ACT Past Papers with Answers

Whieh of the following statements does the passage support regarding the idea for the movic? r. Though tTh¢ original idea was Ola's, the narrator and Martha embraced it. G, Although" the narrator caine up with the idea, she needed Martha's encouragement to continue. narrator to make the movie. be talked into it by Martha.

The narrator's two references to a camera's lens cap (lines 27 and 42) primarily serve to suggest her: expanding knowledge of camera terminology. continuing desire to uucover her artkstlc Vlsloll. ongoing insecurity about her skill with a camera. D, growing eagerness to use a camera to tell Stories, ACTQSD 31 GO ON TO THE NEXT PAGE. Passage 11 people who eat the high-volume snack feel more salis- 55 fied. Eating AU Lean,. in short, isn t going to.leatre you with a craving for more calories" you'll feel just as full. SOCIAL SCIENCE: This passage Is adapted Irom the artlcls "The T¥ouble with Fries" by Malcolm Gladwell (@2001 by The Condé Nast Publications'lnc.). For anyone looking to improve the quality of fast food, all this is heartening news. It means that you should be able to put low-fat cheese and low-fat. may-: 60 onnaise in a fast-food, hamburger wiihout anyone's complaining. It also mcans that th¢r¢'s no particulai reason to use twenty-per-cent-fat ground beef. in a fast- food burger: In 1990., using just this argument, the Auburn team suggested to McDonald's that it make a 85 hamburgcr out of AU Lean. Shortly thcr¢after, McDon- ald's came out with the McLean Deluxe. Other fasl- food houses scrambled to. follow 8Ult, Nutritionists were delighted. And fast food appeared on the veig.e of a revolution. It is elltirely possible. light now, to make a deli- cious Freoch fry that does not cany with it a d¢ath sen- tellce. A French fry call be much more than a delivery vehicle for fat. 18 it really that simple, tbough? Consider tlie cau- Éionary tale of the efforts of a group. of food scientists at AubuTn University moIe than a decade ago to com¢ up with a better hamburger, The Auburn team wanted to create a leanei beef that tasted as good as iegular 10 ground beef. They couldn't just remove the fat, because . Lhat would leave the meat dr and ]nealy. They wanted to ieplace the fat. The goal o lthe Auburn scientists was to cut about two-thirds of the fat from'llormal ground beèf, which meant that they needed to find something 15 to add to the beef ihat would hold all equivalent amount of watei-and continue to retain that water even as the beef was being grilled. Their choice? Seaweed, or, more precisely, carrageenan. They also selected some basic flavor enhancers, designed to make up for the lost 20 fat "taste., The result was a beef patty that was roughly Ihree-quarters water, twenty per ccnt. protcin. fiv¢ p¢T cent or so fat, and a quarter of a per cent seaweed. They called it AU Lean. 70 Only, it wasn't. The McLean was a flop, and four years laTrr it was off. the market. What happened? Part of the problem appears to have been that McDonald's rushed the burger to market before many of Ihe produc- tion kknks had been worked out.. More important, 75 though, was the psychological handicap the burger faced. People liked AU Lean ill blind taste tests because they didn, t know it was AU Lean. they wei'e fooled into thinking it was regular ground beef, But nobody was fooled when it came to the McLean Deluxe. It was sold 80 as the healthy choice-and who goes to McDonald's fo health food?. It didn't take the Aubllrn scientists long to realize 25 that they had crcated something special. They began doing blind tast¢ comparisolls of AU Lean burgers and traditional twenty-per-cent-fat burgers. Time after time, the AU Lean burgers won. Next, they took their inven- tion into the field. They i¢cruited a hundred families 30 and supplied them with three kinds of ground beef for home cooking over consecutive three-week intervals- regular "market" ground beef with twenty er cent fat, ground beef . with five p¢r c¢nt fat. and AO L£an. Thc families wexe asked to Tate the different kinds of beef, "35 W"ithout knowing which was which. Again, the.AU Lean won hands down. This is sobering news foi those interested in improving the American diet. For years, the nutrition movement in this couiitry has, made transparency one of 85 its principal goals: it has assumcd that the best way to .help people improve their diets LS to tell them precisely what.s in their food, to label certain foods good and cértain foods bad. But transparency can backfiie, because sometimes nothing is more deadly for our taste 90 buds than the knowledge that what we are eating is good for us. What the Auburn team showed wa8 that, even though people love the taste and feel of fat-and natu- rally gravitate toward high-fat .food-they can be 40 fooled into thinking there is a lot of fat in sotnething when there isn t. When the gioup tried to lower the fat in AU Lean below five per cent, people didn'l like it anymore. But, wiihin the relatively broad range of between five and twenty-fiite. per cent, you can add 45 water. and some flavoring and most people can't tell the difference.

