810+ CAT Reading Comprehension Questions With Video Solutions PDF

Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic
creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky's description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.

A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like 'densities', 'indefinite pitch relations', 'dynamic serialization', 'permutation', etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . .

The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search.

The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the 'inhuman' quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.

correct answer:-4

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic
creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky's description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.

A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like 'densities', 'indefinite pitch relations', 'dynamic serialization', 'permutation', etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . .

The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search.

The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the 'inhuman' quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.

correct answer:-1

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic
creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky's description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.

A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like 'densities', 'indefinite pitch relations', 'dynamic serialization', 'permutation', etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . .

The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search.

The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the 'inhuman' quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.

correct answer:-1

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Instruction for set 1:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Often the well intentioned music lover or the traditionally-minded professional composer asks two basic questions when faced with the electronic music phenomena: (1) . . . is this type of artistic
creation music at all? and, (2) given that the product is accepted as music of a new type or order, is not such music “inhuman”? . . . As Lejaren Hiller points out in his book Experimental Music (coauthor Leonard M. Isaacson), two questions which often arise when music is discussed are: (a) the substance of musical communication and its symbolic and semantic significance, if any, and (b) the particular processes, both mental and technical, which are involved in creating and responding to musical composition. The ever-present popular concept of music as a direct, open, emotional expression and as a subjective form of communication from the composer, is, of course still that of the nineteenth century, when composers themselves spoke of music in those terms . . . But since the third decade of our century many composers have preferred more objective definitions of music, epitomized in Stravinsky's description of it as “a form of speculation in terms of sound and time”. An acceptance of this more characteristic twentieth-century view of the art of musical composition will of course immediately bring the layman closer to an understanding of, and sympathetic response to, electronic music, even if the forms, sounds and approaches it uses will still be of a foreign nature to him.

A communication problem however will still remain. The principal barrier that electronic music presents at large, in relation to the communication process, is that composers in this medium are employing a new language of forms . . . where terms like 'densities', 'indefinite pitch relations', 'dynamic serialization', 'permutation', etc., are substitutes (or remote equivalents) for the traditional concepts of harmony, melody, rhythm, etc. . . . When the new structural procedures of electronic music are at last fully understood by the listener the barriers between him and the work he faces will be removed. . . .

The medium of electronic music has of course tempted many kinds of composers to try their hand at it . . . But the serious-minded composer approaches the world of electronic music with a more sophisticated and profound concept of creation. Although he knows that he can reproduce and employ melodic, rhythmic patterns and timbres of a traditional nature, he feels that it is in the exploration of sui generis languages and forms that the aesthetic magic of the new medium lies. And, conscientiously, he plunges into this search.

The second objection usually levelled against electronic music is much more innocent in nature. When people speak—sometimes very vehemently—of the 'inhuman' quality of this music they seem to forget that the composer is the one who fires the machines, collects the sounds, manipulates them, pushes the buttons, programs the computer, filters the sounds, establishes pitches and scales, splices tape, thinks of forms, and rounds up the over-all structure of the piece, as well as every detail of it.

correct answer:-1

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

This book takes the position that setting in literature is more than just backdrop, that important insight into literary texts can be made by paying close attention to how authors craft place, as well as to how place functions in a narrative. The authors included in this reference work engage deeply with either real or imagined geographies. They care about how human decisions have shaped landscapes and how landscapes have shaped human practices and values. Some of the best writing is highly vivid, employing the language of the senses because this is the primary means through which humans know physical space.

Literature can offer valuable perspectives on physical and cultural geography. Unlike scientific reports, a literary narrative can provide the emotional component missing from the scientific record. In human experience, geographical places have a spiritual or emotional component in addition to and as part of a physical layout and topography. This emotional component, although subjective, is no less “real” than a surveyor’s map. Human consciousness of place is experienced in a multimodal manner. Histories of places live on in many forms, one of which is the human memory or imagination.

Both real and imaginary landscapes provide insight into the human experience of place. The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition. The perspectives that most concern cultural geographers are often those regarding movement and migration, cultivation of natural resources, and organization of space. The latter two reflect concerns of the built environment, a topic shared with the field of architectural study. Many of these concerns are also reflected in work sociologists do. Scholars from literary studies can contribute an aesthetic dimension to what might otherwise be a purely ideological approach.

