Test 1
L IS T E N IN G

SECTION 1

Test Tip Remember
that you only hear the
recording once.

Questions 1-10

Check how many vvords
you can use for each
ansvver.

Q u e s tio n s 1 - 6
Complete the notes below.
Write NO M O R E THAN TWO WORDS A N D /O R A N U M B E R
for each ansvver.

P R E S T O N PARK R U N
Details of run

Read through the notes
to get an overall idea of
their content.

Test Tip You can vvrite
a time in tígures or
words, but tigures are
quicker and easier.

Example
Day of Park Run:........ộ.ậ.í.ụríí?ỵ........

Start of run:

in íront

of the 1

Time of start:

2 ...................................

Length of run:

3 ...................................

A t end of run:

volunteer scans 4

Best way to register:

on the 5 ..................................

Cost of run:

6 £ ..................................


s t u d y T ỉp 3 The answer
is a distance. Make sure
you inciude the unit of
measurement - you can
vvrite this in an abbreviated
form, e.g. 'km' for
kilometres or 'm' for miles.

Q u e s tio n s 7 - 1 0
Complete the notes below.
VVrite NO M O RE THAN TWO WORDS A N D /O R A N U M B E R for
each ansvver.

Volunteering
Contact name: Pete 7 ..................................
Phone number: 8 .................................

Test Tip lf part of the
answer is given (e.g. $,
£, etc.) remember not to
repeat it in your answer.

Test Tip Names are often spelled out on the recording.
|g y | Make sure ỵou know how all the letters of the English
alphabet are pronounced. Listen caretully and write down
the letters as you hear them.

1 1

Activities: setting up course

9 .............................. the runners

1 0 .................................... for the vveekly report
154

Test Tip Check that you have
spelled all the ansvvers correctly.


Listening

SECTION 2

Questions 11-20

Q u e s tio n s 1 1 -1 4
Complete the table belovv.
VVrite NO M O R E THAN THREE VVORDS A N D /O R A N U M B E R for
each answer.
P A C T O N -O N -S E A B U S T O U R

Bus stops

L o catio n

T h in g s to see

Bus stop 1

train station


start o f tour

Bus stop 2

the aquarium

dolphin s and
1 1 ..................................

Bus stop 3

1 2 ..................................

yachts and povver
boats

Bus stop 4

1 3 ..................................
centre

ve ry old
1 4 ..................................

ĩ e s t T ip Look caretully
at the table before you
listen. Note the headings
at the top - they tell
you what you need to

listen for. Use all the
informatìon provided
in the table to help you
predict ansvvers.
You hear the ansvvers in
the same order as the
questions.
Use the words that
you hear to ansvver the
questions.

s t u d y T ip
11 'dolphins'is plural
so the ansvver to this
question is also likely to
be plural - don't íorget
the 's'.

s t u d y T ip 14 You
may hear a synonym
of 'very old' on the
recording (e.g. 'ancient')
DorTt repeat it in your
ansvver.


Test 1

Q u e s tio n s 1 5 - 2 0
Complete the sentences below.

Write NO MO R E THAN TWO WORDS A N D /O R A N U M B E R for
each ansvver.
15

You need to have a ..................................to buy a ticket for £10.

16

T h e bus to u r la s t s ..................................in total.

17

T he cost of the bus ticket includes e n trance to the

Test Tif Read the
sentences through in the
preparation time and
think about w ha t type of
intormation is missing.

s t u d y T i p 18 lf you
do not know the phrase
'audio commentary', use
the context and other

18

You can listen to an audio co m m e n ta ry w hich has been m ade by

vvords in the sentence

to help you decide

t h e ....................................

vvhat it means, e.g. 'It is

19

lf the vveather is wet, it is a good idea to b r in g ....................................

something you listen to
on a tour bus'.

20

DorTt fo rg e t to bring y o u r ..................................w hen you book
Online.
s t u d y T i p Check that

k
Ií
1I

all the sentences are
grammatically correct

and make sense, e.g.

dorYt repeat 'the' before
your ansvver to Question

18.

156


Listening

SECTION 3

Questions 2 1 -3 0

Q u e s tio n s 2 1 - 2 6
Choose the correct letter, A, B o r c
21

Dave H adley says that the Com puter system has
A
B
c

22

students should create their own tim etables.
Dave should have so m e o n e to ass ist him.
the n u m b e r o f courses should be reduced.

R a n d h ir says th a t a ne w system m ay
A
B
c


26

there is not e noug h tim e for any o n e to do it.
the system does not handle course options.
the co u rse s are co n sta n tly changing.

To solve the tim etabling issues, R a n d h ir su g gests that
A
B
c

25

is too slow.
stops vvorking.
displays incorrect data.

T im etabling has b e co m e an issue because
A
B
c

24

too m any users.
ne ve r vvorked well.
b e co m e outdated.

The m ain problem with the Com puter system is th a t it

A
B
c

23

s t u d y T ip Read the
questions through and
underline important
vvords that tell you what
to listen for, e.g. 'main
problem' in Question 22.

need to be trialled.
still have problem s.
be m ore econom ical.

Im proving the existing system will take
A
B

c

a few w eeks.
four or five m onths.
nine m onths.

s t u d y T ip 23 In addition
to noting important vvords in
the question ('Timetabling',

'issue'), you need to pick out
the important vvords in the
options ('not enough time',
'system', 'not handle', 'options',
'courses', 'changing').

s t u d y T ip 25 Are any of the
options positive or negative?
Do the speakers' voices sound
positive or negative? This may
help you ansvver the question.


Test 1

Q u e s tio n s 2 7 - 3 0

1

^ 3

Complete the flow-chart belovv.

I

Write NO M O R E THAN TWO W ORDS for each ansvver.

1 Test Tif Check the
number of words you
can use, and read

through the flow-chart
to understand the
process.
VVhat type of intormation
is missing in each gap?
Are the ansvvers likely to
be plural or singular?

C o m p le te a 2 8 ..................................form

I
B ook a 2 9 ..................................vvith the syste m s analyst

s t u d y T ip 29 & 30
You can predict ansvvers

ì

before you listen, but

Set up a 3 0 ..................................with te ch n o lo g ie s team

be caretul! Why is
'appointm ent' incorrect
for Question 29? VVhat
other answers are
possible?

1


y

158

1 Test Tiị Read back through the flow-chart and
check your answers for both meaning and spelling.


Listening

SECTION 4

Questions 3 1 -4 0

Test T ip There is no
break in this section.
Read all ten sentences

C o m p le te the s e n te n c e s belovv.

careíully in the

Write NO M O R E THAN TWO WORDS A N D /O R A N U M B E R for
each answer.

preparation time.