Viewed in the Colltext of the passage, Martha's smirk (line 37) most likely reflects a feeliug of=, ild weariness. shary condescension. slight amusement. S. As presented by the partickparits. the initial meeting between Ola and Martha can best be described as.. & misunderstanding that escalates into harsh words until the LWO agree to keep their distance from each. other. a potentially bitter confrontation that, b¢causc of the personalities of the two people, turn6 into a oooperative effori. a friendly, relaxed get-together between two fami- lies made even more enjoyable by music and a shared task. an accidental encounter that slowly turns unpleas- ant due to a dispute that Ola's daughter helps resolve. "What did you say to Martha then?" "I told her I didn't know who she was, but if she had enough energy to yell fiom the road at a perfect stranger, she probably had enough strellgth to pick up a 85 brush." Martha tilts her head back and laughs. "So I did." Ola; g¢ts up and goes into the hou8e without making a sound. I don't think that Martha even knows she's gone, 'cause her eyes are closed. I want to make this movie.on my own. Martha makes me want to know all of Ola's friends. I want to know who they are and what they, Ve done, I'll put the all in front of the camera, and.when the movie's. done, it can be my gift to Ola. The other gifts I've given her are 95 things she could put on the wall or wear. I figure this will be better than all that. I'll give her memories of her p.eople. 90

Source question 5. Refer to the source image.

Martha Cle￿lY recon]mends that the narrator use a camera in which of the following way%? J, Secretly

It can most reasgnably be inferred that Diane is thc name of.. the narrator's mother. one of Ola's neighbors. one of Martha's best fTiellds. l. Based on the passage, Ola aud Martha can reasonably be said to share .all of the following traits EXCEPT a: sense of humor. capacity for brutal honesty. D: tendency to pause before speaking.

In terms of the develo ment of the narIatoF as a char~ acter, the last paragrap primarily servcs to: establish motivation for her actions. elaborate on her relationship with Martha. undermine the ieliability of her account.

The narrator's statement "She wouldn, L break, though" (line 60) most nearly means that in the llairator's opin- ion, Ola is: too stllbborn to change her opinions very often. stronger than she appearg to be. more active than many people half her age.

The author most nearly po.rtrays the Auburn scientists as: What's more, people appear to be more sensitive to the Volume of food they consume than to its calorie content. Barbara Rolls, a nutritionist at Penn State. has 50 demonstrated this principle with satiety studies.. She feeds one group of people a high-volume snack and another group a low-volume snack. Even though the two snacks hav¢ the same calorie count, shc finds that severe critics of the fast-food industry's practices. enthusiastic pi.oinoters of their promising WOLk. application Df theAr work. cleirer innovators more interested in nutrition than in how food tastes. ACT-65D 32 N TO THE NEXT P

It ean reasonably be Infe￿ed from the passage that changing which of the following conditions of the experilncnt d¢scrib¢d in line8 28-36 would hav.e had the biggest effect on the outcoEne? F, Altering the order in which the families ieeeived the three kinds of ground beef drtd in the study H, Tellillg the families which kind of ground beef Ih'ey were getting each time of ground beef

The statement in lines 61 . 63 most likely.represents the view of all of the following groups .EXCEPT: Deluxe to the public. these conclusions. nutriiionists who saThi the potential health benefits of AU Lean. cle was published.

According to 'the passage, carrageenall's role in AU Lean was as a: substitute for fat. source of protein. replacement for seaweed.

