act-dog

At first,¹ Brazilian chef Alex Atala opened his restaurant in São Paulo in 1999, people told him he’d never succeed. In a country where European cuisine was held in the highest regard, they said, no one would patronize a restaurant serving Brazilian food. Atala, whose restaurant has consistently ranked among the world’s best, has long disproven the naysayers. Using traditional Brazilian ingredients, such as, manioc root² and even ants—in innovative ways, he has thrilled³ diners from around the world. Still, Atala felt he could do more for his country⁴ and its cuisine.⁴ In 2012, he founded Instituto Atá to help promote lesser-known ingredients, particularly those of the Amazon basin, while working to protect Brazil’s biodiversity. Hearts of palm, for example, were typically For each question, choose the alternative you consider best and fill in the corresponding oval on your answer document. Read each passage through once before you begin to answer the questions that accompany it. For many of the questions, you must read several sentences beyond the question to determine the answer. Be sure that you have read far enough ahead each time you choose an alternative. harvested from Brazil’s wild juçara palms in an unsustainable way. Needing eight years to mature, the tree dies once its⁵ large heart is removed. Atala began persuading producers to cultivate Amazonian pupunha palms, which grow clusters of stems, each with a small heart. Careful harvesting ensures that the tree will live to yield⁶ more hearts, resulting in environmentally friendly production. Atala prioritizes his working relationships with Amazonian tribes. Utilizing their historical know-how they have,⁷ he aims to bolster tribe members’ livelihoods while exposing a wider audience to Brazilian ingredients. For instance, Baniwa women have farmed distinctly flavorful chili peppers for centuries that use⁸ indigenous agricultural techniques, to create a seasoning called pimenta jiquitaia. Partnering with Instituto Atá have enabled⁹ these women from a remote rain forest region to scale up production and market their product globally. Expanding awareness of the rich diversity of Brazil’s native ingredients, Atala continues to lead in deciphering¹⁰ the country’s food culture. With his characteristic passion and intensity, the renowned chef seeks to inspire Brazilians to rediscover the connections between culture, nature, and food.

Hrosvitha, a medieval author and dramatist—is¹¹ one of the earliest known European women playwrights. Although little is known about her life, scholars agree Hrosvitha was born to a noble family around 935 CE. As a relation of Holy Roman Emperor Otto I, she most likely spent her early years as part of his court. Later, sometime before 959 CE, she entered the abbey at Gandersheim, it was¹² well known as a significant center of learning. Hrosvitha entered Gandersheim as a canoness rather than a nun. Her title did not require a vow of poverty, but Hrosvitha did take the abbey’s customary vow of chastity, which absolved her of an obligation to marry. This circumstance made it okay for her to keep¹³ her financial status without incurring responsibilities to a husband and children. Nevertheless,¹⁴ Hrosvitha had a greater level of independence—she could acquire property, receive guests, employ servants, and visit the royal court—than most women of her time. Hrosvitha produced at least eight narrative religious poems, two historical epics (about the court of Otto I and¹⁵ Gandersheim), and six comedy-dramas. It is for these dramas that she is best known today.

Every night while driving home from a hectic day at work, my three-year-old twins quarreling in the backseat, I take a short detour. I turn off the gridlocked highway, onto a stretch of Route 66 that is,¹⁶ surrounded by arid New Mexico hills. When we’re nearly three miles into our detour, I roll down the windows. Looking pointedly into the rearview mirror, windows rolled down,¹⁷ I say something about not throwing anything out of the car, but neither boy is listening. I check my speed. [ A ] Carefully, I steer toward the fog line. “Here it is, boys!” I yell at the backseat, the passenger-side tires finding the rumble strips etched into the asphalt.

Normal rumble strips create that loud, grating noise when you drive over them—like a built-in alarm for¹⁸ drivers who drift too close to the road’s edge.¹⁸ These strips are different. The boys abruptly stop their squalling as the car begins to vibrate. Then, instead of that jolting warning noise, we hear the distinct strain of the song “America the Beautiful.” [ B ] The road is playing us a song.

