To many people the word geology conjures

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INSTITUTO DE LENGUAS DE LA UNIVERSIDAD DISTRITAL Part 1. You are going to read a magazine article about a woman who made a special train journey. Choose the most suitable heading from the list A-I for each part (1-7) of the article. There is one extra heading which you do not need to use. There is an example at the beginning (0). A An up-market product B Attracted to her latest interests C Facing up to competition D Building a range of colours E Initial involvement pays off <strong>THE</strong> <strong>LADY</strong> <strong>WITH</strong> <strong>BLUE</strong> <strong>NAILS</strong> Sandy Lerner is founder of an unusual range of nail-polish colours 0 1 I The links between computers and cosmetics are not obvious, but one of the most successful self-made Businesswomen in the USA, Sandy Lerner, has made her fortune in both. With her long purple hair and taste for blue nail polish, it Is not surprising that Sandy got fed up with not being Able to find make-up she liked. After a brief spell of 5 2 mixing her own colours, Sandy decided to set up her own company. Since its launch in 1996, her company has taken the USA, Asia and Europe by storm. ‘At the time everyone was still heavily into pinks and reds’, says Sandy, ‘and I thought that given other developments going on in the fashion world, the time was ripe for an alternative.’ 6 3 7 It’s one thing to like blue nail polish yourself, but quite another to set up a company making it, however. ‘the more money you have, the easier that decision is to make’, she admits. And she has plenty. Sandy made her fortune in a former career as a computer specialist. She set up a company in 1984 after designing a piece of technology which is now used in 80% of connections on the Internet. F Personal taste influences a decision G Building on previous success H The thinking behind a decision I An unusual combination of interests 4 The new company is proving to be a nice little earner too. As founder and chief executive of the company, Sandy was personally responsible for designing the eye-catching advertising campaigns that helped at the beginning, although she now tends to leave the day-today business to her partners. But establishing the business was not easy, particularly When the large cosmetics companies realised there was a market for alternative colours and started selling them too. ‘as an alternative, we’re never going to threaten the main market of the big companies’, says Sandy, ‘and although they now do similar colours, they only do a few of them. So people who want intense colours will still come to us.’ Although shades of blue, purple, yellow and green sound like just the thing for teenage girls and punks, the company actually aims its products at career women in their thirties and forties. Sandy thinks make-up is about a state of mind, ‘It’s for self-confident people who are not afraid of something you can wash off’. Indeed, the unusual colours and successful marketing campaigns, make the company’s products a hit amongst Hollywood celebrities. Although she keeps a close eye on the company, Sandy admits that she quickly loses interest once a project is up and running. She is now turning her attention to her current projects; a large country house in England, her farm in Virginia where she keeps horses and a new project for promoting nineteenth-century literature on the Internet. Part 2. You are going to read an article about a weather forecasting. For questions 8-14, choose the correct answer A, B, C or D. Thirty-five years ago, Malcolm Burwell was a very successful young actor appearing in a number of series on British television. He was lucky, he’d made it to the top quite quickly and had plenty of work. Hollywood directors had even begun to suggest that he might like to think of making his fortune across the Atlantic. But two things made Malcolm think twice about these offers. He didn’t want to move his young family to 41 19 into doubt. Malcolm had a problem with his voice. It began to grow steadily weaker and weaker until hospital treatment became necessary. Before this finally took effect, however, he found he could hardly talk. As he remembers, ‘When you are in danger of losing something central to your career, it makes you think very hard. I have to say I learnt a lot from the experience.’ the USA, and a mystery illness was beginning to throw his whole future ‘My voice recovered, but I taught me Although Malcolm continues to work in

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SỞ GD&ĐT HẢI DƢƠNG

TRƯỜNG THPT ĐOÀN THƯỢNG

ĐỀ THI THỬ ĐẠI HỌC

NĂM HỌC 2014 — 2015

Môn: TIẾNG ANH (KHỐI D, A1)

Thời gian làm bài: 90 phút;

Họ, tên thí sinh:……………………………………………………………

SBD: ……………………………………………………….

Mã đề thi 190

( ID: 91054 ) Mark the letter A, B, C, or D on your answer sheet to show the underlined part that

needs correction

1. They are planning on attending the convention next month, and so I am.

A B C D

2. Today was such beautiful day that I couldn‟t bring myself to complete all my chores.

A B C D

3. Alzheimer made the first observers of the telltale signs of the disease that

A B

today bears his name.

C D

4. Surrounded by forested mountain slopes are the town of Telluride, a former gold

A B C

mining town 7,500 feet above sea level.

D

5. The English horn is an alto oboe with a pitch one-fifth lower than the soprano oboe.

A B C D

( ID: 91060 ) Read the following passage and mark the letter A, B, C, or D on your answer sheet to

indicate the correct word for each of the blanks

THE EARTH GALLERIES

To many people, the word „geology‟ conjures up rather dull image of lumps of rock in glass cases.

People tend to regard geology as an academic subject that you don‟t need to know about (56)

__________you have to study it at school. If you visit te Earth Galleries at London‟s Natural history

Museum, however, you‟ll (57) __________ that this image couldn‟t be further from the truth.

The aim of the exhibition is not to procedure future geologists, but rather to inspire interest in a

subject which is relevant to everyday life. The Earth Galleries turn the traditional idea of geological

museum (58) __________, literacy because you begin at the top. The central space in the museum is a

glass-topped atrium. As you enter, you (59) __________ up to the top of this by escalator. On the (60)

__________, the escalator passed through a massive revolving globe, measuring eleven metres (61)

__________ diameter. This represents a planet, not necessarily the Earth. (62) __________ at the top, you

work your way down through the six different exhibitions that (63) __________ the museum.

The individual exhibitions explain natural phenomena such as earthquakes and volcanoes as well

as looking at the Earth‟s energy (64) __________ and where our most common building (65) __________

come from. These exhibitions allow everyone to appreciate the fascination of geology.

6. A. despite B. unless C. owing D. whether

7. A. discover B. found C. catch D. convince

8. A. head to toe B. upside down C. back to front D. inside out

9. A. drive B. ride C. run D. steer

10. A. trip B. route C. way D. path

11. A. on B. around C. across D. in

12. A. From B. Once C. Got D. Yet

13. A. bring together B. consist of C. make up D. show off

14. A. treasures B. talents C. resources D. reservations

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15. A. ingredients B. materials C. contents D. substances

( ID: 91071 ) Choose the word (A, B, C, D) whose primary stress is on a different position from that

of the others in each group below.

16. A. terrific B. Pacific C. Arabic D. mechanic

17. A. benevolent B. profitable C. essential D. equivalent

18. A. evaporate B. consulate C. contemplate D. coordinate

19. A. compressor B. transistor C. equator D. ancestor

20. A. nutritious B. contagious C. contemptuous D. numerous

( ID: 91077 ) Read the following passage and mark the letter A, B, C, or D on your answer sheet to

indicate the correct answer to each of the questions that follow

Line

(5)

(10)

(15)

(20)

(25)

Jazz has been called “the art of expression set to music”, and

“America‟s great contribution to music”. It has functioned as popular art and

enjoyed periods of fairly widespread public response, in the “jazz age” of the

1920s, in the “swing era” of the late 1930s and in the peak popularity of

modern jazz in the late 1950s. The standard legend about Jazz is that it

originated around the end of the 19th century in New Orleans and moved up

the Mississippi River to Memphis, St. Louis, and finally to Chicago. It

welded together the elements of Ragtime, marching band music, and the

Blues. However, the influences of what led to those early sounds goes back

to tribal African drum beats and European musical structures. Buddy Bolden,

a New Orleans barber and cornet player, is generally considered to have been

the first real Jazz musician, around 1891.

