mention, It’ll look great on your resume.

Student: Yeah, that’s true. My resume could use some beefing up. Um, yeah. Okay. I’ll give it a
try. I mean as long as you’re willing to support me and it’s not like, I don’t know what I’m
getting myself into.

Professor: Great. So if you have a few minutes now, we could discuss some ideas about how to
get students involved and what kinds of programs you’d like to have. And you could tell me
about your high school French club.

Lecture3

Listen to part of a lecture in a geology class. The professor is discussing mass wasting.

Remember, mass wasting is our geological term for movements of land. You know some already
like landslides which are dramatic and might get attention in the news. I mean rock moving at
almost 300 kilometers per hour would get your attention right. And there are rock falls also
you're probably well acquainted with mass wasting associated with steep hills and mountains.
But what about creep?

well, creep is another type of mass wasting. And it is by a long shot, the more common process,
mainly because there are a lot more gentle hills or slopes. The term I'll use creep is caused by the
same things as other mass movements. Gravity is ultimately responsible, and water affects
movement. but creep happens slowly. That is, the soil moves slowly, only a few centimeters to a
meter downhill in a year. so how does creep happen? Basically in a freeze thaw cycle, waiter,
cold followed by summer heat and so on. let's take a look at the diagram in your book. when the
Top layer of soil freezes in winter, it expands, so it pushes up and away from the bedrock layer
beneath it. then when the ground warms up in the spring, when it thaws, everything contracts. but
those little loose bits of soil on the Top don't go back to their original position. as the arrows
show, they follow just a bit farther down the slope. Thanks to gravity, this movement is almost
imperceptible, and it's not exciting. I mean, you'll never see it on a TV show about the dangerous
forces of nature.
But over the years, you may see curve trees or tilted fences. That's evidence of creep. creep can
happen in warmer areas to do to wet dry cycles where wet conditions cause the soil to expand.
And dry conditions cause it to contract. but I'm interested in colder regions, especially regions
with permafrost permanently frozen ground. the process, similar to creep in permafrost areas is
called solar flexion. now, in solar flexion, the soil moves uniformly down the slope as one large
mass, not as individual particles. why? well, in summer, the Top layer of soil above the
permafrost, the active layers we call it, will melt. now, at this point, this active layer is saturated
with water and heavier, allowing gravity to do its thing. below the active layer, the ground is still
frozen, which is a perfect slide to move on. now in spits Bergen, I'm sorry, but I hope you're not
tired of hearing about the arctic in Norway. But it's my area of interest, as you know. anyway,
there's a great example there. It's on the foot of a slope. look at this picture. these are stumps left
over from a 1940 zero structure. even though the bottom of the stumps are in permanently frozen
ground, the tops have been pushed over this far. it's a perfect visual example of this slow process.
In the spits Bergen area, there are varying rates of solar flexion.

In some areas, it's slower than in others. Now, why would that be? well, as you know, mass
wasting is primarily a function of slope and gravity aided by water. Right? well, we can add one
more factor. we think that in some areas of spits Bergen strong fast winds blow snow off the
slopes, meaning the effective precipitation, the snow that actually stays on the ground is small. so
we don't have as active and active layer of thawed soil. And therefore you get a slower rate of
solar flexion. with all this in mind. You know, building on hills isn't necessarily the best idea, in
my opinion, but we do it partly because slopes can be stabilized in various ways. building on
permafrost, though, is a different story. you simply shouldn't build on it, especially on a slope. I
said on it directly on Top. You want to use posts to elevate the building. If you have to build it all
this way, you don't over heat the surface. That is, the freezing air can flow under the structure,
keeping the permafrost intact. now, if you do heat it up, you're risking that. And otherwise,
normally gradual process speeds up. so instead of solar flexion, the slow regular process, you
destabilize the ground. I mean then you get slides or flows instead and all the problems they
cause.

Lecture4
Listen to part of a lecture in a history class.

Now, we've said that during the second half of the middle ages, starting with uh, the 10th century,
really the towns in western Europe began to grow, and many new towns appeared. now the
economic activity of these medieval pounds. Well, it began to be controlled by two kinds of
groups. what happened is that merchant started to band together to, uh, well, it was a way to
maximize their power and impose more control over economic activity of a town. and in
response to the merchants, the crafts people of the town also started to organize and to form
groups or um, associations. and these groups were called guilds. so craft guilds were groups of
people who share the same occupation.

He had a guild for butchers, and guild for bakers, one for weavers, one for metalworkers, and um,
so on. For all different crafts, the merchant guilds were associations of people who sold and
traded goods, all sorts of goods. they controlled the market for buying and selling goods. Okay?
and there were other guilds too, but the craft and merchant guilds, well, these were the businesses
that contributed most to the expansion of trade and to the economic situations in towns. for one,
they standardized weights and measures. And well, just about every aspect of the work of the
guilt. this increased consumer confidence, because you see once there were standards of weights
and measures, you could be sure that a loaf of bread from one baker, say would be the same size
as a loaf of bread from another. they also standardized the way things were made, the quality of
production.

So they were really beneficial for production. gills were also beneficial to their members because
they regulated prices and work hours. and they didn't allow crafts people or merchants to come
from other towns to sell their goods. so not only did this kind of regulation give consumers more
confidence in what they were buying, right? Because you got standardized weights and measures,
but it also protected guild members. and all of this helped increase trade. wait a second. So so
you're saying that if I were a baker in one town, I couldn't go to the next town over and sell my
bread. it hard to believe. I know. But think about it. Each town had its own guilt. there was more
than one baker in town, and they'd all belong to the same guilt. but breads from other towns not
allowed. that protected the local crafts people from outside competition, which of course made
their own jobs more secure. now, to join a guild, you had to go through a specific process first
parents contracted with a master craftsperson to take on their son as an apprentice, uh, for a fixed
term of service, usually seven years. during this time, the apprentice was trained in the elements
of the trade and then became a journeyman.

Now journey, men would often travel from town to town to work for different masters for wages.
that way. They could learn different methods and ideas before returning home. um, I have a
question you keep saying sons, men journey men were all people in the guilds men. What about
women? good question. now, most people don't realize this, but women were also members of
guilds. Usually they worked with their husbands, and some of them were considered unofficial
masters of the craft. sometimes women were also involved in a related business like, oh, say,
though the wife of a baker might run an inn or a small hotel, so she'd be serving her husband's
bread to the guests. and of course, innkeepers had their own guilds, and widows often took over
their husband's profession and became guild members. so women did play a role in guilds. so
even though the term is journey, man, some of the journey men were actually women. now, uh,
where were we? Oh, okay. The apprentice became a journeyman, and once the journeyman was
ready to become a master, members of the guild would test the person's skills by assigning a task
called a masterpiece.

Now, if the guild members approved the masterpiece, the journeyman was admitted into the guilt
and paid the membership fee. he was then considered a master, and he could open up his own
shop. um, some craft guilds became increasingly difficult to join because they increase the fees
and the masterpiece requirements. now, often a journeyman was skilled enough to join, but he
couldn't afford the materials for the masterpiece of let alone the membership fees. also, gilts
could no longer regulate procedures as trade and industry kept expanding more and more and
became harder to control. so eventually, guilds lost their importance. And oh, by the 17th century,
most of them had dissolved. but guilds did leave a mark on society, even though they no longer
exist. we do see remnants of them in today's labor unions and in certain professions which still
have a type of apprenticeship.

TPO60

Conversation1

Listen to a conversation between a student and a building manager.

Manager: I hope you’re not here about your window again,

Student: I’m afraid I am.

Manager: I thought we’ve fixed that. It wouldn’t open, right?

Student: Right. Remember there was a crew painting my room and they painted it shut. And the
fire inspectors said that a window that doesn’t open is a violation.

Manager: But I had one of my staff take a look at it yesterday, and he said he’d repaired it.
Student: Oh, he did.

Manager: So what happened?

Student: Well, I opened the window.

Manager: In this cold?

Student: Yeah, I mean, you know how this dormitory doesn’t heat evenly, and I’m on the hot side
of the building during the day, it can get really warm. A lot of people open their windows to let
cold air in and balance it out. Anyway, I opened it just a crack, but now it’s completely stuck.
And I can’t get it closed at all. Even had my friend bob try to close it. And he’s on the wrestling
team, even he couldn’t get it closed.

Manager: You mean you slept with an open window all night? Why didn’t you call the security
staff?

Student: Well, I came home kind of late, and frankly, it was like way after hours, I thought about
calling security, then I just let it go. But one night of that cold is enough.

Manager: Well, you should always call security. Even if they can’t fix the problem themselves,
they’ll make sure the problem gets solved.

Student: Okay, I’ll remember that, but actually it’s not just the window. I think there’s something
wrong with the heating thing in my room. Uh, the radiator, it must have cracked or something
because I just noticed a puddle of water in my room and the heat barely seems to be working now.

Manager: So you’re telling me you have no heat and a window that doesn’t close?

Student: Pretty much.

Manager: Well, this won’t be a quick fix, I’m afraid. Those radiators, their old and they’re not
easy to fix and, even if we repair the window today, you can’t live in a room without any heat.

Student: You mean I’m gonna have to move?

Manager: At least temporarily, until we can get that radiator fixed or replaced. And that’s not a
one-day job. You sure it’s not just condensation?

Student: I don’t think so. You can kind of see where it’s seeping out. And the water looks sort of
rusty.

Manager: Rusty? Yeah, rusty isn’t good. Tell you what, I’ll go look at it right away.

Student: Great, thanks.

Manager: Why don’t you come back after lunch? By then I should know how long the repairs
will take.

Student: Can you give me some idea, now? I’m gonna call a friend. She s got an apartment off
campus. She’ll let me stay there. But I’m sure she’d like some idea of how long shall have to put
up with me.

Manager: Well, tomorrow’s Friday and if the radiator needs to be replaced, which it probably
does, we won’t have parts before Monday. So I tell her at least four days.

Four days. OK, thanks.

Lecture1
Listen to part of a lecture in an art history class.

As you know, artists today can choose from an enormous selection of media, including water
colors, acrylic paints, not to mention special pains formulated for almost any surface you might
want to paint on. but even so, oil paints are still the medium of choice among most professional
artists and hobbyists. so why is that? well, for one thing, oil paints extremely versatile, suitable
for many different painting styles, different subjects, and different sizes of work. another
advantage is that they're easy to use. Even for beginners, they can be manipulated. you can apply
oil paint to a canvas. And then because they don't dry right away, they can be scraped off and
paint it over.

So you don't have to waste expensive material every time you make a change. unlike acrylic paint,
which really can't be moved once it's applied, acrylic paints dry very quickly. So in general, when
using them, it's more difficult to make changes. and with watercolors, you can't really paint over
a mistake, because it really diminishes the freshness of the colors. so oil paint is the medium of
choice for many painters nowadays. Anyway, in terms of art history, oil paints actually pretty
young in Europe before the invention, rather, the development of oil paint painters mostly used
tempera. Tempera was made with egg yolk. Believe it or not, the yoke acted as a binder. a binder
enables the color pigment to stick to your canvas. and no temporal wasn't always yellow. If that's
what you're thinking. artists made their own paint by mixing egg yolk with a color pigment like
powdered iron ore copper. but it dried very fast, which left little room for error or change.

You really had to get it right the first time. then in the early 15th century, a Flemish painter
named Yan of an Ike started experimenting up after that emperor in one of the Nikes paintings
cracked while drawing in the sun. He decided to try to make a paint that would avoid this fate. So
he tried. And oil mixture, actually other painters before him had tried using oils as a binder. so
while the Nikes credited with inventing oil paint, it's not entirely true. in Greece and Italy, olive
oil had been used to prepare pigment mixtures, but the paint took a really long time to dry, just
the opposite of tempera. but Van Dyck had a secret recipe for his oil paint. He used linseed oil.
not only did this paint dry without cracking, van dyke also discovered that it could be applied in
very thin layers. this technique gave the colors of depth that was previously unknown. and just as
important, the linseed oil actually increased the brilliance of the color. so as a result, pigment oil
mixtures became very popular among artists. some tried to improve the paint by developing their
own recipes, like uh, by using walnut oil, for instance, or by cooking their oil mixtures. but a
great many began using some sort of oil as their binder. now with all this experimentation with
mixtures, well, it took a long time for artists to get comfortable with using these new oil paints to
get a true feeling for how to apply them to the best effect. the early painters in oil like that. Ike
laid the paint down in thin layers with brush strokes that were so delicate that they're practically
invisible.

And it really wasn't until the end of the 16th century and in the 17th century that the full potential
of oil paint was realized, for example, that's when artists finally began to combine delicately
painted areas with thick brush strokes. so you could actually see the marks of the brush
combining the rough and the smooth gives oil paintings great textural depth. of course, the public
who are used to smooth surfaces actually complained that these paintings looked unfinished. and
some of that attitude carried over until later centuries, like, well, you're probably familiar with the
work of the painter Vincent Van Gogh. van goes famous nowadays for his thick, swirling brush
strokes. but amazingly enough, his work was not appreciated back in the 19th century, and he
sold just one painting during his lifetime. of course, the French impressionists, who were his
contemporaries, attained more popular acclaim, but they used a different technique. they applied
oil paint and thick dabbs to depict the effects of light on the landscape.

Lecture2
Listen to part of a lecture in an engineering class.

We've been looking at some engineering challenges of the past few decades, how engineers have
to consider special demands like a budget and time constraints when they're designing buildings
and other structures. today, we're going to focus on environmental challenges, problems
engineers face from the great outdoors. uh, what comes to mind? Alice? well, if you're designing
building, you'd have to see what kind of soil or rocks you're dealing with. good. um. What else?
Mike?