I’ve been taking this detour out of Albuquerque for two years, ever since these musical rumble strips were installed.¹⁹ City planners wanted to find out whether the novelty of hearing a snippet of song would give drivers an incentive to obey the speed limit; the tune is only recognizable if they’re going a reasonable forty-five miles per hour. Whether this strategy works, I don’t know. [ C ] For me, this brief musical interlude is a charming curiosity, a welcome interruption in my work-week slog. Even though constant traffic has worn down the musical rumble strips and warped the sound of some of the notes, there are currently no plans to restore the strips.²⁰

After the last one of the notes fades²¹ into the darkening sky, I glance back at the boys, who have²² been lulled by the wonder of the song. [ D ] I stop worrying about work, about how many toy cars might have gotten lost between there and home. Until then,²³ I feel like everything is going to be just fine. 8

Public museums exist for two main reasons: to educate the public and provide stewardship (legal and²⁶ ethical management, care, documentation, and use)²⁶ of their collections. Unfortunately, due to space constraints, a typical museum only exhibits about ten percent of the items in its collection; the other ninety percent remains in storage. When displaying²⁷ such a small portion of artifacts severely limits public access and therefore public education. Furthermore, maintaining such a large number of artifacts in storage while acquiring additional items makes finding enough suitable storage space difficult, especially for delicate items. [ A ]

To remain true to the goals of education and stewardship, museums should dedicate public access space to visible storage. [ B ] Also known as open storage, visible storage provides²⁸ ways to display many items in small or irregular spaces, allowing more artifacts to be on exhibit. [ C ] as a whole.

In a traditional museum display, each artifact is labeled and positioned at eye level with plenty of space between it²⁹ and the other objects. Subsequently,³⁰ artifacts in visible storage spaces are placed close together and are often displayed from floor to ceiling with few labels. Areas of a museum that cannot house a traditional display, therefore, might be ideal for a visible storage display. Ceramic pottery where it³¹ might otherwise be positioned in individual glass cases might be lined up on shelves behind a glass wall. An antique fork and spoon fastened to a large informational board might instead be part of an entire set of silverware arranged under glass in pull-out cabinet drawers. [ D ]

While some artifacts can never be displayed @, many pieces that can—and should—be³³ viewed are not. Whereas³⁴ a museum designates areas for visible storage, it uses space efficiently, providing safe displays for artifacts and allowing visitors greater access to independently study the works that make the museum unique.

In the sparse yet relatively green environment of the Kalahari Desert, birds known as sociable weavers build their enormous nests atop the desert’s signature camelthorn trees. Slung across the branches, each nest—which can measure up to thirteen feet wide and seven feet thick—is a sprawling community home to hundreds of birds. D as a whole. A weaver nest does not resemble a common bowl-like bird nest. Although the weavers use typical materials such as sticks, grass, and feathers to construct their nests, the nests look more like disorganized piles.³⁷ Built within each nest are as many as one hundred four-to-six-inch-wide chambers. A bird enters a chamber by flying to the underside of the nest, it squeezes³⁸ through a one-inch-wide entrance hole, and continuing up a passageway to a chamber. In each chamber, up to five of the sparrow-sized birds can huddle as a group together when the Kalahari nights get cold.³⁹ The multi-chamber construction of the weaver nest has drawn comparisons to that of an apartment building. Indeed, the nests exemplify communal living at there⁴⁰ most effective. Each one houses multiple generations of birds, all of whom work together to maintain their home.

She depicts flowers with layers of petals, intricate spirals and rosettes, teardrops bending within circles, and dizzying mazes of lines—embroidering⁴¹ them in vibrant reds, blues, pinks, yellows, and greens on fabric of delicate silk or cotton. Pang Xiong Sirirathasuk Sikoun is a master of paj ntaub, or “flower cloth” embroidery, the most difficult of the century’s-oldest⁴² Hmong needlework arts. Paj ntaub is increasingly made in lighter, softer shades⁴³ today.⁴³ She’s been creating stitched textiles since she was a young woman living in northern Laos. For the past several decades, she’s been designing paj ntaub in Philadelphia, Pennsylvania, where she also teaches her craft. Flower cloth (commonly as a shirt,⁴⁴ dress, coat, or collar)⁴⁴ is made to be worn as clothing and, depending on the amount of needlework on the piece, is designed either for everyday wear or for a special occasion. With pattern names such as “elephant’s foot” and “snail house” and images of animals framed by geometric designs, paj ntaub patterns are versatile.⁴⁵ What distinguishes paj ntaub from other Hmong needlework arts are the artist’s use of tiny, tight stitches and several complex techniques. One technique is reverse appliqué, in which⁴⁶ shapes are cut out from, rather than added on top of, the embroidered fabric. Another is elaborate overstitching: thousands of layered stitches are applied to its surface.⁴⁷ Pang Xiong regrets that most people she knows today wear only regular⁴⁸ clothes. When she was growing up in Laos, she explains, she had few items of clothing, but each garment she owned was handcrafted paj ntaub. However, she⁴⁹ still wears flower cloth every day and would like to inspire others to do so. Pang Xiong teaches paj ntaub in art museums—including at the Smithsonian Institution, where some of her textiles are on permanent display—and in community settings around Philadelphia. R Pang Xiong is showing a new generation the joys of paj ntaub and beautiful handcrafted clothing. STOP! DO