C e ra m ic s
s t u d y T i p 31 Think


31

C e ra m ics date back a p p ro x im a te ly ........................................

32

The first ĩigurines w e re m ade in the area o f ....................................

questions, e.g. 'When

33

Early h u m a n s could not USD their pots to s t o r e ...............................

did ceramics start?' This
can help you think of

34

The C h in e se im proved the quality of ce ram ics by mixing
..................................with the clay.

vvords and phrases to
lỉsten for.

35

C h in e se porcelain w a s also c a lle d ..........................................

36


Bottger added q u artz a n d ..................................to clay to ma ke
porcelain.

of the sentences as

s t u d y T ip 32-34 The
answer to Question 32
is a place. What type of

G lass

intormation is missing in

37

G lass production is sim ilar to clay c e ram ics apart from the rate
o f ...................................

38

T he R o m a n s introduced the use o f g lass to m ake

the next tvvo questions?

s t u d y T ip Use the
headings 'Ceramics',
'Glass' and 'Concrete' to

C o n crete

39

40

The discovery o f concrete is probably due to observing
reactions o f vvater a n d ....................................
T he ability to build l a r g e ..................................contributed
to the success o f the R om an Empire.

help you keep your place
as you listen.

tailieutienganh.net | IELTS materials
1 1 Test Tif; Make sure that the grammar
of the completed sentences is correct.
Check there are no unnecessary vvords.
Check spellings and use of plural 's'.

159


Test 1

Test T ip Aim to complete the
questions in the recommended time.

REA DING

READING PASSAGE 1


There are usually tw o or three sets of
questions in each section.
Each correct ansvver scores one mark.

You should spend about 20 m inutes on Q u estio n s 1-13, which are based on Reading
Passage 1 below.

The Dover Bronze-Aấe Boat
A beautitully preserved boat, m ade around 3.000 years ago and discovered by chance in a
m uddy hole, has had a pro ỉou n d im pact on archaeological research.

It was 1992. In England, workmen were building a
new road through the heart of Dover, to connect
the ancient port and the Channel Tunnel, which,
when it opened just two years later, was to be the
íỉrst land link between Britain and Europe for over
10.000 years. A small team from the Canterbury
Archaeological Tnist (CAT) worked alongside the
workmen, recording new discoveries brought to
light by the machines.
At the base of a deep shaft six metres below (he
modem streets a wooden structure was revealed.
Cleaning away the waterlogged site overlying the
timbers, archaeologists realised its tnie nature.
They had found a prehistoric boat, preserved by
the type of sediment in which it was buried. It was
then named the Dover Bronze-Age Boat.
About nine metres of the boat’s length was
recovered; one enđ lay beyond the excavation and
had to be left. What survived consisted essentially

of four intricately carved oak planks: two on
the bottom, joined along a Central seam hy a

complicated system of wedges and timbers, and
two at the side, curved and stitched to the others.
The seams had been made watertight by pads of
moss, fixed by wedges and yew stitches.
The timbers that closed the recovered end
of the boat had been removed in antiquity when
it was abandoned, but much about its original
shape could be deduced. There was also e\idence
for missing upper sicỉe planks. The boat was not

160

a wreck, but had been deliberately discarded,
dismantled and broken. Perhaps it had been
‘ritually killod’ at the end of its life, like other
Bronze-Age objects.
With hindsight, it was signiíicant that the
boat was found and stucỉied by mainstream
archaeologists who naturally focused on its
cultnral context. Al the time, ancient boats
were often considered only írorn a narrovver
technological perspective, but news about the
Dover boat reached a broad audience. In 2002, on
the tenth anniversary of the điscovery, the Dover
Bronze-Age Boat Trust liosted a coníerence,
where this meeting of different traditions became
apparent. Alongside technical papers about the

boat, other speakers explored its social and
economic contexts, and the religious perceptions
of boats in Bronze-Age societies. Many speakers
came from overseas, and debate about cultural
connections was renewed.
Within seven years of excavation, the Dover
boat had been conserved and displayed, but it
was apparent that there were issues that could
not be resolved simply by studying the olđ
wood. Experimental archaeology seemed to be
the solution: a boat reconstmction, half-seale
or full-sized, would permit assessment of the
different hypotheses regarding its build and the
missing end. The possibility of returning to Dover
to search for the boat’s unexcavated northem


Reading

end was explored, but practical and íìnancial
difficulties were insurmountable - and there was
no guarantee that the timbers had survived the
previous decade in the changed environment.
Detailed proposals to reconstruct the boat
were drawn up in 2004. Archaeological evidence
was beginning to suggest a Bronze-Age community
straddling the Channel, brought together by the
sea, rather than separated by it. In a region tođay
divided by languages and borders, archaeologists
had a (luty to inform the general public about their

common cultural heritage.
The boat prcỹect began in England but it
was conceived from the start as a European
collaboration. Reconstruction was only part of
a scheme that would include a mạjor exhibition
and an extensive educational and outreach
programme. Discussions began early in 2005 with
archaeological bodies, universities and heritage
organisations either side of the Channel. There
was much enthusiasm and support, and an oíTìcial
launch oi'the project was held at an intemational
seminar in France in 2007. Financial support was
coníìrmeđ in 2008 and the project then named
BOAT 1550BC got under way in June 2011.

A small team began to make the boat at the start
of 2012 on the Roman Lawn outside Dover museum.
A full-scale reconstruction of a mid-sectìon had
been made in 1996, primarily to see how BronzeAge replica tools performed. In 2012, however, the
hull shape was at the centre of the work, so modem
power tools were used to carve the oak planks,
beíore tuming to prehistoric tools for íinishing.
It was decided lo make the replicahalf-scale for
reasons of cost and 1ime, and synthetic materials
were used for the stitching, owing to doubts about
the scaling and tight timetable.
Meanwhile, the exhibition was being prepared
ready for opening in July 2012 at the Castle
Museum in Boulogne-sur-Mer. Entitled ‘Beyond
the Horízon: Societies of the Channel & North

Sea 3,500 years ago’, it brought together for (he
flrst time a remarkable collection of Bronze-Age
objects, including many new điscoveries for
commercial archaeology and some of the great
treasure of the past. The reconstructed boat, as a
Symbol of the maritime connections that bound
together the communities either side of the
Channel, was the centrepiece.