What made Jazz significantly different from the other earlier forms of

music was the use of improvisation. Jazz displayed a break from traditional

music where composers wrote an entire piece of music on paper, leaving the

musicians to break their backs playing exactly what was written on the

score. In a Jazz piece, however, the song is simply a starting point, or sort of

skeletal guide for the Jazz musicians to improvise around. Actually, many of

the early Jazz musicians were bad sight readers and some couldn‟t even read

music at all. Generally speaking, these early musicians couldn‟t make very

much money and were stuck working menial jobs to make a living. The

second wave of New Orleans Jazz musicians included such memorable

players as Joe Oliver, Kid Ory, and Jelly Roll Morton. These men formed

small bands and took the music of earlier musicians, improved its

complexity, and gained greater success. This music is known as “hot Jazz”

due to the enormously fast speeds and rhythmic drive.

A young cornet player by the name of Louis Armstrong was

discovered by Joe Oliver in New Orleans. He soon grew up to become one of

the greatest and most successful musicians of all time, and later one of the

biggest stars in the world. The impact of Armstrong and other talented early

Jazz musicians changed the way we look at music.

21. The Passage answers which of the following questions?

(A) Why did Ragtime, marching band music, and the Blues lose popularity after about 1900?

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(B) What were the origins of Jazz and how did it differ from other forms of music?

(C) What has been the greatest contribution of cornet players to music in the twentieth century?

(D) Which early Jazz musicians most influenced the development of Blues music?

22. According to the passage, Jazz originated in

(A) Chicago (B) St. Louis (C) along the Mississippi river (D) New Orleans

23. Which of the following distinguished Jazz as a new form of musical expression?

(A) the use of cornets (B) “hot Jazz” (C) improvisation (D) New Orleans

24. The word “skeletal” in line 16 is closest in meaning to

(A) framework (B) musical (C) basic (D) essential

25. Which of the following can be inferred from the passage?

(A) many early Jazz musicians had poor sight

(B) there is no slow music in Jazz

(C) many early Jazz musicians had little formal musical training

(D) the cornet is the most common musical instrument used in Jazz

26. The word “menial” in line 20 is closest in meaning to

(A) mens (B) attractive (C) degrading (D) skilled

27. According to the passage, which of the following belonged to the second wave of New Orleans

Jazz musicians?

(A) Louis Armstrong (B) Buddy Bolden (C) St. Louis (D) Joe Oliver

28. All of the following are true EXCEPT

(A) the late 1930s was called the “swing era”

(B) “hot Jazz” is rhythmic

(C) Jazz has been said to be America‟s greatest contribution to music

(D) Joe Oliver is generally considered to be the first real Jazz musician

29. The word “its” in line 23 refers to

(A) small bands (B) earlier music (C) men (D) earlier musicians

30. The word “their” in line 15 refers to which of the following?

A. composers B. musicians C. pieces D. earlier forms

( ID: 91088 ) Mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to

each of the following questions

31. _____________you‟ll be coming to the meeting next week since you prepared the documents?

A. Likely B. Predictably C. Presumably D. Surely

32. The floor was so rotten that it almost gave _____________ under his weight.

A. way B. up C. back D. away

33. A: “I‟m having some friends over for dinner this evening. Would you like to join us?

B: “_____________”

A. Thanks but I mustn‟t. B. Come one. It‟s your turn.

C. Can I take a rain check? D. As a matter of fact, I do.

34. A: Do you like that advanced course you are taking, John?”

B: “_____________”

A. No, thanks. B. By and large, yes.

C. Not me. I‟m still waiting. D. No, not everyone.

35. William is an authority_____________medieval tapestries.

A. on B. with C. about D. in

36. The marathon runner _____________ for nearly one hour and a half when she _____________ to

the pavement.

A. has been running / collapsed B. were running / collapsed

C. had been running / collapsed D. ran / had been collapsing

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37. I can’t thank enough for your help. — “_____________”

A. I’d rather not. B. My pleasure. C. I don’t mind. D. My goodness.

38. John: «Do you think that we should use public transportation to protect our environment?»

Laura. » _______»

A. Yes, it‟s an absurd idea B. There‟s no doubt about it

C. Of course not. You bet D. Well, that‟s very surprising

39. If you had asked him, he _________ helped you to solve the problem.

A. will have B. ought to have C. should have D. would have

40. Henry was really a silly boy when we were at high school. I still remember ____________ very

stupid questions.

A. him asking B. him to ask C. asking him D. his being asked

41. “Today‟s my 20

th

birthday.” — “_________”

A. Take care! B. Many happy returns! C. Have a good time! D. I don‟t understand.

42. Luisa does a full-time job and _____________.

A. looks after also the house C. looks after the house either

B. looks after the house too D. also looks after the house

43. On the second level of the parking lot_____________

A. is empty B. are some empty stalls

C. some empty stalls are D. are empty

44. Mr. Nixon refused to answer the questions on the_____________that the matter was confidential.

A. reasons B. excuses C. grounds D. foundation

45. They attempted to _____________ the painting to its original condition.

A. restore B. renovate C. repair D. refurbish

46. Can you list the problems ____ poor and ____ countries?

A. facing/ overpopulation B. facing/overpopulated

C. face/ overpopulated D. facing/overpopulating

47. I feel _________ to inform the committee that a number of members are very unhappy with the

decision.

A. my duty B. it my duty C. this my duty D. that my duty

48. I’m sure when you’ve stopped looking for your keys, they’ll _____________up somewhere.

A. take B. look C. turn D. pull

49. To solve this problem, it is advisable__________

A. a drastic measure to be adopted B. that to adopt a drastic measure

C. that a drastic measure be adopted D. that a drastic measure is adopted

50. The organs of taste are the _____________ that are mainly located on the tongue.

A. groups of cells are taste buds B. Taste buds are groups of cells

C. Taste buds, these are groups of cells D. Taste buds, groups of cells

51. On the second thought, I believe I will go with you to the theater.

A. On reflection B. For this time only

C. After discussing with my wife D. For the second time

52. Geogre wouldn‟t have met Mary ______ to his brother‟s graduation party.

A. had he gone B. hadn‟t he gone

C. if he had not gone D. if he shouldn‟t have gone

53. John has a monthly bank ___ sent to him so that he knows how much there is in his account.

A. statement B. overdraft C. cheque D. balance

54. He was sent to _________ prison for _________ six months for _________ shoplifting.

A. x/x/x B. the/x/x C. x/x/the D. a/x/a

55. What do you want to do this summer?

I think we should go somewhere ________ has plenty of sun and sand.

A. who B. where C. when D. that

( ID: 91115 ) Mark the letter A, B, C, or D on you answer sheet to indicate the sentences that is

closest in meaning to each of the following questions

56. It was his lack of confidence that surprised me.

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A. He surprised me by his lack of confidence.

B. What surprised me was his lack of confidence.

C. That his lack of confidence surprised me.

D. That he lacked of confidence surprised me.

57. Frank doesn‟t care if Jean leaves or stays.

A. Whatever Jean does is all right with Frank.

B. Frank wants Jean to stay.

C. Jean will stay, but Frank wants her to leave.

D. Jean wants to leave unless Frank stays.

58. When the unemployment rate is high, the crime rate is usually also high.

A. The unemployment rate and the crime rate are both higher.

B. The higher the unemployment rate is, the higher the crime rate is.

C. The unemployment rate is as high as the crime rate.

D. The high rate of unemployment depends on the high rate of crime.

59. «You‟re always making terrible mistakes», said the teacher.

A. The teacher asked his students why they always made terrible mistakes.

B. The teacher realized that his students always made terrible mistakes.

C. The teacher complained about his student making terrible mistakes.

D. The teacher made his students not always make terrible mistakes

60. Diana ran into her former teacher on the way to the stadium yesterday.

A. Diana caused an accident to her teacher while she was going to the stadium.

B. Diana‟s car ran over her teacher on the way to the stadium.

C. Diana happened to meet her teacher while she was going to the stadium.

D. Diana‟s teacher got run over whole she was going to the stadium.

( ID: 91124 ) Mark the letter A, B, C, or D on your answer sheet to indicate the one that best

completes each sentence.

