ACT Past Papers with Answers

If the writer were to delete the preceding gentence, the paragraph would primarily lose.. an indication of how long cable carg have been in use. information about how cable Lars move. a brief overview of the cable Liir system. They likely would have ceased operating, however, if it

Source question 3. opeTating; howe&ei, if opcrating. Hom'cyer, if operating, however. If hadn't been for Friedcl Klussmann. ACT-Z15 GO ON TO THE NEXT PAGE. In January 1947: San Francisco mayor Roger Lapham proposed a plan to rid the city of cable cars. The cars, he argued, posed a salely threat because the cables were old dnd might snap, resulting in a runaway car. [A] They were also a financia] burden on the city. [B] He proposed replacing the cable cars with buses that would operate Teliably, on the steep streets of San Francisco, and be profitable. [Cl Klussmann, the president of the

Source question 6. plan. Klus£mann. fewer accidents then did buses. Addttionally, C¢ible

Source question 7. a tew accidenls than cars made money for the city by commending

Source question 8. encouraging sanctioning reassuring tourism.

Source question 10. arou nd as 10 committee's amendment was granted a spoi on the ballot Ihat November, 12] Still, the mayor wanted to scrap the cable cars. [3] Klussmann realized that the best way to proteci the cable cars would be to pass an amendment io the city Lharter and the city would be required to

Source question 11. Lharter rind the amendment would require the city charter that would rcquire the city chaiier, it would require the city

Which sequence of sentetLLes makeb this paragraph most logical? 1,3,2 ret&in them. l2 Two days before the election. Klussmann put signs from a prel'iously climinated cable c&r route on a cable Lar, which %he (Klussmann) then paraded through town JJ to remind San Franciscans of what was at stakc. On

Source question 13. then paradcd through the iown of San Francisco

The writer is Lonsidering deleting the underlined por- lion (adjusting the punctuation as needed}. Should the underlined portion be kepi or deleted? Ihat help illustrate the style of the genre. bershop music is traditionallv unaccompanied. redundant and nc)t necessary for comprehension. Deleted. becau%e it detracls trom the discu%sion of the historical origins of baTbershop quartets. 18 and "Sweet Adelinc., [C] Barbershop music has mdlly 18 distinciive qualitie8; however, enthusiasts say the mu%ic s true thrill, all in the acoustical eftecL called

Source question 19. thrill is the ringing chord, 01 oveitone. [0 | Produced when all four voices perfectly combine to create the impression (hence the term 'overtone") ot a fifth note rising aboie the

Which choice best maintains thc dcscriptive pattcrn established in the list of emotional responses? and spine tingling. and spinal tingles. etc.

The writer wants to dil'ide this paragraph into Iwo in order to separate the description of barbershop muslc in general tTom a focus on ()ne speLitic characLeristic of the genre. The besi plaLe to begln a new par(Igraph would be ai: Point D. ACT-Z15 GO ON TO THE NEXT PAGE. Quartet5 can only achieve ihis "angel's voice., ncverthelegs: wiLh proper breath SUPPOTt 13 and precise vocal technique. CollaboTation is

Source question 23. voice,, rcgaTdless, voice,. besides, voice so cruci(il' each participant must listen to the 24

Source question 24. cIucial. As crucial. crucial others to sing flawlessly, tuned notes. When the 25 %ingers each hold a different pitch-perfect note at the

Source question 25. %ing flawlessly tuned sing: flawlessly tuned sing: flawlessly tuned, correct harmonic interval, the variations in frequencies in their voices overlaps. The4e alldiblc frequencie 26

Source question 26. ovcrlapping. overlap. above and below the four voices create the illusion

Source question 27. allusion elLision of a fifth i'oice. Fcw modern instruments can create this effect because ()f slight iuning imperfections. Keyboards, for example, are tuned such that a piece of TllUSiL sounds equally good in any key, though this prevents trequencies from intcracting and overlapping (necessary to "ring a chord"). Beyond honoring tradition, thcn.. barbershoppers wc)uld b 18

Source question 28. Iradition, then, tradition; then wary of adding instruments that might compromise 29 the beloi'ed ringing chord.

Source question 29. suspecting OF GO ON TO THE NEXT PAGE. ACT-Z15 Question 30 asks about the preceding passage as a whole.