Q u e s tio n s 1 - 5
Complete the flow-chart below.
Choose O NE W ORD O NLY from the text for each ansvver.
VVrite y o u r ansvvers in boxes 1 -5 on y o u r answ er sheet.
K ey ev en ts
1992 - the boat w a s discovered during the construction o f a 1

Test Tip Quickly
read through
the flow-chart to
understand the
I process. Note that
in this task you
can only vvrite
one word for each
ansvver.

2002 - an international 2 .. .............. w a s held to g a th e r iníorm ation
Ly
*
2004 - 3 ................ for the reconstruction w e re produced

*
2007 - the 4 ....

....o f BO AT 1550B C took place
*

2012 - the B ro n z e -A g e 5

Test T ip Dates are
easy to find in the
passage because
they stand out. Use
them to help you
quickly find the
right part of the
passage for each
question.

......... fe atured the boat and o th e r objects
All the ansvvers
must be words that
are in the passage.


Test 1

Q u e s tio n s 6 - 9

Test T


The

Do the follow ing sta te m e n ts agree with the inform ation given in the text?

questions are in

In boxes 6 -9 on yo u r answ er sheet, write

but the ansvvers

passage order,

TRUE
F A LS E
N O T GIVEN

may not be evenly

if the statem ent agrees with the iníormation
if the statem ent contradicts the intormation
if there is no information on this

spread across the
passage.

A rch a e o lo g ists realised that the boat had been d a m a g e d on purpose.

The difference
betvveen a FALSE


Initially, only the te chnolo gical a sp e cts o f the boat w e re exam ined.

and a NOT GIVEN
statement is that

A rch a e o lo g ists w e n t back to the site to try and find the m issing northern
end o f the boat.

a FALSE statement

E vidence found in 20 0 4 su ggeste d that the B ro n ze -A g e Boat had been
used for trade.

of vvhat is stated in

says the opposite
the passage.

Q u e s tio n s 1 0 - 1 3
s t u d y T i p Which

A nsw er the questions below.

words in the statement

Choose NO M O R E THAN THREE WORDS A N D /O R A N U M B E R from
the text for each ansvver.

you find the answer?


are important and help

VVrite y o u r answers in boxes 1 0-13 on y o u r ansvver sheet.
10

H ow far u n d e r the ground w a s the boat found?

n
—

Test T ip You may
have to go back to
the beginnmg of

11

162

VVhat natural m aterial had been secured to the boat to prevent
vvater entering?

12

VVhat a sp e ct of the boat w a s the fo cu s o f the 2012 reconstruction ?

13

VVhich tw o íactors influenced the decision not to m ake a full-scale
reconstruction o f the boat?


the passage when
you start a nevv set
:Ẵ:

of questions.
Note h ow many
words you can use
in your ansvvers.


Reading

READING P A S S A G E 2
You should spend about 20 m inutes on Q u estio n s 1 4 -26, which are based on Reading
Passage 2 belovv.
1 1 Test Tip Read the title and introduction of the passage and decide what the main topic is.
Ja§ Some passages are divided into paragraphs that have clear themes. You may have to match
j j j l paragraphs to headings or find information in the paragraphs. Alvvays do a quick read of
j j j i : these questions first. Then quickly read the passage to get an overall idea of the content.

MÊ

The changing role of airports
A ir p o r ts co n tin u e to d iversiíy th e ir ro le in an e ffo r t to g e n e ra te incom e.
A re b usine ss m e e tin g íacilitie s th e n e x t s te p ? N ig e l H alpern, A n n e G ra ha m
a n d Rob D avidson investigate.

In re ce n t tim es developing com m ercial revenues has become m ore challenging fo r a irp o rts
due to a combination of tactors, such as increased com petition fro m Internet shopping,
re strictions on certain sales, such as tobacco, and new security pnocedures th a t have had

an im pact on the dvvell tim e of passengers. Moreover, the global econom ic dow nturn has
caused a reduction in passenger num bers while those th a t are travelling generally have less
money to spend. This has m eant th a t the share of revenue fro m non-aeronautical revenues
actually peaked at 5 4 % a t the tu rn of the century and has subsequently declined slightly.
Meanvvhile, the pressures to control the level of aeronautical revenues are as strong as
ever due to the poor financial health of many airlines and the rapid rise of the low-cost
carrien sector.

Some of the m ore obvious solutions to growing com m ercial revenues, such as extending
the merchandising space or expanding the variety of shopping opportunities, have already
been tried to th e ir limít a t many airports. A m ore radical solution is to find new sources of
com m ercial revenue within the term inal, and this has been explored by many a irp o rts over
the last decade o r so. As a result, many term inals are now m uch m ore than just shopping
malls and offer an array of entertainm e nt, leisure, and beauty and vvellness tacilities. A t this
stage of tacilities pnovision, the a irp o rt also has the possibility of taking on the role of the
final destination ra th e r than menely a tacilitator of access.

A t the sam e time, a irp o rts have been developing and expanding the range of services th a t
they provide speciíically fo r the busìness traveller in the term inal. This includes offering
business centres th a t supply su p p o rt services, meeting or coníerence room s and other
space fo r special events. VVithin this context, Jarach ( 2 0 0 1 ) discusses how dedicated
m eetings tacilities located within the term inal and managed directly by the a irp o rt operator
may be regarded as an expansion of the concept of airline lounges or as a way to neconvert
abandoned or underused areas of term inal buildings. Previously it was prìmarily a irp o rt
hotels and other íacilities offered in the surrounding area of the a irp o rt th a t had the
potential to take on this role and become active as a business space (McNeill, 2 0 0 9 ).

163



Test 1

W h e n an a irp o rt location can be prom oted as a business venue, this may increase the
overall appeal of the a irp o rt and help it become m ore competitive in both attractin g and
retaining airlines and th e ir passengers. In particular, the presence of meeting íacilities could
become one of the determ ining ía c to rs taken into consideration when business people are
choosing airlines and vvhere they change th e ir planes. This enhanced attractiveness Itself
may help to improve the a irp o rt o p e ra to rs financial position and íuture prospects, but
clearly this vvill be dependent on the competitive advantage th a t the a irp o rt is able to achieve
in com parison with other venues.