61. After seeing the movie “Pride and Prejudice”, .

A. many people wanted to read the book

B. the reading of the book interested many people

C. the book was read by many people

D. the book made many people want to read it

62. We got on well when we shared a flat,_______

A. in spite of the different in our old

B. although the difference in our age

C. in spite that fact that I was much older than her

D. despite her being much older than me

63. The instructions from air traffic control were not fully explicit, and .

A. so that the pilot made an error and crashed

B. as a result, the pilot made an error and crashed

C. therefore the pilot made it crash

D. resulting from the pilot crashing the plane

64. In bacteria and other organisms, .

A. it is the DNA that provides the genetic information

B. which is the DNA that provides the genes

C. the DNA providing the genetic information

D. the DNA that provides the genetic information

65. Recent evidence makes it possible for the investigators to conclude that .

A. some paintings by Rembrandt were faked

B. some paintings by Rembrandt must be faked

C. Rembrandt was attituded to some paintings

D. some paintings by Rembrandt to be faked

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( ID: 91131 ) Read the following passage and mark the letter A, B, C, or D on your answer sheet to

indicate the correct answer to each of the questions that follow

Legend has it that sometime toward the end of the Civil War (1861-1865) a government train carrying

oxen traveling through the northern plains of eastern Wyoming was caught in a snowstorm and had to be

abandoned. The driver returned the next spring to see what had become of his cargo. Instead of the

skeletons he had expected to find, he saw his oxen, living, fat, and healthy. How had they survived?

The answer lay in a resource that unknowing Americans lands trampled underfoot in their haste to cross

the “Great American Desert” to reach lands that sometimes proved barren. In the eastern parts of the

United States, the preferred grass for forage was a cultivated plant. It grew well with enough rain, then

when cut and stored it would cure and become nourishing hay for winter feed. But in the dry grazing

lands of the West that familiar bluejoint grass was often killed by drought. To raise cattle out there

seemed risky or even hopeless. Who could imagine a fairy-tale grass that required no rain and somehow

made it possible for cattle to feed themselves all winter? But the surprising western wild grasses did

just that. They had wonderfully convenient features that made them superior to the cultivated eastern

grasses. Variously known as buffalo grass, grama grass, or mesquite grass, not only were they immune to

drought; but they were actually preserved by the lack of summer and autumn rains. They were not juicy

like the cultivated eastern grasses, but had short, hard stems. And they did not need to be cured in a barn,

but dried right where they grew on the ground.

When they dried in this way, they remained naturally sweet and nourishing through the winter. Cattle left

outdoors to fend for themselves thrived on this hay. And the cattle themselves helped plant the fresh grass

year after year for they trampled the natural seeds firmly into the soil to be watered by the melting snows

of winter and the occasional rains of spring. The dry summer air cured them much as storing in a barn

cured the cultivated grasses.

66. What does the passage mainly discuss?

A. A type of wild vegetation B. Western migration after Civil War

C. The raising of cattle D. The climate of the Western United States

67. What can be inferred by the phrase “Legend has it” in line 1?

A. Most history book include the story of the train.

B. The story of the train is similar to other ones from that time period.

C. The driver of the train invented the story.

D. The story of the train may not be completed factual.

68. The word “they” in line 5 refers to _____.

A. plains B. skeletons C. oxen D. Americans

69. What can be inferred about the “Great American Desert” mentioned in line 7?

A. Many had settled there by the 1860‟s.

B. It was not originally assumed to be a fertile area.

C. It was a popular place to raise cattle before the Civil War.

D. It was not discovered until the late 1800‟s.

70. The word “barren” in line 8 is closed in meaning to _____.

A. lonely B. uncomfortable C. infertile D. dangerous

71. The word “preferred” in line 8 is closed in meaning to _____.

A. favored B. available C. ordinary D. required

72. Which of the following can be inferred about the cultivated grass mentioned in the second

paragraph?

A. Cattle raised in the Western United States refused to eat it.

B. It had to be imported into the United States.

C. It would probably not grow in the western United States.

D. It was difficult for cattle to digest.

73. Which of the following was NOT one of the names given to the western grasses?

A. Mesquite grass B. Bluejoint grass

C. Buffalo grass D. Grama grass

74. Which of the following was NOT mentioned as a characteristic of western grasses?

A. They contain little moisture B. They have tough stems

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C. They can be grown indoors D. They are not affected by dry weather

75. According to the passage, the cattle help promote the growth of the wild grass by

A. eating only small quantities of grass.

B. continually moving from one grazing area to another.

C. naturally fertilizing the soil.

D. stepping on and pressing the seeds into the ground.

( ID: 91146 )Mark the letter A, B, C, or D on your answer sheet to indicate the word or phrase that

is CLOSEST in meaning to the underlined part in each of the following questions.

76. The value of an old item increases with time.

A. an original B. an antique C. a facsimile D. a bonus

77. When he won the first prize, he realised that this was the highest attainment of his life.

A. accomplishment B. task C. shock D. surprise

78. According to scientists, it is possible that another Ice Age will soon be upon us.

A. in the near future B. undoubtedly C. some day D. now

( ID: 91150 ) Mark the letter A, B, C, or D on your answer sheet to indicate the word or phrase that

is OPPOSITE in meaning to the underlined part in each of the following question

79. Teacher shortages hinder new English training programmes carried out in Ho Chi Minh City.

A.obstruct B. facilitate C. impede D. prevent

80. TPOTY is one of the world’s most prestigious photography awards, receiving entries from nearly 100

countries annually.

A. distinguished B. ordinary C. renowned D. famed

========== The end ==========

Họ và tên thí sinh: ………………………………………..SBD:……………….

Chữ ký giám thị 1: ……………………….Chữ ký giám thị 2: …………………..

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Lời giải chi tiết đề môn Tiếng Anh

Trường: THPT Đoàn Thượng – Hải Dương

I/

1. Đáp án là D. so I am => so am I.

2. Đáp án là A. such beautiful => such a beautiful, vì “day” là danh từ số ít, phải có mạo từ “a” trƣớc tính

từ “beautiful”

3. Đáp án là A. observers => observations

4. Đáp án là B. slopes are => are slopes

5. Đáp án là D. the => a

II/

6. Đáp án là B. unless: nếu không. Dịch: … you don‟t need to know about unless you have to study it at

school. ( Nếu bạn không học nó ở trƣờng thì bạn không cần biết. )

7. Đáp án là A. discover: khám phá.

Nghĩa các từ còn lại: find: tìm; catch: bắt gặp; convince: thuyết phục

8. Đáp án là B. turn something upside down: làm xáo lộn tung bành cái gì đó

9. Đáp án là B. ride up: từ từ di chuyển cao hơn, ra khỏi vị trí

10. Đáp án là C. On the way : Trên đƣờng đi…

11. Đáp án là D . measuring eleven metres in diameter: đo mƣời một mét đƣờng kính

12. Đáp án là B .Once = when: khi

13. Đáp án là C. make up: tạo nên

Nghĩa các từ còn lại: bring together: mang lại vói nhau; consist of: bao gồm; show off: thể hiện, khoe

14. Đáp án là C. energy resources: nguồn tài nguyên năng lƣợng

15. Đáp án là B. building materials: vật liệu xây dựng

III/

16. Đáp án là: B. Pacific nhấn âm tiết thứ nhất, các từ còn lại nhấn âm tiết thứ hai.

17. Đáp án là: B. profitable nhấn âm tiết thứ nhất, các từ còn lại nhấn âm tiết thứ hai.

18. Đáp án là: B. consulate nhấn âm tiết thứ nhất, các từ còn lại nhấn âm tiết thứ hai.

19. Đáp án là: D. ancestor nhấn âm tiết thứ nhất, các từ còn lại nhấn âm tiết thứ hai.

20. Đáp án là: D. numerous nhấn âm tiết thứ nhất, các từ còn lại nhấn âm tiết thứ hai.