Well, weather conditions, ok, uh, go on like in a desert, the heat, the dry climate would probably
affect the materials for the structure, even the design. Okay. now, a really good example of this, a
Challenge it took until the 1990s to figure out how to deal with is a bridge up in Canada called
the confederation bridge. This is a. long winding bridge. standing a width of, but here you can see
it on this slide. the confederation bridge connects Prince Edward island, which is off the eastern
coast of Canada to the mainland, and it has to cross a body of water 8 miles wide. The
Northumberland strait now this straight has some of the harshest weather conditions in Canada.
talk about challenges for an engineer. Ice wind, incredible cold. I grew up on Prince Edward
island. I should know every time we take that ferry, it was the only way to cross back then. there
were long lines. is just to get on and. the ride was long. the schedule. cool and reliable. because
of ice and winds. uh, Mike, you a puzzle? Yeah, I don't get it.

Why'd it take so long for them to build this bridge? I mean, sure, it's called up in Canada and all
but well, I remember some pictures in our book of bridges up in northern Europe where it's
probably even colder than Canada. ah, and they were built much earlier than the 1990s. Well,
well remember, temperature is just part of the picture. You've got cold, icy winds. over a lot of
water along long. stretch of freezing. water, uh, it's not the longest bridge in the world. Well, its
longest in Canada, but it is the longest bridge. anywhere over. for that freezes. so this means
you've got ice, huge masses of ice, and this ice goes floating down the straight and it has to get
through. so why is this a problem? Well, we've got a look at how most bridges like those
European bridges you mentioned probably are supported. remember when we. look at basic
bridged. design earlier in the year. what was the basic shape of the piers? The supports for these
bridges with long spans? yeah, well, they're like these columns, a row of cylinder shapes like
columns supporting the span of the bridge. okay, now think about it with these basic columns.

Remember, we called them peers. uh, you've got a real problem when sheets of ice start crashing
up against them. Here. Let me show you what I mean. Now imagine these sheets of ice floating
down the strait. they're going to run right? right into those peers and compress into these ice
chunks and get stuck there. so what did the engineers do? well, they know that once those chunks
of ice form, that's it. They can block the passage here where the boats would have to pass
between the piers. very dangerous. And there's nothing you can do to break up those chunks of
ice once they start piling up like that. now, that's where the engineers' abilities to analyze the
problem and come up with a design solution. that's where it all comes into play.

And the ones who built the confederation bridge. Wow, they really showed what they were made
of. They designed this special type of supporting piers, which were basically like the column
shaped ones we've been looking at. but for the bottom of each pier, they designed what they
called shields, a protective base that turned the overall shape from a cylinder into a kind of
inverted cone. this was critical because the base, the cone part is where the pier comes in contact
with the water and ice here, and take a look at a close up of the base. So you can see what I mean.
so now when that sheet of ice approaches, instead of immediately getting crushed into those ice
chunks, it starts to slide up this sloping part of the base, which changes the direction of the ice
sheet from horizontal to upwards at a diagonal. And this causes the ice to crack and break up into
smaller pieces. and this means that those ice pieces can keep on moving past the peers down the
strait. and it doesn't all build up there at the bridge. now, this wasn't the only problem the
engineers had to deal with. as I said earlier, the Northumberland straits, a big unobstructed area
that acts like a natural wind tunnel,
Conversation2

Listen to a conversation between a student and her French professor.

Student: Hello, professor Wallace.

Professor: Hello, Nancy. Sorry to keep you waiting. However, what a morning. I put in a film
request to the media center weeks ago for a copy of the French revolution. I mean, the actual film
reels, you know. I thought I’d made myself very clear, but they just didn’t get it. What I was
saying. So this morning they call me to say that my copy of the videotape is ready for pickup.
The video! unbelievable!

Student: You mean the video tape isn’t the same thing?

Professor: As the film? The actual film real run on a projector? shown on a large screen? Ah, It’s
like day and night. No, no, no, it’s a totally different experience to watch the original film on a
large screen rather than on a television. I mean, the video version is better than nothing, I suppose.
But no. It’s like listening to a tape recording of a symphony compared to hearing a live orchestra.
But I finally managed to make the media center people understand that I need the actual film
because I’d like my students to have the full experience. It wasn’t easy though, they’ll have to
borrow it from another school, but thankfully we will have it by Friday. Anyway. Uh, I’m sorry
where were we? Uh you wanted to see me about...?

Student: Ah, actually about that film because this Friday afternoon. Well, maybe you didn’t
realize it, but the film is scheduled to be shown during parents weekend.

Professor: During what?

Student: Parents weekend. You know when our parents come to see what campus life is like?

Professor: Oh, really? This is the weekend parents come? No, I hadn’t heard that, but is that a
problem?

Student: Well, it’s kind of bad timing. I mean a lot of us will be spending time with our parents
that afternoon, and this film…

Professor: Ok. But classes aren’t suspended just because your parents happen to be visiting.

Student: No, of course not. But our class doesn’t usually meet on Fridays.

Professor: Look, the film is required viewing for French two o seven. And since I couldn’t
schedule a one-hour film during our regular fifty-minute class. I know it’s short notice but I’ll
only have the film for a few days.

Student: It’s just that I already told my parents.

Professor: You know parents weekend isn’t listed on the academic calendar.

Student: That’s true. But…

Professor: I actually wasn’t even aware of when it was. I understand this may not be convenient
for you, but I couldn’t possibly reschedule the film. The whole thing has given me enough
trouble already. I had to reserve the film weeks in advance, and they still got it wrong.

Student: But what if some of us can’t make it? Is there any other time we can watch it?

Professor: The videotape is available, but, well, that would be a shame. Hey, why not invite your
parents to join us? There are plenty of extra seats.
Student: But isn’t it in French?
Professor: Yeah, but with subtitles in English.

Student: Well, hum, that might just work out.

Lecture3
Listen to part of a lecture in an ecology class.

So we're. talking about biogeography. Um, biogeography is the geographic distribution of plants
and animals in an environment. and as you know, biogeography varies from ecosystem to
ecosystem. now one, of ecosystem that we haven't discussed yet is the island environment. Now,
islands have always been interesting to study because their isolation makes them it it creates a
kind of laboratory for examining their ecosystems. In the um, 1960s, Robert Macarthur and E.O.
Wilson developed a theory they called the equilibrium theory of island biogeography. and their
theory states that. at. time islands achieve equilibrium, uh, a balance in terms of of the number of
species of plants, animals, insects, etc. that they can support.

And they, that is Macarthur and Wilson, developed calculations to predict the point at which
equilibrium is achieved, and the number of species that a given island would be able to sustain.
um, according to. to their theory. This number, the total number of species depends on two things,
the size and location of the island, for example, they predict that there will be more species on
bigger islands, and there will be more species on islands that are closer to the mainland. so, how
does this work? according to. to Macarthur and Wilson, there are. two opposing. forces
constantly at work in an island environment, pushing the island toward the state of equilibrium.
the first force is the immigration rate. the immigration rate tracks the addition of new species to
an island. then they argue that this rate declines over time, that there are more new species early
on when the islands still empty, and there's little competition for space. however, as time
progresses, there will be fewer and fewer new species that can compete with established species.

Uh, it's not impossible for new species to be introduced at this late stage. It might adapt better to
summit it change in the evolving habitat, but it is definitely tougher. the second force is the
extinction rate. and this is the rate at which species disappear from the island. in contrast with the
immigration rate. This is a force that increases over time. in the beginning, when there's plenty of
space, species don't need to compete with each other quite so much. but as species get settled on
the island and the amount of space for each species declines, conditions become much more
competitive. um, and it's not just the weakest species that may disappear. on a crowded island.
There are likely to be smaller numbers of every species, which makes them all more vulnerable
to things like, um, uh, sudden changes in the climate or some kind of natural disaster. so there
are these two opposing. and forces. And at a certain point in the island's ecological evolution,
they cancel each other out. Immigration matches extinction. at that point, equilibrium is achieved.

Okay? If you accept these assumptions, then Macarthur and Will says predictions about size and
location makes sense. if an island is bigger, then there's more space for a greater number of
species to compete and survive. and if one island is closer or easier to get to from the mainland
than another, then more species will be able to immigrate to the island from the mainland and
established themselves there before a state of equilibrium occurs. now, notice what this theory
doesn't predict. It. It doesn't say a thing about what type of species will be on the aisle. And it it
doesn't predict which new species will arrive or which existing species will disappear. um. um
however, ever we can get some sense uh, for what those species might be by looking at the
example of crack at o a you've probably heard of crack at, oh, a an island in Indonesia. it has a
volcano that erupted in 1883. well, the destruction of the ecosystem was total. Nothing survived
on that island. of course, it only took a few years before the islands started to support life again,
but it couldn't just recreate its old ecosystem. the first species to take hold were some weeds, the
sort of um, pioneering organisms that do well.

Uh, after the collapse of an ecosystem, beetles and spiders also returned in time. A grassland
ecosystem developed. So, there was some more established plant life. Birds and bats were
attracted to the island, and they in turn brought well dropped seeds from fruit bearing trees. as
trees gained a foothold on the island. Forests eventually replaced the grasslands, and some
pioneer species disappeared. The ones that couldn't survive in a forest environment. but does
crack at o approve the equilibrium theory? well, nothing about it. Disproves it so far. um,
immigration and extinction rates have generally behaved. According to the theory, the number of
species on the island corresponds with the author's calculations and seems to be stable. it appears
that the island has achieved the type of equilibrium state that the theory predicts. however, some
recent studies suggest that other factors may also play roles in the development of an island's
biogeography.

Lecture4
Listen to part of a lecture in a psychology class.

Okay, today we're starting our unit on developmental psychology. And to give you an overview,
I'm going to go over some of the principles of development that you'll be reading about in the
next few weeks. now, first, when I say development, remember I'm talking about human
development, the physical, intellectual, and personality changes that occur from birth to uh,
around age 16 or so. the first general principle is that development is influenced by both heredity
and environment.

Now, who can give me an example of how heredity, what we inherit genetically from our parents
influences development appearance. I mean like children properly look like their parents because
of their genes. right? Yes. For example, your physical size, hide and so on is partly determined by
heredity. if both your parents are tall, it's likely you'll be told to write. but physical size is also
determined by your environment. for example, suppose with your parents were quite tall. And
assuming you get all the right nutrients in your diet while you're an infant, you're likely to grow
tall too. but if you don't, you may not grow so tall, since good nutrition is important for growing
bones. now, while it's clear that both factors contribute to development, what's not so clear is the
extent to which each factor contributes a yes, Jeanne. I wonder if there have been studies to find
out.

What's more important. I mean, like, you know, does heredity have a bigger influence than
environment, or vice versa? in fact, there have been several studies on the relative influence of
heredity and environment, but they've been largely inconclusive. Since these two factors are
extremely difficult to separate, especially with regard to their influence on intellectual
development, we cannot isolate the influence of each factor. so for now, let let's just say that
development is influenced by both heredity and environment. tanned in our upcoming readings
and discussions will be dealing more with the complex interplay of those two factors. ok, now,
the second principle is that development takes place at different rates for different parts. now, do
I mean that your left foot will grow very quickly for a while, and then your right foot will grow
slowly, and then your arms will grow one after the other? earl, like me at about 12 years old. no,
seriously, that's how I felt when I was 12 or 13. yeah, yes. Well, sometimes during adolescence,
when when children are growing so quickly, it may seem like that when children feel awkward
and clumsy. but what I meant to say is that physical growth as a whole may proceed at a different
rate from, say, mental development.

So for example, you might see an 11 or 13 year old adolescent who looks quite mature, almost
like an adult, but who's clearly still behaving like a child. that's because abilities like cognition
and perception may develop at different rates and reach their maximum development at different
times. ok, for principal number three, now you may already know that there are specific stages in
an infant development. Uh, for example, infants can lift their chin before they can sit up. And if
you watch toddlers, older babies, you know, they can stick before they can stand, uh, stand before
they couldn't crawl. all crawl before they can walk. yes, exactly. That's because development
follows in orderly sequence. Now, while sequential development, uh, the order in which children
reach developmental stages is pretty clear. For physical development, uh, specifically motor
development, as we just saw, it's not so clear for intellectual development. it's pretty easy to tell
whether a child is at the crawling stage or the walking stage. But it's not so easy to identify what
stage of intellectual development a child may be at, since you can't get inside the child's brain and
see what they're thinking. there's still an orderly sequence.

It's just that the sequence to intellectual development is less obvious, and the stages are less
distinct. and that takes us to the next principle. that. development is continuous. stages of
development are not completely separate from each other. There's no clear cut break between the
starting point of one stage and the completion of the next. so you can see how these changes
could easily go unnoticed by child's parents. but what about all these charts? You see in child
development books? You know, the ones that show separate stages and when they happen. well,
if you look again at those charts, you'll probably notice that the age is never exact. it's always
stated as a range of months or years. that's because it's impossible to be exact about when a
specific stage of development occurs. the last principle I want to talk about, and this one you've
probably noticed yourself, concerns the variability in individuals development, which simply
means that we don't all develop in the same way.

TPO61

Conversation1

Listen to a conversation between a student and the professor.

M: All right, Karen. I'm glad you stop by for our appointment. So we can chat before you write
the final draft of your essay.

F: Is there something wrong? I mean, is there something I forgot?

M: Well, you've got the correct essay form and all that. You followed the writing guidelines very
well. So there's no problem there.

F: That's encouraging. Professor.

M:I'm just a little unclear about some of the content. You seem to be unsure of what you want to
say in a few places. And I want you to take a look at that. Don't forget the assignment was to
write a review of any book you read this term and then provide an analysis. I notice you've left
out your analysis.

F: Oh, yeah. Um, I'm a little hazy about it, just that I m not sure about the point the author is
trying to make. early in the book. The main character of Rebecca is excited to hear about her
transfer to the overseas office, but then suddenly she's rather upset about going. When I sat down
to write the analysis, I just wasn't sure why. I'm not sure if the author wanted the reader to think
for beggars, transfer was a good thing or a bad thing. I can't find reasons why Rebecca has this
change of heart.