In 2 0 1 1 , an Online a irp o rt survey was conducted and some of the areas investigated
included the provision and use of meeting facilities at airp o rts and the perceived role and
im portance of these íacilities in generating income and raising passenger num bers. In
total, the re were responses fro m staff at 1 5 4 a irp o rts and 6 8 % of these ansvvered ‘yes’
to the question: Does your a irp o rt own and have meetings tacilities available fo r hire?
The existence of meeting facilities the retore seems high at airports. In addition, 2 8 % of
respondents th a t did not have meeting íacilities stated th a t they were likely to invest in them
during the next five years. The survey also asked to vvhat extent respondents agreed or
disagreed with a num ber of sta te m e n ts about the meeting facilities at their airport. 4 9 %
of respondents agreed th a t they have put m ore investm ent into them during recent years;
4 1 % agreed th a t they vvould invest m ore in the im mediate future. These are fairly high
proportions considering the rece nt economic climate.

The survey also asked a irp o rts with meeting íacilities to estim ate w hat proportion of users
are fro m the local area, i.e. vvithin a 90-m inute drive fro m the airport, or fro m abroad.
Their tindings show th a t meeting íacilities provided by the majority ũf respondents tend tũ
serve local versus non-local or toreign needs. 6 3 % of respondents estim ated th a t over
6 0 % of users are from the local area. ũnly 3% estim ated th a t over 8 0 % of users are from
abroad. It is th erefore not surprising th a t the íacilities are of limited im portance when it

com es to increasing use of ílights at the airport: 16 % of respondents estim ated th a t none
of the users of th e ir meeting íacilities use ílights when travelling to o r fro m them , while 5 6 %
estim ated th a t 2 0 % or few er of the users of th e ir íacilities use flights.

The survey asked respondents with meeting íacilities to estim ate how much revenue their
a irp o rt earned fro m its meeting íacilities during the last íinancial year. Average revenue
per a irp o rt was just $ 1 2 , 9 5 9 . Meeting íacilities are effectively a non-aeronautical source
of a irp o rt revenue. Only 1% of respondents generated m ore than 2 0 % non-aeronautical
revenue fro m th e ir m eetings facilities; none generated m ore than 40 % . Given the tocus on
local demand, it is not surprising th a t less than a third of respondents agreed th a t th e ir
meeting tacilities s u p p o rt business and tourism development in th e ir home region
or country.

The tindings of this study suggest th a t few airp o rts provide m eetings tacilities as a serious
com m ercial venture. It may be that, as ovvners of large property, space IS available ton
meeting tacilities at a irp o rts and could play an im p o rta n t role in serving the needs of the
airport, Its partners, and stakeholders such as governm ent and the local community. Thus,
while the local orientation m eans th a t com petition with oth e r a irp o rts is likely to be minimal,
competition with local providers of m eetings íacilities is likely to be much greater.

164


Reading

Q u e s tio n s 1 4 - 1 8
The text has eight paragraphs, A - H .
VVhich paragraph contains the following intormation?
VVrite the correct letter, A -H , in boxes 1 4 -1 8 on yo u r answ er sheet.
N.B. You m ay use any letter more than once.

T e st T ip There is only One correct ansvver for each question so some paragraphs
may not be tested.
If you are told that 'you may use any letter more than once', it means that the

ansvver to two (occasionally three) questions may be tound in the same paragraph.

14

evid e n ce th a t a significant n u m b e r o f airports provide m eeting
íacilities

15

a sta te m e n t regarding the fa ct that no further d e ve lo p m e n ts are
possible in s o m e are a s o f airport trade

16

reíerence to the low level o f incom e that m eeting tacilities
p roduce for airports

17

m ention o f the im pact o f budge t airlines on airport incom e

18

e x a m p le s o f airport p rem ises that m ight be used for business
p urposes


i

Q u e s tio n s 1 9 - 2 2

s t u d y T i p 14 In this
question, you are looking
for 'evidence', which is
likely to be in the íorm of
data. Which paragraphs
contain data? Which
of these paragraphs
provides data about the
number of airports with
meeting íacilities?

s t u d y T i p 16 The
important word is
'income'. Which

Complete the sentences belovv.

paragraph discusses the

Choose NO M O R E THAN TWO WORDS from the text for each
answer. VVrite y o u r ansvvers in boxes 1 9 -2 2 on yo u r ansvver sheet.
19

i

T he length o f tim e p a sse n g e rs spend shoppin g at airports has

been affected by u p d a te d ....................................

20

A irports with a w id e range o f recreational íacilities can b ecom e
a ..................................fo r people rather than a m e a n s to travel.

21

Both p a sse n g e rs a n d ..................................m ay feel enco u ra g e d to
use and de ve lo p a sen se of loyalty to w a rd s airporís that m arket
their business services.

22

'low level' generated by
meeting íacilities?

A irports that su p p ly m eeting tacilities m ay need to deve lo p a
o v e r other venues.

1

4t

S t u d y Tip 18 You
need to find examples so
think about the sorts of
things these might be.


Test T ip Read through
each sentence and
underline vvords that will
help you find the right
■O-Ẹr place in the passage.


Test 1

Q u e s tio n s 2 3 - 2 6

Test T ip Use the title
of the summary to find
the right place in the
passage. The summary
may cover one paragraph
or several paragraphs.

Complete the sum m ary belovv.
Choose NO MO R E THAN TWO WORDS ừom the text for
each ansvver.

Read through the
summary, underlining
important vvords. The
ansvvers may not come
in the same order in the
passage as the questions.

VVrite yo u r answers in boxes 2 3 -2 6 on yo u r ansvver sheet.


Survey Findings
D espite íinancial constraints due to the 2 3 .................................., a
signiíicant p e rcentag e o f airports provide and w ish to íurther support

? s t u d y T ip 24 Find a
I tigure that is 'just under
I thirty per cent'.

b usiness m eeting tacilities. Also, ju s t u n d e r 30% o f the airports
su rveyed plan to provide these íacilities w ithin 2 4 ....................................
However. the m ain users o f the íacilities are 2 5 ..................................and

n

s t u d y T ip
I 25 Rephrase the first

as m any as 16% o f re sponde nts to the su rvey stated that th e ir users

I
I
I
I

did not take an y 2 6 ................................. at the airport.
j Test T ip Re-read the summary wíth the gaps completed. Check that it
j§ makes sense and is a true reílection of what is stated in the passage.

166


■

part of the sentence:
'Who are the main users
of airport tacilities?' Find
the part of the passage
that discusses this.


Reading

READING PASSAGE 3
You should spend about 20 m inutes on Q u e s tio n s 2 7 -4 0 , vvhich are based on Reading
Passage 3 belovv.