IV/

21. Đáp án là B. Dễ dàng nhận thấy đoạn 1 nói về nguồn gốc của nhạc Jazz, đoạn 2 nói về sự khác nhau

giữa nhạc Jazz và các dòng nhạc khác.

22. Đáp án là D. Ý trong bài: The standard legend about Jazz is that it originated around the end of the

19th century in New Orleans

23. Đáp án là C. What made Jazz significantly different from the other earlier forms of music was the use

of improvisation.

24. Đáp án là A. skeletal = framework: khung, bộ xƣơng

Nghĩa các từ còn lại: musical: (thuộc) âm nhạc; basic: nền tảng; essential: cần thiết

25. Đáp án là C. Ý trong bài: these early musicians couldn‟t make very much money and were stuck

working menial jobs to make a living….

26. menial: công việc nhƣ ngƣời hầu => Đáp án là C. degrading: làm mất danh giá

27. Đáp án là D. Ý trong bài: The second wave of New Orleans Jazz musicians included such memorable

players as Joe Oliver, Kid Ory, and Jelly Roll Morton.

28. Đáp án là D.

A đƣợc đề cập: …. in the “swing era” of the late 1930s and in the peak popularity of modern jazz in the

late 1950s…

B đƣợc đề cập: This music is known as “hot Jazz” due to the enormously fast speeds and rhythmic drive.

C đƣợc đề cập: Jazz has been called “the art of expression set to music”, and “America‟s great

contribution to music”.

29. Đáp án là B. its = ealier music: nền âm nhạc trƣớc đó

30. Đáp án là B. their = musicians: nhạc sỹ

V/

31. Đáp án là C. Presumably + clause: giả sử …

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Các từ còn lại: likely thƣờng đi với cấu trúc: be likely to + V…: có khả năng ,cơ hội…

Predictably( adv): tiên đoán trƣớc; Surely (adv): một cách chắc chắn

32. Đáp án là A. give way : lún/sụp

Các từ còn lại: give back :hoàn trả lại; give out :phân phối, công bố

33. Đáp án là C. Cấu trúc: take a rain-check (on something ) (thông tục): hẹn lần sau, dịp khác

34. Đáp án là B. By and large: nhìn chung, rút cục

35. Đáp án là A. Cấu trúc: be an authority on ..: là chuyên gia về ….

36. for+ khoảng thời gian => chia thì hoàn thành => đáp án B và D loại.

A cũng loại vì không cùng thì. Do vậy, đáp án là C.

37. Đáp án là B. Đáp lại lời cảm ơn của ngƣời khác, ta có thể dùng cấu trúc “My pleasure”.

38. Đáp án là B. Tôi không nghi ngờ về nó adsure: vô lí.

you bet = you’re welcome

39. Đáp án là D. Câu điều kiện loại III: If + S+ had + PII, S+ would+ have + PII.

40. Đáp án là A. remember + someone + V-ing: nhớ ai đó đã làm gì …

41. Đáp án là B. Cụm từ «many happy returns» thƣờng đƣợc dùng để chúc sức khoẻ trong ngày sinh nhật.

42. Đáp án là B. “too –cũng” thƣờng đứng ở cuối câu.

43. Đáp án là B. Trạng từ đứng đầu câu ta sử dụng đảo ngữ: Adverb + V+ S.

44. Đáp án là D. on the grounds: với lý do

45. Đáp án là A. restore: hồi phục lại ( dữ liệu, thông tin )

Nghĩa các từ còn lại: renovate: hồi phục lại ( một tòa nhà.. ); repair: sửa chữa; refurbish:trang trí lại

46. Đáp án là B. overpopulated là tính từ ( đồng cấp với poor)

47. Đáp án là B. Cấu trúc lƣợc bỏ: feel it [to be] one‟s duty to do something = cảm thấy đó là trách nhiệm

của ai….

48. Đáp án là C. turn up: đến, ở, xảy ra …

49. Đáp án là C. Cấu trúc khuyên răn: It‟s advisable that + S + V(bare).

50. Đáp án là D. Cách rút gọn đại từ quan hệ làm chủ ngữ, trong câu: S + be + N, ta có thể bỏ đại từ quan hệ và

động từ “tobe”. Câu đầy đủ: The organs of taste are the taste buds, which are groups of cells …

51. Đáp án là A. On the second thought = on reflection: Suy nghĩa kỹ

52. Đáp án là C. Câu điều kiện loại 3: If + S+ had + PII, S+ would+ have + PII.

53. Đáp án là A. statement: giấy biên lai

Nghĩa các từ còn lại: overdraft: sự rút quá số tiền gửi ngân hàng; cheque: séc; balance: sự cân bằng

54. Đáp án là A. be sent to prison: bị vào tù; for + khoảng thời gian; for + V-ing: sau giới từ là V-ing.

55. Đáp án là D. Từ cần điền là một đại từ quan hệ giữ chức năng làm chủ ngữ của động từ “has”, thay

thế cho từ trƣớc nó “ somewhere”

VI/

56. Đáp án là B. What + S + V là mệnh đề danh ngữ, đóng vai trò nhƣ một danh từ , động từ theo sau

luôn ở dạng số ít.

57. Frank doesn‟t care if Jean leaves or stays.- Frank không quan tâm liệu Jean đi hay ở lại.

Đáp án là A. Whatever Jean does is all right with Frank. – Jean làm bất cứ điều gì thì đề đúng với Frank.

58. Đáp án là B. Cấu trúc so sánh tăng tiến “ càng…. càng …” : The + comparision + S + V, the +

comparision + S + V.

59. Cấu trúc S + be + always + V-ing diễn tả sự phàn nàn, khó chịu của ngƣời nói đến đối tƣơng S …

Đáp án là C. complain about: phàn nàn về ….

60. Đáp án là C. run into someone = happen to someone : ghé thăm ai

VII/

61. Đáp án là A. Khi dùng vế rút gọn V-ing, chủ ngữ đƣợc rút gọn sẽ giống với chủ ngữ vế sau.

Dịch: Sau khi nhiêu ngƣời xem phim “Pride and Prejudice”, họ muốn đọc cuốn sách đó.

62. Dùng phƣơng pháp loại trừ: A sai vì the + N, different là tính từ; B sai vì although + clause; C loại vì

in spite of + N/ V-ing/ the fact that clause

Đáp án đúng là D. Despite + N/ V-ing: mặc dù…

63. Đáp án là B. as a result: kết quả là.

So that: để…. ( chỉ mục đích )

Therefore, vì vậy… ( thƣờng đứng đầu câu sau dấu phẩy, không dùng sau “and” )

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Resulting from + N: dẫn dến …

64. Đáp án là A. Câu thiếu mệnh đề chính (S+V) . Cấu trúc câu chẻ nhấn mạnh: It + be + N + that +…..

65. Đáp án là A. Với câu điều kiện, giả định, thƣờng dùng động từ “were” với tất cả các ngôi.

VIII/

66. Đáp án là A. Một loại thực vật hoang dã: in the dry grazing lands of the West that familiar blue joint

grass was often killed by drought…. Who could imagine a fairy-tale grass that required no rain and

somehow made it possible for cattle to feed themselves all winter? But the surprising western wild

grasses did just that.

67. Đáp án là B. “Legend has it that sometime toward the end of the Civil War (1861-1865) …..”

68. Đáp án là C. he saw his oxen, living, fat, and healthy. How had they survived?

69. Đáp án là D. The answer lay in a resource that unknowing Americans lands trampled underfoot in

their haste to cross the “Great American Desert” to reach lands that sometimes proved barren.

70. Đáp án là C. barren = infertile: không màu mỡ, cằn cỗi

71. Đáp án là A. prefer = favor: thích hơn, thiên vị

72. Đáp án là C. “. It grew well with enough rain, then when cut and stored it would cure and become

nourishing hay for winter feed. But in the dry grazing lands of the West that familiar blue joint grass

was often killed by drought.”

