The Baxter house is located at the
end of the street. This house sits farther back from the curb than the other
houses. It is almost difficult to see from the road without peering behind the
deformed oak tree that has obscured it for years. Even so, the Baxter house
stands out from the other houses on the street. It is tall and white. However,
this white is no longer pristinely white, but a dingy grayish cram color. Long
vines hang from the tattered roof. The Baxter house is two stories tall and has
a large yard in the back that has never been mowed. The other houses on the
street are a mere one story and have been painted a variety of colors. The
newer, single story properties all appear to have been built around the same time;
the yards mostly being of the same size, and the houses appearing to be clones
of one another. Aside from the Baxter house at the end, this street is a
perfect slice of middle America. The inhabitants of the other houses wonder who
lives in the ancient, dilapidated house at the end of the street.
Based on its use in passage, it
can be understood that ‘dilapidated’ belongs to which of the following words
groups?
It is easy to make delicious-looking hamburger at home. But would this
hamburger still look delicious after it sat on your kitchen table under very
bright lights for six or seven hours? if someone took a picture or made a video
of this hamburger after the seventh hour, would anyone want to eat it? More
importantly, do you think you could get millions of people to pay money for
this hamburger? These are the questions that fast food companies worry about
when they produce commercials or print ads for their products. Video and photo
shoots often last many hours. The lights that the photographers use can be
extremely hot. These conditions can cause the food to look quite unappealing to
potential consumers. Because of this, the menu items that you see in fast food
commercials are probably not actually edible.Let's use the hamburger as an
example. The first step towards building the commercial hamburger is the bun.
The food stylist--a person employed by the company to make sure the products
look perfect--sorts through hundreds of buns until he or she finds one with no
wrinkles. Next, the stylist carefully rearranges the sesame seeds on the bun
using glue and tweezers for maximum visual appeal. The bun is then sprayed with
a waterproofing solution so that it will no get soggy from contact with other
ingredients, the lights, or the humidity in the room.Next, the food stylist
shapes a meat patty into a perfect circle. Only the outside of the meat gets
cooked-the inside is left raw so that the meat remains moist. The food stylist
then paints the outside of the meat patty with a mixture of oil, molasses, and
brown food coloring. Grill marks are either painted on or seared into the meat
using hot metal skewers.Finally, the food stylist searches through dozens of
tomatoes and heads of lettuce to find the best-looking produce.One leaf of the
crispest lettuce and one center slice of the reddest tomato are selected and
then sprayed with glycerin to keep them looking fresh. So the next time you see
a delectable hamburger in a fast food commercial, remember: you are actually
looking at glue, paint, raw meat , and glycerin. Are you still hungry?
Question:
Something is edible of it
I am writing in response to response
to the article “Protecting our public spaces” in issue 14, published this
spring in it, the author claims that “all graffiti is public spaces.” I would
like to point out that many people believe that graffiti is an art from that
can benefit our public spaces just as much as sculpture, fountains, or other,
more accepted art forms.
People who object to graffiti
usually do so more because of where it is, not what it is. They argue, as your
author does, that posting graffiti in public places constitutes an illegal act
of property damage. But the location of such graffiti should not prevent the
images themselves from being considered genuine art.
I would argue that graffiti is the
ultimate public art form. Spray paint is a medium unlike any other. Though
graffiti, the entire world has become a canvas. No one has to pay admission or
travel to a museum to see this kind of art. The artists usually do not receive
payment for their efforts. These works of art dotting the urban landscape are
available, free of charge, to everyone who passes by.
To be clear, I do not consider
random words or names sprayed on stop signs to be art. Plenty of graffiti is
just vandalism, pure and simple. However, there is also graffiti that is
breathtaking in its intricate detail, its realism, or its creativity. It takes
great talent to create such involved designs with spray paint.
Are these creators not artists
just because they use a can of spray paint instead of a paintbrush, or because they
cover the side of a building rather than a canvas?
To declare that all graffiti is
vandalism, and nothing more, is an overly simplistic statement that I find out
of place in such a thoughtful publication as your magazine. Furthermore,
graffiti is not going anywhere, so might as well find a way to live with it and
enjoy its benefits. One option could be to make a percentage of public space,
such as walls or benches in parks, open to graffiti artists. By doing this, the
public might feel like part owners of these works of art, rather than just the
victims of a crime.
