=== Life in the Forest Canopy ===
For more than thirty-five years, Dr. Nalini Nadkarni’s study of tree canopies in rain forests in Washington State and Costa Rica. Early in her career, she became particularly interested in one type of plant:epiphytes. These plants grow on other plants, such as trees, and more than 28,000 species of epiphytes exist worldwide. Instead, their leaves absorb dissolved nutrients from mists and fogs. Nadkarni found that the epiphyte nutrients made up about half the nutrients in the tree foliage of tropical cloud forests; however, almost no one had studied them. She decided to focus on the effects epiphytes have on the canopy and the forest. Nadkarni’s research has answered many questions about rain forest epiphytes. For example, Nadkarni wondered how epiphytes could grow on tree branches hundreds of feet above the ground. Where did they get their soil? She discovered that epiphytic mosses grow in soil that they generate for itself. After they die, the mosses decompose in place, becoming a layer of soil called crown humus, which can be up to ten inches thick. This organic material, rich in nutrients, supports epiphyte growth. Nadkarni also helped explain how rain forest trees flourish despite growing where frequent rains wash nutrients out of their soil. Peeling back the moss on a branch, Nadkarni found roots that grew out of the tree branch and into the crown humus. The trees had developed roots to take in nutrients from the soil created by epiphytes on the trees’ branches. Epiphytes, in exchange for a place in the canopy, helps feed the trees on which they grow. The trees get nutrients from the crown humus. Over the course of her career, Nadkarni has published three books and more than ninety-five research papers. Rather, she also cofounded the International Canopy Network, which spreads information about tree canopies through the media. Her work has demonstrated the critical role that rain forest tree canopies achieve in rain forest ecosystems.
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se were the twelve thousand C. there D. DELETE the underlined portion. pieces of their house kit, everything from rafters and shingles plusdoorknobs and nails. Simply transporting the 50. F. NO CHANGE G. as well as 50 materials to the building site took six trips in the brothers’ H. with J. to large truck. With the kit came an instruction book, one containing enough detail, whicha person with basic carpentry skills, 51. A. NO CHANGE B. detail, where 51 C. detail that D. detail for a relativeset of tools, and a willingness to sweat could 52. F. NO CHANGE G. restrained 52 construct a sturdy and attractive house. Each piece of H. habitual J. modest lumber bore a number, and the instructions specified where each one went. As Mr. Vega and the brothers worked day by day, the house rose up piece by piece. 53. The writer would like this part of the sentence to mirror the pattern of the first part of the sentence. 53 Which choice best accomplishes that goal? A. NO CHANGE B. progressed closer toward completion. C. grew larger with each board and nail. D. took shape, rising from the ground. www.crackab.com 9 GO ON TO THE NEXT PAGE. ACT-Z18 1 1 They did experience momentous fearfulnesswhen 54. F. NO CHANGE G. face an insidious terror 54 the instruction book blew away one afternoon. After H. have a scare J. flip way out a two-hour search, Mr. Vega finally discovered that a neighborhood dog had carried the book under a porch. Overall, it took seven weeks to finish the house. Back then, Mr. Vega claimed, kit 55. Which choice best introduces this paragraph? 55 A. NO CHANGE houses weren’t uncommon. He pointed B. Mr. Vega said the experience he gained building 55 the house helped him get a carpentry job later. C. After the completion of the house, Mr. Vega had one week until school started. D. Mr. Vega had seen many changes in the neighbor- hood over time. out thattwo more kit-built houses across the 56. F. NO CHANGE G. to where 56 street. Part of the appeal of building a house H. how J. out from a kit came fromthe fact that you could 57. A. NO CHANGE B. arose through 57 build one for less than what a professional C. stemmed to D. resulted by builder would charge. Placed near the end of each beam, Mr. Vega 58. F. NO CHANGE G. After finishing his story, 58 showed us the kit’s numbers stamped on the wooden H. Each five digits long, J. Easily readable, beams in the basement. Then he pointed to the underside of a floorboard scratched into the wood, faint but legible, 59. A. NO CHANGE B. floorboard and scratched 59 was “Cedro Vega, 1947.” C. floorboard. Scratched D. floorboard, scratched Question 60 asks about the preceding passage as a whole. 