73. Đáp án là B. Variously known as buffalo grass, grama grass, or mesquite grass, not only were they

immune to drought;…

74. Đáp án là D. They are not affected by dry weather . Câu này sai vì phía tây nƣớc Mỹ là vùng đất khô

cằn. Thực vật sống ở đây đƣợc phải là các loài chịu đƣợc khô cằn.

75 Đáp án là B. Ý trong bài: Cattle left outdoors to fend for themselves thrived on this hay. And the

cattle themselves helped plant the fresh grass year after year for they trampled the natural seeds firmly

into the soil to be watered by the melting snows of winter and the occasional rains of spring.

IX/

76. Đáp án là B. an old item = an antique: đồ cổ

Các từ còn lại: original(n): nguyên bản; facsimile: bản sao chép; bonus: tiền thƣởng

77. Đáp án là A. attainment = accomplishment : thành tích

Nghĩa các từ còn lại: task: nhiệm vụ; shock: ngạc nhiên; surprise: ngạc nhiên

78. Đáp án là A. soon: sớm, tƣơng lai gần = in the near future

Nghĩa các từ còn lại: undoubtedly: một cách không nghi ngờ; some day: vào ngày nào đó; now: bây giờ

X/

79. Đáp án là B. hinder: gây khó >< facilitate: làm cho dễ dàng

Nghĩa các từ còn lại: obstruct: làm bế tắc; impede: cản trở; prevent: ngăn cản

80. Đáp án là B, prestigious: có uy tín, thanh thế >< ordinary: bình thƣờng

Nghĩa các từ còn lại: distinguish: khác biêt; renown: có tiếng; fame: nổi tiếng

Evidence: Making a Geologic Turn into Cultural Awareness

There was never a time when human agency was anything other than an interfolding network of humanity and nonhumanity; today this mingling has become harder to ignore.

—Jane Bennett, Vibrant Matter: A Political Ecology of Things

Laura Moriarty, Subduction into Trench, 2010, Encaustic on panel

Until recently, the word “geologic” conjured meanings and associations that referred simply and directly to the science of geology — the study of the
origin, history, and structures of the earth. But that seems to be changing. Something is happening to the ways that people are now taking up “the
geologic.”

Contemporary artists, popular culture producers, speculative architects, scientists and philosophers are adding new layers of cultural meaning and
aesthetic sensation to the geologic. It is as if recent events and developments are making geologic realities sense-able with new physical intensity and
from new angles of thought as a situation that we live within, not simply as something “out there” that we study.

Humans seem to be sensing, in new ways, that the forces and materials of the earth are not only subjects of scientific inquiry — they have also become
conditions of daily life.

The idea for this book came from our sense that there is an increasingly widespread turn toward the geologic as source of explanation, motivation, and inspiration for
cultural and aesthetic responses to conditions of the present moment.
Geologic topics and themes are underscoring daily experience in ways that are stark and arresting. Deep time is beginning to have applied, material meaning
for non-specialists. Not that long ago, mineral and fossil resources available for human exploitation seemed to be infinite. No nuclear waste needed to be
stored. Carbon emissions didn’t exist. And the oceans contained zero tons of plastic. Two hundred years ago, fears about what the planet’s material state
might be like in 1000 years would have seemed misplaced. No longer. In the face of accelerating planetary-scale change, much of it traceable to human
activity, today’s humans are confronted by realizations that life on earth hasn’t been like “this” nor has it looked like “us” for very long at all. In the
short 18 months that we’ve been working on this book, the word “Anthropocene” has gone from an obscure, scientific term that an NPR interviewer had to ask
a geologist how to pronounce, to a word that now appears in headlines and returns over half a million Google citations.

Daybreak Utah, smudge studio 2010, from Below the Line

We are intrigued by what is arguably a growing recognition that the geologic, both as a material dynamic and as a cultural preoccupation, shapes the “now”
in ever more direct and urgent ways. The existence, effects, and nature of earth dynamics were once the specialized interest of scientists and
infrastructure designers. Today, they are topics of breaking news about

tectonic plate movements, travel-disrupting volcanic eruptions, deep time, slow accumulations and metamorphoses of the world’s materiality, erosion and
displacement of landforms, dramatic earth reshaping events, and geo-bio interactions.

These are forces to be reckoned with existentially, creatively, conceptually, and pragmatically as humans work to meet the fact that not only is our
species increasingly vulnerable to the geologic, we also have become agents of planetary geologic change.

courtesy of William Lamson, A Line Describing the Sun, Lake Harper, CA, 2010

At a conference inspired by the premise of Making the Geologic Now, Seth Denizen, one of the contributors to this book, offered stark graphic
representations of the accelerating speed of material change on planet earth. On graph after graph (human population growth, numbers of cell phones, ocean
acidification), the recent accelerations of change have turned what once appeared as lines with slight slopes upward into near vertical spikes. As Denizen
put it, at the points in time and speed that we now are approaching:

The world becomes defined not by a time, but by a speed.

This is the point at which the world can no longer be merely an extension of our own, a difference in degree, but rather something which takes on a
difference in kind: another sea, another wind, another world at right angles to our own.

In the wake of Denizen’s presentation, it was hard not to suspect that speeds of change in material realities of life on the planet are outpacing our ways
of knowing. Most everything we (Western-encultured) humans think we know about living on Earth, and most everything we thought was useful for life here,
was invented by ancestors who lived during times when the “hockey stick”-shaped graphs depicting accelerating change were relatively flat. But, as Denizen
points out, we’re now living at right angles with that (former) world. We’re now living on a qualitatively different planet. While that doesn’t necessarily
mean that human knowledge must start over from here, it does seem to suggest that we need to rethink, reconfigure, and reinvent much of “what we know” from
an entirely different angle (the vertical, accelerating rise). And quickly.

An unclassified metallic spherule (possible micrometeorite) on the tip of my index finger, Ryan Thompson, 2012

However, the contributors to this collection show that the urgency of our response can be coupled with complex, multi-leveled ways of addressing change.
Some of them are engaged in practices that are designed to take time, pay close attention, take note. They take the rates of changes occurring around them as
reason to pause and turn practices of experimental thinking, design, and art towards these changes, in order to respond. Some have traced flows of
human-altered geologic materials around the globe (Takeda). Others have made dynamic visual materializations of rates of change (Kavanaugh and Nguyen);
noted how life here on earth is always subject to larger, unknowable forces from “outside” our own atmosphere (Thompson); and documented, indirectly,
evidence that we humans are “recent” arrivals on this planet who are surrounded by species that have adapted to incredibly varied eco-systems for almost
unimaginable spans of time (Sussman). Creators of the works featured here are attending to rates of change with a calm perseverance.
Making the Geologic Now showcases contributors’ abilities to site themselves at emergent material phenomena, invent new practices there, and
attempt to imagine, gain, and share new skills capable of meeting urgencies of the moment.

