Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)

All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.

The author would NOT agree with the statement that __________.

"Developments in Understanding Ancient Greek Art" by Will Floyd

Most people imagine stark white temples and plain marble statues as the ideal of ancient Greek art. Nothing could be further from the truth, as the ancient Greeks lavished their statues, sculptures, and buildings with bright colors. The common misconception of plainly adorned Hellenic art can be blamed on the ancient Greeks’ biggest proponents in history. Enlightenment-era classicists eagerly visited ancient ruins in the eighteenth century and saw artifacts that had been weathered to plain white stone through decades of neglect. By the time nineteenth-century archaeologists found proof that the Parthenon and images of the Gods were meant to be in vivid hues, eminent scholars in Europe refused to countenance that pure white marble was not antiquity’s aesthetic paradigm. Widespread acknowledgement of the ancient Greeks’ adoration of bright colors only came in the late twentieth and twenty-first centuries, as scientific tests proved ancient statuary and buildings had once been covered in polychrome paint.

The author views modern scientific tests as __________.

Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)

All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.

The author believes that painters are __________.

Adapted from Seven Discourses Delivered in the Royal Academy By the President by Joshua Reynolds (1778)

All the objects which are exhibited to our view by nature, upon close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness, or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms—and which, by a long habit of observing what any set of objects of the same kind have in common, that alone can acquire the power of discerning what each wants in particular. This long laborious comparison should be the first study of the painter who aims at the greatest style. By this means, he acquires a just idea of beautiful forms; he corrects nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences, and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original—and what may seem a paradox, he learns to design naturally by drawing his figures unlike to any one object. This idea of the perfect state of nature, which the artist calls the ideal beauty, is the great leading principle by which works of genius are conducted. By this, Phidias acquired his fame. He wrought upon a sober principle what has so much excited the enthusiasm of the world—and by this method you, who have courage to tread the same path, may acquire equal reputation.

The author's view of nature is best summarized as __________.

"The Chemistry of Cooking" by Will Floyd

Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.

The author views technology and science as __________.

"The Chemistry of Cooking" by Will Floyd

Molecular gastronomy is a new take on cooking that has spread like wildfire through the culinary world in the last few decades. At its core, molecular gastronomy seeks to redefine and reimagine how food is cooked in restaurant kitchens, using technology, chemistry, and physics to transform pedestrian dishes into surprising forms and textures. These techniques create mystifying dining experiences, while using intimately familiar flavors. Chefs who use molecular gastronomy do not wish merely to be chemists or engineers, but are chefs above all else. To create a special dining experience, the chef begins first and foremost with the dish they wish to serve. Tools like an anti-griddle, a flat top that instantly freezes anything that touches it, or maltodextrin, an additive that can turn liquids into powder, are not there simply to play with the food. A molecular gastronomist will first think of the dish they want to serve, like fried chicken and mashed potatoes. Next, they will find a way to get the same flavors and textures in a unique way. The chicken might not be fried, but go through a process that will give it a crispy skin and juicy meat while never broaching hot oil. The mashed potatoes could become a light sauce, and then be put on an anti-griddle to give a new look, texture, and temperature. While the diner will have something that might look like a dessert or a soup, in actuality what they are having is a homestyle dish that they remember from childhood. This sense of familiarity is the ultimate goal of any chef utilizing molecular gastronomy.

The author would agree with the statement that __________.

Adapted from "Ramblings in Cheapside" by Samuel Butler (1890)

Walking the other day in Cheapside I saw some turtles in Mr. Sweeting’s window, and was tempted to stay and look at them. As I did so I was struck not more by the defenses with which they were hedged about, than by the fatuousness of trying to hedge that in at all which, if hedged thoroughly, must die of its own defensefulness. The holes for the head and feet through which the turtle leaks out, as it were, on to the exterior world, and through which it again absorbs the exterior world into itself—"catching on” through them to things that are thus both turtle and not turtle at one and the same time—these holes stultify the armor, and show it to have been designed by a creature with more of faithfulness to a fixed idea, and hence one-sidedness, than of that quick sense of relative importance and their changes, which is the main factor of good living.