60. Suppose the writer’s primary purpose had been to examine the history of kit houses in the United States. Would this essay accomplish that purpose? F. Yes, because the essay outlines the rise of the kit house industry and its impact in the twentieth century. G. Yes, because the essay centers on Mr. Vega’s knowledge of how kit houses became popular. H. No, because the essay explains why kit houses eventually lost popularity in the United States. J. No, because the essay focuses on Mr. Vega’s per- sonal experience building one kit house. 10 GO ON TO THE NEXT PAGE. ACT-Z18 1 1 PASSAGE V Small Wonders At first glance, the tiny scenes may not attract a passerby’s attention. Miniature toys, seemingly abandoned by a child, are arranged on sidewalks and in alleyways, at risk of being stepped on or swept away by rain. A closer look, however, reveals that these plastic figurines have been strategically placed and, though inanimate, appear to be busying themselves. In Paris, for instance, near a street café’s outdoor trash can, a tiny waiter 61. If the writer were to delete the underlined portion, the sentence would primarily lose: 61 holding a menu prepares to seat customers who A. information pinpointing the street on which the scene being described is located. are waiting behind a velvet rope. A pastry and B. a detail explaining why the scene’s creator favors particular outdoor locales when staging scenes. C. an example of an object that the essay indicates is often featured in the artworks of the scene’s creator. D. a detail that helps clarify the setting of the scene being described. its crumpled wrapper, discarded by a café patron, 62. F. NO CHANGE G. it’s crumpled wrapper, discarded by 62 H. its crumpled wrapper, discarded amid J. it’s crumpled wrapper, discarded to servingas the backdrop, a reminder of the real-world 63. A. NO CHANGE B. which serve 63 setting. C. serve D. DELETE the underlined portion. Nevertheless, suchscenes are painstakingly created 64. F. NO CHANGE G. In addition, such 64 H. As a result, such J. Such and photographed by London-based artist Slinkachu. 65. A. NO CHANGE B. by London-based artist— 65 Working exclusively in urban areas, he uses figurines C. by, London-based artist, D. by: London-based artist from toy train sets to create small scenes in a big world. 11 GO ON TO THE NEXT PAGE. ACT-Z18 1 1 After crafting intricate props such as—a waterslide made 66. F. NO CHANGE G. props—such as 66 from a painted and coiled garden hose or a basketball H. props, such as, J. props such as: hoop made from a soda can pop-top—Slinkachu spends hours carefully staging a scene. He photographs it up close, and then shoots (from farther and farther back), 67. A. NO CHANGE B. close and then shoots from farther and farther back 67 C. close (and then shoots, from farther and farther back) D. close, and then, shoots from farther and farther back, until he captures the larger cityscape,the tiny scene 68. F. NO CHANGE G. metropolitan setting surrounding the little scene, 68 nearly vanishing from view. Once the artist has H. city itself on a greater scale, J. urban city metropolis, finished his shots, he simply walks away. Slinkachu likens his miniature scenes, which are quite small, to obscure 69. A. NO CHANGE B. scenes, which he photographs extensively, 69 treasures. Some are praised tremendously by 70. Which choice most clearly indicates that people have kept pieces from some of Slinkachu’s scenes? 70 pedestrians. Others arecarried away by wind or rain, F. NO CHANGE G. spotted and collected H. examined thoroughly J. noticed and appreciated may never be seen at all. Due to the temporary nature C. Others could be D. Others, of Slinkachu’s works, his photographs, rather than actual scenes, are displayed in art galleries. 12 GO ON TO THE NEXT PAGE. ACT-Z18 1 1 [1] Slinkachu’s art often highlights how small and lonely one can feel in a busy urban center. [2] Standing next to a lone palm tree, the pair looks out for rescue. [3] One London scene, arranged in a rain puddle on an asphalt path, features a minuscule couple stranded atop a tennis-ball island. [4] This work, like many others in Slinkachu’s portfolio, conveysa notable 72. F. NO CHANGE G. have conveyed 72 H. are conveying J. convey message,moments of drama (and even humor) can 73. A. NO CHANGE B. message and his art reminds us that 73 C. message, he suggests that D. message: be found everywhere, if you take the time to look. j 74. For the sake of the logic and cohesion of this para- graph, Sentence 2 should be placed: F. where it is now. G. before Sentence 1. H. after Sentence 3. J. after Sentence 4. Question 75 asks about the preceding passage as a whole. 75. Suppose the writer’s primary purpose had been to dis- cuss the impact one artist’s creative process has had on the art world. Would this essay accomplish that purpose? A. Yes, because it explains how Slinkachu has inspired a new trend in the way urban art is produced. B. Yes, because it describes in detail the steps in Slinkachu’s creative process. C. No, because it instead provides an overview of Slinkachu’s particular style and methods. D. No, because it instead focuses on the rise in popu- larity of urban art, using Slinkachu’s work as an example.