Shioyasaki Lighthouse in Iwaki-city, Fukushima, photo by Keisuke Hiei

from Trace – cameraless records of radioactive contamination, Shimpei Takeda, 2012

New sorts of inventive thinking and making are now possible, and called for, in response to new material situations of daily life. A number of artists,
designers, and philosophers of change and emergence are deliberately situating their aesthetic work and experimental thinking
within the geologic as a condition of our present time. Some contemporary artists locate their bodies and imaginations within jostling and
unstable physical, social, political, and economic situations that arise from and act back upon the earth’s materialities, forces and events. The result is
an increase in aesthetic works that explore and creatively respond to the geologic depth of “now.” In the past few years, for example, galleries, museums,
and public art projects (including documentary films and blogs) have presented works that do not simply take up the geologic as a theme—they also activate
formats, methods, models, ideas, and aesthetic experience in ways that seek to recalibrate “the human” in relation to “the geologic.” In 2010,
Rising Currents, a major exhibition by New York’s Museum of Modern Art, traced the co-shaping of geoforms and cultural forms. The exhibited works
employed art, architecture, design, science, and city planning to address how the geologic force and event of a rise in global sea levels will affect life
in New York City. The same year at the Cooper Union’s 41 Cooper Gallery, a group exhibition entitled The Crude and the Rare commissioned artists
to creatively respond to rare earth materials and offer aesthetic and speculative activations of geologic materiality. In 2011, the Whitney’s exhibition of
Karthik Pandian’s Unearth examined relationships between ancient peoples and geomorphology. With Into Eternity (2010), film director and
conceptual artist Michael Madsen contemplates social, economic, biological, technological, and even spiritual significances of Onkalo, the world’s first
deep earth repository for high level nuclear waste. Harvard professors Peter Galison and Robb Moss are currently co-producing a documentary,
Nuclear Underground, that explores the complex set of environmental, political, and moral debates entangled within the problem of nuclear waste
disposal in the United States. It will focus on the Waste Isolation Pilot Plant (WIPP) in Carlsbad, New Mexico. In a 2010 show at the Pace Gallery entitled
The Day After, photographer Hiroshi Sugimoto displayed photograms that resulted when he used electrical sparks and film to create a situation that
he compared to “the first meteorite hitting the Earth.” The exhibition also displayed fossils and meteorites from his collections. Brian Eno’s 2010 album,
Small Craft on a Milk Sea, includes tracks titled “Late Anthropocene” and “Paleosonic,” and employs music to imagine and
articulate meanings and forces of deep time. A number of emergent, hybrid practices, such as the exhibitions and “tours” of the Center for Land Use
Interpretation and Lucy Raven’s photographic animation China Town, are now combining landscape photography, land use interpretation, and public
field expeditions into new forms of public art.

courtesy of William Lamson, A Line Describing the Sun, 2010

In a related gesture, some contemporary philosophers are experimenting with concepts that take up the geologic as metaphor and model. It seems that the
understanding of earth processes can offer inspiration for how we might think about the qualitatively different ways that humans are now living on planet
earth. Daily experiences of what has preoccupied philosophers for generations: space, time, matter, and change, are being dramatically altered by new
predicaments of speed, scale, flow, and density. Some philosophers are reconsidering and revising assumptions they inherited from Western thought as they
bring to their projects new appreciation for the depth and consequences of how humans comingle with the nonhuman.

For example, in Vibrant Matter: A Political Ecology of Things,[1] Jane Bennett offers compelling arguments for why and how we might (and
even should) approach and understand things geologic as vital forces and active agents in daily life. Drawing on Latour, she points out that “modern selves
are feeling increasingly entangled, cosmically, biotechnically, medially, virally, pharmacologically, with nonhuman nature. Nature has always mixed it up
with self and society, but lately this comingling has intensified and become harder to ignore” (115). Bennett describes the contemporary moment as “a time
when interactions between human, viral, animal, and technological bodies are becoming more and more intense” (108). We have arrived at a moment, she
asserts, in which human culture is “inextricably enmeshed with vibrant, nonhuman agencies” (108). Among such nonhuman agents that directly shape daily
life, she counts food: “eating constitutes a series of mutual transformations between human and nonhuman materials” (40). She also counts the geologic, and
identifies it as a key participant in the effectivity of the electric grid, which she depicts as a “volatile mix of coal, sweat, electromagnetic fields,
computer programs, electron streams, profit motives, heat, lifestyles, nuclear fuel” (25). When the grid’s complex assemblage of human and nonhuman agents
“goes down” or blacks out, it does so with an agency that is “distributed along a continuum, extrudes from multiple sites or many loci—from a quirky
electron flow and a spontaneous fire to members of Congress who have a neoliberal faith in market self regulation” (28).

from Trinity Pilgrimage, Bryan M. Wilson, 2009

By including geologic material in the realm of the world’s “actants,” Bennett urges us to break with modern habits of assuming and behaving as if the
matter that composes the earth is passive stuff, raw, brute, or inert (vi). Many of us have been encultured to view humans as the active agents on the
planet, while things, technologies, and “stuff” are relegated to the status of passive recipients of our designs and desires. But, as Bennett makes clear
through examples ranging from stem cells to trash to fish oils, humans are able to act intentionally and effectively in the world only “if accompanied by a
vast entourage of nonhumans” (108). We do not act or move along clearly delineated pathways of human and nonhuman, biologic and geologic, inside and
outside, self and other. We operate, instead, within complex “interstitial field[s] of nonpersonal, ahuman forces, flows, tendencies, and trajectories.”
Bennett suggests that it would be advisable, productive, and even ethical for contemporary philosophers to “theorize a kind of geological affect or
material vitality” in recognition of the “shimmering, potentially violent vitality intrinsic to matter” (61).

Such ideas give what used to be defined as the study of the origin, history, and structure of Earth new meanings, questions, and approaches. Of course,
“geology” continues to reference rocks, tectonics, and bare forces of our planet, including deep time. But it is taking up new associations as people
struggle to understand and meet new and unprecedented material realities of Earth and life on Earth.

To begin to image an expanded field of geology beyond the realm of rocks, we experimented with a passage from Bruno Latour’s Reassembling the Social: An Introduction to Actor-Network Theory. We took the liberty of appropriating Latour’s effort to redirect “sociology”
into the messy realm of “the social” (which is always entangled in associations). In the following passage by Latour, we substituted “geology” for
“sociology” and “the geologic” for “the social,” in order to explore what becomes thinkable when we redirect “geology” into the realm of “the geologic”:

Even though most geologists would prefer to call ‘the geologic‘ a homogeneous thing, it’s perfectly acceptable to designate by the same word a trail of associations between heterogeneous elements. Since in both cases the word retains the same origin — from Latin root geo — it is possible
to remain faithful to the original intuitions of the geologic sciences by redefining geology not as the «science of the geologic,» but as the tracing of associations. In this meaning of the adjective, geologic does not designate a thing among other things, like a black sheep among white
sheep, but a type of connection between things that are not themselves geologic.[2]

We think this speculative substitution of terms produces a lively outcome — one that springs geology into the realms of everyday actions, movements, and
associations among humans and nonhumans. Thinking this way invites us to “devise new procedures, technologies, and regimes of perception that enable us to
consult nonhumans more closely, or to listen and respond more carefully to their outbreaks, objections, testimonies and propositions” (Bennett, 108).

Sudbury, Ontario, smudge studio 2011

It’s becoming more and more difficult to deny that nonhuman aspects of “the geologic” have been objecting, testifying, proposing, and breaking out. Or that
they have been doing so with growing intensity and human consequence. The densities and locations of human habitation on Earth, especially in highly
technologized urban areas, make humans vulnerable to and aware of geologic forces and change in new ways. When looking for clues about what might be
propelling contemporary cultural producers and thinkers to make a geologic turn, recent “natural” and human-made events, some
unprecedented in scale and consequence, are obvious suspects. In our call for contributions to Making the Geologic Now, we chronicled some of the
recent incursions that geologic forces have made into human activities and affairs. Of course, these now include the March 11, 2011, catastrophic, ad hoc
assemblage of a 9.0 earthquake, tsunamis of over 70 feet, and three meltdowns in the Fukushima Daiichi nuclear power plants that occurred in Japan.
Relatively inchoate senses of “the geologic as a condition of contemporary life” circulating on March 11, 2011 became overwhelmingly palpable and
sense-able. In the wake of that day’s events, it seems impossible to downplay any longer the reality that assemblages of human technologies and the earth’s
dynamic geo-materialities can, and do, act back upon us in wildly unpredictable ways. What continues to unfold in Fukushima makes it soberingly clear that
the effects of our tools, designs and desires ramify into deep geologic futures. And that often, along the way, those futures pass directly through and
dramatically rearrange human lives. There seems to be a growing sense that architectures, infrastructures, and artworks will risk being irrelevant at best,
dangerous at worst, if their designers and makers don’t take this newly salient reality into account and recalibrate their work.