The author implies that for an AU Lean hamburger to seem as satisfying as a hamburger made from regular ground beef, the most i￿POItant factor would be keep- ing which of the folloiving the same? D, Method of cooking

The author indicates that the maill cause of the failure of the McLean Deluxe was that., advertising. it was rushed. to market before pi"oduction prob- leins were solved. hamburger. them, ACT.65D 33 O ON TO THE NEXT PAGE. Passage111 principal difference having to do with how the action- the intricate mechanism that activates ,the hammers to strike the strings-was conceived and assembled. Vien- nese pianos weTe generally softer, wjth. a refined 60 singiiig tone that allowed th¢.mclody to corrie to the foTe' the pianos themselves had delicate cabihetry, Eng-. lish pianos, on the other hand, had a more. robust tone, with a stroll¥.er'action and greatei- tension in the stiiugs. they had solid cases and sturdy frames. The great Vien- 65 nese comi)osers of the classical era-Haydn, Mozaxt, Beethoven-played Vlennese pianos, but the transiiion to the stronger instruuients of the Engllsh school can be seen in Beethoven's last piano sonatas. HUMANITIES: This pa8sage 18 adaptod. from The Piano Shop on the Left Bank by Thad Carhart (02001 by Thad Carhart). No one knows exactly when the'piano was invented. The generally accepted date is around 1700: There is little doubt, howev¢r, about its inventor, an instrument makei in Horence, Itsly, named Bartolomeo 5 Cristofork, Iirho developed a way of making a struck string resound loudly. Before Cristofori, key.board nstiuments were unsF(tisfactory for different reasons: clavichords, whose strings are struck. were small and delicate, and theii" gIeatly reduced volume made them 10 Sultable only f'or small gatherings. Harpsichords, while lar¥er and therefore considerably louder, had one over- ridiiig limitation: Slllce the stnng is p.lucked, thc forc¢ with. which the key .is depressed is unrelated to Lhe volume of the sotind produced. Dynamic control of 15 each note was not possible. Beethoven was known foi the iiicreasing dynamic 70 contsasts in his works for p.iano, from whisptr to thun-. der, and lie sometimes destroyed the fiagile Viennesè pianos wheii playing his music. He had a .strong .influ- ence on the direction of piano manufacture, and as early as 1796 he expressed his frustration with the overly 75 delicate styles of playing that were a holdover frorn haryysichords. What was needed and what Cristofori Invented- was an instrument as large and robust as tlie big harpsi- chordg that.would also allow the dynaruic Tange that before had only been available on the flimsy clavi- 20 choxds. The first piano was described by a contempo- iaiy musician in 171f as a "gravicembalo col piano e fo.rie," a "harpsichoid with sofr and loud." This was the essential breakthrough, but it took decades for the seed to find fertilc ground, and it did. so riot in Itsly but in 25 eighteenth-century Germany. In 1818, Broadwood, the pre-erriinent English manllfactufer of the day, offered hkm a grand piano that incorporated all of the l&t¢st featur¢s: stronger case and 80 frame, trichord stringing, more responsive action. Tbis piano, 100, Beethoven damaged wilh the fexvor of his playing (a contemporary ieported that "the bioken strings ivere jumbled up like a thorn bush in a storm"), but he remained attached to It untkl his death in 1827. 85 He imaginéd music unlike anything his contemporaries were writing;. the HammerkldviÉr sonata froirj this period still strikes many as a revelation of the piano's extreme Iimits of power and expr¢ssiYeness. German instrument makers incorporated Crislofori's breakthrough into a series of incrcasingly powerful .keyboard instruments Ihat weL'e true pianos, Johann Sebastian Bach was impi"essed by the first piano 30 he tried, but he pointed out limitations that still needed to be woi-ked on: a heavy action and a treble that was . not loud enough. Two of his sons, Carl Philipp Emaiiuel and J.oharin Christian, championed the instrument In the next generation. by the time .Johann ChristLan' Bach 35 gaiie England:s first solo piano performance in 1768, the triumph of this. new keyboard instrument over the harpsichord was assured. The role of the keyboard as a solo illsttliment came to the fore musicaLly: It was no longer just another part 40 of the ensemble, and its unique volume freed it from the oonfines of the drawing room to which the haTPSi- chord had aln]ost always been consigned. Haydn and Mozart both wrole masteiful sonatas for the new i.nstru- ment, Éts keyboaTd was greatly expanded, and its 45 dynamic range-the single feature that most disiin- guished it fTom the harpsichord-was exploited fully. A whole uew technique stressing fluidity was developed for the piano, attd Mozart wrot¢: "It should flow lik6 oil,, Solo concerts became the norm rather tha4 the 50 exception, and a clasg of iiistrumentalists with- tech- ni4ue and power arrived on the scene.