Based on its use in paragraph 4,
which of the following accurately describes something that is intricate?
Philadelphia is a city known for
many things. It is where the Declaration of independence was signed in 1776,
and it was also the first capital of the United States. But one fact about Philadelphia
is not so well-known: it is home to nearly 3,000 murals painted on the sides of
homes and buildings around the city. In fact, it is said that Philadelphia has
more murals than any other city in the world, with the exception of Rome. How
did this come to be?
More than 20 years ago, a New
Jersey artist named Jane Golden started a program pairing troubled youth with
artists to paint murals on a few buildings around the city. Form this small
project, something magical happened. The young people involved helped to create
magnificent pieces of art, but there were other, perhaps more important
benefits. The young people learned to collaborate and get along with many
different kinds of people during the various steps required to paint and design
a mural. They learned to be responsible, because they needed to follow a
schedule to make sure the murals were completed. They also learned to take pride
in their community. It is hard for any resident to see the spectacular designs
and not feel proud to be a part of Philadelphia.
Take a walk around some of the
poorest neighborhoods I Philadelphia, neighborhoods full of broken windows and
littered front steps, and you will find beautiful works of art on the sides and
fronts of buildings. Of course they murals are not just in poor neighborhoods,
but more affluent ones as well. Special buses take tourists to different parts
of the city to see the various murals, which range from huge portraits of
historical heroes, to cityscapes, to scenes depicting the diverse ethnic groups
that call Philadelphia home.
As a result of its success, the
mural program created by Jane Golden has now become the nation’s largest public
art program and a model for to troubled youth.
As used in paragraph 3, which is
the best definition of affluent
Philadelphia is a city known for
many things. It is where the Declaration of independence was signed in 1776,
and it was also the first capital of the United States. But one fact about Philadelphia
is not so well-known: it is home to nearly 3,000 murals painted on the sides of
homes and buildings around the city. In fact, it is said that Philadelphia has
more murals than any other city in the world, with the exception of Rome. How
did this come to be?
More than 20 years ago, a New
Jersey artist named Jane Golden started a program pairing troubled youth with
artists to paint murals on a few buildings around the city. Form this small
project, something magical happened. The young people involved helped to create
magnificent pieces of art, but there were other, perhaps more important
benefits. The young people learned to collaborate and get along with many
different kinds of people during the various steps required to paint and design
a mural. They learned to be responsible, because they needed to follow a
schedule to make sure the murals were completed. They also learned to take pride
in their community. It is hard for any resident to see the spectacular designs
and not feel proud to be a part of Philadelphia.
Take a walk around some of the
poorest neighborhoods I Philadelphia, neighborhoods full of broken windows and
littered front steps, and you will find beautiful works of art on the sides and
fronts of buildings. Of course they murals are not just in poor neighborhoods,
but more affluent ones as well. Special buses take tourists to different parts
of the city to see the various murals, which range from huge portraits of
historical heroes, to cityscapes, to scenes depicting the diverse ethnic groups
that call Philadelphia home.
As a result of its success, the
mural program created by Jane Golden has now become the nation’s largest public
art program and a model for to troubled youth.
According to the passage, the
murals in Philadelphia
I
draw tourists who want to see them
II instill responsibility and pride
in the people who paint them
III are solely designed by the
youth who paint them
The purpose of education is to make the student
an expert in his subject. This must be clearly understood, and mere mudding
through lessons and lectures and books and passing examinations are relegated
to secondary importance as means to the end-which is excellence in the field
chosen.
But there are so many fields, and no man can
become an expert in all the fields it is necessary to decide which fields are
important ones that a man should know well.
It is clear that one’s own work is the most
important. This has been realized and modern civilization has accordingly
provided vocational education. It is now possible to acquire high professional
skill in the various fields, medicine, engineering production, commerce and so
on-but with good and bad mixed together, and no standard for guidance.
What, according to the writer, is the end?