M: Well, the author is intentionally leaving this out. This sort of ambiguity you experience in the
story is a technique the writer is intentionally creating. Nothing is ever black and white.

F:Oh

M: we don't always understand the reasons we do things right? So you might want to analyze the
ways the author uses words to hint it this uncertainty. Well, I prefer the term ambiguity.

F: but should I be focusing on the main character in the analysis? Or should I describe the authors
writing techniques?

M: Well, it really depends on how you want to develop your essay. It would be interesting to
describe the events surrounding the main characters. Change of heart. You can analyze the main
character in detail, filling in the gaps to see if he can find reasons in her personality, why she'd
suddenly change her thoughts about the transfer. Of course, you should give examples of the
words and writing techniques the author uses to create this point of view.

F:Okay.

M: Now to go one step further in your analysis, do you think the main character is similar to the
author? And the author leaves the reader with unanswered questions about the motives of the
main character? Why would the author do this?

F:to create unknowing, to create an uncertain feeling.

M: Okay, now you're catching on. It might be an uncomfortable feeling, but this is what the
author had in mind.

F: Ok. Thanks, professor. I'll go back and read the book more closely.

Lecture1
Listen to part of a lecture in a sociology class.

Sociology is really a cross disciplinary field. We find that elements of biology, psychology, and
other sciences often overlap as we study particular phenomena. so let me introduce a concept
from cognitive psychology. okay? Let's say someone asks you to look at a list and memorize as
many items on it as he can. most of us are able to remember, on average, seven items. there are
several variations of this memory test. And the results consistently show that the human limit for
short term memory is seven bits of Information. this limit is called channel capacity. shadow
capacity is the amount of Information that can be transmitted or received over a specific
connection, like our brain and the channel capacity.

For our short term memory. It has some interesting real life implications, like phone numbers.
local numbers here in the united states all have seven digits, because the phone companies
realized early on that longer numbers would lead to a lot more wrong numbers being dialed. but
the idea of channel capacity doesn't apply just to our cognitive abilities. it also affects our
relationships with people around us. psychologists talk about sympathy groups. These are the
people, close friends, family to whom we devote the most time. we call or see them frequently.
We think about them, worry about them. And studies show for each of us, the size of that group
is about 10 to 15 people. but why so small? sure. Relationships take time and emotional energy.
And most of us don't have unlimited amounts of either. but what if there's another reason? what if
it's our brain that setting the limit?

and in fact, there's evidence that indicates that our social channel capacity may actually be a
function of our brain size, or more accurately, the size of our neocortex. The neocortex is the
frontal region in the brain of mammals that's associated with complex thought. primates have the
largest neo cortex is among mammals, but among different primate species, humans, apes,
baboons, neocortex size varies. A lot of theories have been proposed for these variations. like
maybe it's related to the use of tools, but no theories ever seemed like a perfect explanation. Until
the late 1990s, what an anthropologist named Robin Dunbar published an article about his studies
of primates. Dunbar theory is that if you look at any particular species of primate, you'll find that
if it has a larger neocortex than it lives in a larger social group, take human beings. We have the
largest neocortex a sand. We have the largest number of social relationships. so we've said that
our sympathy group is 10 to 15 people. What about our other relationships other than family?

And close friends, such as those that occur in the workplace will call these social groups as
opposed to sympathy groups? how many relationships can we handle there? those relationships
aren't as involved, so we can handle more of them. but is there an upper limit? well, Dunbar says
that there is, and he developed an equation to calculate it. his equation depends on knowing the
ratio between the size of the neocortex and the size of the whole brain that is of the whole brain.
What percentage of it is taken up by the neo cortex? once you know the average percentage for
any particular species, the equation predicts the expected maximum social group size for that
species. for humans, that number seems to be about 150. so according to Dunnbars equation, our
social groups probably won't number more than 150 people. now, Dunbar hypothesis isn't the
kind of thing that's easy to confirm in a controlled experiment, but there is anecdotal evidence to
support it. as part of his research, Dunbar reviewed historical records for 21 different traditional
hunter gatherer societies. and those records showed that the average number of people in each
village was just under 150 hundred and 48.4, to be exact. done bars also worked with biologists
to see if his hypothesis applies to other mammals besides primates.

When they looked at meat eating mammals, carnivores, they found that the ones with a larger
neocortex also have a bigger social group. and the number of individuals in that group is
predicted by done bars equation supporting his hypothesis. but when they looked at insect of
wars, mammals that eat insects, the results were inconsistent. the data didn't disprove Dunbar
hypothesis, but it wasn't a nice, neat match like the carnivore studies, which isn't totally
surprising. insectivore oars are hard to observe, since many of them only come out at night or
they spend a lot of time underground. So we know a lot less about their social relationships.

Lecture2
Listen to part of a lecture in an environmental science class.

Ok. So environmentalists have created green building programs in order to encourage green
building construction, which means environmentally friendly buildings that produce a minimum
of pollution. And our energy efficient. We've talked about like technologies that use solar energy
for heating homes. Yes, that's certainly something these programs to advocate. but they're also
concerned with construction because green building standards include the conservation of natural
resources like trees. wood homes, such as those traditionally built here in the united states,
require over an acre of trees over an acre of forest land in lumber, plus three to seven tons of
waste are created on average during the construction process. so what if we could use a product
that's typically considered waste to build homes?

It's being done. One of the materials used in green building construction is straw bales. yes, I'm
talking straw, those short stocks that are left over in farm fields after grain crops are harvested.
It's hard to get rid of as a waste product, and it's usually burned. So instead of adding to air
pollution problems by burning the straw, it's compressed into bales and used to build homes.
wow, I've never heard of using straw to build homes. well, straw bale construction isn't a new
technique. A pioneers on the American prairie, where there were no trees, constructed their
homes of straw bales over a hundred years ago. then in many of those early buildings, made in
what's called the nebraska style are still standing. actually, straw bale construction has been used
around the world for thousands of years.

And because of the very properties that make it a nuisance waste that it's tough and hard to
compost. That's what makes draw a great building material. it's the insulating properties of straw
bales that are probably the strongest selling point. in fact, a standard straw bale wall provides
about three times the insulation value of an insulated wall in a traditional wood frame house,
which can drastically reduce the amount of heating or cooling needed to keep the house
comfortable. so environmentalists love this construction method that basically turns a waste
product into a building material, saving energy and saving trees.

So how do you make a house out of straw? It almost sounds too good to be true. Straw bale
houses are actually built out of standard rectangular agricultural bales. they're stacked like bricks
to form the exterior walls. Then the straw walls are sealed with stucco. a stucco is a good, tough
finish. That's like cement or plaster. these stuck owed straw bale walls can then be used as the
structure to support the roof. the stucco skin acts as a thin shell over the bales and makes the
buildings very stable.

Conversation2

Listen to a conversation between a student and an employee in the housing office.

Employee: Hi, ready to check out? I’ll just need your key.

Student: Actually, there was a problem, so I’m not checking out yet.

Employee: Ok. Remember you have to clear out of your dorm by four pm today.

Student: Ok. But the thing is I just got a couple of fines from the housing office that I’m
supposed to pay.

Employee: Yeah, we just did inspections yesterday afternoon.

Student: Okay, but I don’t really agree with the fines, so I wanted to come here and see if you can
help me understand what’s going on. And if I really need to pay them.

Employee: Okay. Maybe I can help. So why exactly where you fined?

Student: Well, for one thing, I had a really messy roommate, so the dorm room wasn’t exactly in
great condition. So…

Employee: So I know it may seem unfair. But the policy is that both roommates are responsible
for the condition of the dormitory room. The university has this policy because there were so
many cases in the past where neither person would admit to damages, making it hard for us to
resolve these situations. Both parties are responsible. So even if your roommate was the one who
mess the room up.

Student: Okay. Well, I’m not sure that’s the fairest policy in the world, but it makes sense. So I’ll
pay that fine. No problem.

Employee: Ok. So was there something else?

Student: Right. The real problem is with another fine for a piece of missing furniture, a chair.

Employee: Well, yeah, if there’s a piece of furniture missing, the university is going to have to
charge you for that.

Student: But the thing is I never had a chair. I borrowed one from the lounge for the year and
then returned it yesterday morning. You know I have a friend who lives in another building and
his dorm room also had a chair missing, but he didn’t get a fine.
Employee: Ok. But there might be differences between your situation and your friends. Um. Did
you let your floor supervisor know that you had a missing chair?

Student: I told her about it the day I moved in.

Employee: And then…

Student: Um, and then…

Employee: Did she fill out a form about this? You would have gotten a copy.

Student: I never saw a form.

Employee: Ok. I think this is why we’re having a problem here. We need to have a paper record
that your dorm room was missing a chair, just telling the floor super….

Student: But honestly I was expected to know that? that someone had to fill out a form?

Employee: No, actually it was the responsibility of the floor supervisor to get that form to you
when you informed her that your dorm room was missing a chair.

Student: Ah. Ok. So what about the fine?

Employee: Well, I’m gonna have to talk to my manager, but I guess you’re not going to have to
pay that fine. Don’t write this in stone, but I’d imagine you re going to be okay. Floor supervisors
have responsibilities too.

Lecture3
Listen to part of a lecture in a food science and technology class.

One of the most popular beverages worldwide is coffee. You're probably not surprised to hear
that. here in the united states, for example, more than half of the adult population drinks at least
one cup of coffee every day. for various reasons. Some of those who drink coffee choose to drink
decaffeinated coffee either some of the time or all of the time. so the coffee industry had to face
this sort of need or demand for decaffeinated coffee. taking caffeine out wasn't a problem. It was
actually taking the caffeine out without changing the flavor of the coffee or without increasing
the health risk to drinking the coffee. and although coffee has been decaffeinated for probably
just about a century at this point, and there's one relatively new method that's fairly commonly
used these days to decaffeinate coffee, and that's super critical, fluid extraction, super critical
fluid, big word.

It's on the board. We can't understand the process of extracting the caffeine from the coffee. If we
don't get this concept down. Pat, in order to do that, let's take a look at the phase diagram. This
should be a review. so the phase diagram, it shows the conditions of pressure and temperature at
which a substance exists in 1 of 3 faces, a solid, a liquid, and a gas. so we've got pressure on the
vertical axis, temperature on the horizontal. and as you know, a substance will change its phase.
If you start changing temperature or pressure, for example, if we choose sort of an arbitrary
pressure right about here, and keep the pressure constant and increase the temperature, we start as
a solid, but as you can see, just follow the line going to the right. as we increase the temperature,
the solid changes to a liquid, and then changes to a gas. and that's what we would expect. We
certainly know that happens with ice. It goes from a solid to a liquid and to a gas. if we keep the
pressure constant, now let's do it the other way and keep the temperature constant.

Let's pick a couple of arbitrary temperatures and increase the pressure. we start as gas, and we go
up from the x axis. And we see that that gas will change either to a solid or to a liquid, depending
on what temperature we're keeping constant. there is, however, a temperature at which, if we
exceed that temperature, regardless of how much we increase the pressure, this gas will not
change into a liquid or a solid. let's call this critical temperature point t c so there won't be a full
phase change. There will be a change in its properties. However, it won't behave like a gas
anymore. it will have the properties intermediate between a liquid and a gas. and we refer to it as
a super critical fluid. At that point. it's in the upper right hand corner here. So that means it only
exists at high pressure and high temperature. so that's what a super critical fluid is. now, what
about these properties? Listen carefully. A super critical fluid diffuses like a gas, and yet it's
dense like a liquid. the significance of this is that a super critical fluid can go through, can
permeate a solid substance. For example, a coffee bean, because it diffuses like a gas, and it can
also dissolve other substances like caffeine, much like a liquid can.

Because of its density. these particular properties, or the values of these properties, can be fine
tuned, or adjusted by changing the pressure and the temperature. now, the way this is used in
decaffeinating coffee is if we take the coffee beans and put them in a tank, that can withstand
extremely high pressures. and then we take super critical carbon dioxide and pass it through the
tank. So it's passing over the coffee beans. it actually permeates the coffee beans. and if we have
the pressure and temperature just right, the caffeine will selectively dissolve into the super critical
carbon dioxide. together, the super critical carbon dioxide and dissolved caffeine will pass out of
that tank and into a second tank, leaving decaffeinated coffee beans behind. then we have a
pressure relief valve. On that second tank, the pressure decreases. And the super critical carbon
dioxide changes back into a gas, uh, which then releases the caffeine in a crystallized form.

Lecture4
listen to part of a lecture in an art history class.

Ok. Now, unfortunately, works of art don't last forever. The question is, what do we do about that?
I mean, when you're going to restore art, well, there's a question isn't there? On the one hand, we
want to repair the work. we want to replace a sculptures missing arm, for example, or make the
colours of a painting that's faded and changed over time. We want to put it back like it was. we
want to restore it, make it whole again, perhaps even improve it. but on the other hand, we want
to preserve the authentic remains.

We don't want to change it. We want it pure true. and the history of restoration practices reflects
this struggle. During the European renaissance, the 16th and 17th centuries, the Discovery of
antiquities, ancient works of art was at an all time high, and so was restoration. but even then
there was this debate on the one hand, and this is the school of thought that's perhaps best
represented by the Italian sculptor Benvenuto Chile. Ni anyway. For Chile, neither goal was
repair and not only repair Chile. Ni and others considered it their artistic prerogative to use
ancient material as both a model of inspiration and as a source of raw material. many they took a
lot of fragments and combine them into Complete sculptures. but how did they know what the
Complete sculpture looked like?