Literature can bring together material that spans different branches of science. For example, a literary description of place may involve not only the environment and geography but the noises and quality of light, or how people from different races or classes can experience the same place in different ways linked to those racial or class disparities. Literary texts can also account for the way in which absence—of other people, animals, and so on—affects a human observer or inhabitant. Both literary and scientific approaches to place are necessary, working in unison, to achieve a complete record of an environment. It is important to note that the interdisciplinary nature of this work teaches us that landscapes are not static, that they are not unchanged by human culture. At least part of their identity derives from the people who inhabit them and from the way space can alter and inspire human perspective. The intersection of scientific and literary expression that happens in the study of literary geography is of prime importance due to the complexity of the personal and political ways that humans experience place.

correct answer:-3

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

This book takes the position that setting in literature is more than just backdrop, that important insight into literary texts can be made by paying close attention to how authors craft place, as well as to how place functions in a narrative. The authors included in this reference work engage deeply with either real or imagined geographies. They care about how human decisions have shaped landscapes and how landscapes have shaped human practices and values. Some of the best writing is highly vivid, employing the language of the senses because this is the primary means through which humans know physical space.

Literature can offer valuable perspectives on physical and cultural geography. Unlike scientific reports, a literary narrative can provide the emotional component missing from the scientific record. In human experience, geographical places have a spiritual or emotional component in addition to and as part of a physical layout and topography. This emotional component, although subjective, is no less “real” than a surveyor’s map. Human consciousness of place is experienced in a multimodal manner. Histories of places live on in many forms, one of which is the human memory or imagination.

Both real and imaginary landscapes provide insight into the human experience of place. The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition. The perspectives that most concern cultural geographers are often those regarding movement and migration, cultivation of natural resources, and organization of space. The latter two reflect concerns of the built environment, a topic shared with the field of architectural study. Many of these concerns are also reflected in work sociologists do. Scholars from literary studies can contribute an aesthetic dimension to what might otherwise be a purely ideological approach.

Literature can bring together material that spans different branches of science. For example, a literary description of place may involve not only the environment and geography but the noises and quality of light, or how people from different races or classes can experience the same place in different ways linked to those racial or class disparities. Literary texts can also account for the way in which absence—of other people, animals, and so on—affects a human observer or inhabitant. Both literary and scientific approaches to place are necessary, working in unison, to achieve a complete record of an environment. It is important to note that the interdisciplinary nature of this work teaches us that landscapes are not static, that they are not unchanged by human culture. At least part of their identity derives from the people who inhabit them and from the way space can alter and inspire human perspective. The intersection of scientific and literary expression that happens in the study of literary geography is of prime importance due to the complexity of the personal and political ways that humans experience place.

correct answer:-3

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

This book takes the position that setting in literature is more than just backdrop, that important insight into literary texts can be made by paying close attention to how authors craft place, as well as to how place functions in a narrative. The authors included in this reference work engage deeply with either real or imagined geographies. They care about how human decisions have shaped landscapes and how landscapes have shaped human practices and values. Some of the best writing is highly vivid, employing the language of the senses because this is the primary means through which humans know physical space.

Literature can offer valuable perspectives on physical and cultural geography. Unlike scientific reports, a literary narrative can provide the emotional component missing from the scientific record. In human experience, geographical places have a spiritual or emotional component in addition to and as part of a physical layout and topography. This emotional component, although subjective, is no less “real” than a surveyor’s map. Human consciousness of place is experienced in a multimodal manner. Histories of places live on in many forms, one of which is the human memory or imagination.

Both real and imaginary landscapes provide insight into the human experience of place. The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition. The perspectives that most concern cultural geographers are often those regarding movement and migration, cultivation of natural resources, and organization of space. The latter two reflect concerns of the built environment, a topic shared with the field of architectural study. Many of these concerns are also reflected in work sociologists do. Scholars from literary studies can contribute an aesthetic dimension to what might otherwise be a purely ideological approach.