The history of the modern world is a
record of highly varied activity, of incessant change, and of astonishing
achievement. The lives of men have, during the last few centuries, increasingly
diversified, their powers have greatly multiplied, their powers have greatly
multiplied, their horizon been enormously enlarged. New interests have arisen
in rich profusion to absorb attention and to provoke exertion. New aspirations
and new emotions have come to move the soul of men. Amid all the bewildering phenomena,
interest, in particular, has stood out in clear and growing pre-eminence, has expressed
itself in a multitude of ways and with an emphasis more and more pronounced,
namely, the determination of the race to gain a larger measure of freedom than
it has ever known before, freedom in the life of the intellect and spirit,
freedom in the realm of government and law, freedom in the sphere of economic
and social relationship. A passion that has prevailed so widely, that has transformed
the world so greatly, and is still transforming it, is one that surely merits
study and abundantly rewards it, its operations constitute the very pith and
marrow of modem history.
Not that this passion was unknown to
the long ages that proceeded the modern periods. The ancient Hebrews, the
ancient Greeks and Roman blazed the was leaving behind them a precious heritage
of accomplishments and suggestions and the men who were responsible for the
Renaissance of the fifteenth century and the Reformation of the sixteen century
contributed their imperishable part to this slow and difficult emancipation of
the human race. But it is in modern times the pace and vigour, the scope and
sweep of this liberal movement have so increased unquestionably as to dominate
the age, particularly the last three centuries that have registered great
triumphs of spirit.
The horizon of the lives of men has
been greatly enlarged. What does it mean?
The year 2006 was the golden
anniversary, or the 50th birthday, of the Dwight D. Eisenhower
National System of Interstate and Defense Highways. This system, usually
referred to as The Interstate Highway System, is a system of freeways named
after the U.S. President who supported it. The system is the largest highway
system in the world, consisting of 46,876 miles (75,440 km) of freeways. The
construction of the interstate highway system is an important part of American
history. It has played a major role in preserving and maintaining the America way of life.
The interstate highway system has
several major functions. One of its major functions is to facilitate the distribution of US good. Because the
intestate passes through many downtown areas, it plays an important role in the
distribution of almost all goods in the United States.
Nearly all products travel at least part of the way to their destination on the
Interstate System. Another major function of the interstate is to facilitate
military troop movement to and from airports, seaports, rail terminals and
other military destinations. The Interstate highways are connected to route in
the Strategic Highway Network, which is a system of highways that are vital to the U.S. Department of Defense.
Today, most of the Interstate system
consists of newly constructed highways. The longest section of the Interstate
system runs from Boston, Massachusetts to Seattle, Washington. It covers
3,020.54 miles. The shortest two-digit interstate is from Emery, North Caroline
to Greensboro, North Caroline. It covers only 12.27 miles. All state capitals
except five are served by the system. The five that are not directly served are
Juneau, AK, Dover, DE, Jefferson City, MO, Carson City, NV, and Pierre, SD. The
Interstate Highway System serves almost all major U.S. cities.
EACH Interstate highway is marked
with a red, white, and blue shield with the word “Interstate,” the name of the
state, and the route number. Interstate highways are named with one or
two-digit numbers. North-south highways are designated with odd numbers; east-west highways are
named with even numbers. The north-south Interstate highways begin in the west
with the lowest odd number; the east-west highways begin in the south with the
lowest even numbers. There all mile markers at each mile of the interstate
system, starting at the westernmost or southernmost point on the highway. Every
Interstate highway begins with the number “0”. Interchanges are numbered
according to their location on the highway in relation to mileage; an exit
between milepost 7 and milepost 8 would be designated “Exit 7.” This system
allows drivers estimate the distance to a desired exit, which a road is leading
off the highway. Despite the common acceptance of the numbering system on the
Interstate highways, some states have adopted different numbering systems. For
example, a portion of the Interstate 19 in Arizona is measured in kilometers
instead of miles since the highway goes south to Mexico.
Since the Interstate highways are
freeways-highways that do not have signs and cross streets – they have the
highest speed limits in the nation. Most interstate highways have speed limits
between 65 – 75 miles per hour (105 – 120 kilometers per hour), but some areas
in Texas and Utah have an 80 mile-per-hour (130 kilometer-per-hour) speed
limit.
The federal government primarily
funds interstate highways. However, they are owned and operated by the
individual states or toll authorities in the states. The federal government
generally funds up to 90% of the cost of an Interstate highway, while the
states pay the remainder of the cost.
Something vital is very