IS PHOTOGRAPHY ART?
This may seem a pointless question today.
S urrounded as we are by thousands of
p h o to g ra p h s, m o st of u s ta k e for g ra n te d
t h a t , in a d d i t i o n to s u p p l y i n g i n f o r m a t i o n
a n d s e d u c in g c u s to m e rs, c a m e r a im a g e s
a ls o s e r v e a s d e c o r a t i o n , a f f o r d s p i r i t u a l
e n r i c h m e n t , a n d p r o v id e s i g n i í ì c a n t i n s i g h t s

into the passing scene. But in the decades
íbllovving t h e d i s c o v e r y o f p h o t o g r a p h y , t h i s
10 q u e s t i o n r e í l e c t e d t h e s e a r c h f o r w a y s to fit
t h e m e c h a n i c a l m e d i u m in to t h e t r a d i t i o n a l
s c h e m e s o f a rtistic e x p re ssio n .


vvidelv h e l d v iew , s h a r e d b y p a i n t e r s , s o m e
p h o t o g r a p h e r s , a n d s o m e c r it i c s , w a s t h a t
p h o t o g r a p h s vvould b e u s e f u l to a r t b u t s h o u l d
n o t b e c o n s i d e r e d e q u a l in c r e a t i v e n e s s to

dravving and painting. Lastly, by assum ing
t h a t t h e p r o c e s s w a s c o m p a r a b l e to o t h e r
t e c h n i q u e s s u c h a s e t c h i n g a n d l i th o g r a p h y ,
50
a fa ir n u m b e r o f in d iv id u a ls r e a liz e d th a t
c a m e r a im a g e s w e r e o r co u ld b e a s sig n iíìc a n t
a s h a n d m a d e vvorks o f a r t a n d t h a t t h e y m i g h t
h a v e a p o s itiv e i n í l u e n c e o n t h e a r t s a n d o n
c u l t u r e in g e n e r a l .

The m uch-publici/ed pronouncem ent
by p ain ter Paul D elaroche tliat the

Artists reacted to photography in various
wavs. Manỵ po rtrait p ain ters - m iniaturists

d a g u e rre o ty p e * s ig n a lle d th e e n d o f p a in tin g
is p e r p l e x i n g b e c a u s e t h i s c l e v e r a r t i s t a ls o
í o r e c a s t t h e u s e í u l n e s s oí' t h e m e d i u m f o r

in p a r tic u la r - w h o re a liz e d t h a t p h o to g ra p h y
r e p r e s e n t e d t h e ‘handvvriting on th e w a ir
b e c a m e in v o lv e d vvith d a g u e r r e o t y p i n g o r
p a p e r p h o t o g r a p h y in a n e f f o r t to s a v e t h e i r

c a r e e r s ; s o m e i n c o r p o r a t e d it vvith p a i n t i n g ,
vvhile o t h e r s r e n o u n c e d p a i n t i n g a l t o g e t h e r .
Still o t h e r p a i n t e r s , t h e m o s t p r o m i n e n t

graphic artists in a letter vvritten in 1839.
Nevertheless, it is symptomatic of the
20 s w i n g b e t w e e n t h e o u t r i g h t r e j e c t i o n a n d
q u aliíìo d a c c e p ta n c e o f th e m e d iu m t h a t w a s
f a ir ly t y p i c a l o f t h e a r t i s t i c e s t a b l i s h m e n t .

Discussion of the role of photography in a rt
w as especially spirited in France, vvhere the
i n t e r n a l p o lic ie s o f t h e t i m e h a d c r e a t e d a
l a r g e p o o l o f a r t i s t s , b u t it vvas a l s o t a k e n

up by im portant voices in England. In both
c o u n t r i e s , p u b l i c i n t e r e s t in t h i s t o p ic w a s a
re íle c tio n o f th e b e lie f th a t n a tio n a l s ta tu r e
30 a n d a c h i e v e m e n t in t h e a r t s w e r e r e l a t e d .

am ong them the F rench painter, JeanAuguste-Dominique Ingres, beg an almost
i m m e d i a t e l y to u s e p h o t o g r a p h y to m a k e a
r e c o r d o f t h e i r o w n o u t p u t a n d a ls o to p r o v i d e
th e m se lv e s w ith s o u rc e m a te r ia l for p o se s a n d
b a c k g ro u n d s , v ig o ro u sly d e n y in g a t th e s a m e
70
t i m e its i n í l u e n c e on t h e i r Vision o r its c l a im s
a s a rt.

The view th at photographs m ight be


From the m aze of conílicting statem ents and

w o rth v v h ile to a r t i s t s w a s e n u n c i a t e d in

h e a te d a rtic le s o n th e su b je c t, th r e e m a in
p o sitio n s a b o u t th e p o te n tia l o f c a m e r a a r t

considerable detail by Lacan and Francis
Wey. The latter, an a rt and literary critic, who

em erged. The simplest, entertained by m any

ev e n tu ally re c o g n ise d th a t c a m e r a im a g e s
c o u l d b e i n s p i r e d a s w e ll a s i n f o r m a t i v e ,
s u g g e s t e d t h a t t h e y w o u l d l e a d to g r e a t e r
n a tu r a ln e s s in th e g ra p h ic d e p ic tio n of
a n a t o m y , c l o th in g , l i k e n e s s , e x p r e s s i o n ,

p a in te r s a n d a s e c tio n o f th e p u b lic, w a s t h a t
p h o t o g r a p h s s h o u l d n o t b e c o n s i d e r e d ‘a r t ’
b e c a u s e t h e y w e r e m a d e vvith a m e c h a n i c a l
d e v ic e a n d b y p h y s i c a l a n d c h e m i c a l
p h e n o m e n a in ste a d o fb y h u m a n h a n d a n d
40 s p ir it; to s o m e , c a m e r a i m a g e s s e e m e d to
h a v e m o r e in c o m m o n w i t h í a b r i c p r o d u c e d
b y m a c h i n e r y in a m ill t h a n w i t h h a n d m a d e

creations fired by inspiration. The second


60

80

and landscape. By studying photographs,
t r u e a r t i s t s , h e c l a i m e d , vvould b e r e l i e v e d
o f m e n i a l t a s k s a n d b e c o m e f r e e to d e v o t e
t h e m s e l v e s to t h e m o r e i m p o r t a n t s p i r i t u a l
a s p e c t s o f t h e i r vvork.

167


Test 1

Wey left unstated w h at the incom petent artist
m ight do as an alternative, but according
to the iníluential French critic and poet
90 Charles B audelaire, vvriting in response to
an exhibition of photography in 1859, lazv
and untalen ted p ain ters would become
photographers. Fired by a belief in a rt as
an imaginative em bodim ent of cultivated
ideas and dream s, B audelaire reg ard ed
photography as ‘a very hum ble servant of
a rt and Science’; a m edium largely unable to
tran scen d ‘external reality’. For this critic,
photography w as linked vvith ‘the g reat
100 industrial m a d n ess’ of the time, vvhich in his
eyes exercised disastrous consequences on

the spiritual qualities of life and art.

