READING PASSAGE 1

You should spend about 20 minutes on Questions 1-13 which are based on Reading Passage 1 below.

Going Bananas

A

The world’s favourite fruit could disappear forever in 10 years time. The banana is among the world’s oldest crops. Agricultural scientists believe that the first edible banana was discovered around ten thousand years ago. It has been at an evolutionary standstill ever since it was first propagated in the jungles of South-East Asia at the end of the last ice age. Normally the wild banana, a giant jungle herb called Musa acuminate, contains a mass of hard seeds that make the fruit virtually inedible. But now and then, hunter-gatherers must have discovered rare mutant plants that produced seed-less, edible fruits. Geneticists now know that the vast majority of these soft-fruited plants resulted from genetic accidents that gave their cells three copies of each chromosome instead of the usual two. This imbalance prevents seeds and pollen from developing normally, rendering the mutant plants sterile. And that is why some scientists believe the world’s most popular fruit could be doomed. It lacks the genetic diversity to fight off pests and diseases that are invading the banana plantations of Central America and the small-holdings of Africa and Asia alike.

B

In some ways, the banana today resembles the potato before blight brought famine to Ireland a century and a half ago. But “it holds a lesson for other crops, too”, says Emile Frison, top banana at the International Network for the Improvement of Banana and Plantain in Montpellier, France. “The state of the banana”, Frison warns, “can teach a broader lesson the increasing standardisation of food crops around the world is threatening their ability to adapt and survive.”

C

The first Stone Age plant breeders cultivated these sterile freaks by replanting cuttings from their stems. And the descendants of those original cuttings are the bananas we still eat today. Each is a virtual clone, almost devoid of genetic diversity. And that uniformity makes it ripe for a disease like no other crop on Earth. Traditional varieties of sexually reproducing crops have always had a much broader genetic base, and the genes will recombine in new arrangements in each generation. This gives them much greater flexibility in evolving responses to disease – and far more genetic resources to draw on in the face of an attack. But that advantage is fading fast, as growers increasingly plant the same few, high-yielding varieties. Plant breeders work feverishly to maintain resistance in these standardized crops. Should these efforts falter, yields of even the most productive crop could swiftly crash. “When some pest or disease comes along, severe epidemics can occur,” says Geoff Hawtin, director of the Rome-based International Plant Genetic Resources Institute.

D

The banana is an excellent case in point. Until the 1950s, one variety, the Gros Michel, dominated the world’s commercial banana business. Found by French botanists in Asian the 1820s, the Gros Michel was by all accounts a fine banana, richer and sweeter than today’s standard banana and without the latter’s bitter aftertaste when green. But it was vulnerable to a soil fungus that produced wilt known as Panama disease. “Once the fungus gets into the soil it remains there for many years. There is nothing farmers can do. Even chemical spraying won’t get rid of it,” says Rodomiro Ortiz, director of the International Institute for Tropical Agriculture in Ibadan, Nigeria. So plantation owners played a running game, abandoning infested fields and moving so “clean” land – until they ran out of clean land in the 1950s and Had to abandon the Gros Michel. Its successor and still the reigning commercial king is the Cavendish banana, a 19th-century British discovery from southern China. The Cavendish is resistant to Panama disease and, as a result, it literally saved the international banana industry. During the 1960s, it replaced the Gros Michel on supermarket shelves. If you buy a banana today, it is almost certainly a Cavendish. But even so, it is a minority in the world’s banana crop.

E

Half a billion people in Asia and Africa depend on bananas. Bananas provide the largest source of calories and are eaten daily. Its name is synonymous with food. But the day of reckoning may be coming for the Cavendish and its indigenous kin. Another fungal disease, black Sigatoka, has become a global epidemic since its first appearance in Fiji in 1963. Left to itself, black Sigatoka – which causes brown wounds on leaves and premature fruit ripening – cuts fruit yields by 50 to 70 per cent and reduces the productive lifetime of banana plants from 30 years to as little as 2 or 3. Commercial growers keep Sigatoka at bay by a massive chemical assault. Forty sprayings of fungicide a year is typical. But despite the fungicides, diseases such as black Sigatoka are getting more and more difficult to control. “As soon as you bring in a new fungicide, they develop resistance,” says Frison. “One thing we can be sure of is that the Sigatoka won’t lose in this battle.” Poor farmers, who cannot afford chemicals, have it even worse. They can do little more than watch their plants die. “Most of the banana fields in Amazonia have already been destroyed by the disease,” says Luadir Gasparotto, Brazil’s leading banana pathologist with the government research agency EMBRAPA. Production is likely to fall by 70 percent as the disease spreads, he predicts. The only option will be to find a new variety.