If all they had was a fragment? well, that's just it. They didn't. and it didn't matter. they just create
parts as they saw fit. sometimes they'd combine fragments, put together an arm from here, a leg
from there. there you mean from different sculptures. oh, sometimes even from different time
periods. take, for example, the so called Bateman statue of mercury. the Bateman statue of
mercury at the Los Angeles county museum of art is just such a pastiche. the head isn't from the
same sculptures. The body and the legs as well as the base were made by the restore. But that's
hardly restoration. That's just well creation. I guess they're just making their own sculpture out of
recycled parts. Well, but what's wrong with that? I mean, why not reuse the broken bits? Well,
isn't it a bit of a lie? I mean, especially if they present the restored work as the original as restored
art, rather than created art, it's a matter of what's authentic and what's not. and don't you think it's
a little disrespectful to use famous bits as raw material?

You know. I remember Charlie knee being quoted as saying, quote, the excellence of this great
artist calls me to serve him, end quote. and then he proceeded to serve him by creating from just a
torso a whole brand new sculpture. Of course, the main the major criticism of that kind of
restoration is that it imposes the contemporary aesthetic on the original work. the person doing
the so called restoration is no doubt influenced by the fashions and tastes of the day. Remember,
they often thought of themselves as improving the work. Now, on the other hand, in contrast to
Chile, ni were Michelangelo and company, those who thought the goal was simply preservation.
Michelangelo believed ancient fragments should be left alone, preserved as is. if it's just a torso,
leave it as just the torso as the original work. his view, some say, shows a far greater respect for
the original art. yeah, well, Charlie probably thought he was helping the original artist by
completing perhaps even improving the original. perhaps era.

This is more like it now. Ok, ok. now, later, though, in the 18th century were talking a couple of
centuries after the renaissance. restores who worked in the Chilean immoderate were criticized in
just the ways you've suggested. they were accused of disregarding the value of ancient material
and of self aggrandizement, of using restorations to advance their own careers. and so restores
started to incorporate attention to historical accuracy into their efforts. the field of restoration
started to become more of a science than an art, though of course, art was still central, but those
who engaged in restoration, now we're not so much artists as they were historians. that shift may
be one of the most important moments defining the development of restoration. the gold changed
from artistic invention to authenticity, from restoration to preservation. Michael Angelo would
have been happy with that shift. yes, I think he would have.

TPO62

Conversation1

Listen to a conversation ·between a student and a professor.

Student: So the reason I came in, professor Williams, well, it's about what you are explaining in
your philosophy class today.

Yes. Um. Yeah.

The whole thing about simulations, would you um, would you mind going over that with me
again?

Professor: No problem. The main point of the book I was referring to is that, well, in a
postmodern world we live in a world of unreal images of simulations. For example, the things
we see on TV become a reality for us, even though they're not in fact real. They're
representations, simulations of reality.

Student: Postmodern world?

Professor: Right. It came after the modern one.

Student: Gee .. thanks a lot.

Professor: Add. no, sorry, you're right. Postmodern. Well, that's a sticky term that covers a lot of
things. Let's save that for later. But back to my point about simulation. It leads to Hyper
Realism, a feeling that something is more real than real.
Student: Wow, wow ... Uh, um, I'm sorry, but all this is .... I just don't get it.

Professor: Video games, virtual reality, theme parks, all of these remove us from reality. Worse
yet, we can begin to think these simulations, these fake experiences are real, or we don’t know
the difference anymore.

Student: Well, actually I'm starting to think this class is not for me. In fact, I wonder if I might
not do better just to drop the course.

Professor: Oh, you're still having trouble following this?

Student: Yeah, I .... I just don't think I'm cut out for philosophy. I signed up because my academic
advisor ... Well I feel like my adviser sort of pushed me into it.

Professor: I see, if I may ask, what are you interested in?

Student: I want to be a lawyer.

Professor: Well then you need a firm base in logic and argumentation. So this philosophy course
is basically a necessary for you.

Student: I hope not. I could only get maybe half lecture.

Professor: That's pretty good, though, I covered a lot, probably too much. And these were only
some opening remarks for the first day of class. I was just skimming through some contemporary
ideas in, well, more cultural theory than actual philosophy. So you needn’t worry. Starting next
week, we're going to read some real philosophy, primary sources like Plato, Rousseau, Emerson,
and you'll be able to talk about them in small discussion groups led by graduate assistance.

Student: Well, I don't know.

Professor: I understand your uneasy about this course, but well, give it another chance. Attend a
few more sessions, get into your sign discussion group then see how you feel. Look, these ideas,
like what post-modernism really is, they're ideas that people developed over years, careers
lifetimes, I didn't mean to scare you.

Student: I ... I guess I should have just taken it in the spirit as intended as an intro. Well, you're
right that instead of trying to wrap my mind, around every little detail all at once, I need to work
on seeing the bigger picture and not getting so stressed out.

Professor: Well, don't think you're going to learn all of law right away either. Have you looked at
the law library lately?

Student: Yeah, talk about scary.

Lecture1
Listen to part of a lecture in an architectural history class.

Now, we've talked about how social concerns inform the designs of some architects in the united
states in the nineteenth century. And it holds true not only for building architects, but also for
landscape architects. The way we design our landscapes. It's hugely important too, for how we
live easily as important as the buildings we live in. And the social concerns were especially
apparent in the work of a huge figure in the history of landscape architecture, Frederick Law
Olmstead.
Olmstead is particularly associated with the building of public parks in the mid eighteen
hundreds. At that time, with industrialization, the united states was moving from a rural
agricultural way of life to an urban one. Many people were moving from farms to cities and cities
themselves were growing fast, and that was creating concern and anxiety about people losing
touch with nature. Now, based on your reading, how did this situation relate to Armstead?

Student: Well, he saw that as cities grew to accomtnodate the larger populations, a lot of open
space would be used up for buildings and infrastructure. I guess he thought that eventually there
might not be any open space left. Um green space ...
Professor: and others shared this concern as well. People with some power.
Student: Right. So in New York city they decided to build this huge park central park and they
hired him to design it.
Professor: Right. Olmstead stick together with calvertfox and he, what Olmstead wanted to do
through this park and others was to preserve people's connections with the natural world. Central
park is his best known project and it really launched his career. There were so many details that
made this such a model of success that um, yeah, Julia?
Student: It seems like he integrated the park into the city really well especially well, especially by
putting streets across the park so that you could still get from one side of the city to the other.
Professor: And those streets don't disrupt the unity of the park very much. But why not? What
feature what modification did he make?
Student: Well, they weren't any n.arrower than regular city streets.
Professor: No not narrower.
Student: Oh lower. he put them at a lower level than the rest of the park. And use short tunnels?
Professor: Yes, exactly. The streets were designed to be as unobtrusive as possible, um, not
interrupting the flow of people walking in the park, not interfering with the natural setting,
while still functioning as streets. Making tunnels was the best way to achieve this balance in
many locations within the park. And then paths for pedestrians went above the street throughout
the park. What's so special about it to me is, um, Armstead did such a good job of using the space
by emphasizing the natural elements of the park. So with ground areas that were low, he made
them even lower and turn them into ponds and medals. Then, uh, he emphasized some high rocky
areas. He used, he planted small forest close to grassy meadows. By doing this, he emphasized
contrasts in contour and texture, but he made it all work as a whole. He also made the northern
half of the park more of the nature preserve, while the southern part was more for people and
recreation. So central park was a huge success and it led to more work for him. He designed
dozens of urban parts throughout the country. So that's probably his greatest legacy to
architecture as a profession, but not his only legacy. He also designed the landscapes for public
buildings, uh, campuses, even entire towns in that area. Urban planning. He showed the same
concern for preserving open spaces that he'd shown with central park, for example, his design to
the town of riverside, Illinois. He planted so it would have the conveniences of city living, but it
also had open space for recreation for nature. He .lowered the streets slightly so they wouldn't
block natural views, like views of the displaying river, which flows through riverside. He really
wanted to preserve the shores of the river. So he didn't put houses there. Instead, he turned the
riverfront area into a park, and about a quarter of riverside is parks. Um, what's also remarkable
is that riverside, well, even today, the streets and other parts of homestead plans are almost
completely intact. It's It's really an oasis in the city that's grown around IT. The city of Chicago
since that time, good to show you how valuable good design really is.

Lecture2
Listen to part of a lecture in an astronomy class.

So we pretty much know how the biggest stars die. When a massive star reaches the end of its
existence, it explodes, sending out a huge blast of energy, which then fades to invisibility within
a few weeks or months. When a giant star explodes like this, it's called a supernova. To the naked
eye, a supernova appears to be a bright new star, but it's not a new star. It's a dying star. However,
the shock waves from a supernova excite never by clouds of hydrogen gas, causing them to
compress, which does form new stars. And that process emits a distinctive type of radiation. Now
a particular interest to us today is that the same type of radiation has been observed in places
where galaxies have collided. And in those same areas, we're also observed a high rate of new
star formation. So not surprisingly, we've had a theory that colliding galaxies caused the new star
formation, but there was no direct evidence that is until recently when some European
astronomers found clouds of excited hydrogen gas that could only have been caused by shock
waves from a pair of gliding galaxies.

You know, we used to think of galaxies as isolated systems, like islands in the sea of space. Now
we know that they're always moving, usually in clusters. I mean, think about all the gravitatiomal
forces involved. We're talking about huge systems of stars and gas and dust.
And since the average separation between galaxies is only about twenty times their diameter, it
isn't surprising that they often meet, we call it an encounter, and they meet in a variety of ways.
Mergers, for example, they are the most extreme kinds of galaxy encounters. A merger is when
two galaxies meet and they don't have enough, um, momentum to keep going on their separate
ways. So they merge becoming one galaxy. Usually a larger galaxy will absorbs sort of swallow
a smaller one. Uh, this can trigger huge areas of star formation is enormous clouds of gas from
the two galaxies collide and collapse into very active star forming regions. Collisions are less
violent than mergers. That is, they create fewer or relatively less active areas of star formation.
The galaxies pass through each other, each going its separate way. After they collide. The
collision sends out a ripple of energy into space, plowing gas and dust in front of it. Your
textbook has a great picture of a galaxy collision taken by the Hubble space telescope. See the
cartwheel galaxy on the left. It looks like the ripples in a pond after his stones been tossed in.
That's because one of the small galaxies and the rights pass through it. And that bright ring
around it, that's where colliding and compressing gases forming stars, but which galaxy collided
with it. The one on the upper rights been stripped of gas and dust, which is one clear sign that
there's been a collision. But the one on the bottom showing a lot of new star formation, which is
also evidence of a collision. So we're just not sure.

Finally, we have interactions. in this type of encounter, the galaxies exchange gas and dust, but
don't actually collide. Many astronomers believe that the trail of gas and dust that stretches from
0ur milky way galaxy to one nearby is the result of an interaction. When the gravitational forces
of the milky way pull some dust and gas off of the other galaxy.
Student: What about stars? Do they ever collide?
Professor: Actually, almost never. Stars are very small compared to the size of a galaxy, and
they're pretty far apart from each other. Small stars. well, that terms relative, isn’t it?
It’s hard to imagine the massive distances we're talking about here. Even encounter seems like an
odd term, as these events take a long time.

We're talking billions of years, which is why most of what we theorize about comes from
computer simulations. Otherwise, all we'd see is a sort of freeze frame of whatever stage the
encounter is in. a single picture out of a long sequence of events.

But I mentioned some new evidence that's come from a pair of galaxies called the antennae. The
antennae are at an early stage of encounter. What will probably be a merger and excited hydrogen
gas has been found in the regions where the two galaxies overlap. We know because that
distinctive radiation signature is present, and we know that there aren't enough supernova to
explain the radiation. The only other possibility is that we're seeing the result of shock waves
produced by the collision of these two galaxies.

Conversation2

Listen to a conversation between a student and a university employee.

M: Hi. Um, I had a question. I normally park my car in the lot next to the music building.

F: Oh, okay. Lot seven.

M: Yeah, yeah. Um, I've never had a problem using that lot before.

F: is it about us closing a lot this Friday? We had students complaining, but I can give you a past
to lot ten. you know about the orchestra festival in the music building that day. Right?

M: Yeah right I knew about that my questions actually about uh, well you know while I'm here, I
guess I will need a pass, but the fact is I'm in the orchestra festival myself. I play the cello, so
maybe…
F: sorry on Friday that lots for non-university guess. So you'll have to

M: go to the lot ten. You sure? I am in the orchestra.

F: Sorry.

M: OKay. That's fine. I guess I'll need a pass, but anyway, um I got a parking ticket yesterday.

F: Okay. Do you wanna pay your fine Now? You have two weeks to pay it.

M: Well, I don't actually. I don't understand why I got it. I always park in the same lot. I mean, I
didn't do anything different.

F: Okay. Is there a code number on the ticket? I can look it up.

M: Yeah, I remember it. It says, uh, zero three six.

F: All right, let me check. This was yesterday.

M: Yeah, uh, uh, early afternoon. It would have been.

F: Okay, violation zero three six. Mitt says here, parking and more than one space. Do you have a
big car or something? I know we repainted the lines closer together so we could fit more cars in
the lot.

M: Uh, no, It's a small car.

F: Well, you must have parked over the line more than one parking spot.

M: Really, I'm sure I wasn't.

F: we have forms to contest a ticket. Do you want one? If you don't think you did anything wrong,
you can fill it out here. Let me get you one.

M: even though it'll probably be a great waste of time.

F: Okay. And you wanted that passed to lot Ten, right?

M: Oh, right. Yeah, I forgot about that.

Lecture3
Listen to part of a lecture in a sociology class.

Ok, so I'm sure every one of you is worked in a group of, um, one form or another, you know,
maybe a group project you've done for school or some kind of planning for an extracurricular
activity. Anyway, I bet you've got at least an intuitive sense of what makes group successful or
not. Well, today I wanna talk about, um, uh, one attempt to formalize those intuition a little, to
pin down what it is that makes group successful. And I think we should start by looking at a
study done by a sociologist named bales. It’s usually referred to as the bales experiments.