110

168

also.T he m ost im portant statem en t on this
m atter vvas an unsigned article th a t concluded
th at while photography had a role to play, it
should not be ‘co n strain ed ’ into ‘com petition’ 120
vvith art; a m ore stringent viewpoint led critic
Philip Gilbert H am erton to dismiss cam era
im ages as ‘narrovv in range, em phatic in
assertion, telling one tru th for ten falsehoods’.

Eugene Delacroix vvas the m ost prom inent of
the French artists who w elcom ed photography
as help-m ate but recognized its limitations.
Regretting th a t ‘such a w onderful invention’
had arrived so late in his lifetime, he still
took lessons in daguerreotyping, and both
commissioned and collected photographs.
Delacroix’s enthusiasm for the m edium can
be sensed in a jo u rn a l entry noting th a t if
photographs w ere used as they should be, an
artist m ight ‘raise him self to heights th a t we
do not yet know ’.

These vvriters reílected the opposition of a
section of the cultural elite in England and

F rance to the ‘cheapening of a r t’ vvhich the
growing acceptance and p u rch ase of cam era
pictures by the middle class represented.
Technology m ade photographic im ages a
130
common sight in the shop windows of Regent
Street and Piccadilly in London and the
com m ercial boulevards of Paris. In London,
for exam ple, th ere w ere at the time some 130
com m ercial establishm ents w here portraits,
landscapes, and photographic reproductions
of works of a rt could be bought. This appeal
to the middle class convinced the elite th at
photographs would íbster a desire for realism
instead of idealism, even though some critics 140
recognized th a t the vvork of individual
p hotographers m ight display an uplifting style
and substance th a t vvas consistent with the
deíỉning characteristics of art.

The question of w h eth er the photograph w as
docum ent or a rt aroused in terest in England

* the name gỉven to the first commercially
success/ul photographic images

tailieutienganh.net | IELTS materials


Reading


Q u e s tio n s 2 7 - 3 0
Choose the correct letter, A, B. c o r D
Write y o u r answers in boxes 2 7 -3 0 on y o u r ansvver sheet.
27

W h a t is the w rite r’s m ain point in the first paragrap h?
A
B
c
D

28

30

that
that
that
that

o n ly artists could retlect a c u ltu re ’s true values
o n ly artists w ere qualiíied to ju d g e photo g ra p h ỵ
artists could lose w o rk as a result o f p h o to g ra p h y
artistic s u cce ss raised a c o u n try ’s international proíile

W h a t does the vvriter m ean in line 59 by ‘the handvvriting on the w a ir?
A
B
c

D

s t u d y T ip 27 Read the
first paragraph careíully
and underline the main
ídea. Which of the
options expresses this?

P h o to g ra p h y is used fo r m any different purposes.
P ho to g ra p h e rs and artists have the sa m e principal aims.
P h o to g ra p h y has not a lw a y s been a readily accepted art form.
P h o to g ra p h e rs to d a y are m ore Creative than those o f the past.

W h a t public vie w ab o u t artists w as shared by the French and the
E nglish?
A
B
c
D

29

1 Test T ip Read the questions
and underline vvords that will
help you find the right part
m
of the passage.

I
I

I
I
I

s t u d y T ip 29 The
phrase in inverted
commas is in bold in the
passage. Read around
it to find out what it
means.

Lz

an e xa m p le o f poor talent
a m e ssa g e that c a n n o t be trusted
an a d ve rtis e m e n t for som e th in g new
a signal that som e th in g bad will happen

VVhat w as the result of the w idespread availability o f photographs to the
middle classes?
A
B
c
D

T he m ost educate d w orried ab o u t its im pact on public taste.
It helped artists app re cia te the m erits o f photography.
Im p ro ve m e n ts w e re m ade in pho to g ra p h ic m ethods.
It led to a reduction in the price o f photographs.


169


Test 1

Q u e s tio n s 3 1 - 3 4

Test Tip Read the
nstructions caretully.

Complete the sum m ary o f Paragraph 3 using the list o f vvords,
A -G , below.

Sometimes you are told
vvhich paragraph to read.
You can also use the title

VVrite y o u r answ ers in boxes 3 1 -3 4 on y o u r answ er sheet.

of the summary to find
the right place.

A
B

inventive
sim ilar

c
D


E

beneficial
next

mixed
justified

F

G

inferior

Camera art
In the early d ays o f photography, opinion s on its future w ere

s tu d y T«p
31 'opinions' and 'vievvs'

3 1 .................................. but three clear vievvs e m erged. A large
n u m b e r of artists and ord in a ry people sa w p h o to g ra p h s as
3

2 ............................to paintings

because of the w a y th e y w ere

produced. A n o th e r pop u la r view w a s that p h o to g ra p h s could have

a role to play in the art vvorld, despite the p h o to g ra p h e r being
less 3 3 ....................................Finally. a srnaller n u m b e r o f people

in the first sentence
have a similar meaning.
Which word at the start
of Paragraph 3 also has
this meaning? Which of
the options expresses the
vievvs when photography
began?

susp e cte d that the im pact o f p h o to g ra p h y on art and society could
be 3 4 ....................................

Q u e s tio n s 3 5 - 4 0
Look at the following statem ents and the list o f people, A -E , below.
Match each statem ent with the correct person.
Write the correct letter. A -E , in boxes 3 5 -4 0 on y o u r answ er sheet.
35

He claim ed that p h o to g ra p h y vvould m ake paintings m ore realistic.

36

He highlighted the lim itations and d e ce p tio n s o f the cam era.

37

He docum ented his production of artvvork by photographing his vvorks.


38

He noted the potential for p h o to g ra p h y to enrlch artistic talent.

39

He based so m e o f the scenes in his paintings on photographs.

40

He felt ph o to g ra p h y w a s part o f the trend tovvards greater
m echanisatio n.

Test Tip lf there are
more statements than
names, you vvill have to
use one of the names

A
B

170

Je a n -A u g u s te D o m inique Ingres
Francis W ey

c
D
E


C harles B audela ire
E ugene D elacroix
Philip G ilbert H am erton

twice.