The author most'likely intends the question in lines

It can reasonably be inferred from the last paragraph thit thc author thinks that, in the future, the nuts'ition movement should: make it8 goa18 more transparent. reconsider it8 goal of transparency, tefi people exactly what is in. thèir food.

According to the passage, which of the following ele- ments makes up the highest percent of AU Lean?

According to information in the fourth paragraph (lines 37-46), whEch of the following comparisons between a 20-percent-fat hambui.ger and an 8-percent-fat ham. burgei with added water aAd' flavorings .would most people make? better. better.. H, The 8-percent-f&t hamburger would taste signifi- cantly better.

Source question 22. Refer to the source image.

Based Oll the passage, the author.would most likely ' agree that both Beethoven and Cristofori were; affected the music world. world-class musicians who gained recog'nition in their time. contributors to the advancemellt of the piano who were appreciated only after theLT deaths. musicians .who found llLore fame outside thejI native countries than inside,

For purposes of the passage, the significan¢e of eigh- teenth-century GeTmany is that it was there: instrument makers improved upon ideas of piano making that had originated in Italy. IialLy pIoduced. the first major split occurrcd among piano makers over the best way to design keyboards.

As it is used in line 27, .the phrase Cristofori's break- through most nearly refers to the: instrument.maker's decision to let leading musi- clans iiiitiatè Changes to standard piano design. creation of pianos whose strings could be plucked loudly or softly,. depellding oll the effect desired. room to larger perfoimance spaces. the dyna￿lC range. .of the clavichord and the loud- ness of the harpsichord.

According to the passage: Johann Sebastian Bach's reaction to the first plano he played was., appreciation of its fluidity. mild. irritation over th¢ singing quality of the notes. about problems. aEnusement that the fervor of his playing damaged the strings.

According to the passage: the piano was better suited than the"harpsichord to: solo performances. church music.

According to the passage, the Hammerklavier sonata is a composition by Beethoven that: sounds. as dramatic on the clavichord as on the piano. reveals the composer's remarkable awareness and use of the piano's full capacities. Vienlla imported English pianos.. ACT.65D 35 GO ON TO THE NEXT PAGE. Passage IV NATURAL SCIENCE: This. passage is adapted from Great Waters.. An AtlantiG Passage by Deborah Cramer I 2001 by Deborah Cramer).. 55 bodies of other.fish undulate through the water as they swim, the crescent-shaped tail of .the bluefin propels its rigid body forward. Retractable ,firis, sinall scales, and . recessed e es further eoable bluefin to. thrust quickly throngh t ick and heavy seas, easily overcoming 6D water's drag and resistance. With their warni bodies, rapid metabolism, and sleek design, bluefin excel at both short sprints and long-distance travel. They zoom ill on prey in short, quick bursts of speed, and they can cruise at two body lengths 'per second, easily making long-distance endurance swims along an entire ocean basin. Engineers who design Ull'derwater robotics dream of replicating the sleek body of this 8-foot-long# 700- pound fish who rush¢s without ceasiThg throuÈh the breadth and depth of the sea, Relative hewcomers to the marine world, bluefin tuna and.swordfish have evolved into some of the sea's most highly developed fishes. While th¢ cod, haddo¢k, flounder, and plaice who dwell year-round in the North 5 sea.and the Gulf of Mexico are cold-blooded, their body temperatures rising and falling in sy]]chTolly. Wkth the surrounding water, thus limiting their geographic rallge, swordfish and bluefiii, exquisitely adapted to live in the vastnes8 of the sea, are free from the bound- 10 aries imposed by temperature, The swordfish who sur- .face at the. shelf edge have swum up from the depths, rising hundreds of feet through the water each evening as the sun sets. following their prey of fish .and squid, A temperature difference of 36 degrees Fahrenheit, as 15 great as the swing between winter and summer, night and day, separates cold deep from warm sur.face. Swordfish exit one realm and swim into tbe other in under an hour. 70 Swordfish and. bluelin travel throughout the ALl&ntic with treinendous. speed, but fiom moment to moment, day to day, month to month, their. migrations are not lyell charted..In the winter of 1997, when the waxm Gulf Stream edged shoKeThiard'toward the coast of 75 Cape HatteKas, pressing against cold water rushing south in the Labradoi CurTent, giant bluefin gathered in the warmth along the boundary, The following year, when ihe Gulf Stream moved offshore and the chilly Labrador CuiTent filled the waters of coastd Cape Hat- 80 teras, bluefin wintered in waters unknown to people. Some bluefin, fdtten¢d in American coastal waters during the summer and fall, follow the currents across the sea during Lhe. winter. How they navigate, rio on¢ really knows.. They could be guided by internal com- 85 passes of magnetite chips eJnb8dded in their slaElls, by the warmth, salinity, or motion of the current, by at- terns of polarized light received by the pineal win ow in their. heads, or by prey Icaving their scent as an oily, odorous sIick in th¢ water. Moving between sucli extremes would stun the