Literature can bring together material that spans different branches of science. For example, a literary description of place may involve not only the environment and geography but the noises and quality of light, or how people from different races or classes can experience the same place in different ways linked to those racial or class disparities. Literary texts can also account for the way in which absence—of other people, animals, and so on—affects a human observer or inhabitant. Both literary and scientific approaches to place are necessary, working in unison, to achieve a complete record of an environment. It is important to note that the interdisciplinary nature of this work teaches us that landscapes are not static, that they are not unchanged by human culture. At least part of their identity derives from the people who inhabit them and from the way space can alter and inspire human perspective. The intersection of scientific and literary expression that happens in the study of literary geography is of prime importance due to the complexity of the personal and political ways that humans experience place.

correct answer:-2

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Instruction for set 2:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

This book takes the position that setting in literature is more than just backdrop, that important insight into literary texts can be made by paying close attention to how authors craft place, as well as to how place functions in a narrative. The authors included in this reference work engage deeply with either real or imagined geographies. They care about how human decisions have shaped landscapes and how landscapes have shaped human practices and values. Some of the best writing is highly vivid, employing the language of the senses because this is the primary means through which humans know physical space.

Literature can offer valuable perspectives on physical and cultural geography. Unlike scientific reports, a literary narrative can provide the emotional component missing from the scientific record. In human experience, geographical places have a spiritual or emotional component in addition to and as part of a physical layout and topography. This emotional component, although subjective, is no less “real” than a surveyor’s map. Human consciousness of place is experienced in a multimodal manner. Histories of places live on in many forms, one of which is the human memory or imagination.

Both real and imaginary landscapes provide insight into the human experience of place. The pursuit of such a topic speaks to the valuable knowledge produced from bridging disciplines and combining material from both the arts and the sciences to better understand the human condition. The perspectives that most concern cultural geographers are often those regarding movement and migration, cultivation of natural resources, and organization of space. The latter two reflect concerns of the built environment, a topic shared with the field of architectural study. Many of these concerns are also reflected in work sociologists do. Scholars from literary studies can contribute an aesthetic dimension to what might otherwise be a purely ideological approach.

Literature can bring together material that spans different branches of science. For example, a literary description of place may involve not only the environment and geography but the noises and quality of light, or how people from different races or classes can experience the same place in different ways linked to those racial or class disparities. Literary texts can also account for the way in which absence—of other people, animals, and so on—affects a human observer or inhabitant. Both literary and scientific approaches to place are necessary, working in unison, to achieve a complete record of an environment. It is important to note that the interdisciplinary nature of this work teaches us that landscapes are not static, that they are not unchanged by human culture. At least part of their identity derives from the people who inhabit them and from the way space can alter and inspire human perspective. The intersection of scientific and literary expression that happens in the study of literary geography is of prime importance due to the complexity of the personal and political ways that humans experience place.

correct answer:-4

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Different sciences exhibit different science cultures and practices. For example, in astronomy, observation - until what is today called the new astronomy - had always been limited to what could be seen within the limits of optical light. Indeed, until early modernity the limits to optical light were also limits of what humans could themselves see within their limited and relative perceptual spectrum of human vision. With early modernity and the invention of lensed optical instruments - telescopes - astronomers could begin to observe phenomena never seen before. Magnification and resolution began to allow what was previously imperceptible to be perceived - but within the familiar limits of optical vision. Galileo, having learned of the Dutch invention of a telescope by Hans Lippershey, went on to build some hundred of his own, improving from the Dutch 3x to nearly 30x telescopes - which turn out to be the limit of magnificational power without chromatic distortion. And it was with his own telescopes that he made the observations launching early modern astronomy (phases of Venus, satellites of Jupiter, etc.). Isaac Newton’s later improvement with reflecting telescopes expanded upon the magnificational-resolution capacity of optical observation; and, from Newton to the twentieth century, improvement continued on to the later very large array of light telescopes today - following the usual technological trajectory of “more-is-better” but still remaining within the limits of the light spectrum. Today’s astronomy has now had the benefit of some four centuries of optical telescopy. The “new astronomy,” however, opens the full known electromagnetic spectrum to observation, beginning with the accidental discovery of radio astronomy early in the twentieth century, and leading today to the diverse variety of EMS telescopes which can explore the range from gamma to radio waves. Thus, astronomy, now outfitted with new instruments, “smart” adaptive optics, very large arrays, etc., illustrates one style of instrumentally embodied science - a technoscience. Of course astronomy, with the very recent exceptions of probes to solar system bodies (Moon, Mars, Venus, asteroids), remains largely a “receptive” science, dependent upon instrumentation which can detect and receive emissions.