Source question 31. artist Ming Liang Lu. artist, Ming Liang Lu artist Ming Liang Lu attTacts attention. He's a selt-described "master paper portrait Cutter,, transforming the centuries-old traditional Chinese art of papei cutting [] by focusing on an 31

Source question 33. subject.. subject. subject ACT-ZIS GO ON TO THE NEXT PAGE. [1] Lu flags down a passeiby who has an intriguillg face offering to cre¢lte a tiny silhouette portrait. needing

Source question 34. and offers just a small piece of black paper, razor-sharp scissors: and a few minutes, [2] The model often buys the portrait with

Source question 35. using a small fee. [3] Many commuiers, so taken by the art, and

Source question 36. have mi5S*cd morning trains to have their own likenesses cut. [4] If not, Lu pins it to a white foam board, w'hich has 37 become an eye-catching gallery of dozens of distinct faces

For the sake of logic and cohesion. Sentence 4 should be placed: where it is now. after Sentence l. after Sentence 2. Lu begins a poilrait by foldin[* a lour-by-,SlK-inch Tectangle of paper in half and asking them lo stand still 39

Source question 39. their model facing him. He first cuts into the folded edge, carving 4• paper away to shape the model's main facial features,

Which of the following alternatives to the underlined portion would NOT bc acceplable? edge, proceeding to carve edge and begins to carve ed¥e, and caTving edge and caryes including eyes. nose. alld lips. Lu doesn't move the scissors as he WOTks. Instead, he maneuvers the paper dlong the slightly open scissor blades. [A] He then unfolds hi.s creation, working with scis80rs to cut out eyebrows, 41 wrinkles, and other details. [B] To finish, he shapes

The writeT Wiint.% to clearly reinforce and build upon the explanation of Lu'8 paper-cutiing technique pro- vided in the piecedillg two sentence%. Which choice best accomplishes that goiil? chopping into the paper rapidly with his scissors twisting and turning his scissors in his hÉtnd swiveling the paper aTound the blades the outer contours of the face, such as the hair and jawline, letting the paper's border fall to the flooi. Icl Lu often exaggerates a model's facial features for whim.%ical effeL-t, but it's not as if hiq intention8 are cruel. 42

Gii'en that all the choiceq are true. which one mosl effectively leads the reader into the next sentence? blance io the model, which is not SUTprising givell that there is so tnuch he is able to capture. gallery, know what to expect. ACT-Z15 GO ON TO THE NEXT PAGE. Passersby, seeing Lu's board, sometimes even recognize people from their commutc. [D] A bald 43 an in sunglasseg, a woman with dreadlock%, a girl wearing hoop earrings, a young boy smiling. One of Lu's admirers claimed that collectively Lu's paper cutting8 44

Source question 43. recognize that a person recognizes a per,son recognizes people

Source question 44. assembled as a gallery ag a group

Source question 46. mimicc4S. mimicu5" mimicus

Source question 47. whom a whose Ctustaceans, and fishes, is equally rich in predators. 48 With few places to hide. the mimic, like many other

Source question 49. cephalopods which depend ccphalopods, dependent ACT-ZIS GO ON TO THE NEXT PAGE. Its Idck of a skeleton allows it lo change shape. while

Source question 50. Its lack in 51 chromatophores, tiny Sacs of yellow, brown, red. or black 51 pigmenl located just under the skin, allow it to change 51 color (Ind pattern in leAS Ihan a second. Unlike most Lephalopods, though. this oclopus imitates ihe behavior of other animal8 as well.

If the writer were to delete the underjined portion (adjusiing the punctuation as needed). the par(Igraph woulci primarily lose: a definition of chromatophores and an indication of their location. an explanation of particul<iT features that permit dramatic changes in shape. a visual description ol" the texture of the mimic octopus's skin. an indication of the rapidiiy with which the chro- matophores can change the octopus's color. When slowly foTaging along the seafloor. probing holes with its arms, trapping prey in itg flared web. The 52

Source question 52. web, which the web the mimic iypically avoids notice. It assumes a drab. brown color, blending in wiih the .4ilt and sand. 53

Source question 53. with similar brown hues of the sandy seafloor's

Source question 54. But as gpeed increases, it morphs into the teardrop 54 shape of a flatfish. aTms trailing behind. Scieniisis debate as the acceleration of the octopus increase%: when the rate of movement increases, as the octopus picks up ¥peed, whether, in the end, the octopus's final. ultimate goal is 55 to mimic the tOXlL qole or the unpalatable flounder.

Source question 55. with much discussion as to if the octopus's intent if the octopus's intentional aim whether the octopus's aim Additionally, the octopus's intentions appear more certain: when a lerriiorial damselfish is present, for

Which choice most clearly indicates that the octopu,s uses the black-and-white color pattern to appe Ihreatening. shifts to adoptg body into the sand, displays a banded black-and-white color pattern, at]d waves the two free arms in opposite direction5. The gesture appears quite effective in warding off an aitack. ACT-215 GO ON TO THE NEXT PAGE. As yet, scientists have minimal video foot(Ige of the mimic octopus, and the motnentary glimpses afforded by still photos offered inconclusive evidence for claims about

Source question 59. offers offer the extent of the oclopus's capabilities. Some argue it can mimic up to fifieen Species. Others rernain unconvinced. Nearly all, however, are awed by its ingenuity. Question 60 asks about the preceding passage as a whole.