VVRITING

VVRITING T A S K 1
You should spend about 20 m inutes on this task.
s t u d y T ip Identity
the main íeatures of
the chart: VVhich agegroup donated most
money to charity in each
year? VVhich age-group
donated the least? How
does the generosity of
the age-groups compare
across the years?

The c h a rt b e lo w g ives in to rm a tio n on the p e rc e n ta g e o f
B ritish p e o p le g iv in g m o n e y to c h arity b y a g e ra n g e fo r the
ye a rs 1990 a n d 2010.
S u m m a r is e the in fo rm a tio n b y se le c tin g a n d re p o rtin g the
m a in teatu res a n d m a k e c o m p a ris o n s w h e re relevant.

VVrite at least 150 vvords.
45 %

40 %

■

1990

■ 2010

Include an overvievv: How
does the overall pattern
in 2010 differ from the
pattern in 1990?

35 %
30 %
25 %

ĩ e s t T ip Begin with an
introduction.

20 %

15 %

Highlight and compare
the main teatures. Make
your overvievv clear.

10%
5%


Use a range of relevant
vocabulary and try to
vary your sentence types.
Link your ideas together
so that your ansvver
flows smoothly.

0%
18-25

26-35

36-50

51-65

>65

VVRITING T A S K 2
You should spend about 40 m inutes on this task.

S o m e p e o p le w o rk fo r the s a m e
o rg a n is a tio n all their w o rk in g life.
O th ers think th at it is b e tte r to w o rk fo r
d ifferen t o rgan isatio ns.

Test T ip Task 2 is worth
t ì twice as many marks as
•^pỊ- Task 1 so you are advised

to spend tvvice as long
vvriting your ansvver.
n

_

D is c u s s both these vievvs a n d g iv e y o u r
o w n opinion.
1

; VVrite 250 words or
1 more, and use your own
words.

G ive re a sons for y o u r ansvver and include any relevant e x a m p le s from
yo u r own knovvledge or experience .
VVrite at least 250 vvords.

171


Test 1

S P E A K IN G

PART 1
School days
•
•
•

•

Tell m e som e th in g a b out yo u r se co n d a ry school.
VVhich subject did you find m ost difficult at school? [W hy?]
Do you e ver need that subject now ? [W hy? / W h y not?]
W h a t did you erýoy a b o u t being a school student?

B u ild in g s
•
•
•
•

Are there any fam ous buildings in your hom e tow n? [W hat are they?]
In w h a t type of building do m ost people in your hom e tow n live?
Should buildings be attractive to look at? [W hy? / W h y not?]
W h a t is the m ost unusual building you have e ver seen? [W hy?]

PART 2

Test T ip In Part 2, the

Candidate task card:

examiner will ask you some
more questions on tamiliar
topics.

D es crib e an in terestin g s to ry th a t yo u heard or read
a b o u t in the news.

You sh o u ld say:
w h e n you heard or read a b o u t the story
w h a t the sto ry w a s a b o u t
w h y th e sto ry w a s in the new s
and ex p lain w h y y o u th o u g h t the story w a s interesting.

Listen caretully to the questions.
Use the correct tense for each
answer and include some
relevant vocabulary.

study Tip Use the oneminute preparation time to
think about your topic and
w hat you will say; make notes
on each point. (Choose a story

PART 3
R e a d in g nevvspapers
•
•
•

VVhen do people like to read the nevvspaper?
H ow im portant is it for people to have a c h o ic e o f nevvspaper?
W h a t does a ‘g o o d ’ nevvspaper contain?

T h e íu tu re o f n e w s p a p e rs
•
•
•


172

W h y do som e people ch o o s e to read the new s on the Internet
rather than in a nevvspaper?
H ow is Internet new s different from the news you read in the
nevvspaper?
Will Internet news e ve r replace nevvspapers? [W hy? / W h y not?]

that you can easily talk about.)

Test Tip In Part 3, introduce
your topic, link your ideas and
aim to speak for tw o minutes.
Speak clearly and at a natural
speed so th at the examiner
can understand you. Use stress
and mtonation to highlight
important intormation and
teelings.


Test 2
LISTENING

SECTION 1

Questions 1-10

Q u e s tio n s 1 - 6

Complete the notes below.
VVrite NO MO R E THAN TWO WORDS A N D /O R A N U M B E R for each ansvver.

Short story Competition
Entry Details

Example

£5

C ost o f entry:

Length o f story:

a p p ro xim a te ly 1 .................................
S tory rriust include: a 2

M in im u m age:

3 ..................................

Last entry date:

1st 4 ..................................

W eb address:

www. 5 .................................... com

D o n ’t:


6 ..................................the storỵ to the org a n ise rs

Q u e s tio n s 7 - 1 0
Complete the sentences belovv.
VVrite NO M O R E THAN TWO WORDS for each ansvver.

Judging and Prize Details
T h e com petition is ju d g e d by 7 ....................................
T h e top five stories will be a vailable 8 ..................................
T h e top sto ry will be chosen by the 9 ..................................
T h e first prize is a place at a vvriters’ vvorkshop in 10


Test 2

SECTION 2

Questions 11-20

Q u e s tio n s 1 1 - 1 7
Ansvver the questions below.
Write NO M O R E THAN THREE WORDS for each answer.

Sea Life Centre - information
11

W h a t w a s the Sea Life C entre previously c a lle d ? ..................................

12


VVhat is the nevvest attraction c a lle d ? ..................................

13

W h c n is tho rnain íeeding t im e ? ..................................

14

W h a t can you do with a V IP t ic k e t ? ..................................

15

VVhat special event will the Sea Life C entre a rrange for y o u ? ....................

16

VVhere vvill the petition for anim al conservation be sent t o ? ........................

17

VVhat can you use to test vvhat you have le a r n t ? ..................................

Q u e s tio n s 1 8 - 2 0
What does the guide say about each attraction?
Choose THREE ansvvers from the box and write the correct letter, A -E , next
to Questions 18-20.

174


A

A q u a riu m

B

C rocodile C ave

c

Penguin Park

D

Seal C entre

E

Turtle Town

18

m ust not r n is s .......

19

te m p o ra rily closed

20


large q u e u e s .........


Listening

SECTION 3

Questions 2 1 -3 0

Q u e s tio n s 2 1 - 2 2
Choose TWO letters, A - E
VVhich TWO subjects did Martina like best betore going to university?
A
D

Art
History

B
E

English
S cience

c

French

Q u e s tio n s 2 3 - 2 6
Complete the sum m ary belovv.

VVrite NO M O R E THAN TWO WORDS for each answer.