Contemporary biology displays a quite different instrument array and, according to Evelyn Fox- Keller, also a different scientific culture. She cites her own experience, coming from mathematical physics into microbiology, and takes account of the distinctive instrumental culture in her Making Sense of Life (2002). Here, particularly with the development of biotechnology, instrumentation is far more interventional than in the astronomy case. Microscopic instrumentation can be and often is interventional in style: “gene-splicing” and other techniques of biotechnology, while still in their infancy, are clearly part of the interventional trajectory of biological instrumentation. Yet, in both disciplines, the sciences involved are today highly instrumentalized and could not progress successfully without constant improvements upon the respective instrumental trajectories. So, minimalistically, one may conclude that the sciences are technologically, instrumentally embodied. But the styles of embodiment differ, and perhaps the last of the scientific disciplines to move into such technical embodiment is mathematics, which only contemporarily has come to rely more and more upon the computational machinery now in common use.

correct answer:-2

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Different sciences exhibit different science cultures and practices. For example, in astronomy, observation - until what is today called the new astronomy - had always been limited to what could be seen within the limits of optical light. Indeed, until early modernity the limits to optical light were also limits of what humans could themselves see within their limited and relative perceptual spectrum of human vision. With early modernity and the invention of lensed optical instruments - telescopes - astronomers could begin to observe phenomena never seen before. Magnification and resolution began to allow what was previously imperceptible to be perceived - but within the familiar limits of optical vision. Galileo, having learned of the Dutch invention of a telescope by Hans Lippershey, went on to build some hundred of his own, improving from the Dutch 3x to nearly 30x telescopes - which turn out to be the limit of magnificational power without chromatic distortion. And it was with his own telescopes that he made the observations launching early modern astronomy (phases of Venus, satellites of Jupiter, etc.). Isaac Newton’s later improvement with reflecting telescopes expanded upon the magnificational-resolution capacity of optical observation; and, from Newton to the twentieth century, improvement continued on to the later very large array of light telescopes today - following the usual technological trajectory of “more-is-better” but still remaining within the limits of the light spectrum. Today’s astronomy has now had the benefit of some four centuries of optical telescopy. The “new astronomy,” however, opens the full known electromagnetic spectrum to observation, beginning with the accidental discovery of radio astronomy early in the twentieth century, and leading today to the diverse variety of EMS telescopes which can explore the range from gamma to radio waves. Thus, astronomy, now outfitted with new instruments, “smart” adaptive optics, very large arrays, etc., illustrates one style of instrumentally embodied science - a technoscience. Of course astronomy, with the very recent exceptions of probes to solar system bodies (Moon, Mars, Venus, asteroids), remains largely a “receptive” science, dependent upon instrumentation which can detect and receive emissions.

Contemporary biology displays a quite different instrument array and, according to Evelyn Fox- Keller, also a different scientific culture. She cites her own experience, coming from mathematical physics into microbiology, and takes account of the distinctive instrumental culture in her Making Sense of Life (2002). Here, particularly with the development of biotechnology, instrumentation is far more interventional than in the astronomy case. Microscopic instrumentation can be and often is interventional in style: “gene-splicing” and other techniques of biotechnology, while still in their infancy, are clearly part of the interventional trajectory of biological instrumentation. Yet, in both disciplines, the sciences involved are today highly instrumentalized and could not progress successfully without constant improvements upon the respective instrumental trajectories. So, minimalistically, one may conclude that the sciences are technologically, instrumentally embodied. But the styles of embodiment differ, and perhaps the last of the scientific disciplines to move into such technical embodiment is mathematics, which only contemporarily has come to rely more and more upon the computational machinery now in common use.