This passage is adapted from the short story “Janus” by Ann Beattie (©1985 by The New Yorker Magazine, Inc.). The bowl was perfect. Perhaps it was not what you’d select if you faced a shelf of bowls, and not the sort of thing that would inevitably attract a lot of attention at a crafts fair, yet it had real presence. It was as 5 predictably admired as a mutt who has no reason to suspect he might be funny. Just such a dog, in fact, was often brought out (and in) along with the bowl. Andrea was a real-estate agent, and when she thought that some prospective buyers might be dog10 lovers, she would drop off her dog at the same time she placed the bowl in the house that was up for sale. She would put a dish of water in the kitchen for Mondo, take his squeaking plastic frog out of her purse and drop it on the floor. He would pounce delightedly, just 15 as he did every day at home, batting around his favorite toy. The bowl usually sat on a coffee table, though recently she had displayed it on top of a pine blanket chest and on a lacquered table. It was once placed on a cherry table beneath a glorious still-life painting, where 20 it held its own. Everyone who has purchased a house or who has wanted to sell a house must be familiar with some of the tricks used to convince a buyer that the house is quite special: a fire in the fireplace in early evening; 25 jonquils in a pitcher on the kitchen counter, where no one ordinarily has space to put flowers; perhaps the slight aroma of spring, made by a single drop of scent vaporizing from a lamp bulb. The wonderful thing about the bowl, Andrea 30 thought, was that it was both subtle and noticeable—a paradox of a bowl. Its glaze was the color of cream and seemed to glow no matter what light it was placed in. There were a few bits of color in it—tiny geometric flashes—and some of these were tinged with flecks of 35 silver. They were as mysterious as cells seen under a microscope; it was difficult not to study them, because they shimmered, flashing for a split second, and then resumed their shape. Something about the colors and their random placement suggested motion. People who 40 liked country furniture always commented on the bowl, but then it turned out that people who felt comfortable several passages in this test. by several questions. choose the best answer to each corresponding oval on your may refer to the passages as with opulence loved it just as much. But the bowl was not at all ostentatious, or even so noticeable that anyone would suspect that it had been put in place deliberately. 45 They might notice the height of the ceiling on first entering a room, and only when their eye moved down from that, or away from the refraction of sunlight on a pale wall, would they see the bowl. Then they would go immediately to it and comment. Yet they always fal50 tered when they tried to say something. Perhaps it was because they were in the house for a serious reason, not to notice some object. Once, Andrea got a call from a woman who had not put in an offer on a house she had shown her. That 55 bowl, she said—would it be possible to find out where the owners had bought that beautiful bowl? Andrea pretended that she did not know what the woman was referring to. A bowl, somewhere in the house? Oh, on a table under the window. Yes, she would ask, of course. 60 She let a couple of days pass, then called back to say that the bowl had been a present and the people did not know where it had been purchased. She was sure that the bowl brought her luck. Bids were often put in on houses where she had displayed 65 the bowl. Sometimes the owners, who were always asked to be away or to step outside when the house was being shown, didn’t even know that the bowl had been in their house. Once—she could not imagine how—she left it behind, and then she was so afraid that something 70 might have happened to it that she rushed back to the house and sighed with relief when the owner opened the door. The bowl, Andrea explained—she had purchased a bowl and set it on the chest for safekeeping while she toured the house with the prospective buyers, 75 and she . . . She felt like rushing past the frowning woman and seizing her bowl. The owner stepped aside. In the few seconds before Andrea picked up the bowl, she realized that the owner must have just seen that it had been perfectly placed, that the sunlight struck the 80 bluer part of it. Her pitcher had been moved to the far side of the chest, and the bowl predominated. All the way home, Andrea wondered how she could have left the bowl behind. It was like leaving a friend at an outing—just walking off. Sometimes there were stories 85 in the paper about families forgetting a child somewhere and driving to the next city. Andrea had only gone a mile down the road before she remembered.