So, um, bails' idea was to put small groups of people together. Well, he actually just used
undergraduate males. You know, he was at a university and they were just handy. So bales put
these guys together, who, er, by the way, had never met each other. And he gave them various
problems to solve. Then as the students interact it, bales and his assistance classified each aspect
of their behavior, or uh, what bales called their various acts into different categories.

So, um, after observing lots of group interactions, bales hypothesized that every single act, uh,
basically everything that the participants did fit into one of two basic categories, each act was
either what he called instrumental or expressive. Now bales defined, uh, instrumental acts as any
activity which was directly concerned with solving whatever problem the group was faced with,
such as giving information, making a suggestion, um, anything that could directly contribute to
the completion of the task. So, you know, saying something like, uh, I think we should look at
this factor or why don't we try this or that solution? These are instrumental acts. Or, um, well,
taking notes, for example, is instrumental or even writing up a report.

Expressive acts, on the other hand, are pretty much everything else. There are all the comments
and behaviors that are not specifically designed to solve the problem at hand. Something like, uh,
hey, that was a great suggestion. Or uh, I appreciate you guys doing such hard work. These are
expressive comments. Um. or jokes, for example, are expressive. And then there are negative
expresses to showing ah, different disagreement and tore dissatisfaction, such as you're totally
wrong.

Ok. So, uh, now that we've got bales categories down, we can talk about his conclusions. Bales
was, um, primarily concerned with what ratio of instrumental and expressive acts caused a group
to be most effective. Now, before I read his results, I expected that the group with the highest
percentage of instrumental acts would be the most successful group. You know, the more
instrumental acts, the more the group would be working on its objective. And well, the more
productive it would be. But that, in fact, is exactly what did not happen. Groups that had a high
percentage of instrumental activity weren't very productive at all. Now, here's how bales explains
this.

He says that positive expressive acts, um, they grease the wheels. You might say they make
things flow more smoothly. If everybody in the group acts instrumental, if everybody that is
offering different suggestions on how to proceed, and everybody is coming up with their own
plan, then all the group members are basically just, uh, budding heads. Nothing gets done, and
everybody is at odds. Positive expressive acts, on the other hand, help people get along, removing
the tension or hostility that might have developed among the members of the group as a result of
instrumental activity. But of course, at the same time, a group with too much expressive activity
is also unproductive. If all of the groups acts are expressive than the group isn't doing anything to
further their goals. So bales major finding is that the most successful groups were, uh, those that
had about fifty percent instrumental acts and fifty percent expressive acts. Of the expressive acts,
about two thirds were positive and one third negative.

Bales also observed, uh, a recurring pattern in the sequencing of activity. He found that in
successful groups, group leaders usually began the session by exchanging information about the
problem. What the problem is, who are the people involved in the problem, etc. Uh, after
exchanging information, they devoted some time to the exchange of opinions, opinions about
why the problem might have occurred, what went wrong, things like that, before moving on to
making suggestions as to how to solve the problem. Now, uh, some of the groups
he observed, um, they didn't define the problem.

They sort of reverse this order and instead started off with making suggestions for solutions. Uh,
they ended up having a long period of dissension filled with negative responses, uh, but negative
expressive acts, and wasted a lot of time before moving on.
Lecture4
Listen to part of a lecture in an ecology class.

Termites, insect order, ect. Hard to think of them as more than just pests that want to eat your
house. But I think you'll be surprised at how interesting they are and how important they are to
the ecosystem. Now, what do you already know about them?

They eat wood, lots of it.

Right. To be more specific. They eat dead wood, like dead trees in forests and plant litter. Their
consumption of what is like, oh, you can think of this like recycling, termites are recycling that
litter back into soil. Their major source of nutrition comes from cellulose, the main chemical
ingredient of wood, and the cell walls of other plants, leaves, grasses, etc. Now, cellulose is a
complex sugar, and most termites can't actually digest it.

Ha ha!

Because they don't have the right enzyme to metabolize it, to release its nutritional benefit. Now,
that would be a problem, but they have a special relationship with protozoa and bacteria that
actually live in their digestive systems.

Inside?

Yes, it's these microscopic organisms that break down the cellulose for the termites. They'd
starve without him. And a good example of……?

Symbiosis. Two different kinds of organisms live together, so it's good for one or both of them.

Good. And what else is interesting? All termites are social. They live in colonies like ants or bees.
Now about the colonies, each termite colonies founded by a male and female pair that mate and
produce more termites. The termites in the colony come in several types called casts. There's the
reproductive pair, the workers that gather food to feed the colony, and soldiers, the defend the
colony against predators like ants.

And they communicate by? Dancing? like the dances bees do.

Well, you're not too far off. Every colony has its own distinct smell, a scent that other termites
within their colony recognize. If a worker finds a new food source, its secrets at risk of sent, that
others can follow to locate the food. And scent plays an important role in helping soldiers defend
the colony against predators. If they detect an unfamiliar scent. Well, let's say an ant is lurking
around. Well, the ant has a distinct smell. As soon as soldiers detect this aunt scent, it’s a warning.
They shift into an aggressive mode, ready to start defending their colony. Termites also
communicate alarm through sound. If workers or soldiers want to sound the alarm, they'll bang
their heads against the tunnels in their nest. Other termites perceive the vibrations through special
sensory organs on their legs and come running to defend their colony. So they're pretty complex
animals. I hope you're getting a sense of that. Eventually, a colony swarm, oh, sorry, got ahead of
myself.

Only termites that can reproduce have wings. And that's only so they can fly to new location, find
a mate, and establish a new colony. So eventually, these special winged termites fly off in
enormous numbers to form new colonies. They break off their wings after they land. In fact,
that's how I knew I had an infestation in my house a few years ago. Pretty amazing sight. Nothing
I ever wanted to see in my house. There were so many wings on the floor and window sills. I
called an exterminator, of course to get rid of them. But I kind of had mixed feelings about it.

You're kidding.

It’s true. Let's see. The problem with destroying termite colonies is that they're really so crucial.
Remember, I said they recycle plant litter. In addition to creating new soil. Termites themselves
are a major source of food for other organisms, such as salamanders, frogs, lizards, and birds,
which are preyed upon by other organisms. They're part of an ecological cycle. So it has an
impact if too many termites are removed from the ecosystem.

Sorry, professor, but I'd be more concerned about the meeting my house.

As I was, uh, which reminds me of an article I wanted to tell you about. But someone recently
coined a term decompoculture and let me write that down. Decompoculture, the idea that humans
should cultivate organisms that can decompose our waste. The professor suggests in his article
that we intentionally raise them. Humans create a lot of waste that often gets dumped into
landfills or water sources. It's really just pollution. Well, this waste can be fed to termites. waste
like? uh, from sawmills or paper mills. Uh, so termites could help us. Huh?
Yes. When you think about it, it's actually another kind of symbiotic relationship that humans
would cultivate with termites.
TPO63

Conversation1

Listen to a conversation between a student and a building manager.

F: Okay, Mr. Fisher, I’ve notified my resident adviser, taking down my decorations that were in
the hallway, and I had some finds this semester, but that’s been squared away. So...

M: Already? The housing violations cleared. Okay, your paper works done. The only thing left is
to make sure your keys are in my office by the end of the day when you’re ready to go.

F : And by the end of the day, you mean?

M: Well, we usually leave around four.

F: So if I’m not done by four...?

M: you can always put them in the mailbox next to my office door. If it’s closed, I just need to
find the key is waiting in the apartment empty when I come to work tomorrow morning.

F: Thanks. They’ll be there and that apartment will be spotless. I promise.

M: Well, don’t go too crazy. We’ll have a professional crew in there anyway. Just sweep and
back him. You know,

F: We’ll do! thanks for being flexible about the time and all.

M: No problem. Melissa, I don’t mind giving tenants a break when I can, especially quiet one so
I don’t have to remind to turn their music down.

F: Thanks. You know, I wish I were gonna be around next semester so I could stay in my
apartment.

M: Congratulate.

F: I wish. I have an internship with an engineering firm. It’s a requirement for my major. But this
firms in my hometown. So I’m gonna live with my parents for the semester.
Save some money. You know, I’ll be back finishing my classes in the fall.

M: You know, It’s a shame. You’ve got to go through all this and then turn around and do it all
over again in a few months. But what can you do? The university needs any space that becomes
available. Just be sure you put in your housing request early if you wanna get an apartment again.

F: Definitely, by the way, I have a couple boxes of books stored in the basement. Can I come
back and pick them up in a few days? Maybe Thursday?

M: Sure. I don’t see what. Oh, but you won’t have a key to the storage room anymore.

F: Oh, right.

M: Well, come back whenever during working hours and I’ll let you in but don’t come with the
weather is lousy. I heard we’re in for some major snow on Thursday.

F: I won’t come if it’s bad out.

M: Okay. I don’t know which is tougher the days when it snows and we’ve got to clear the
sidewalks and parking lots or the end of the school year when everybody is moving out on the
same day?

F: Well, I’m certainly not gonna be moving stuff in the middle of a snow storm. I’m sure I can
live without those boxes for a few more days. After all they’ve been sitting in that basement for
months.

M: Well, you let me know when

F: Great, I’ll get back to you. Thanks.

Lecture1
Listen to part of a lecture in a geology class.

Ok. Before we begin I want to remind you that our field trip to Bryce canyon national park is this
weekend. Remember the bus leaves early five am , so don’t forget to set your alarm clocks. I
think you’re all gonna enjoy getting out of the classroom and actually seeing some remarkable
geologic phenomena. Now. while we’re there. I want you to pay particular attention to two things.
One obviously will be the sediment layers making up the rocks, since we’ve spent so much time
on sedimentary rocks. Bryce canyon is a great place to see how millions of years have turned
layers and layers of tightly packed sediment. mud particles sand remains of plants and animals
into rock. But you’re also gonna see some fascinating rock shapes, formations that are the result
of the weathering and the erosion processes that occur at Bryce canyon.

There are two main processes that are important. The first one is a weathering process called frost
wedge. Frost wedge a process that widens cracks in rocks in the wintertime. It begins with warm
air or daytime sun melting the snow. As the snow turns into water, it seeps into the cracks that
occur naturally in sedimentary rocks. At night. this water freezes in the cracks. but when water
freezes, it expands quite a bit, which means that it prize cracks open gradually. making them
wider and breaking off a little bits in the process. Now, this thought freeze cycle can happen as
many as two hundred times in a single year. So that makes it the most important weathering
process at Bryce canyon.

The other key processes is runoff, which is an erosion process. Runoff takes place in the summer.
The parks in the desert said the grounds very dry. When it rains in late summer. the ground is too
hard to absorb the water, so it runs off. And as it runs off, it carries away the gravel, the broken
bits of rock created by cross wedge in the winter. So runoff is the main erosion process that alters
the rock landscape in the park. And because these processes have occurred over thousands of
years. some of the results can be pretty dramatic, like the giant corridors are passage ways that
have developed within the rocks. These passage ways are known as slot canyons.
Here’s an example of one. not from the part we’re going to. This one is actually in Australia. but
the scale is typical. So these huge spaces started out as small cracks throughout the sedimentary
rock. then thanks to millions of cycles across wedge and runoff. What used to be one big area of
rock is now sort of two smaller areas of brought with the corridor in between. We’ll have a
chance to walk through some like this. These slot canyons are great places to explore. but let me
just say, for any of you who aren’t from around here, if you ever go on your own. make sure you
check a weather forecast first. A sudden heavy rain can cause a flash flood in a slot canyon. So
you want to know’ when it’s safe to explore them. Unfortunately. It’ll be dry this weekend. Now,
these deep, narrow slots are pretty common. You might even have two of them very close to each
other with only a thin va1l of rock in between. Of course. frost wedge is still at works so it starts
wearing away at the front of the thin wall until you get a whole I mean a hole all the way through
the wall. front to back. And this hole gets bigger and bigger. Once it’s at least one meter in
diameter, it’s called a window. And eventually the weight on top of it is just too much, so the
roof caves in and only the sides, sometimes it’s just one side is left standing. These sides, which
look a lot like collins, now are called Hudos. Here’s a photo of something we’ll be seeing. One of
the things that makes Bryce canyon unique is that it has more Hudos than anywhere else in the
world.

Yes, Margot?

F: Why is it so lumpy looking’? You’d think it would be smoother

.
M: Well. remember, these are sedimentary rocks, so they have layers. Some layers are mostly
limestone, and limestone erodes pretty quickly in the presence of any kind of acid. Now Bryce
canyon in a very unpolluted area. but even there. the rain water has a little carbonic acid in it,
which causes the limestone to erode. But other layers are made up of different types of sediment.
which aren’t so vulnerable to acid, so they don’t erode as quickly.

Lecture2
Listen to part of a lecture in an art history class.

Ok, so much for grand view of this painting, American gothic. Now let’s talk about one of my
favorite artist Andrew Wanes. I assume at least some of you have seen Wanes’ painting
Christine’s World. That’s the painting with the woman lying in the grass looking at a house in the
distance. Paul?

Paul: Yeah, I have. My grandmother has a print of it up in her living room. I’ve seen a couple
Andrew Wanes things. He painted like a lot of rural scenes. Right?

Professor: That’s right. For example, uh, Christine’s World is set at a farmhouse. Um, Christine’s
World took a long time to paint and for a while Wanes was unhappy with it let down because
when he hung it in his living room, just like balls grandmother, nobody who came to his house
said a word about it. He thought it was a failure. But then in 1948, he sold it to a New York art
museum. and it quickly became one of the most talked about works there. Some of the curators at
this gallery weren’t thrilled. They preferred European modern arts not American. but Christine’s
World really resonated with many people in a powerful way.