In Japan, the geologic-as-actant exceeded humans’ best attempts to anticipate and temper its potential impact on highly technologized daily life. The shattering of these best attempts has opened up new potential for inventing and actually adopting innovative modes of action at
the intersections of the human and the geologic. It has necessitated new design specifications for all future, as yet unimagined projects of infrastructure, urban space and flow, and channeling of geologic actants. The fact that two thirds of Japanese citizens now prefer to not
have nuclear-generated electricity demonstrates that geologic events can instruct humans about the reality that all our designs assemble with and participate in relation to complex, powerful earth forces we can never fully control.

Nesjavellir Geothermal Power Station, Iceland, smudge studio 2012

Such “instructive” events seem to be compounding–both actually and within human consciousness — to lay bare the reality of just how deeply human life is
embedded in the “brute materiality of the external world” — in the very “stuff” of the geologic. Take, for example: the discovery in 1997 of The Great
Pacific Garbage Patch; the Indian Ocean earthquake and tsunami (2004); Hurricane Katrina (2005); Eyjafjallajökull’s eruption and subsequent disruption of
European air travel and economies (2010); the Haiti Earthquake (2010); Japan’s “triple disaster” (2011); the Gulf of Mexico oil spill (2010); Superstorm Sandy (2012); increasing
efforts to prepare for the long overdue “big one” along the San Andreas Fault in California; ever-clearer signs of climate change both man-made and
earth-made; recent “near misses” of earth by asteroids and a growing understanding of the planet-wide effects of prehistoric direct hits; growing
stockpiles of high-level nuclear waste and the urgent attempts to design ways to contain it—within the geologic–for up to one million years; new evidence
of how geologic-scale engineering projects, such as the Three Gorges Dam in China and carbon sequestering, actually alter planetary dynamics; and growing
evidence that urbanization vastly increases rates of soil sedimentation and erosion. And, as we deliver this collection to our publisher, Australian
National University ecologist Roger Bradbury sends this alert to readers of The New York Times: “It’s past time to tell the truth about the state
of the world’s coral reefs, the nurseries of tropical coastal fish stocks. They have become zombie ecosystems, neither dead nor truly alive in any
functional sense, and on a trajectory to collapse within a human generation. There will be remnants here and there, but the global coral reef ecosystem —
with its storehouse of biodiversity and fisheries supporting millions of the world’s poor — will cease to be.”[3] Far from being yet another instance of
“disaster porn,” Bradbury sounds his alarm in the name of ending “institutional inertia” and beginning an “enormous reallocation of research government,
and environmental effort to understand what has happened so we can respond the next time we face a disaster of this magnitude.”

Developments in human thought about the nature of reality itself give additional impetus for the current turn in cultural awareness and practice. These
include new scientific understandings of the most fundamental geologic dynamics, such as plate tectonics, which hinges on a theory that some considered
impossible as recently as the early 1960s. A turn away from static, mechanical models of “nature” to dynamic models that see the world as a field of
continuous emergence has also unleashed both scientific and popular fascination with the deep interplays between the geologic and the biologic. Some
philosophers now think experimentally about space, time, and change through the geologic; popular consciousness entertains radical new insights about human
evolution, including the realization that life itself is the result of an immensely long process that is fundamentally geologic in nature; and journalists
comment on the qualitatively new ways that humans experience time and space on planet earth.

composite of Perseid Meteor shower, 8/11/10, image NASA/MSFC/D, Moser, NASA’s Meteoroid Environment Office

Novel ways of making sense of the geologic have become possible, in part, thanks to new technologies and lived experiences that help to make it immediate.
In fact, geology’s transformation from being regarded as a specialized area of scientific study at best and nerdy hobby at worst, to being experienced
vividly as a daily predicament, may have been ushered in by an event of digital visualization. Arguably, the transformative moment came on December 7,
1972, the day that humans on earth received the transmission of the «blue marble» photograph of earth from the Apollo 17 astronauts across 28,000 miles of
space. Thirty years later, the images of artist/photographer Trevor Paglen suggest (as he does in the interview included here) that the earth has gained a
new sedimentary layer — located in space — in the form of orbiting space debris.

The internet and globalization have radically transformed daily experiences of time and space on earth in ways that continue to direct attention to the
geologic. Philosophers and popular culture producers alike ponder the consequences of global flows and exchanges of information, human beings, manufactured
products and earth materials for how humans sense and make meaning of time and space.

Thanks to Google Earth, our abilities to visualize earth as a wholly interconnected and dynamic geo-bio system have grown only more acute, refined, and now
even interactively palpable. In addition, dynamic imaging technologies allow us to «see» and «sense» unimaginably slow and vast geologic dynamics as
visible «flows.» Computer simulations and data animations make apparently static and solid geo-forms such as mountains and deserts perceptible
as fluid motion through time.

In the 1980s, word started to spread beyond scientific journals that the geologic conditions of life on earth can be-and have been-transformed in an
instant: dinosaurs, some scientists announced, probably went extinct because of an asteroid impact. Other scientists think dinosaurs were wiped out by
massive volcanic eruptions in what is now India. Regardless, their disappearance happened fast and most likely because of a geologic event that was
planetary in scale. Journalists and Hollywood filmmakers have peaked audiences’ curiosities-in ways that add to the scientific knowledge of
laypersons-about these very real (past and future) geologic processes. Recent best sellers that help us think across biology, geology, and environmental
sciences, such as The World Without Us, fuel growing realizations about deep time: while the human species can’t get along without the geologic,
the geologic will continue on in some form or other long after we have ceased being part of it. Scientific facts about how the geologic is capable of
throwing our entire species into a crisis of existential risk are now part of pop culture (the film 2012 offers a special effects version of
everything from Noah-sized tsunamis to the movement of tectonic plates to the periodic and believed-to-be-overdue geomagnetic reversal of the earth’s
poles).

geothermal site, Iceland, smudge studio 2012

Thanks to transdisciplinary exchanges across traditional fields of study such as science and philosophy, art and science, environmental studies and social
sciences, it is becoming difficult for geologists and biologists to hold to categorical distinctions between the «brute materiality» of geology’s «external
world» (rocks, minerals, mountains) and the soft, «inner» worlds of biology’s living things. According to current scientific narratives about life, earth,
and life on earth, it’s possible to claim, without taking too much poetic license, that we humans are walking rocks. We may be living creatures, but our
aliveness is composed of geologic materials such as calcium, iron, and phosphorous. And the comparatively tiny living organisms that inhabit the earth’s
surface, be they humans, lichen or bacteria, are now seen to be key players in setting up and precipitating monumental geologic processes and
planetary-scale chemical transformations in geologic materials. The earth would have a completely different geologic self if there were no life on it.

Such vivid experiences-firsthand, mediated, and imagined-make it increasingly possible, even necessary, for humans to further heighten our abilities to
sense and respond to the vastness, and to the agency, of geologic time. Unprecedented modes of inhabiting the earth have opened up further possibilities
for humans to evolve ways to live in relation to geologic time. What we might make of our growing abilities and needs to sense geologic time, and what they
might make of us, have become questions charged with more than a little urgency.

These, then, are some of the events, developments, and ideas that actively shape situations and structures of feeling within which contemporary cultural
producers are making their work. Contributors to Making the Geologic Now have been drawn to the power and promise of a heightened collective
awareness of the geologic as a condition of contemporary life. Their works and ideas both signal and make more of the fact that the geologic is a vibrant
force in contemporary life.

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Making the Geologic Now: Intentions, Motivations, Provocations

Opera House, Oslo, Norway, smudge studio 2011

We believe that this collection may be the first to offer early sightings of an emergent cultural sensibility: a geologic turn in contemporary ideas,
architecture and design, and aesthetic work.