George’s experience of university
G eorge is s tu d y in g M e ch a n ica l E ngineering vvhich involves several d isciplines. He is tin d in g
2 3 ..................................the rnost difficult. At th e m o m e n t, his c o u rs e is m ainly 2 4 .....................................
He vvill soon have an a s sig n m e n t vvhìch involves a s tu d y of 2 5 ....................................He th in k s there
are to o m any 2 6 ..................................and vvouid like less of them .

Q u e s tio n s 2 7 - 3 0
Choose the correct letter, A, B or c
27

M artina thinks the students at her university are
A
B
c

28

G eorge hopes that his tutor will help him
A
B
c

29

lose his shyness.
settle into university.
get to know his subject better.


W h a t does Martina know about her first assignm ent?
A
B
c

30

sociable.
intelligent.
energetic.

the topic
the length
the deadline

G eorge w ould like to live
A
B
c

in a hall of residence.
in a flat on his
own.
with a host family.


Test 2

SECTION 4


Questions 3 1 -4 0

Complete the notes below.
Write NO M O R E THAN TWO WORDS for each ansvver.

Preparing and Giving a Presentation
Initial th o u g h ts

Most important consideration: your audience
Three points to bear in mind:
- vvhat they need to know

- hovv 3 1 ...............................they will be
- how big the audience will be
s tru c tu re
s ta rt with iníorm ation th a t m a ke s the au d ie n c e 3 2 ..................................
End with 3 3 ..................................
Design
T he presentatio n n e eds to be 34
Vary content by using a m ix o f vvords and 3 5 ..................................
P resen tin g
Look at the audience, be e n th u sia stic and energetic
V oice - va ry speed and 3 6 ..................................
O cca sio n a lly add 3 7 ..................................for g re a te r im pact
Do not use 3 8 ..................................(e.g. appears , seems)
Q u e s tio n s and In terru p tio n s
VVhen asked a question, first o f all you should 3 9 ..................................
M in im ise interruptions by 4 0 ..................................them

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READING
READING PASSAGE 1
You s h o u ld s p e n d a b o u t 2 0 m in u te s o n Q u e s t i o n s 1 - 1 3 , w h ich a re b a s e d on R e a d in g
P a s s a g e 1 belovv.

The Flavor o f Pleasure
Ì/Vhen 'ít comcs to celebrating the ílavor o ffood, o u rm o u th gets all the crcdit.
But in truth, i t is the nose th a t knows.
No matter how much we talk about tasting our
íavorite flavors, relishing them really depends on a
combined input from our senses that we experience

with the savory elements of eating, One of the most
enjoyed o f human experiences.
In many vvays, he is diseovering that smell is

through mouth, tongue and nose. The taste, texture
and feel of food are vvhat we tend to focus on, but

rather like face recognition. The visual system

most important are the slight puffs o f air as we chew

detects patterns of light and dark and, building on
experience, the brain creates a spatial map. It uses

our food - what scientists call 'retronasal smeir.
Certainly, our mouths and tongues have taste buds,

which are receptors for the five basic ílavors: sweet,
saIty, sour, bitter, and umami, or vvhat is more
commonly reíerred to as savory. But our tongues are

this to interpret the interrelationship o f the patterns
and draw conclusions that allovv us to identiíy people
and places. In the same way, we use patterns and
ratios to detect both new and fam iliar flavors. As
we eat, specialised receptors in the back of the nose

inaccurate instruments as far as flavor is concerned.
They evolved to recognise only a few basic tastes in

sent by the receptors, the brain understands smells

order to quickly identiíy toxins, which in nature are
often quite bitter or acidly sour.

as complex spatial patterns. Using these, as well as
input from the other senses, it constructs the idea of

All the complexity, nuance, and pleasure of flavor come
from the sense of smell operating in the back of the
nose. It is there that a kind of alchemy occurs when we
breathe up and out the passing whiffs of our chewed
food. Unlike a houncTs skull with its extra long nose,
vvhich evolved specifically to detect external smells, our
noses have evolved to detect internal scents. Primates
specialise in savoring the many millions of flavor
combinations that they can create for their mouths.

Taste vvithout retronasal smell is not much
help in recognising flavor. Smell has been the
most poorly understood of our senses, and only
recently has neuroseience, led by Yale University's
Gordon Shepherd, begun to shed light on its
vưorkings. Shepherd has eome up with the term
'neurogastronomy' to link the disciplines of food
Science, n eurology, psychology, and a n t h r o p o lo g y

detect the air molecules in our meals. From signals

s p e ciíic ílavors.

This ability to appreciate speciíic aromas turns out to
be Central to the pleasure we g e t fro m food, m u ch as
o ur ability to recognise individ uals is Central to the
pleasures of social life. The process is so embedded
in our brains that our sense of smell is critical to our
enjoyment of life at large. Recent studies show that
people who lose the ability to smell become soeially
insecure, and their overall level of happiness plummets.
Working out the role of smell in flavor interests food
scientists, psychologists, and cooks alike. The relatively
new discipline of molecular gastronomy, especiaIly,
relies on understanding the mechanics o f aroma
to manipulate ílavor for maximum impact. In this
discipline, ehefs use their knowledge of the chemical
changes that take place during cooking to produce
eating pleasures that go beyond the 'ordinary1
.


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However, whereas molecular gastronomy is
concerned primarily with the food or 'smell'
molecules, neurogastronomy is more focused on the
receptor moleeules and the brain's spatial images for
smell. Smell stimuli form w hat Shepherd terms 'odor
objects', stored as memories, and these have a direct
link with our emotions. The brain creates images of
uníamiliar smells by relating them to other more
íam iliar smells. Go back in history and this was part
of our survival repertoire; like most animals, we drew
on our sense of smell, when visual information was
scarce, to single out prey.
Thus the brairVs flavor-recognition system is a highly
complex perceptual mechanism that puts all five
senses to work in various combinations. Visual and
sound cues contribute, such as crunching, as does

178

touch, including the texture and feel of food on
our lips and in our mouths, Then there are the taste
receptors, and íinally, the smell, activated when we

inhale. The engagement o f our emotions can be
readily illustrated when we picture some of the wideranging facial expressions that are elieited by various
foods - many of them hard-wired into our brains
at birth. Consider the response to the sharpness
of a lemon and compare that with the face that is
vvelcoming the smooth wonder o f chocolate.
The ílavor-sensing system, ever receptive to new
combinations, helps to keep our brains active and
flexible. It also has the povver to shape our desires
and ultim ately our bodies. On the horizon we
have the positive application o f neurogastronomy:
manipulating flavor to curb our appetites.