F

But how? Almost all edible varieties are susceptible to diseases, so growers cannot simply change to a different banana. With most crops, such a threat would unleash an army of breeders, scouring the world for resistant relatives whose traits they can breed into commercial varieties. Not so with the banana. Because all edible varieties are sterile, bringing in new genetic traits to help cope with pests and diseases is nearly impossible. Nearly, but not totally. Very rarely, a sterile banana will experience a genetic accident that allows an almost normal seed to develop, giving breeders a tiny window for improvement. Breeders at the Honduran Foundation of Agricultural Research have tried to exploit this to create disease-resistant varieties. Further backcrossing with wild bananas yielded a new seedless banana resistant to both black Sigatoka and Panama disease.

G

Neither Western supermarket consumers nor peasant growers like the new hybrid. Some accuse it of tasting more like an apple than a banana. Not surprisingly, the majority of plant breeders have till now turned their backs on the banana and got to work on easier plants. And commercial banana companies are now washing their hands of the whole breeding effort, preferring to fund a search for new fungicides instead. “We supported a breeding programme for 40 years, but it wasn’t able to develop an alternative to Cavendish. It was very expensive and we got nothing back,” says Ronald Romero, head of research at Chiquita, one of the Big Three companies that dominate the international banana trade.

H

Last year, a global consortium of scientists led by Frison announced plans to sequence the banana genome within five years. It would be the first edible fruit to be sequenced. Well, almost edible. The group will actually be sequencing inedible wild bananas from East Asia because many of these are resistant to black Sigatoka. If they can pinpoint the genes that help these wild varieties to resist black Sigatoka, the protective genes could be introduced into laboratory tissue cultures of cells from edible varieties. These could then be propagated into new, resistant plants and passed on to farmers.

I

It sounds promising, but the big banana companies have, until now, refused to get involved in GM research for fear of alienating their customers. “Biotechnology is extremely expensive and there are serious questions about consumer acceptance,” says David McLaughlin, Chiquita’s senior director for environmental affairs. With scant funding from the companies, the banana genome researchers are focusing on the other end of the spectrum. Even if they can identify the crucial genes, they will be a long way from developing new varieties that smallholders will find suitable and affordable. But whatever biotechnology’s academic interest, it is the only hope for the banana. Without banana production worldwide will head into a tailspin. We may even see the extinction of the banana as both a lifesaver for hungry and impoverished Africans and as the most popular product on the world’s supermarket shelves.

Questions 1-3

Complete the sentences below with NO MORE THAN THREE WORDS from the passage.

Write your answers in boxes 1-3 on your answer sheet

1   Banana was first eaten as a fruit by humans almost ………………………. years ago.

2   Banana was first planted in …………………………

3   Wild banana’s taste is adversely affected by its……………………………

Questions 4-10

Look at the following statements (Questions 4-10) and the list of people below

Match each statement with the correct person, A-I.

Write the correct letter: A-I, in boxes 4-10 on your answer sheet.

NB  You may use any letter more than once.

4   Pest invasion may seriously damage the banana industry.

5   The effect of fungal infection in the soil is often long-lasting.

6   A commercial manufacturer gave up on breeding bananas for disease-resistant species.

7   Banana disease may develop resistance to chemical sprays.

8   A banana disease has destroyed a large number of banana plantations.

9   Consumers would not accept the genetically altered crop.

10   Lessons can be learned from bananas for other crops.

List of People

A   Rodomiro
B   David Mclaughlin
C   Emile Frison
D   Ronald Romero
E   Luadir Gasparotto
F   Geoff Hawtin

Questions 11-13

Do the following statements agree with the information given in Reading Passage 1?

In boxes 11-13 on your answer sheet, write

TRUE               if the statement is true

FALSE              if the statement is false

NOT GIVEN    if the information is not given in the passage

11   Banana is the oldest known fruit.

12   Gros Michel is still being used as a commercial product.

13   Banana is the main food in some countries

READING PASSAGE 2

You should spend about 20 minutes on Questions 14-26 which are based on Reading Passage 2 below. 

Can we call it “ART” (2)

Life-Casting and Art

Julian Bames explores the questions posed by Life-Casts, an exhibition of plaster moulds of living people and objects which were originally used for scientific purposes

A

Art changes over time and our idea of what art is changing too. For example, objects originally intended for devotional, ritualistic or recreational purposes may be recategorized as art by members of other later civilisations, such as our own, which no longer respond to these purposes.