correct answer:-3

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Different sciences exhibit different science cultures and practices. For example, in astronomy, observation - until what is today called the new astronomy - had always been limited to what could be seen within the limits of optical light. Indeed, until early modernity the limits to optical light were also limits of what humans could themselves see within their limited and relative perceptual spectrum of human vision. With early modernity and the invention of lensed optical instruments - telescopes - astronomers could begin to observe phenomena never seen before. Magnification and resolution began to allow what was previously imperceptible to be perceived - but within the familiar limits of optical vision. Galileo, having learned of the Dutch invention of a telescope by Hans Lippershey, went on to build some hundred of his own, improving from the Dutch 3x to nearly 30x telescopes - which turn out to be the limit of magnificational power without chromatic distortion. And it was with his own telescopes that he made the observations launching early modern astronomy (phases of Venus, satellites of Jupiter, etc.). Isaac Newton’s later improvement with reflecting telescopes expanded upon the magnificational-resolution capacity of optical observation; and, from Newton to the twentieth century, improvement continued on to the later very large array of light telescopes today - following the usual technological trajectory of “more-is-better” but still remaining within the limits of the light spectrum. Today’s astronomy has now had the benefit of some four centuries of optical telescopy. The “new astronomy,” however, opens the full known electromagnetic spectrum to observation, beginning with the accidental discovery of radio astronomy early in the twentieth century, and leading today to the diverse variety of EMS telescopes which can explore the range from gamma to radio waves. Thus, astronomy, now outfitted with new instruments, “smart” adaptive optics, very large arrays, etc., illustrates one style of instrumentally embodied science - a technoscience. Of course astronomy, with the very recent exceptions of probes to solar system bodies (Moon, Mars, Venus, asteroids), remains largely a “receptive” science, dependent upon instrumentation which can detect and receive emissions.

Contemporary biology displays a quite different instrument array and, according to Evelyn Fox- Keller, also a different scientific culture. She cites her own experience, coming from mathematical physics into microbiology, and takes account of the distinctive instrumental culture in her Making Sense of Life (2002). Here, particularly with the development of biotechnology, instrumentation is far more interventional than in the astronomy case. Microscopic instrumentation can be and often is interventional in style: “gene-splicing” and other techniques of biotechnology, while still in their infancy, are clearly part of the interventional trajectory of biological instrumentation. Yet, in both disciplines, the sciences involved are today highly instrumentalized and could not progress successfully without constant improvements upon the respective instrumental trajectories. So, minimalistically, one may conclude that the sciences are technologically, instrumentally embodied. But the styles of embodiment differ, and perhaps the last of the scientific disciplines to move into such technical embodiment is mathematics, which only contemporarily has come to rely more and more upon the computational machinery now in common use.

correct answer:-1

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Instruction for set 3:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

Different sciences exhibit different science cultures and practices. For example, in astronomy, observation - until what is today called the new astronomy - had always been limited to what could be seen within the limits of optical light. Indeed, until early modernity the limits to optical light were also limits of what humans could themselves see within their limited and relative perceptual spectrum of human vision. With early modernity and the invention of lensed optical instruments - telescopes - astronomers could begin to observe phenomena never seen before. Magnification and resolution began to allow what was previously imperceptible to be perceived - but within the familiar limits of optical vision. Galileo, having learned of the Dutch invention of a telescope by Hans Lippershey, went on to build some hundred of his own, improving from the Dutch 3x to nearly 30x telescopes - which turn out to be the limit of magnificational power without chromatic distortion. And it was with his own telescopes that he made the observations launching early modern astronomy (phases of Venus, satellites of Jupiter, etc.). Isaac Newton’s later improvement with reflecting telescopes expanded upon the magnificational-resolution capacity of optical observation; and, from Newton to the twentieth century, improvement continued on to the later very large array of light telescopes today - following the usual technological trajectory of “more-is-better” but still remaining within the limits of the light spectrum. Today’s astronomy has now had the benefit of some four centuries of optical telescopy. The “new astronomy,” however, opens the full known electromagnetic spectrum to observation, beginning with the accidental discovery of radio astronomy early in the twentieth century, and leading today to the diverse variety of EMS telescopes which can explore the range from gamma to radio waves. Thus, astronomy, now outfitted with new instruments, “smart” adaptive optics, very large arrays, etc., illustrates one style of instrumentally embodied science - a technoscience. Of course astronomy, with the very recent exceptions of probes to solar system bodies (Moon, Mars, Venus, asteroids), remains largely a “receptive” science, dependent upon instrumentation which can detect and receive emissions.

Contemporary biology displays a quite different instrument array and, according to Evelyn Fox- Keller, also a different scientific culture. She cites her own experience, coming from mathematical physics into microbiology, and takes account of the distinctive instrumental culture in her Making Sense of Life (2002). Here, particularly with the development of biotechnology, instrumentation is far more interventional than in the astronomy case. Microscopic instrumentation can be and often is interventional in style: “gene-splicing” and other techniques of biotechnology, while still in their infancy, are clearly part of the interventional trajectory of biological instrumentation. Yet, in both disciplines, the sciences involved are today highly instrumentalized and could not progress successfully without constant improvements upon the respective instrumental trajectories. So, minimalistically, one may conclude that the sciences are technologically, instrumentally embodied. But the styles of embodiment differ, and perhaps the last of the scientific disciplines to move into such technical embodiment is mathematics, which only contemporarily has come to rely more and more upon the computational machinery now in common use.

correct answer:-3

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy.
It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday.