This passage is from the book The Botany of Desire: A Plant’s-Eye View of the World by Michael Pollan. Originally cultivated in the Ottoman Empire, tulips were introduced to Europe at the end of the sixteenth century and became wildly popular in the seventeenth century. One crucial element of the beauty of the tulip that intoxicated the Dutch, the Turks, the French, and the English has been lost to us. To them the tulip was a magic flower because it was prone to spontaneous and 5 brilliant eruptions of color. In a planting of a hundred tulips, one of them might be so possessed, opening to reveal the white or yellow ground of its petals painted, as if by the finest brush and steadiest hand, with intricate feathers or flames of a vividly contrasting hue. 10 When this happened, the tulip was said to have “broken,” and if a tulip broke in a particularly striking manner—if the flames of the applied color reached clear to the petal’s lip, say, and its pigment was brilliant and pure and its pattern symmetrical—the owner 15 of that bulb had won the lottery. For the offsets of that bulb would inherit its pattern and hues and command a fantastic price. The fact that broken tulips for some unknown reason produced fewer and smaller offsets than ordinary tulips drove their prices still higher. 20 Semper Augustus was the most famous such break. The closest we have to a broken tulip today is the group known as the Rembrandts—so named because Rembrandt painted some of the most admired breaks of his time. But these latter-day tulips, with their heavy 25 patterning of one or more contrasting colors, look clumsy by comparison, as if painted in haste with a thick brush. To judge from the paintings we have of the originals, the petals of broken tulips could be as fine and intricate as marbleized papers, the extravagant 30 swirls of color somehow managing to seem both bold and delicate at once. In the most striking examples— such as the fiery carmine that Semper Augustus splashed on its pure white ground—the outbreak of color juxtaposed with the orderly, linear form of the 35 tulip could be breathtaking, with the leaping, wayward patterns just barely contained by the petal’s edge. Anna Pavord recounts the extraordinary lengths to which Dutch growers would go to make their tulips break, sometimes borrowing their techniques from 40 alchemists, who faced what must have seemed a comparable challenge. Over the earth above a bed planted with white tulips, gardeners would liberally sprinkle paint powders of the desired hue, on the theory that rainwater would wash the color down to the roots, 45 where it would be taken up by the bulb. Charlatans sold recipes believed to produce the magic color breaks; pigeon droppings were thought to be an effective agent, as was plaster dust taken from the walls of old houses. Unlike the alchemists, whose attempts to change base 50 metals into gold reliably failed, now and then the would-be tulip changers would be rewarded with a good break, inspiring everybody to redouble their efforts. What the Dutch could not have known was that a 55 virus was responsible for the magic of the broken tulip, a fact that, as soon as it was discovered, doomed the beauty it had made possible. The color of a tulip actually consists of two pigments working in concert—a base color that is always yellow or white and a second, 60 laid-on color called an anthocyanin; the mix of these two hues determines the unitary color we see. The virus works by partially and irregularly suppressing the anthocyanin, thereby allowing a portion of the underlying color to show through. It wasn’t until the 1920s, 65 after the invention of the electron microscope, that scientists discovered the virus was being spread from tulip to tulip by Myzus persicae, the peach potato aphid. Peach trees were a common feature of seventeenthcentury gardens. 70 By the 1920s the Dutch regarded their tulips as commodities to trade rather than jewels to display, and since the virus weakened the bulbs it infected (the reason the offsets of broken tulips were so small and few in number), Dutch growers set about ridding their 75 fields of the infection. Color breaks, when they did occur, were promptly destroyed, and a certain peculiar manifestation of natural beauty abruptly lost its claim on human affection. I can’t help thinking that the virus was supplying 80 something the tulip needed, just the touch of abandon the flower’s chilly formality called for. Maybe that’s why the broken tulip became such a treasure in seventeenth-century Holland: the wayward color loosed on a tulip by a good break perfected the flower, even as 85 the virus responsible set about destroying it. On its face the story of the virus and the tulip would seem to throw a wrench into any evolutionary understanding of beauty. Excerpt from THE BOTANY OF DESIRE: A PLANT’S-EYE VIEW OF THE WORLD by Michael Pollan, copyright © 2001 by Michael Pollan. Used by permission of Random House, an imprint and division of Penguin Random House LLC. All rights reserved.

