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Passage 4Plant adaptation can be remarkably complex. Certain species of orchids, for instance, imitate female bees, other plants look and smell like animals, and still others have the appearance of stone. These strange adaptations to life represent just a few of the sophisticated means by which plants enhance their chances of survival.Mimicry in plants or animals is a three-part system. There is a model; the animal, plant, or substrate being imitated. There is a mimic; the organism that imitates the model. And there is a signal receiver or dupe; the animal that cannot effectively distinguish between the model and the mimic. Mimetic traits may include morphological structures, color patterns, behaviors, or other attributes of the mimic that promote its resemblance to a model. That model may be either an unrelated species or an inanimate objects such as the background against which an organism spends most of its time.Mimicry is not an active strategy on the part of an individual plant; flowers do no deliberately trick or deceive animals into visiting them. Mimicry arises as the result of evolution through natural selection and the occurrence of random generic mutations that lead over many generations to the appearance of favorable characteristics. If such traits help to camouflage a plant, for example, the plant is likely to have survival advantage over other plants that are less well camouflaged. The plant will leave more descendants, thereby passing the advantage to the next generation. For natural selection to favor the evolution of mimicry, the mimic must derive a reproductive advantage from modeling itself after another organism or object; its fitness, measured as the number of offspring produced that survive into the next generation must be increased as the result of deception. When a male bee took the orchid as a female bee, the male bee was called （）
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Recent legal research indicated that incorrect identification is a major factor in many miscarriages of justices. It also suggests that identification of people by witnesses in courtroom is not as 21 as commonly believed. Recent studies do not support the degree of judges, jurors, lawyers and the police have in eyewitness evidence.The Law Commission recently published an educational paper, "Total Recall The Reliability of Witness 22 ", as a companion guide to a proposed code of evidence. The paper finds that commonly held perceptions about how our minds work and how well we remember are often wrong. But while human memory is 23 change, it should not be underestimated.In court witnesses are asked to give evidence about events, and judges and juries assess its Fallibility. The paper points out that memory is complex, and reliability of any person’s recall must be assessed 24 .Both common sense and research say memory declines over time. The accuracy of recall and recognition are 25 their best immediately after encoding the information, declining at first rapidly, then gradually. The longer the delay, the more likely it is that information obtained after the event will interfere 26 the original memory, which reduces accuracy.The paper says 27 interviews or media reports can create such distortions. "People are particularly susceptible to having their memories 28 when the passage of time allows the original memory to fade, and will be most susceptible if they repeat the 29 as fact."Witnesses may see or read information after the event, then integrate it to produce something 30 than what was experienced, significantly reducing the reliability of their memory of an event or offender, "Further, witnesses may strongly believe in their memories, even though aspects of those memories are verifiably false.\ 22().
Passage 5Extraordinary creativity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation highly creative activity transcends the limits of an existing form and establishes a new principle. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it maybe valid for the sciences. For the sciences, a new theory is the goal and the end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. The goat of highly creative art is very different; the phenomenon itself becomes the direct product of the creative act. Shakespeare’s Hamlet is not a piece of writing about the indecisive princes or the uses of political power; not is Picasso’s painting Guernica primarily a prepositional statement about the Spanish Civil War or the evils of fascism. What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.This is not to deny that a highly creative artist sometimes establishes a new principle in the history of an artistic field. But whether or not a work of art establishes a new principle in the history of art has little bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, although it has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention, a close study of his compositions reveals that he overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits--the rules, forms and conventions that he inherited from Hayden and Mozart Handel and Bach -- in strikingly original ways. The author mentions the operas of the Florentine Camerata because().
Recent legal research indicated that incorrect identification is a major factor in many miscarriages of justices. It also suggests that identification of people by witnesses in courtroom is not as 21 as commonly believed. Recent studies do not support the degree of judges, jurors, lawyers and the police have in eyewitness evidence.The Law Commission recently published an educational paper, "Total Recall The Reliability of Witness 22 ", as a companion guide to a proposed code of evidence. The paper finds that commonly held perceptions about how our minds work and how well we remember are often wrong. But while human memory is 23 change, it should not be underestimated.In court witnesses are asked to give evidence about events, and judges and juries assess its Fallibility. The paper points out that memory is complex, and reliability of any person’s recall must be assessed 24 .Both common sense and research say memory declines over time. The accuracy of recall and recognition are 25 their best immediately after encoding the information, declining at first rapidly, then gradually. The longer the delay, the more likely it is that information obtained after the event will interfere 26 the original memory, which reduces accuracy.The paper says 27 interviews or media reports can create such distortions. "People are particularly susceptible to having their memories 28 when the passage of time allows the original memory to fade, and will be most susceptible if they repeat the 29 as fact."Witnesses may see or read information after the event, then integrate it to produce something 30 than what was experienced, significantly reducing the reliability of their memory of an event or offender, "Further, witnesses may strongly believe in their memories, even though aspects of those memories are verifiably false.\ 21().
Passage 5Extraordinary creativity has been characterized as revolutionary, flying in the face of what is established and producing not what is acceptable but what will become accepted. According to this formulation highly creative activity transcends the limits of an existing form and establishes a new principle. However, the idea that extraordinary creativity transcends established limits is misleading when it is applied to the arts, even though it maybe valid for the sciences. For the sciences, a new theory is the goal and the end result of the creative act. Innovative science produces new propositions in terms of which diverse phenomena can be related to one another in more coherent ways. The goat of highly creative art is very different; the phenomenon itself becomes the direct product of the creative act. Shakespeare’s Hamlet is not a piece of writing about the indecisive princes or the uses of political power; not is Picasso’s painting Guernica primarily a prepositional statement about the Spanish Civil War or the evils of fascism. What highly creative artistic activity produces is not a new generalization that transcends established limits, but rather an aesthetic particular. Aesthetic particulars produced by the highly creative artist extend or exploit, in an innovative way, the limits of an existing form, rather than transcend that form.This is not to deny that a highly creative artist sometimes establishes a new principle in the history of an artistic field. But whether or not a work of art establishes a new principle in the history of art has little bearing on its aesthetic worth. Because they embody a new principle of organization, some musical works, such as the operas of the Florentine Camerata, are of signal historical importance, but few listeners or musicologists would include these among the great works of music. On the other hand, although it has been said of Beethoven that he toppled the rules and freed music from the stifling confines of convention, a close study of his compositions reveals that he overturned no fundamental rules. Rather, he was an incomparable strategist who exploited limits--the rules, forms and conventions that he inherited from Hayden and Mozart Handel and Bach -- in strikingly original ways. The main purpose of this passage is to().
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