Student: So Wanes wasn’t disappointed for long?

Professor: Probably not. But it’s a funny thing about Wanes. Critics have never agreed about his
work. Some really like it. Some really don’t. In fact. an art historian named Robert Rosenblum.
Well, one time he was asked who he thought were the most overrated and the most underrated
artists of the twentieth century.
Students: Let me guess, Wanes and Wanes.
Professor: You got it. Some of my colleagues think Andrew Wanes a genius. But if you took a
big stack of art history books, you’d find that some of them don’t even mention him.

Student: I hope this isn’t too far off the track. But could you tell us a little bit about how he got
started. like his schooling and how he first, you know, became well known?

Professor: No, no problem. Susan. I’m always interested in that too. Actually, his father NC
Wanes taught him to paint. NC Wanes was an illustrator and painter and a very established artist
in his own right.

He didn’t give Andrew formal training when he was a kid, but when he was about fifteen. he
started teaching his son the technical aspects of drawing and painting. NC was impressed with
some of Andrews water colors and that wasn’t a given. I mean NC was actually pretty critical of
some of his sons work. Uh., but he was impressed with these water colors and showed them to an
art dealer. He knew who exhibited them in New York city. That was around 1937. I believe that’s
when Andrew started attracting a lot of attention about a decade before Christine’s World. Um,
and then by the 1960s in the mid— sixties, some highly regarded magazines were naming him
things like America’s preeminent artist, was a double-edged sword in a way. Uh, it confirmed his
popular appeal. You know, but what was going on in the art world in the 1960s? Paul?

Paul: Well, artists were starting to move away from realism kind of to more abstract art and
Wanes seems more like a realist.

Professor: Well, I think there are traces of abstract expressionism in his paintings, but yeah, he
seems more as a realist. So some new artists sort of used him as a target, calling him old
fashioned, which he kind of was. Lots of artists were getting into these new, abstract, surreal
techniques. And they saw a realism as behind the times. So it was easy to pick on Wanes, thinks
his fairly realistic depictions of rural scenes. He stood for the things other artists wanted to
change. So what do you think? Well, you should form your own opinions next week. But let me
say this. He was very popular. So if you were a painter at that time trying to make a name for
yourself, and another artist was constantly getting all the glory and the money, how would you
feel?
Student: Well, I might not share other peoples enthusiasm. Jealous. I guess.

Professor: So that’s something to keep in mind when you read his contemporaries comments.
You have to put it all in context. Uh, next class we’ll look at Christine’s World in more detail.
And there are a few other paintings that I think are important. And maybe you’ll have a better
idea where Wanes critics were coming from.

Conversation2

Listen to a conversation between a student and her sociology professor.

M: So Miranda, I take it you wanted to talk with me about the draft of your paper, Herbert
Spencer, that’s quite an ambitious subject.

F: Well, yes, but I just I don’t get it. I mean, I, I worked really hard on it and I thought I
understood his ideas pretty well.

M: You did. I don’t think any of my comments were directed towards your understanding of
Spencer’s theories, were they?

F: Well, uh, maybe not, I guess, but well in a couple places you wrote and I guess I just don’t get
exactly what you meant.
M: Yeah, I should have been clearer. The thing is, it’s not so much what you’ve included. It’s
what you didn’t. I mean, basically you haven’t presented much more than what’s in the textbook.
I mean, like here, ok, ideas on individualism, ideas on competition, popular earlier twentieth
century then falls out of favor. See, this is all correct, but it’s basically just a list of facts. So
when I wrote and I was asking why. Why was he popular in the early twentieth century? Why did
he fall out a favor?

F: Oh, well see the thing is when you asked us to choose a sociologist to write about. Well, I
didn’t really know anything about any of them, so I just picked one, you know, and then I got to
reading about his theories and well I realized I don’t agree with a lot of them, but I was trying
really hard not to let that show in my paper, you know, to be objective and all.

M: Ah. Well, perhaps you were trying a little too hard. Being objective doesn’t mean you’re not
allowed to be critical.

M: Oh, ok.

M: There’s no requirement that you agree with what Spencer says. In fact, I want you to think
critically.

F: Oh, I do. I just, I mean, I didn’t want to politicize everything, you know.

M: but you don’t have to make a point. A better way to go about it is to provide a little historical
perspective. Look, what were the two questions I asked you just a minute ago?

F: Ah, why was he popular and then became unpopular?

M: Exactly. See in any field, particularly the social sciences people theories, they come and go
and there will always be people who agree with them and people who don’t. Okay.

F: So you mean I should like incorporate other people’s reactions to dispensers theories, like
what was it about the early twentieth century that made a lot of people go along with them?
And what change later on?

M: That’s it. It’ll help your audience get a handle on Spencer ideas which are pretty complex.
Plus, it provides a kind of framework in which you can present your own point of view. You
can’t very well take sides or expect your audience to if you haven’t presented both sides.

Lecture3
Listen to part of a lecture in an ancient history class. The professor has been discussing the
Sumerians and the Arcadians, two ancient peoples from an area that is in modern day Iraq.

So far, we’ve been focusing on the written record of the Sumerians and the Arcadians. like the
cuneiform inscriptions we saw in those slides last week to see how historians work with
archaeologists and linguists to put together the pieces of the puzzle. What do these ancient
symbols mean? What do they tell us about ancient peoples? We’ve seen how these ancient texts
shed light on social institutions. such as legal systems, like code or practical aspects of everyday
life, such as farming and irrigation methods. as well as religious and artistic texts.

Now we’ll be discussing ancient texts when we move to Egypt to see how the hieroglyphics. the
Egyptians first weighting system reveal to us the foundations of their civilization. But
before ‘e leave Arcadians, I want to take a minute to let you hear what some of their texts
sounded like in the original languages which obviously is no longer spoken, or at least what
linguists think it sounded like. Now this is based on somewhat speculative and fairly recent
research, but it should give you some idea of what the ancient language sounded like.

Ok. So I bought this really interesting tape. It’s a recording of Arcadians texts, mostly fragments
of myths and poetry, but also practical topics like a but let’s see. the first reading is okay. This
one’s about agriculture. It’s actually from a four-thousand-year-old farmers manual with advice
on growing barley. And then yes George. but did you have a question?

George: I uh, I was just wondering, um, I mean, It’s really cool that you guys have figured out
what it sounds like and all, but I don’t get why, why would you all care so much about a
language nobody speaks anymore? It’s not like you have to learn how to say, oh I don’t know.
Uh. which way to the airport?

Professor: Okay. George, I see where you’re going with that. And that’s a really good question
especially since that selection from the farmers manual is probably not the best example of why
all this should interest you. Of course, I’m fascinated, but then that’s my profession. I guess the
more important reason has to do with our appreciation of ancient literature, the myths and poetry.
Now, that’s something that really is important to hear, as well as read since, well, for the
Arcadians, as for most early civilizations, the literature was mainly an oral tradition. You have to
understand that back then. writing like engraving into stone was an expensive and laborious
process. With no formal system of education, most people were illiterate. In fact, the few people
who could read and write the professional scribes formed a separate class. Well, ancient peoples
nevertheless had literature, but it was an oral literature, a spoken body of legends, myths, poems,
which were occasionally written down, but mostly memorized and passed down from generation
to generation.

So ok, let’s go to the recording of part of the story of Gilgamesh. Now, this is one of the oldest
myths ever told. While this story was meant to be re cited aloud even chanted or sung. So to
appreciate how Arcadians experienced the legend, Te should really hear it not just look at the
translation. And then right after that, there are some poems now, most poets even today craft their
poetry, thinking about how it sounds to their readers. the rhymes, the rhythms of the language,
that kind of thing. so that even if you’re just reading it on the page, you’re still hearing it in your
head. Right? So George. you right. the part of the tape about laws and practical stuff that
probably wouldn’t be of much interest to anyone but a specialist. But I hope I’ve convinced you
that to appreciate ancient literature, you really need to know what it sounded like. Now, this is
somewhat outside the scope of this class, but I know several of you are studying ancient
languages and literature. So this could even be a topic for a research paper.

Okay. Here let me first read to you in English, of course, the part you’re gonna hear this is from
the end of the story were Gilgamesh, the hero is offered the chance to become immortal. but then
loses that opportunity. So he weep. Sand says for whom have I labored? For whom have I
journeyed? For whom have I suffered? I have gained absolutely nothing for myself. You hear
that repetition of for whom this really brings home the character sadness. and by contrast
emphasizes that nothing in the next line. Now, the English translation does preserve the
repetition of the original Akkadian words. But what about other types of aural effects, like
repetition of a syllable or other sounds within a word, that kind of thing gets lost when you
translate into a modern language.

Lecture4
Listen to part of a lecture in a biology class.

I think the lens of the eyes just about the most fascinating part of the body. For one, It’s the only,
I repeat only transparent cellular tissue in the human body. In fact, truly transparent tissue is very
uncommon in nature. There is some sort of clear creatures that live in oceans and rivers, like the
jellyfish. They’re quasi transparency allows them to blend in with the water to escape predators. I
say quasi, because jellyfish are translucent. They’re not totally see through like the lenses. So you
have to wonder why the lenses is. Um, how is transparent tissue possible? Marlin.

Marlin: there’s no direct blood supply to that part of the eye.

Professor: Good. Exactly. Marlin. The blood and blood vessels would color the lens, would
probably end up looking pinkish, but that’s only part of the explanation. And what else?

Student: Well, there was something about crystals and fibers in the chapter we read. It said that
the lens is sometimes called a biological crystal. Not a true crystal like a diamond, but it has a
very regular arrangement of cells. The cells are exactly aligned in tightly compacted.

Professor: right. It’s made up of layers of cells, but the cells are all of one type, a rigid elongated
cell. That’s called a lens fiber because it’s all one kind of cell and because they’re align so
regularly, you don’t have all the angles you get when different types of cells are fitted together,
which refract light bended as it passes through. And that contributes to its transparency. But
there’s something missing in a lens fiber. What doesn’t a lens fiber have?

Student: Well, we said blood vessels, right?

Professor: The lens itself, right? Is that it? Anybody? No, this is very important. The lens
fibers don’t have organelles. Organelles are parts that function, like miniature organs, specialized
parts of a cell, like the nucleus that stores the DNA or mitochondria, which are the powerhouse of
a cell. Okay. Now what’s interesting here is that lens fibers as their first forming, they start out as
cells with organelles. But as the eye develops, the cells lose all of them, including the nuclei. And
without organelles, the lens fiber is nice and clear. And all those lens fibers packed together make
a nifty crystal-clear lens. But that clarity comes at a cost. So, marlin, what’s the downside of this?

Student: actually, Well, if it doesn’t have organelles, I mean DNA or whatever. Then what
happens if the lens is damaged or something?

Professor: And that’s the problem, the price of clear vision of transparent lenses is that the lens
fibers can’t regenerate or repair themselves, as other cells do, which leads me to this. As we get
older, the lens can get cloudy or yellow. It can be cataracts, or happen just from aging. There are
lots of possible causes of that, but when you get down to it, the fact remains that the lens fibers
just can’t repair themselves. So when the lens gets discolored, what do you think happens to your
sight? Well, would change your color perception wouldn’t exactly discolored lenses absorb
certain wavelengths of light? So some light rays won’t reach the retina, so some wavelengths
aren’t processed, which will affect your color vision. I just read an article about the French
impressionist painter Claude Monet. And it was really interesting because it showed examples of
his paintings. And you could see from his later paintings what he was seeing, how his eyes with
his eyesight had changed. As he got older, certain colors began to dominate his work, yellows
and reds and browns. He was mostly seeing those colors because his lenses had yellowed, load
and weren’t transparent anymore.
TPO64

Conversation1

Listen to a conversation between a student and a philosophy professor.

Professor: Hi, Melissa, you're rough draft for your paper is looking very promising so far.

Student: Thanks. I still have some reading to do. Post modernism is pretty challenging, so…

Professor: Well, you’re off to a good start. So anything else about the class or post modernism?
since we have a few minutes before my next appointment.

Student: Well, actually, in class, you talked about a French philosopher. Uh, Utah. You said he
didn’t believe in stories or something like that, that stories were invalid.

Professor: Okay, I think I see. Uh, first of all, you understand what he um, remember what
Leahthar said about the uh, the grand narrative?

Student: Not really.

Professor: Okay, have a seat.

Student: All right.

Professor: It’s not quite the same way you’re thinking of narratives, not stories. Leahthar, not
narrative as in a way of understanding the world.
Student: Um, I uh…

Professor: How can I explain this, uh, grand narrative… It’s like an idea that helps people make
sense of history, like when you picture the early middle ages in Europe, what do you think?

Student: Okay, like, um, there weren’t a lot of cultural achievement then, lots of wars, but not a
lot of important art or books or anything, like it was the Dark Ages.

Professor: All right, that’s a simple explanation of a time in history, right? Something that tends
to be accepted or understood by most people. That makes it a grand narrative. Here’s a more
recent one, scientific progress.

Student: Ah ha.

Professor: People look at important inventions throughout history light bulbs, cars, computers.
And we generally believe that there’s an underlying universal truth that modern technology
makes the world better. It’s been the belief for so long that people accept it as being true. We
don’t even think of it much. We just accept that modern technology has that effect.

Student: Well. It does make our lives better.

Professor: All right. This is where Leahthar comes in. He believed we have be careful about
accepting ideas like that. He said these beliefs really oversimplify things and that we should think
more critically. Are there times when technology would not be considered progress, where it
doesn’t bring improvement?

Student: Oh, I don’t know, uh, pollution, but I…

Professor: No…no, that’s good. It would be hard to say pollution was a form of improving the
world.

Student: But isn’t pollution just a side effective of …? Oh, so it kind of goes against the grand
narrative about technology. It complicates things.