Passage A is from the book Foundation: B-Boys, B-Girls, and Hip-Hop Culture in New York by Joseph G. Schloss (©2009 by Oxford University Press). Passage B is from the book The Tanning of America: How Hip-Hop Created a Culture That Rewrote the Rules of the New Economy by Steve Stoute with Mim Eichler Rivas (©2011 by Steve Stoute). Passage A by Joseph G. Schloss The term b-boying refers to break dancing. In the first sense of the term, hip-hop refers collectively to a group of related art forms in different media (visual, sound, movement) that were practiced in Afro5 Caribbean, African American, and Latino neighborhoods in New York City in the 1970s. The term, when used in this sense, also refers to the events at which these forms were practiced, the people who practiced them, their shared aesthetic sensibility, and contemporary activities that maintain those traditions. Perhaps the most important aspect of this variety of hip-hop is that it is unmediated, in the sense that most of the practices associated with it are both taught and performed in the context of face-to-face interac15 tions between human beings. To some degree, this constitutes an intentional rejection of the mass media by its practitioners, but to a great extent it is just the natural result of the practices themselves. Activities like b-boying and graffiti writing are simply not well suited 20 to the mass media. Although in both cases, brief attempts were made to bring these forms of expression into mainstream contexts (b-boying in a series of lowbudget “breaksploition” movies in the early 1980s and graffiti as part of a short-lived gallery trend around the 25 same time), neither developed substantially in those environments. This, it has been suggested, was not so much because the forms lacked appeal, but because— on an economic level—b-boying was an advertisement with no product. This reality is reflected in the phrase 30 that is often used to refer to this branch of hip-hop: “hip-hop culture,” which suggests something that is lived rather than bought and sold. The second sense of the term hip-hop refers to a form of popular music that developed, or was devel35 oped, out of hip-hop culture. This hip-hop, also known as “rap music,” resulted from the interaction between hip-hop culture and the preexisting music industry. As we would expect, this hip-hop features elements of both sensibilities. My students are often surprised when I 40 point out that, even when hip-hop lyrics seem to reject every aspect of mainstream culture and morality, the one thing they almost never reject is a strict 16-bar verse structure derived from Tin Pan Alley pop music. But this should not be surprising. This hip-hop, in con45 trast to hip-hop culture, is deeply intertwined with the mass media and its needs, largely because it does have a product: records, CDs, MP3s, and ringtones. Passage B by Steve Stoute It wasn’t until I was nine years old, late in 1979, that I even heard the words “hip” and “hop” strung together or was able to grasp the notion of what being a 50 rapper actually meant. That was when, fatefully, I heard a record that changed my life (and pop culture) forever. Like it’s yesterday, I can still remember that moment over at my aunt’s home in Brooklyn—where it seemed there was always a party under way with rela55 tives and neighbors hanging out, a great spread of food, and new, hot music on the record player. Most stereo systems in those days could be adapted for the single two-sided records that were smaller and had the big hole in the middle (45 RPM) as well as the bigger 60 records with the small holes (33⅓ RPM)—which were the full albums that had several songs on each side. But as the intro plays to what I recognize as “Good Times” by the group Chic and I’m drawn into the living room because it’s a familiar hit song from the previous 65 summer, I encounter a record on the turntable that defies categorization. Instead of the sweet female lead vocals of that disco smash, I hear something totally different and spot a baby-blue label on the black vinyl record I’ve never seen before. Even though it’s a 70 twelve-inch disc, the size of an album, as I listen to the rhyming words being spoken—“Singin’ on ’n’ ’n’ on ’n’ on / The beat don’t stop until the break of dawn / Singin’ on ’n’ ’n’ on ’n’ on on ’n’ on / Like a hot buttered a pop da pop da pop dibbie dibbie pop da pop 75 pop / Ya don’t dare stop”—it hits me that this entire side is one long song. Almost fifteen minutes long as it turns out. Or, to be exact, fourteen minutes and thirty-six seconds of pure fun laid over the thumping bass beat from the 80 break of “Good Times” with sing-along words easy to remember and repeat. The record, I discover, is by an unknown group, the Sugarhill Gang, and is called “Rapper’s Delight.” From then on, nobody ever has to tell me what rap 85 is. It’s whatever words are spoken, chanted, or talksung, or whatever philosophies, stories, or ideas are espoused, by the house party Master of Ceremonies.