The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . .

One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as 'hallucinatory'. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible 'frame'. The boundaries between art and non-art become almost invisible. A tribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold
and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.

correct answer:-4

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy.
It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday.

The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . .

One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as 'hallucinatory'. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible 'frame'. The boundaries between art and non-art become almost invisible. A tribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold
and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.

correct answer:-1

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy.
It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday.

The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . .

One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as 'hallucinatory'. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible 'frame'. The boundaries between art and non-art become almost invisible. A tribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold
and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.

correct answer:-4

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Instruction for set 4:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Once a society accepts a secular mode of creativity, within which the creator replaces God, imaginative transactions assume a self-conscious form. The tribal imagination, on the other hand, is still to a large extent dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural and artless manner. In tribal stories, oceans fly in the sky as birds, mountains swim in water as fish, animals speak as humans and stars grow like plants. Spatial order and temporal sequence do not restrict the narrative. This is not to say that tribal creations have no conventions or rules, but simply that they admit the principle of association between emotion and the narrative motif. Thus stars, seas, mountains, trees, men and animals can be angry, sad or happy.
It might be said that tribal artists work more on the basis of their racial and sensory memory than on the basis of a cultivated imagination. In order to understand this distinction, we must understand the difference between imagination and memory. In the animate world, consciousness meets two immediate material realities: space and time. We put meaning into space by perceiving it in terms of images. The image-making faculty is a genetic gift to the human mind—this power of imagination helps us understand the space that envelops us. With regard to time, we make connections with the help of memory; one remembers being the same person today as one was yesterday.

The tribal mind has a more acute sense of time than the sense of space. Somewhere along the history of human civilization, tribal communities seem to have realized that domination over territorial space was not their lot. Thus, they seem to have turned almost obsessively to gaining domination over time. This urge is substantiated in their ritual of conversing with their dead ancestors: year after year, tribals in many parts of India worship terracotta or carved-wood objects representing their ancestors, aspiring to enter a trance in which they can converse with the dead. Over the centuries, an amazingly sharp memory has helped tribals classify material and natural objects into a highly complex system of knowledge. . .

One of the main characteristics of the tribal arts is their distinct manner of constructing space and imagery, which might be described as 'hallucinatory'. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible 'frame'. The boundaries between art and non-art become almost invisible. A tribal epic can begin its narration from a trivial everyday event; tribal paintings merge with living space as if the two were one and the same. And within the narrative itself, or within the painted imagery, there is no deliberate attempt to follow a sequence. The episodes retold
and the images created take on the apparently chaotic shapes of dreams. In a way, the syntax of language and the grammar of painting are the same, as if literature were painted words and painting were a song of images.

correct answer:-2

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 1982, a raging controversy broke out over a forest act drafted by the Government of India. This act sought to strengthen the already extensive powers enjoyed by the forest bureaucracy in controlling the extraction, disposal and sale of forest produce. It also gave forest officials greater powers to strictly regulate the entry of any person into reserved forest areas. While forest officials justified the act on the grounds that it was necessary to stop the continuing deforestation, it was bitterly opposed by representatives of grassroots organisations, who argued that it was a major violation of the rights of peasants and tribals living in and around forest areas. . . .

The debate over the draft forest act fuelled a larger controversy over the orientation of state forest policy. It was pointed out, for example, that the draft act was closely modelled on its predecessor, the Forest Act of 1878. The earlier Act rested on a usurpation of rights of ownership by the colonial state which had little precedent in precolonial history. It was further argued that the system of forestry introduced by the British—and continued, with little modification, after 1947 —emphasised revenue generation and commercial exploitation, while its policing orientation excluded villagers who had the most longstanding claim on forest resources. Critics called for a complete overhaul of forest administration, pressing the government to formulate policy and legislation more appropriate to present needs. . . .