The turtle obviously had no sense of proportion; it differed so widely from myself that I could not comprehend it; and as this word occurred to me, it occurred also that until my body comprehended its body in a physical material sense, neither would my mind be able to comprehend its mind with any thoroughness. For unity of mind can only be consummated by unity of body; everything, therefore, must be in some respects both knave and fool to all that which has not eaten it, or by which it has not been eaten. As long as the turtle was in the window and I in the street outside, there was no chance of our comprehending one another.

The narrator's attitude toward turtles can be best summarized as __________.

"History and Myth" by Will Floyd

Popular ideas about historical characters are often quite fallacious. In reality, Napoleon Bonaparte was not short, but a perfectly average size for his time. Paul Revere did not make a solo midnight ride to warn the colonial militia that the British were coming. Such a dearth of information exists about the lives of figures like Robin Hood, Johnny Appleseed, and John Henry that scholars wonder if they even existed. Despite scholarly concern and arguments, these popular characters and myths continue to form a large part of the common historical imagination.

Recently, some historians have begun to study these myths and legends. No matter how whimsical or ungrounded such stories are, these legends hold a key to how people interpret history. Colleagues seeking to rebut such studies have derided those scholars who are analyzing myths. The more skeptical historians accuse the historians who analyze myths and legends as promoting conspiracy theories and providing cover to people with fringe beliefs. In response, the scholars studying the apocryphal stories claim that they are actually helping to dispel such marginal ideas. By understanding why odd stories and fables get constructed, these new historians think that they can better pursue their goal of understanding the past in order to better navigate the future. They also think that by understanding how fallacious myths and legends develop may help fewer to arise in the first place.

The author views misunderstandings about historical figures as __________.

"Technology of the Future" by Will Floyd

Technological revolutions rarely come in expected forms. Predictions of the future are usually found to be humorous in retrospect, as the theories put forward usually involve too much of the present. Typically, an author who imagines the future sees some small developments in the technology already in use, without countenancing a possible sudden change in how gadgets are made. Science fiction from before the personal computer’s rise tended to show computers as large machines only run by specialists. Before the development of tablets, small reading devices belonging to each person were hardly imagined. None of these now-strange conjectures on the future should be ridiculed. Even those researchers and scientists who are trying to create new breakthroughs in technology often have no idea of what their work will produce. The personal computer was initially divided into office models and home models, which were supposed to have different graphics, power, and performance specifics. In reality, people desired the office model in their home. Such adoptions happen all the time in the world of technology, with such disparate examples as the personal computer and the Model T automobile both changing future technology by becoming the most popular forms in the marketplace. Looking to product trends in the marketplace may allow us to predict future technological developments with more accuracy.

Based on the passage, one can infer that the author finds science fiction to be __________.

The following passage is adapted from The God-Idea of the Ancients: or, Sex in Religion, by Elizabeth Burt Gamble (1897)

Regarding the introduction of Christianity into Ireland it is claimed by certain writers that the Irish did not receive the “new religion” from Greek missionaries; but when at the close of the cycle, a new solar deity, an avatar of Vishnu or Krishna was announced, and when missionaries from the East proclaimed the glad tidings of a risen Savior, the Irish people gladly accepted their teachings, not, however, as a new system, but as the fulfillment to them of the prophecy of the most ancient seers of the East, and as part and parcel of the religion of their forefathers. Therefore when the devotees of the Roman faith, probably about the close of the fifth century of the Christian era, attempted to “convert” Ireland, they found a religion differing from their own only in the fact that it was not subject to Rome, and was free from the many corruptions and superstitions which through the extreme ignorance and misapprehension of its Western adherents had been engrafted upon it.

From the passage, one can infer that the author believes that the Irish __________.