This passage is from the article “The Rise and Fall of the Living Fossil” by Ferris Jabr (©2015 by Nautilus). The term “living fossil” refers to creatures that had emerged long ago and seemed to have stopped evolving. Like all living fossils, crocodiles were thought to have emerged in the distant past and then stayed largely unchanged. The standard theory held that the crocodilian species we know today originated in Africa during 5 the Cretaceous (145 to 66 million years ago), when the seven continents were much closer together. As the continents drifted apart, the crocodilians went with them, explaining how they ended up in a band of tropics encircling the globe. If that were true, then modern 10 crocodilian species should be very different from one another at the level of genes and molecules, because there would have been more than enough time for substantial mutations to accumulate. By the 1990s, however, molecular analysis revealed that immune system 15 molecules conserved across living crocodilian species were remarkably similar in structure and behavior. Intrigued by this puzzle, a post-doctoral research fellow at the University of Washington named Jamie Oaks began collecting DNA samples from all 23 living 20 crocodilian species, comparing sections of the genome where mutations were most likely to have appeared. Oaks did not find nearly as many differences between the modern crocodilian genomes as one would expect had those species diverged all the way back in the Cre25 taceous. He concluded that modern crocodilian species split from their last common ancestor between 8 and 13 million years ago, not long before ancient hominins split from their last common ancestor with chimpanzees. The living fossil theory of crocodiles had overes30 timated their evolutionary age by about a factor of 10. Oaks also noticed something odd about the DNA samples he had acquired from the iconic Nile crocodiles (Crocodylus niloticus): they did not match up with each other. In fact, the variation between them was 35 great enough to suggest that he was looking at two distinct species. If so, then not only were modern crocodiles much too young to be living fossils, but they had also continued to speciate after diverging from their basal ancestor—something living fossils are not sup40 posed to do. On its own, Oaks’ study was intriguing, but not enough to convince the larger scientific community to cleave the Nile crocodile into two species. Unbeknownst to him, however, a separate team of scientists was preparing to corroborate his results. In 45 the early 2000s, on an excursion to Chad, the wildlife conservationist Michael Klemens encountered some odd little crocodiles in a desert oasis. They were so docile that he and his companions could swim beside them without concern. He took a tissue sample from 50 one that had recently perished and sent it to the American Museum of Natural History in New York City, where Evon Hekkala, an assistant professor at Fordham University studying crocodilian diversity, sequenced its genome. When she compared the docile croc’s DNA to 55 other Nile crocodiles, she noticed some rather striking differences. Could these tame crocs be an entirely distinct species? DNA analysis of 123 African crocodiles—as well as 57 separate samples from museum specimens, 60 including crocodiles mummified in ancient Egypt— confirmed her suspicion. In a few sections of their respective genomes, all the mild-mannered crocs would have one DNA sequence, and all the typical Nile crocs another. They even had different numbers of chromo65 somes. “That made us very confident that there were actually two different populations and they were not mixing their DNA,” Hekkala says. The two different species had diverged between 3 and 6 million years ago: Crocodylus niloticus in the East and the smaller, 70 less aggressive Crocodylus suchus in the West. The vast majority of mummified crocodiles were C. suchus, suggesting that ancient Egyptians had recognized the difference. Together, Hekkala, Oaks, and other scientists 75 helped redraw the map of how crocodilians evolved in space and time, and conclusively removed them from the category of living fossils.

Green anoles and brown anoles (2 species of reptiles) behave differently when the species are together in a habitat than when the species are in separate habitats. Table 1 lists the anole species present in each of 3 habitats (Habitats X, Y, and Z). Table 1 Habitat Anole species present: X green only Y green and brown Z brown only Figure 1 shows, for each anole species, the average perching height in a habitat. Figure 1 ) 1.8 m Key ( 1.6 t hg 1.4 green anole i e h 1.2 brown anole gn 1.0 i h c 0.8 r e 0.6 p e g 0.4 a r 0.2 e v a 0.0 X Y Z Habitat several passages in this test. by several questions. After the best answer to each corresponding oval on your may refer to the passages as a calculator on this test. Table 2 lists the number of times each of Behaviors 1−4 was displayed by the anoles in a habitat. Green anoles display Behaviors 1−3 only; brown anoles display Behavior 4 only. Table 2 Number of times behavior was displayed in Habitat: Behavior X Y Z 1 4 5N.A. 2 3 6N.A. 3 24 13 N.A. 4 N.A. 5 17 Note: N.A. indicates the behavior was not displayed in the habitat. Table 3 lists, for the anole species in a habitat, the average display time for Behavior 5. Table 3 Anole Average display time species Habitat for Behavior 5 (s) Green X 23.1 Green Y 23.7 Brown Y 49.6 Brown Z 33.1 Figure 1 and Tables 2 and 3 adapted from Jessica R. Edwards and Simon P. Lailvaux, “Display Behavior and Habitat Use in Single and Mixed Populations of Anolis carolinensis and Anolis sagrei Lizards.” ©2012 by Blackwell Verlag GmbH.

The coastline of Antarctica consists of many ice shelves (floating 100−1,000 m thick sheets of ice that extend from a landmass). Many of these ice shelves are melting, causing them to calve (break off) large pieces known as icebergs. Four students each explain iceberg calving. Student 1 Antarctic ice shelves melt due to the warming of the air above the surface of the ice during the summer. When the air temperature increases, the surface ice melts and water pools. The meltwater moves downward into the ice shelf, causing fractures to form. The accumulation of many fractures in the ice over many summers gradually leads to icebergs calving from an ice shelf. Student 2 Student 1 is correct that an increase in air temperature during the summer leads to surface ice melting and water pooling, causing fractures to form in the ice. However, the action of the meltwater alone is insufficient to produce fractures deep enough to cause calving. When the air temperature lowers at the beginning of winter, falling snow accumulates in the fractures, increasing the pressure on the ice, eventually causing calving. After a large snowfall, calving can occur within a few days. Student 3 Antarctic ice shelves melt only from below. During the summer, ocean currents circulate water that is just above freezing into and out of the basal cavity (the area underneath an ice shelf), causing the ice within the cavity to melt. For every 0.1°C that the ocean water is above freezing, the water melts a thickness of 10 m of ice from the bottom per year. When the ice shelf thickness has been reduced by at least 50 m, calving occurs. Student 4 The warmer water circulated by ocean currents melts the ice shelf as described by Student 3. However, calving cannot occur from this process alone. Snow accumulates on the surface of the ice each winter, but each following summer, warm air leads to the melting and compaction of the snow. The compaction lowers the surface of the ice shelf, pushing the ice down into the basal cavity, where it is melted by the ocean water. After several winter-summer cycles, the ice shelf becomes top-heavy due to the snow and the melting from below, and calving occurs.