That debate is not over yet. The draft act was shelved, though it has not as yet been formally withdrawn. Meanwhile, the 1878 Act (as modified by an amendment in 1927) continues to be in operation. In response to its critics, the government has made some important changes in forest policy, e.g., no longer treating forests as a source of revenue, and stopping ecologically hazardous practices such as the clearfelling of natural forests. At the same time, it has shown little inclination to meet the major demand of the critics of forest policy—namely, abandoning the principle of state monopoly over forest land by handing over areas of degraded forests to
individuals and communities for afforestation.

. . . [The] 1878 Forest Act itself was passed only after a bitter and prolonged debate within the colonial bureaucracy, in which protagonists put forward arguments strikingly similar to those being advanced today. As is well known, the Indian Forest Department owes its origin to the requirements of railway companies. The early years of the expansion of the railway network, c. 1853 onwards, led to tremendous deforestation in peninsular India owing to the railway's requirements of fuelwood and construction timber. Huge quantities of durable timbers were also needed for use as sleepers across the newly laid tracks. Inexperienced in forestry, the British called in German experts to commence systematic forest management. The Indian Forest Department was started in 1864, with Dietrich Brandis, formerly a Lecturer at Bonn, as the first Inspector General of Forests. The new department needed legislative backing to function effectively, and in the following year, 1865, the first forest act was passed. . . .

correct answer:-1

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 1982, a raging controversy broke out over a forest act drafted by the Government of India. This act sought to strengthen the already extensive powers enjoyed by the forest bureaucracy in controlling the extraction, disposal and sale of forest produce. It also gave forest officials greater powers to strictly regulate the entry of any person into reserved forest areas. While forest officials justified the act on the grounds that it was necessary to stop the continuing deforestation, it was bitterly opposed by representatives of grassroots organisations, who argued that it was a major violation of the rights of peasants and tribals living in and around forest areas. . . .

The debate over the draft forest act fuelled a larger controversy over the orientation of state forest policy. It was pointed out, for example, that the draft act was closely modelled on its predecessor, the Forest Act of 1878. The earlier Act rested on a usurpation of rights of ownership by the colonial state which had little precedent in precolonial history. It was further argued that the system of forestry introduced by the British—and continued, with little modification, after 1947 —emphasised revenue generation and commercial exploitation, while its policing orientation excluded villagers who had the most longstanding claim on forest resources. Critics called for a complete overhaul of forest administration, pressing the government to formulate policy and legislation more appropriate to present needs. . . .

That debate is not over yet. The draft act was shelved, though it has not as yet been formally withdrawn. Meanwhile, the 1878 Act (as modified by an amendment in 1927) continues to be in operation. In response to its critics, the government has made some important changes in forest policy, e.g., no longer treating forests as a source of revenue, and stopping ecologically hazardous practices such as the clearfelling of natural forests. At the same time, it has shown little inclination to meet the major demand of the critics of forest policy—namely, abandoning the principle of state monopoly over forest land by handing over areas of degraded forests to
individuals and communities for afforestation.

. . . [The] 1878 Forest Act itself was passed only after a bitter and prolonged debate within the colonial bureaucracy, in which protagonists put forward arguments strikingly similar to those being advanced today. As is well known, the Indian Forest Department owes its origin to the requirements of railway companies. The early years of the expansion of the railway network, c. 1853 onwards, led to tremendous deforestation in peninsular India owing to the railway's requirements of fuelwood and construction timber. Huge quantities of durable timbers were also needed for use as sleepers across the newly laid tracks. Inexperienced in forestry, the British called in German experts to commence systematic forest management. The Indian Forest Department was started in 1864, with Dietrich Brandis, formerly a Lecturer at Bonn, as the first Inspector General of Forests. The new department needed legislative backing to function effectively, and in the following year, 1865, the first forest act was passed. . . .

correct answer:-4

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 1982, a raging controversy broke out over a forest act drafted by the Government of India. This act sought to strengthen the already extensive powers enjoyed by the forest bureaucracy in controlling the extraction, disposal and sale of forest produce. It also gave forest officials greater powers to strictly regulate the entry of any person into reserved forest areas. While forest officials justified the act on the grounds that it was necessary to stop the continuing deforestation, it was bitterly opposed by representatives of grassroots organisations, who argued that it was a major violation of the rights of peasants and tribals living in and around forest areas. . . .