Professor: Yeah. And that’s a basic idea behind post modernism, that we should be skeptical of
grand narrative, because there’s a good chance they’re not completely true.

Student: You mean?

Professor: Well, not to say there’s no truth in grand narratives. Of course, it’s just that nothing is
as simple and straightforward as it seems. We should look critically at the things we assume.
Student: Okay. I think I get it . Thanks.

Lecture 1

Listen to part of a lecture in an economics class. The professor has been talking about
international trade.

Professor: Ok. so let’s recap from yesterday. Why do nations engage in international trade? Well,
It’s often because they have a surplus more than they need. and they also trade for the opposite
reason when they have shortages and can’t produce everything they want or need domestically.
So these explanations are good as far as they go. But there’s another scenario we need to discuss.
And that is what if a country is capable of producing something it wants or needs, but it can also
import that same product from another country? Now. how does the country decide whether to
make the product itself or import it?
Ok. take an example. Um. Think about the bananas that you buy in the supermarket. If you look
closely, you’ll see that most bananas in the United States are imported, imported from countries
with tropical climates. But the United States has warm regions. It has green houses. Clearly. it
would be possible to grow bananas here. So why doesn’t the US do that? Scott?

Student: Well, it’s like a lot cheaper and more efficient for countries with tropical climates, for
tropical countries to grow bananas, isn’t it? I mean, they don’t need greenhouses to grow
bananas, and they’re not so limited to certain regions.

Professor: Okay, good. That’s exactly right. Tropical countries have what we call an absolute
advantage in producing bananas. Absolute advantage is the term we use when a country can
produce more of a product using fewer resources. They’re the most efficient producer of
something. And the United States can’t be that with bananas. So it’s better off specializing in
other goods that it can make more efficiently. Let’s take an example. Say we have two countries
and say they each make only two products. and they trade only with each other. Simplistic I
know. But well, you’ll see where I’m going with this in a moment. Ok. So as I was saying, two
countries, two products, one country can produce both products more efficiently than the other
country. Should these two countries even trade at all?

Student: Uh, no, I mean, like, what’s in it for the more efficient country?

Professor: Well, what is in it for them? Let’s, uh, well. let’s call these countries ,um, X and Y.
Country x makes both TVs and chairs more efficiently than country Y does. It has an absolute
advantage in producing both commodities? No question. But what economists also look at is
relative efficiency. And from that perspective, we see that country X is a lot more efficient at
making TVs than it is at making chairs, and in country Y, ah, well, it turns out they’re more
efficient at making chairs than TVs. So we say that country Y has a comparative advantage at
chair making. And country x has a comparative advantage at TV making. So what should happen?

Well, first. both countries should specialize in the production of just one thing, the product
they’re most efficient at making. Country X should make only TVs and country Y should make
only chairs. Then the two of them should trade. Specialization and trade are going to lead to
increases in production and increased overall supply of goods and generally lower prices. Right?

Student: Professor, I still don’t see how countries figure out when and where they have a
comparative advantage.

Professor: Well, you can’t fully understand the concept of comparative advantage without also
considering the related concept of opportunity cost. Opportunity cost is what you lose, um, the
options you have to give up in order to use your time and resources for something else, countries
can determine where their comparative advantages lie, uh, like making TVs instead of chairs by
figuring out what they can make with the lowest opportunity cost. Ah, you know, maybe this will
be clear if we apply it on a personal level. Now think about when you go out to a movie. Your
direct monetary cost is the price of the movie ticket. Right? But you also spend two hours at the
theater. Your opportunity cost includes both, uh, whatever else you could have spent your money
on. Um, ten candy bars may be and whatever else you could have accomplished during the time
you were watching the movie, uh, you might have completed your homework for this class, or
you might have work two hours overtime at your job, thereby earning instead of spending money.
See, these lost possibilities are your opportunity cost.

Lecture2

Listen to part of a lecture in an earth science class.

As you knows from your reading and air masses, uh, it’s a large body of air that’s got uniform
properties in terms of temperature and moisture. There are four types of air masses. And the one
will concentrate on today is the continental polar air mass. Continental polar air masses originate
form over continent near the poles over areas that are typically cold and dry. And it’s the polar air
masses from the arctic in northern Canada that largely influence weather patterns in the united
states especially in the eastern.... east of the rocky mountains.

Now, these continental polar air masses are not generally associated with heavy precipitation. In
fact, since they generally remain dry and cold throughout their track across North America, they
bring the mostly clear skies and cooler temperatures we see throughout most of the eastern
United States during the winter months. However, when a polar air mass sweeps across the great
lakes region in late autumn and winter, it can bring extremely heavy snow falls to that region. We
refer to the snow storms as lake effect snows, snows whose moisture comes from the great lakes
themselves.

Let me explain how this happens. But first, here’s a map of the region. You see Rochester on the
southern shore of lake Ontario and buffalo and the far eastern shore of lake Erie. These two cities
are among the snowiest cities in America, thanks largely to the lake effect. Over one recent ten
year period, Rochester and buffalo each received like twenty seven meters of snow. It’s nearly
ninety feet. Okay, let’s turn to the other pair of cities on this map. Thunder Bay and Marquette.

As you can see, they’re both on the shore of lake superior. But Marquette consistently gets two to
three times more snow than thunder bay. Why? Uh, basically what happens is that during the
summer. bodies of water, especially ones as large as the great lakes, absorb huge amounts of
energy, both from the sun and from the warm summer air that’s passing over them. So the lakes
become these giant reservoirs of heat, whereas the land around the lakes, well, land doesn’t store
heat as effectively as water does. As a result. during the cold seasons fall and winter, the land
loses its heat quickly, the land gets cold fast, and as you go farther north, it gets very very cold.
But the lake store heat more efficiently, so they stay warmer longer. So eventually you get these
significant temperature disparities between the lakes and the land that surrounds each one. There
can be about an eight degrees Celsius temperature difference at the southern great lakes, and up
to about a seventeen degree disparity farther north, where the water is still warm. But the land is
particularly cold. Then, here comes the dry continental polar air mass, cold air, moving
southeastward across the fairly warm lakes. Polar air masses generally move from the north and
west to the south and east. Okay, and warm air rises, right? So the warm, moist air from the lake
rises up into the cold, dry air above it. Then the difference in temperature inside the air mass
creates instability and unstable and turbulent situation in the atmosphere. As the warm air rises
through the cold air, it cools down and condense, is forming clouds. In the clouds. snowflakes
form, and snowfall occurs over the lake and on the downward shores. And because they’re
downwind, cities to the south and east of the great lakes il1 get more snow. So because of their
location, Marquette, Buffalo and Rochester get buried each winter, while Thunder Bay on lake
superior is northern shore doesn’t get hit as hard.

Oh, uh, I should mention that many scientists predict that lake effect snow storms will increase in
frequency and intensity over the course of this century. They pointed out that the average
temperature of the great lakes surface waters increased during the last century, while ice cover
decreased. So if this continues, which we certainly can’t rule out, there will be less lake water
freezing and more that evaporates into the continental polar air masses for longer periods of time
each winter. So winters around the great lakes will keep getting wetter, which means more snow,
or does it? Well, let me point out that if air temperatures keep increasing in the next hundred
years, polar air mass temperatures will too. And winners will be much milder and get snow. Even
though these areas get a lot of precipitation. the air would still have to be cold enough to support
snow fall as opposed to rain.

Conversation2

Now listen to a conversation between a student and a university employee.

Student: Hi, I’m looking for the person who’s responsible for the exhibition of the seniors art
projects, the one that’s opening here next week.

Employee: OK, that’s me. I’m the coordinator for all the art exhibits here at the student center.

Student: Oh great. I need to talk to you about how my work is going to he put up in the gallery
here when......

Employee: And you are?

Student: Oh, I’m sorry. I’m Carol Lambert. I’m one of the seniors in the exhibition, but I have
sort of an unusual piece to display, so I wanted to talk to you about the best way to show it.

Employee: And is it already here at the gallery?

Student: No. I can’t bring it. I can’t set it up until the last minute. I need to borrow some
equipment from the art department, but they’ll only give it to me for the actual week of the
exhibit.

Employee: Well, maybe you’d better tell me a little bit about your work.

Student: Well. I’m doing a multi media piece. I made this really elaborate picture frame, but
instead of putting a painting in it, I wanna project these abstract images that I created. You know,
I found this cool software program that I’m using to do that. The images will change every
couple of minutes.

Employee: Sounds complicated?

Student: Not really. You see the software programs automatic, and it’s actually pretty simple. I
have this class last semester.

Employee: So, you borrow the equipment.

Student: Yeah, but what I’m worried… the reason I came by... for this to look right, I need just
the right kind of space.

Employee: Well, we don’t usually let students choose the space where the work goes.

Student: Oh, well, can I tell you what I think would work best?

Employee: Okay, go ahead.

Student: Well, I’ve tried this all out, you know, in the art studio, and the projector needs to be
exactly nine meters from the wall. It has to be that exact distance. So the images will fit just right
in the picture frame, That way, I want people to be fooled even if it’s just for a second to think
that they’re looking at a real abstract painting.

Employee: OK, we can arrange that. Uh, do you have a stand for the projector?

Student: Yeah. And once my picture frame is hung on the wall, I’ll adjust the stand to the right
height. There’s one more thing.

Employee: Yes?

Student: Well, it would be really helpful if the wall, if the frame could be hung on a wall that has
kind of dim lighting. If the lights are really bright, the images get kind of hard to see. But if the
lights are low, then it’ll look more real.

Employee: Um, you know, we use pretty strong lighting so that the visitors can see all the pieces
clearly, and we really don’t want to turn down. Um, to come to think of it. The individual lights
can be adjusted, usually be pointing, so they shine directly on a particular work. But in this case,
maybe we can turn the spotlights away from your piece, point them somewhere away from the
wall.

Student: Could you? That would be great!

Employee: You know, I’ll be interested in seeing how this turns out.

Lecture3

Listen to part of a lecture in a zoology class.

Student: Urn, professor? we were talking about the principles of classification, how uh, some
types of animals are related to other animals and um, similarities between different kinds of
animals. But I was reading the textbook last night and it mentioned that um, there lots of animals
that are related to each other, even though they have some major dissimilarity. Could you talk
about that a little bit?

Professor: Sure, and I’m glad you brought that up. But first, um, out of curiosity, are any of you
from the south western part of the United States? No? Well, then I’m probably explaining
something a little new to most of you. because when you ask about that, the example that jumps
to my mind is uh, one type of lizard. the Hela monster. Hela monsters pretty much all live in the
desert areas of the southwestern United States and in northern Mexico, parts of northern Mexico.
The Hela monster looks and acts a lot like other lizards, but in one key way, it seems different. I
mean. Hela monsters would be classified as lizards because, well, uh, the Hela monster and all
lizards share certain characteristics. Some of the features of the skull, the jaw, and other parts of
the skeleton. All lizards inherit these features from a common ancestor. That’s why they are
classified as lizards. And most lizards also have things like fore legs, uh, a long tail skin covered
in scales. Let’s see, um, a triangular head. And yes, Michelle?

Student: You know, there’s actually an illustration of one on, let’s see, page twelve of our
handouts.

Professor: Thanks, Michelle. Let’s all take a look. Basically, It’s a fairly large creature. My guess
about two feet long. It has, well, you can see those spots or blotch as all along its body, ah.. Mike?

Student: Um. you said that Hela monsters are different from most other lizards. But what you just
described and the picture, well, It’s, It’s like lots of other lizards, right?

Professor: Yes. As I said, Hela monsters are like other lizards. But, uh, they have one significant
difference. In contrast to nearly all other lizards. Hela monsters are venomous.

Student: Venomous? You mean poisonous like Snakes?

Professor: Well, yes. In fact. Hela monsters are a lot like some snakes in that way, but snakes
don’t have all those other characteristics I mentioned before, but many snakes, many kinds of
snakes are venomous. So are Hela monsters more closely related to snakes or to Lizards?

Student: Ah... snakes?

Professor: No! lizards! It’s true that Hela monsters and snakes do have that one major
characteristic in common. And of course, snakes and Hela monsters are both reptiles. But what
helps us decide where the Hela monster belongs? Well, and this is the point I want to stress here.
Similar features in different species may occur because they were inherited from a common
ancestor. Then those features are a sign that the species are related. But they may also evolve
independently. And they may even evolve for completely different reasons, um, different
purposes. And that’s what’s happening here. Not only did the venom system of snakes and Hela
monsters evolve independently, but they also function quite differently from each other. Snakes
use their venom to hunt and subdue prey for food, but Hela monsters just, uh, they basically use it
for self defense.

You’ll only see a Hela monster use its venom if it’s attacked, or um, if it feels threatened in some
way, you see Hela monsters, when they sense danger, they first try to hide, um, to mix in with the
environment, the colors of their skin with all its spots and blotches blend well with the colors of
their surroundings, but sometimes their camouflage can fail. So then for defense, they use their
venom. So so getting back to the point, it would be a mistake to classify snakes and Hela
monsters in the same category, just because they’re both venomous.

Oh, oh, there’s another interesting thing about Hela monsters in their venom. There’s a chemical
in their venom that’s being used in a new drug to help fight type two diabetes and the
experiments with this new drug. Well, this could really represent an important medical
breakthrough. It’s worth noting that this chemical is only found in the venom of Hela monsters. It
doesn’t occur in snakes, and It doesn’t occur in any other lizard.
TPO65

Conversation1

Listen to a conversation between a student and an employee in the housing office.

Employee: Hi, here for your room key.

Student: Actually, no, I got a bill in the mail today.

Employee: Yeah, don't worry about it. Some students got a second copy of their housing bills.
You can just ignore it if you've already paid.

Student: Yeah, no, actually it's my phone bill. I just got it, and it looks like there were all these
calls made during the summer break, and I wasn't even here. I turned in my room key at the end
of last term.