Amphiprion percula, a species of clownfish, are kept in many home aquariums. Two experiments were conducted to determine how diet and stocking density (number of fish per liter of seawater, fish/L) affect the specific growth rate (SGR; percent increase in length per day, percent/day) in A. percula. Experiment 1 Each of 12 identical 15 L tanks received 10 L of seawater having a salinity of 33 parts per thousand (ppt), a temperature of 27°C, and a pH of 8.2. Salinity, temperature, and pH were kept constant over the course of the experiment. A. percula of similar lengths were selected, and their lengths were measured, in cm, with a ruler. Then they were equally distributed among the tanks at a stocking density of 1 fish/L. The tanks were then divided equally into 4 groups. For 4 months, each group was fed a different diet (Diets Q−T). Each group was fed the same mass of food 3 times daily. At the end of 4 months, the length of each fish was measured, in cm, with a ruler, and the SGR of each fish was calculated. The average SGR was then determined for each group (see Table 1). Table 1 Average SGR Diet (percent/day) Q 0.30 R 0.40 S 0.50 T 0.35 Experiment 2 The procedures for Experiment 1 were repeated except that each group was kept at a different stocking density, 0.5 fish/L, 1 fish/L, 2 fish/L, or 3 fish/L, and all fish were fed Diet T. At the end of 4 months, the average SGR was determined for each group (see Table 2). Table 2 Stocking density Average SGR (fish/L) (percent/day) 0.5 0.50 1 0.35 2 0.25 3 0.20 Tables adapted from João Chambel et al., “Effect of Stocking Density and Different Diets on Growth of Percula Clownfish, Amphiprion percula (Lacepede, 1802).” ©2015 by Springer.

Scientists hypothesized that heating tomatoes affects the concentration of nutrients such as vitamin C and lycopene (a red pigment) in the tomatoes. They conducted 2 experiments to test their hypothesis. Experiment 1 Two kilograms of a particular variety of raw tomatoes were sliced and then blended in a food processor until a homogeneous (uniform) tomato mixture was produced. The mixture was divided into 4 equal samples (Samples 1−4). Each sample was placed in a separate plastic bag, and the bags were sealed. The bag containing Sample 1 was immediately frozen at −40°C. The bags containing Samples 2−4 were each incubated in a water bath at 88°C for a different period of time (see Table 1) and then frozen at −40°C. Table 1 Incubation time at 88°C Sample (min) 1 0 3 15 4 30 Then, 2 days later, Steps 1−3 were performed for each sample. 1. The sample was thawed, and then 100 g of the sample was placed in a beaker containing 200 mL of Solvent A. 2. The contents of the beaker were mixed for 5 min at 25°C and then filtered using a paper filter. The filtered liquid was collected. 3. The filtered liquid was analyzed to determine the vitamin C concentration in micromoles per gram of tomato (μmol/g tomato). The results for each sample are shown in Figure 1. Figure 1 0.8 no 0.7 it a ) r o 0.6 t t n a ec m 0.5 o no t c g 0.4 /l C o 0.3 n m i m ( 0.2 a ti 0.1 v 1 2 3 4 Sample Experiment 2 Experiment 1 was repeated except that in Step 3 the filtered liquid was analyzed to determine the lycopene concentration in milligrams per gram of tomato (mg/g tomato). The results for each sample are shown in Figure 2. Figure 2 no it a ) r t o n t a 4 ec m no o t 3 c g e / g n 2 e m po ( c 1 y l 1 2 3 4 Sample Figures 1 and 2 adapted from Veronica Dewanto et al., “Thermal Processing Enhances the Nutritional Value of Tomatoes by Increasing Total Antioxidant Activity.” ©2002 by American Chemical Society.