B

What also happens is that techniques and crafts which would have been judged inartistic at the time they were used are reassessed. Life-casting is an interesting example of this. It involved making a plaster mould of a living person or thing. This was complex, technical work, as Benjamin Robert Haydon discovered when he poured 250 litres of plaster over his human model and nearly killed him. At the time, the casts were used for medical research and, consequently, in the nineteenth-century life-casting was considered inferior to sculpture in the same way that, more recently, photography was thought to be a lesser art than painting. Both were viewed as unacceptable shortcuts by the ‘senior’ arts. Their virtues of speed and unwavering realism also implied their limitations; they left little or no room for the imagination.

C

For many, life-casting was an insult to the sculptor’s creative genius. In an infamous lawsuit of 1834, a moulder whose mask of the dying French emperor Napoleon had been reproduced and sold without his permission was judged to have no rights to the image. In other words, he was specifically held not to be an artist. This judgement reflects the view of established members of the nineteenth-century art world such as Rodin, who commented that life-casting ‘happens fast but it doesn’t make Art’. Some even feared that ‘if too much nature was allowed in, it would lead Art away from its proper course of the Ideal.

D

The painter Gauguin, at the end of the nineteenth century, worried about future developments in photography. If ever the process went into colour, what painter would labour away at a likeness with a brush made from squirrel-tail? But painting has proved robust. Photography has changed it, of course, just as the novel had to reassess narrative after the arrival of the cinema. But the gap between the senior and junior arts was always narrower than the traditionalists implied. Painters have always used technical back-up such as studio assistants to do the boring bits, while apparently lesser crafts involve great skill, thought, preparation and, depending on how we define it, imagination.

E

Time changes our view in another way, too. Each new movement implies a reassessment of what has gone before? What is done now alters what was done before. In some cases, this is merely self-serving, with the new art using the old to justify itself. It seems to be saying, look at how all of that points to this! Aren’t we clever to be the culmination of all that has gone before? But usually, it is a matter of re-alerting the sensibility, reminding us not to take things for granted. Take, for example, the cast of the hand of a giant from a circus, made by an anonymous artist around 1889, an item that would now sit happily in any commercial or public gallery. The most significant impact of this piece is on the eye, in the contradiction between unexpected size and verisimilitude. Next, the human element kicks in, you note that the nails are dirt-encrusted, unless this is the caster’s decorative addition, and the fingertips extend far beyond them. Then you take in the element of choice, arrangement, art if you like, in the neat, pleated, buttoned sleeve-end that gives the item balance and variation of texture. This is just a moulded hand, yet the part stands utterly for the whole. It reminds us slyly, poignantly, of the full-size original.

F

But is it art? And, if so, why? These are old tediously repeated questions to which artists have often responded, ‘It is art because I am an artist and therefore what I do is art. However, what doesn’t work for literature works much better for artworks of art do float free of their creators’ intentions. Over time the “reader” does become more powerful. Few of us can look at a medieval altarpiece as its painter intended. We believe too little and aesthetically know too much, so we recreate and find new fields of pleasure in the work. Equally, the lack of artistic intention of Paul Richer and other forgotten craftsmen who brushed oil onto flesh, who moulded, cast and decorated in the nineteenth century is now irrelevant. What counts is the surviving object and our response to it. The tests are simple: does it interest the eye, excite the brain, move the mind to reflection and involve the heart. It may, to use the old dichotomy, be beautiful but it is rarely true to any significant depth. One of the constant pleasures of art is its ability to come at us from an unexpected angle and stop us short in wonder.

Questions 14-18

The Reading Passage has six paragraphs A-F

Which paragraph contains the following information?

Write the correct letter A-F, in boxes 14-18 on your answer sheet.

14   an example of a craftsman’s unsuccessful claim to ownership of his work

15   an example of how trends in the art can change attitudes to an earlier work

16   the original function of a particular type of art

17   ways of assessing whether or not an object is an art

18   how artists deal with the less interesting aspects of their work

Questions 19-24

Do the following statements agree with the claims of the writer in Reading Passage 2?

In boxes 19-24 on your answer sheet, write

YES                  if the statement is true

NO                   if the statement is false

NOT GIVEN     if the information is not given in the passage

19   Nineteenth-century sculptors admired the speed and realism of life-casting.

20   Rodin believed the quality of the life-casting would improve if a slower process were used.

21   The importance of painting has decreased with the development of colour photography.

22   Life-casting requires more skill than sculpture does.

23   New art encourages us to look at earlier work in a fresh way.

24   The intended meaning of a work of art can get lost over time.

Questions 25-26

Choose the correct letter, A, B, C or D.

Write the correct letter in boxes 25 and 26 on your answer sheet.

25   The most noticeable contrast in the cast of the giant’s hand is between the

A   dirt and decoration

B   size and realism

C   choice and arrangement

D   balance and texture

26   According to the writer, the importance of any artistic object lies in

A   the artist’s intentions

B   the artist’s beliefs

C   the relevance it has to modern life

D   the way we respond to it