Suppose the wriler's primarv purpose had been to focus on a particular animal's use of deception for predatory purposes. Would this essay accomplish Ihat purpose? Yes, because it asserts that although thcre is some debate about ihe octopus'% inlentions, most scien- tistb agree that it is an ingenious predaior. uses imitation while foraging. deception more as a general tool for survival than as a means of pursuing prey. octopus's deceptive strategies compare to thosc ot otheT cephalopods. PASSAGE V As Light as Pavlova In the 19208, Anna Pavlova, Russia's premier ballerina, loured Australia and New Zealand: firing Ihe imaginations of dancers, patrons of ballet, and chefs who found inspiraiion, Few doubt that the meringue oi

Source question 61. chefs were inspired by her. as were chefs. even chefs. dessert known as the pavlova, was created to honor the OZ world-famous dancer. Both Australia and New Zealand,

Source question 63. therefore, likewise. lay clairn to being first to celebrate 63 their luminous costurnes and light-footcd dancing with puffy clouds of meringue.

Source question 64. those its ACT-Z15 GO ON TO THE NEXT PAGE. In 1935, Chef Herbert Sachse of the Hotel Esplanade in Perth. Austr¢ili(i. Lommemorated Pavlova's tour with a 05 dessert he hc)ped would be as ethereal and delicate as

Which word choice most Llearly connoies that Sachse creaied his dessert for the purpose of honoring Pavlova's tour? her moyemcnts onstage. He startcd by tnaking a authenticated emblazoned initiated marshrnallow-like base of fluffy meringue, it's a

Source question 66. meringue, a eringue; a eringue. A blend of whipped egg whites and sugar, He filled the 8unken center of the baked JtLcFingue with mounds of whippcd crearn, swirled to suggest a spinning ballerina. 67 Because Pavloifa'4 tutu had been speckled with green

Which choice most clearly ernphasizes that Sachse deliberately shaped his des,sert to rnimic the form and movement of PaTrlova as a dancer. almost reminiscent of a ballerina. made fresh for the dessert. silk roses, he covered thc cream with sliced

Which choice best conveys that Sachse's placement of kiwifruit on his desseri rnimicked the aTTangement of green silk roses on Pavlova's tutu? kiwifruit. To the hotel guegts to whom Sachge wrapped lined first served this delicacy, he went, 'It is as light

Source question 69. as Pavlova."

Which of the following Irue sentence.s would most effectively lead the reader fTOtn this paragraph to the next paragraph? does not dance: she soars as though on wings." according to many Australians. its baked meringue shell. But before the dessert was served, the guests applauded Sachse.

The best placernent for the underlined portion would New Zealanders. however, believe that a dessert was served, very similar to Sachse's confection also 71 in honor of Anna Pavlova, at a hotel in Wellingtoll, where il is now, after the ￿'ord that. after the word dessert. after the year 1926 (and betore the period). New Zealand, as early as 1926. Sachse himself said that his own meringue dessert was a fanciful adaptation of a recipe tor "meringue cake" that he had found kn a ACT-Z15 12 GO ON TO THE NEXT PAGE. magazine. Thdt recipe had been contribL]led h} "Rewa, a woman from New Zealand." 72

If the writer were to delete the preceding sentence, the egsay would primarily lose information that: strongly 8UPPDrts New Zealand's clalm to the orig- inal pavlova recipe. argues that Rewa, a woman from New Zealand:, created a "'mcringue cake" that M'as even more decadent th¢in Sachse's meringue desserl. reLipe he hdd found in a Tnagazine. provideb f<icls about how SaLhse typically found inspiration for new recipes for hotel gue%ts. The n]any variations of the dessert have allowed bolh eountries to call one of their own Ciirly recipes as 73 'the original P<ivlova.' Bui Ihere were dozens ()f recipes

Source question 73. make for refer for pavlova in New ZedIand cookbooks by 1940, the year a pavlova recipe firsi appeared im an Australian cookbook. Most culinary historians and even the authoritative Oxford English Dictionary-attribute the original paylova to New Zcaland. ConsequentIy. this artistic 74 dessert generously ad()rns Ihe national cuisine

Source question 75. of both countries, Lhose being Australia and New Zealand. iii Australia and New Zealand, those two countries. tence with il pcriod. END OF TEST 1 STOP! DO NOT TURN THE PAGE UNTIL TOLD TO DO SO. ACT-ZI 5 13