A molten alloy (a mixture of 2 or more metallic elements) can be poured into a cylindrical mold and cooled to form an ingot. Crystals form inside the ingot as it cools. The average crystal length, L, in micrometers (μm), determines how brittle the ingot will be. A method for reducing L using rotating magnetic fields was applied to Alloy Q as it cooled in the molds. Table 1 shows the elemental composition of Alloy Q. Figure 1 shows the effect of the relative magnetic stirring force, F, on L for ingots formed from molten Alloy Q that had an initial temperature of either 280°C or 550°C. Table 1 Percent by mass in Element Symbol Alloy Q Aluminum Al 88.7 Silicon Si 10.8 Manganese Mn 0.28 Magnesium Mg 0.22 Figure 1 102 Key 100 280°C 550°C ) 96 m ( L 94 0 10 20 30 40 50 F ( × 10 ) Figure 1 is adapted from S. Denisov, et al., “The Effect of Traveling and Rotating Magnetic Fields on the Structure of Aluminum Alloy During Its Crystallization in a Cylindrical Crucible.” ©2014 by Institute of Physics, University of Latvia.

In a lake, water leaches (dissolves out) soluble organic compounds from decaying tree leaves, producing dissolved organic carbon (DOC). DOC is subsequently removed from the water if it is adsorbed by (becomes adhered to the surface of) clay mineral particles that are suspended in the water. Three studies done at a lake examined DOC adsorption by 3 clay minerals—CM1, CM2, and CM3—found in the lake’s sediment. Green leaves were collected from 5 types of trees around the lake (maple, oak, pine, magnolia, and rhododendron). A 5 L volume of lake water was filtered to remove all solid particles. The following procedures were performed for each type of leaf: A 100 g sample of the leaves was mixed with a 1 L volume of the filtered lake water. The mixture was then placed in the dark for 10 weeks at 4°C while leaching occurred. At 10 weeks, the mixture was filtered to remove all solid particles. The resulting liquid (the leachate) was analyzed for DOC. Study 1 The following procedures were performed for each leachate: A 100 mL volume of the leachate was mixed with 10 g of CM1. The mixture was stirred continuously for 2 hr, then filtered to remove all solid particles. The resulting liquid (the filtrate) was analyzed for DOC. The percent of the leachate DOC that had been adsorbed by CM1 was calculated (see Figure 1). Figure 1 C 50 yb OD f o t d 1 40 n e e b M 30 ec t a r o C r e h s 20 p cae d a 10 l p l e a k n e li a on o i r m a p gno nd a e hodod m r leachate Study 2 Study 1 was repeated, substituting CM2 for CM1 (see Figure 2). Figure 2 C 50 yb OD f o t d 2 40 n e e b M 30 ec t a r o C r e h s 20 p cae d a 10 l p l e a k n e li a on o i r m a p gno nd a e hodod m r leachate Study 3 Study 1 was repeated, substituting CM3 for CM1 (see Figure 3). Figure 3 C 50 yb OD f o t d 3 40 n e e b M 30 ec t a r o C r e h s 20 p cae d a 10 l p l e a k n e li a on o i r m a p gno nd a e hodod m r leachate Figures and table adapted from Todd Tietjen, Anssi Vähätalo, and Robert Wetzel, “Effects of Clay Mineral Turbidity on Dissolved Organic Carbon and Bacterial Production.” ©2005 by the Swiss Federal Institute for Environmental Science and Technology.

When light shines on a metal plate, electrons can be ejected from the plate. An electron will be ejected if the energy, E, of a photon (particle of light) striking the plate is greater than the minimum energy, M, required for the electron to be removed from the plate. The maximum kinetic energy of the ejected electron, K, is the difference between E and M as shown in the equation: K = E − M Students conducted 2 experiments to examine how differences in the light striking a metal plate affect K. The setup included a light source, a removable filter, a circuit with an ammeter to measure current, a power supply that could be adjusted to measure K, and a vacuum tube containing a metal plate and an electrode (see Figure 1). Figure 1 filter light vacuum tube metal plate electrode electrons 19.8 mA power supply ammeter Experiment 1 A filter was placed between the metal plate and the light source, and the K of the ejected electrons was measured. This procedure was repeated with each of 4 additional filters. Each filter transmitted light of only one frequency. Table 1 lists the following: • color of light transmitted by the filter • frequency of light in hertz, Hz • E in electron volts, eV • K in electron volts Table 1 Frequency E K Color (× 10 Hz) (eV) (eV) Red 4.4 1.81 N.A.* Yellow 5.2 2.14 N.A.* Green 5.6 2.31 0.11 Blue 6.3 2.60 0.40 Violet 7.5 3.10 0.90 *N.A.—Not available; no electrons were ejected. Experiment 2 With the same setup as in Experiment 1 except without a filter, the current, in milliamperes (mA), and K were measured as the intensity of the light was varied. Table 2 shows the current and K for 4 different relative light intensities, each given as a percent of maximum intensity. Table 2 Relative Current K intensity (mA) (eV) 100% 40.0 0.90 50% 19.8 0.90 25% 9.8 0.90 12.5% 4.8 0.90