The debate over the draft forest act fuelled a larger controversy over the orientation of state forest policy. It was pointed out, for example, that the draft act was closely modelled on its predecessor, the Forest Act of 1878. The earlier Act rested on a usurpation of rights of ownership by the colonial state which had little precedent in precolonial history. It was further argued that the system of forestry introduced by the British—and continued, with little modification, after 1947 —emphasised revenue generation and commercial exploitation, while its policing orientation excluded villagers who had the most longstanding claim on forest resources. Critics called for a complete overhaul of forest administration, pressing the government to formulate policy and legislation more appropriate to present needs. . . .

That debate is not over yet. The draft act was shelved, though it has not as yet been formally withdrawn. Meanwhile, the 1878 Act (as modified by an amendment in 1927) continues to be in operation. In response to its critics, the government has made some important changes in forest policy, e.g., no longer treating forests as a source of revenue, and stopping ecologically hazardous practices such as the clearfelling of natural forests. At the same time, it has shown little inclination to meet the major demand of the critics of forest policy—namely, abandoning the principle of state monopoly over forest land by handing over areas of degraded forests to
individuals and communities for afforestation.

. . . [The] 1878 Forest Act itself was passed only after a bitter and prolonged debate within the colonial bureaucracy, in which protagonists put forward arguments strikingly similar to those being advanced today. As is well known, the Indian Forest Department owes its origin to the requirements of railway companies. The early years of the expansion of the railway network, c. 1853 onwards, led to tremendous deforestation in peninsular India owing to the railway's requirements of fuelwood and construction timber. Huge quantities of durable timbers were also needed for use as sleepers across the newly laid tracks. Inexperienced in forestry, the British called in German experts to commence systematic forest management. The Indian Forest Department was started in 1864, with Dietrich Brandis, formerly a Lecturer at Bonn, as the first Inspector General of Forests. The new department needed legislative backing to function effectively, and in the following year, 1865, the first forest act was passed. . . .

correct answer:-3

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Instruction for set 5:

The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.

In 1982, a raging controversy broke out over a forest act drafted by the Government of India. This act sought to strengthen the already extensive powers enjoyed by the forest bureaucracy in controlling the extraction, disposal and sale of forest produce. It also gave forest officials greater powers to strictly regulate the entry of any person into reserved forest areas. While forest officials justified the act on the grounds that it was necessary to stop the continuing deforestation, it was bitterly opposed by representatives of grassroots organisations, who argued that it was a major violation of the rights of peasants and tribals living in and around forest areas. . . .

The debate over the draft forest act fuelled a larger controversy over the orientation of state forest policy. It was pointed out, for example, that the draft act was closely modelled on its predecessor, the Forest Act of 1878. The earlier Act rested on a usurpation of rights of ownership by the colonial state which had little precedent in precolonial history. It was further argued that the system of forestry introduced by the British—and continued, with little modification, after 1947 —emphasised revenue generation and commercial exploitation, while its policing orientation excluded villagers who had the most longstanding claim on forest resources. Critics called for a complete overhaul of forest administration, pressing the government to formulate policy and legislation more appropriate to present needs. . . .

That debate is not over yet. The draft act was shelved, though it has not as yet been formally withdrawn. Meanwhile, the 1878 Act (as modified by an amendment in 1927) continues to be in operation. In response to its critics, the government has made some important changes in forest policy, e.g., no longer treating forests as a source of revenue, and stopping ecologically hazardous practices such as the clearfelling of natural forests. At the same time, it has shown little inclination to meet the major demand of the critics of forest policy—namely, abandoning the principle of state monopoly over forest land by handing over areas of degraded forests to
individuals and communities for afforestation.

. . . [The] 1878 Forest Act itself was passed only after a bitter and prolonged debate within the colonial bureaucracy, in which protagonists put forward arguments strikingly similar to those being advanced today. As is well known, the Indian Forest Department owes its origin to the requirements of railway companies. The early years of the expansion of the railway network, c. 1853 onwards, led to tremendous deforestation in peninsular India owing to the railway's requirements of fuelwood and construction timber. Huge quantities of durable timbers were also needed for use as sleepers across the newly laid tracks. Inexperienced in forestry, the British called in German experts to commence systematic forest management. The Indian Forest Department was started in 1864, with Dietrich Brandis, formerly a Lecturer at Bonn, as the first Inspector General of Forests. The new department needed legislative backing to function effectively, and in the following year, 1865, the first forest act was passed. . . .

correct answer:-4