The main purpose of the passage is to,; which navigational ulethod swordfish and bluefin actually use. B persuade the Teader. that swordfish are superior to bluefin in their adaptation to ocean lrfe. speculate on the reasons why two fish have devel- oped certain specialxzed traits. ronment. including specialized traits and physical features.

The author's attitude regarding swordfish and bluefin can bcst be described as one.of': appreciation for the advanced, uniqLie abilities of the two fish. concern that their adaptations put other fish at a disadvantage. confusion oyer how their adaptations evolved so quickly beyond other fish. neutrality when comparing their abilitles to those of othei fish. ACT-6SD GO ON TO THE NE

The passage indicaÉes that the body temperature of a cold-blooded fish is primarily determined by the: speed at which it swims. C, type of prey IL consumes,

According to the passage, the most significant differ- ence between the temperature-iegulation systems of swordfish and bluefin is that swordfisb: bluefxn retain heat generate(L from sw jmming. eyes, while the bluefin's is near Its backbone. retain heat generated by mitochondria, while bluefin retain heat geuerated by oceau currents. retain most of the heat they generate, while bluefin lose most of the heat they generate,

Source question 35. Refer to the source image.

It can most i"easonably be inferred from the passage that the waters in and near the Gulf Stream pose a challenge to most species of fish primarily. because these waters: are hoine to a large number and variety of predators. repIegent a wide range of temperatures. contain strong and swirling curients.

According to the passage, the Greek-derived name for bluefin refers to the:. sound the bluefin produces while swimming.

The main purpose of the last p￿agraPh is to: explain that ¢harting th'e Gulf Stream would help accurately predict the migration patterns of swoi"d- fish and bluefin, understand the tiiigrations of swordfish and bluefin. ieiterate that the territory of sivordfish and bluefin. is the entire Atlantic Ocean. remind the r¢ader of the speed and depth at which swordfish and bluefin travel. 35, It can reasonably be concluded from the passage that the body of a bluefin remaining rigid while siirimtuing is related to the fact that its red muscl¢s are: moved sparingly in order to conFerve body heat. .restricted from movement by its super-tight skin.

The passage su ports the idea that all of the following fish dwell in le North Sca and the Gulf of Mexico year round EXCEPT.. cod.

A¢.coiding to the passage, the heat a swordfish gener- ates is primarily intended to: attract cold-blooded prey seeking warmth. maintain the wannth of its eyes and brain. in¢rea8e its speed by keeping large muscles warm. strengthen its long, sharp sword with warm blood. DOFTEST3 PID OT TURN THE P GEU TIL TOLD DO SO. DO NOT RET EVIOUS TEST. AC7.650 37