Employee: Right, that do you remember making arrangements to have your phone service turned
off before you left?

Student: Was I supposed to do that?

Employee: Yeah, you were.

Student: I didn't know that.

Employee: Yeah, it's in the contract.

Student: What contract?

Employee: Okay, you had service with the phone company, right?

Student: Sure.

Employee: and you got a copy of the contract when you signed up.

Student: Yeah, I guess so.

Employee: Oh, well. Okay, then it's… it's buried in the details of the contract and the fine print.
And I've got to admit that I might not have noticed myself, but I've dealt with two or three other
cases like this. And it does state that it's your responsibility to cancel the service.

Student: Really?

Employee: I'm afraid, so you might not have seen it, but it's in there.

Student: But I thought that the housing law is automatically shut the service off when the
university closes for the summer break.

Employee: I'm afraid not. Classes may end for you, but the university doesn't close down. We
have a whole summer program of short courses, so it's likely that someone who was enrolled in
the summer program was assigned to your old room and when they plugged the phone in.

Student: This service was already there. Oh wow, I really made a stupid mistake.

Employee: Oh well, don't be too hard on yourself and there is a chance we could do something.
What was your old room number?

Student: Baker hall, room six twenty two.

Employee: Okay, it looks like someone did stay there over the break. What I can do is contact
them and ask them to give us a call. Then we'll explain what happened, and we'll give them your
contact information.

Student: Ok, but what if you don't get a reply?

Employee: Well, I hope that doesn't happen because if it does, then you're on your own. What it
comes down to is this: you signed a contract with the phone company, and there's really not much
we can do to help you with this point.

Conversation2

Listen to a conversation between a student and his professor.

Professor Anderson, I really don't want this to come out sounding all wrong, like I really
appreciate you seeing me taking the time and everything.

What is it, Michael?

Well, it's about the modern drama course.

Oh yeah, well, there's a lot of work in that class. I hear about it all the time from students, so let
me guess, is the reading too difficult, the assignments too long?

No, actually, it's just…, I thought we'd be reading different stuff like more modern.

Oh, what we're reading is very modern, quintessentially modern, I mean, don't you think Samuel
Beckett's works too modern?

Frankly, no. I mean, I think he's more modern than Chekhov, but he wrote his best stuff over fifty
years ago.

Oh, I see, so by modern you mean…

Like David Mamet. I mean, he's alive and writing right now.

I think what you mean is you'd like to read more contemporary playwrights, is that it?

Yeah, contemporary, modern, basically the same thing. Right?

Well, we do use them interchangeably in everyday speech, but in terms of the history of drama,
modern generally means the early and mid twentieth century, the first six decades or so. But
really it has less to do with this span of time, and more to do with the work of a few very
important playwrights.

I can see that these people may have been revolutionary artists spend their time, but are there
ideas like still relevant today? I mean, are they like old hat?

Well, I think that if you take a closer look at contemporary playwrights like David Mamet, you'd
realize that what he's doing is not all that different from what, say, an earlier playwright like
Beckett, or even check off for example was doing, and it's almost impossible to imagine that
David Mamet could be writing the way he does if it hadn't been for those earlier playwrights.

Can you give me an example?

Man, Mamet used of its language and the rhythm of the dialogue, like Beckett, rhythm was an
important element, and his dialogue. There's one particular play written by Mamet called the
cryptogram, which is a great example of this. Let's just say that Beckett looms behind all of
mom's place, but this one, the cryptogram, well, it's not only Mamet language that recalls Beckett,
but also the predicament in which Mamet characters find themselves. Really Michael, I don't
think the course description is misleading. This is a course on modern drama, and that is what
we're reading. I mean, if you're interested in contemporary dramatists then, you can't, if you want
write your first paper on a contemporary playwright. But only if it's a comparison with a work of
an earlier playwright, I think that would be a good exercise, and it might even help you resolve
some of the problems we talked about today.

Lecture 1

Listen to part of a lecture in a biology class.

Until about thirty years ago, scientific opinion was pretty much unanimous in thinking that
dinosaurs were cold blooded creatures and not warm-blooded like mammals and birds. What are
these terms, cold and warm blooded mean? Well, they're imprecise terms, a little bit inaccurate,
but for the sake of consistency, I'll continue to use them. Warm blooded animals, or technically
endothermic animals, are animals that use their own metabolism to maintain a relatively high,
generally constant body temperature. They generate their own heat, whereas cold blooded
animals, technically called exothermic animals, cold blooded animals rely on the environment
primarily to regulate their body temperature. And their body temperature can actually vary a
great deal, depending on the temperature surrounding them. Now, as I said, mammals and birds
are warm blooded creatures, and we being mammals, you're familiar with, you know, your body
stays pretty much the same temperature all the time, whereas if you've ever seen, say, snakes or
lizards, you know, basking in the sun on a rock, you can see the characteristic feature of a cold
blooded creature that is using the environment to help regulate his body temperature.

As I said, until about thirty years ago, dinosaurs were, because they seem to most closely
resemble reptiles, they were thought to be cold blooded. Then about thirty years ago, a number of
scientists began to suggest the possibility that dinosaurs might, in fact, be warm blooded. This
was very exciting for a variety of reasons. Warm blooded creatures are closer to us. They are
more active. They move faster. They can live in a wider range of environments than cold blooded
creatures, so a lot of scientists kind of got on this bandwagon for warm blooded dinosaurs. But
unfortunately, a lot of the evidence for dinosaurs possibly being warm-blooded is indirect.

Among the pieces of evidence is that the fossilized remains of dinosaurs have shown that certain
kinds of dinosaurs had feathers. Now, feathers in birds, one of their main functions, apart from
helping certain birds to fly, is that they're an insulator. They preserve body heat, so by analogy,
some people have argued, well, ok, if there were feathered dinosaurs, maybe they had feathers for
insulation. Yes, maybe, but maybe not.

Another piece of indirect evidence is that some dinosaurs, some dinosaurs remains, have been
found in areas, latitudes that today have arctic climates and might, in fact, have had very cold
climate at the time that the dinosaurs were living there. It's hard to function as a cold blooded
creature in an arctic climate. Unfortunately, we don't have exact climate information. It's only
been suggested that these areas might have been as cold as they are today. So again, this is not,
you know, a knock down argument in favor of dinosaurs being warm blooded.

Another argument for the warm blooded theory has to do with, looking at the anatomy of
dinosaurs, and at the similarities with warm blooded animals. If you look at what's around today,
well, let's see, uh, today anything that walks on two legs is warm blooded, that goes for humans
and some other primates and birds, like the ostrich. Okay? It's only warm-blooded creatures, you
know, like ostriches have upright posture, all right. So proponents of the idea that dinosaurs were
warm blooded say, well, look at dinosaurs. Some of them had a right posture, too. Coincidence?
They say, no, these two legged dinosaurs were warm blooded too. Okay, but on the other hand,
um, as far as we can tell, dinosaurs lacked a body structure called the respiratory turbinate. Why
is that significant? Respiratory turbines are these complicated structures inside the nasal cavity,
their lined with soft tissue and their function is that as the air passes through these complicated
kind of clique passages. Air coming in is warmed up so that a warm blooded creature isn't
shocked by its lungs aren't shocked by receiving cold air directly from the outside, which would
really disturb its internal temperature. So unless there's some other mechanism that we don't
know about, it seems that these are the dinosaurs lacked that vital feature of all existing warm
blooded animals.

Lecture 2

Listen to part of a lecture in a psychology class.

There's a common notion that psychology is about what's wrong with people. But psychology
also offers us important tools for living happier for forgetting more satisfaction out of life, and a
key concept in the field of health psychology is resilience.

Resilient people face adversity. They generally refuse to be discouraged. So when a negative
event occurs, say losing a job or another major setback, are they like, why did this happen to me
or do they try to bounce right back and perhaps learn something meaningful. This attitude that
this tendency to deal with difficulties in a positive way is what we call resilience. Resilient
people don't generally feel like victims or o feel sorry for themselves or complain a lot when
things go wrong. Instead, they use active coping mechanisms. Active coping includes things like
finding social support, and we flaming stressful situations in a positive light. And research shows
that using active coping mechanisms is associated with an improved sense of well being.

Take this scenario. The psychology department here recently started offering some courses online
over the Internet. But before students can enroll, they have to master some fairly complicated
computer skills. Some students get frustrated easily and perceive this challenge to be
insurmountable. They just sit around complaining, but students who are more resilient find a way
to learn the technology. They even seem to like the challenge, even when it's more difficult than
they expected, and not much fun. Unlike the first group who just dropped their hands, what I'm
talking about is persistence coming back again and again after repeated failures. Persistence is
another aspect of resiliency, and so is seeking to learn from adversity, realizing the value of what
we take away from one challenge and using it to help us tackle the next challenge.

Think of resilience as a set of personality traits that predispose someone to approach a difficult
situation as a challenge that can be overcome, and that might even offer an opportunity for some
deeper understanding.

So do you think resilient personality traits are inborn, or are they learned, acquired somehow?

Well, I don't want to go into biology, but there's some evidence that you're born with a certain
predisposition, let’s say. So you have a genetic factor there. However, if your waist and family
where people have a lot of energy, what were parents coach their children to adversity, that
predisposition isn't going to affect you as much as the environment in which you are raised.
Now, having said that, if you were raised in a home, where it tends to be negative, that's going
to affect how you see the world, but not appropriately. You can have other adults in your life
other than your parents, what we call natural mentors who can model and encourage resilient
behavior, yet maybe a grandparent or neighbor or coach who inspires you to practice harder
after losing a game.
Say, once you're an adult and you're out of school and living on your own, is it possible to teach
yourself to become more resilient?

Well, historically, the predominant view was that personality was pretty much set by each thirty,
but recently we found evidence suggesting that fundamental personality traits such as
agreeableness and willingness to take risks, can change to some degree. One major survey found
that experiences like education, jobs and parenting can alter personality, and generally for the
good. For example, holding down a job requires that a person be conscientious and organized, so
people tend to become more responsible as the age. So while it does get harder to change the
older we get, it is possible. But to be more specific about your question, how can we become
more resilient? Well, first we need to identify traits we have that make us less resilient, which
might fit into that category.

Um, impatience or fear of failure?

Sure, also being overly critical of ourselves demanded, affection by becoming aware of such
tendencies, it may be easier to block or ignore them when they get in our way, but we should also
identify our traits that can help us become more resilient. Like perfectionists tend to be very good
at setting goals, so they could set a new goal, but becoming more resilient. It also helps to ask a
support a friend to encourage them, like, like those frustrated psychology students I mentioned
earlier. A friend could help them identify with blocking them, fearing of breaking the computer
maybe, and reassure them, and also stressed the wig wards of taking online courses like getting a
good education or finding a whole new career.

Lecture 3

Listen to part of a lecture in an art history class.

Perspective, this was a brand new idea in art during the European renaissance. Before this time,
painters had accepted the fact that a painting was two dimensional, and everything was more or
less flat in a painting. But you can, as your painting or drawing, make it look like it has depth,
make it look like things get farther away as they go back. During the renaissance, new techniques
were developed to do this. Now, the simplest example would be trying to draw a picture of a road
if you draw two parallel lines, right next to one another, the road looks flat. It doesn't look like it
stretches off into the distance. In order to make it look like it stretches off into the distance, you
draw your two lines, slightly converging, getting closer and closer together until they need it, and
what we call the vanishing. This gives you the illusion that the road gets farther and farther away
from you, the viewer. So as this process of perspective in painting became more and more
common and more and more popular, it began to be used by set designers, set designers in the
theater at this time were generally painters. So these painters, who were creating perspective
paintings, decided to do the same thing on stage and create perspective set designs. In order to do
this, they had to use wings. What is a wing, you ask?

Good question, well, it doesn't involve birds or flying. In this context, a wing is a large wooden
frame covered with a canvas. Basically, it's a very large painting, let's say three meters long by
two and a half meters tall. A typical set designed during the renaissance would have four wings
on stage left, four wings on stage, right, and another one in the back, creating the illusion of one
big giant painting. And you would arrange these on stage, and it would look like a town square or
a grove of trees in the woods, or whatever the setting was. There were two ways to arrange these
wings to create the illusion of perspective on stage. The earliest method was known as angled
wings, because perspective was difficult to do it first, right? it was a new technique. Painters
would just get the hang of it. In this involved, placing your wings not directly facing the audience,
but slightly angled toward the back of the stage. this is just like that drawing of the road where
the line start to come together. By placing the wings at this angle, it made it much easier for the
painters to create the illusion that things got farther away as you move toward the back of the
stage, whether it was buildings, trees or whatever type of set you are trying to create. There was a
problem with angled wings, though. The illusion was beautiful but angled wings are very
difficult to change, made it very hard to have more than just one setting for any given play. They
came up with a method for shifting or changing these angled wings, but you'll see that it wasn't
very convenient. It then involved simply having multiple canvasses for each wing. If you have
your wing and it has it seen painted on it, you could hang two or three more canvas over the back.
When you wanted to change sets, you simply take that canvas and flip it over to the front. Of
course, it requires a number of people to do that, and it never quite looks right because it's not
firmly attached to the frame.

Another way was known as flat wings. So as painters got better at painting in perspective as their
techniques became more advanced, they developed the ability to have these wings directly facing
the audience instead of angling them in. This development made it easier to change set. They said,
we'll just put another behind another behind another when it's time to change a set, we simply
pull the first ones away, and we reveal the ones that are behind. Of course, the problem with
lining the mop was that it still required a number of people to drag these large wings out of the
way. Then in 1645, the chariot and pull system was developed. The chariot was simply a rolling
wagon located below the stage on tracks. Poles connected it to the wings through long holes in
the stage floor, using a system of pulleys and rope that we're all attached to a single Prague. One
person could sit below the stage and move all the wings off or on stage at once.