We have designed this book in the tradition of a broadside or pamphlet — a timely «calling out» of an emergent cultural sensibility and practice. Its
publication by punctum books as downloadable file, bound book, and interactive website makes it readily and widely accessible, portable, and easily
exchanged. We hope that these forms will encourage it to move through culture the way the «geologic turn» is now propagating through contemporary
consciousness and practice.

As an early sighting of an emergent and expanding cultural sensibility, this collection functions as a provisional and experimental first naming. We do not
pretend to provide an authoritative description or systematic mapping of a particular moment in cultural history. Our editorial perspective is not that of
a geologist or art critic. This collection constructs a viewpoint that is generative rather than critical or analytical. It is a relay — a strategy to
provide impetus to our own and our contributors’ enthusiasms and desires for a geologic turn, and to pass them on to others.

Our approach is to present our contributors’ ideas and images as test sites — places to think experimentally about what might happen, what might become
thinkable and possible, if we humans were to collectively take up the geologic as our instructive co-designer — as our partner in designing thoughts,
objects, systems, and experiences? The collection provides an armature for framing responses to such a question. It gathers a broad range of examples of
what might count, in thought and practice, as «making the geologic now.» As an uneven engagement with an emergent phenomenon, it provides points of
departure rather than delimited categories. Contributors describe their first whiffs of what is barely understood and not yet fully articulated about the
fact that the geologic has become palpable as a vibrant force in play in everyday life (once again? in unprecedented ways? more intensely?). After all, any
current turn to the geologic in attempts to understand the present moment and map possible ways forward would be both an evolution in human
relationship to the geologic, and a return to the age-old problem of the place of the geologic in human life on this planet — a problem that the
West has both tried to control and now has become. Each essay, then, suggests an optic — an aesthetic and/or conceptual aperture — that readers can use to
bring into sight and into mind what is as yet still arriving into human awareness, language, and gesture about the geologic this time.

National Tourist Route, Lofoten, Norway, smudge studio 2011

Contributors offer images, designs, projects, practices, and concepts for projecting imaginations into the geologic-as-contemporary-situation. These range
from poetic readings of scientific concepts, to theoretical engagements with iconic land art, to visual essays of aesthetic and design provocation. Each
work attempts to turn our gaze toward what has been operating in the peripheral vision of Western culture’s assumptions about the place of the geologic in
human affairs. We believe that, collectively, these essays invite several consequential inversions of perception — from seeing the geologic as matter to
seeing it as process; from seeing the stuff of the world we live in as being passive object and inert thing to seeing and sensing it as process and as
vibrant matter; from perceiving form as ideal, fixed, or achieved to seeing it as motion; from perceiving humans as the culminating achievement of all of
geologic time to seeing ourselves as mammals included within the geologic — as living within what is alien and previous rather than as living within a
romanticized nature that «endorses human values» (McKay).

When we invited contributors to plot some points along the contemporary geologic turn, we offered a series of themes for guideposts. These included: the
material force of geologic time, designing for and imagining deep time, speculative or aesthetic devices for inciting «evolutionary» cognitive shifts in
understanding «the geologic» as a contemporary condition, increasing awareness of the Anthropocene, geologic realities of contemporary land use, new
aesthetic forms and styles necessitated by works responding to the geologic, collaborations among artists and geologists/geophysicists, visualizing
interplays among multiple, complex geo-bio forces, locating the human scale in deep time and space, altered meanings and sensations of «the geologic» in
art and popular culture, making monumentally slow change or movement palpable, practices that propel the geologic turn in contemporary art (such as the
journey format, field research, embodied engagement with the geologic), form as motion, motion as form, instability and the earth’s materiality, the
«intelligence» or «agency» of geologic materials. Taken together, the works we share here touch on all of these themes in one way or another.

The essays in Section One, «Signals from the Edge of an Arriving Epoch,» announce and consider scientific, social, and poetic implications of the fact that
some geologists have declared the arrival of a new epoch named after us: The Anthropocene (anthropo, or man, and cene, or new). In 2000,
Paul Crutzen proposed that geologists update their official view of geological time to include the Anthropocene. This triggered a still continuing debate
within scientific communities as to whether the Anthropocene deserves to be incorporated into the geologic timescale. In 2011, Elizabeth Kolbert’s essay in
National Geographic Magazine (and reprinted here) trumpeted: «Enter the Anthropocene — The Age of Man,» and presented Crutzen’s concept to a lay
readership worldwide. Following Kolbert’s essay, and thanks to the work of Valeria Federighi and Etienne Turpin, we offer what we believe to be the first
publication of an English translation of an even earlier sighting of this new epoch by Italian geologist Antonio Stoppani. Nearly 150 years ago, he
declared: «We are only at the beginning of the new era; still, how deep is man’s footprint on earth already? . . . You can already count a series of
strata, where you can read the history of human generations, as before you could read in the amassed bottom of the seas the history of ancient faunas.»
Following on Stoppani, Canadian Poet Don McKay’s remarkable enactment of «geopoetry» in his essay: «Ediacaran and Anthropocene: Poetry as a Reader of Deep
Time,» searches out and expresses some of the profound, sublime, terrifying, and even ethical meanings released by the growing imperative to name the
present moment «Anthropocene.» The essays by Fox, Gilbert, and Osborne further clear conceptual and aesthetic pathways for the arrival of the Anthropocene.

Laura Moriarty, Breccia, 2009, Encaustic

We have staged Section Two, «Shifts in the Material Conditions of Contemporary Life,» as a concatenation of gestures by designers, cultural producers and
critics, artists, and teachers. Each essay in this section is an indicator of sometimes catastrophic, sometimes barely perceptible change in the material
circumstances of contemporary human beings — change that carries a geologic charge or imprint. Each emanates from a specific condition or event that is
geologically inflected. These range from direct or indirect experiences of geologically triggered historic events, to particularly volatile or provocative
junctures of the human and the geologic, to personal encounters with geologic forces and materials and pedagogical activations of the geologic as learning
event. Contributors use speculative essays, land use interpretation, photographic essays, documentary research, and art criticism to describe qualitative
changes in material conditions of daily life. For example, in «Imagining the Geologic,» Norwegian literary critic Janike Kampevold Larsen takes readers on
a journey from the Grand Canyon to highway road cuts, and offers them a visceral sense of her argument: current conditions of life are forcing human
attention away from pictorial images and views of landscape and toward the bare materiality of the earth’s surface. Such a redirection of attention
heightens the possibility that «slight efforts of the imagination» can help us relate to the ground as a presence that exists both within and
outside of human mediation. Designer and researcher Chris Rose offers a firsthand account of such an effort, when his own perception became «inverted» as a
result of making a geologic turn: in the midst of conducting field research with students in a quarry on the coast of England, he found himself newly
capable of experiencing the rock that surrounded him as «process.» In «Robert Smithson’s Abstract Geology: Revisitng the Premonitory Politics of the Triassic,» philosopher and aesthetic
theorist Etienne Turpin sights a precursor to today’s broader turn to the geologic as source of provocation to thought and aesthetic practice. He offers
the works of Robert Smithson to readers as points of reference that they can use to help sense their own arrivals into the era of the Anthropocene.

Geopoetry, from Geologic City: A Field Guide to the GeoArchitecture of New York, smudge studio 2011

Essays in this section invite an active reading across diverse ways of responding to geologic conditions of the present moment, and set up potential
for productive collisions among, for example, explorations of photography as a particularly effective medium for engaging the force and the depth of geologic,
new forms of field expedition and documentary research designed to engage students with the geologic, and speculative or aesthetic responses to pragmatic
and existential challenges that humans face as a result of being embedded in the geologic.

Ring Road Bridge, Iceland, smudge studio 2012

In Section Three, «From Periphery to Center: Artists Make the Geologic Now,» each work offers a sighting of a place, project, or event in which humans
intentionally or unintentionally join with geologic materialities, forms, or processes — and do so in ways that have consequences for both. From monumental
sites of extraction, to a forest planted in anticipation of the deep geologic future, to photographic portraits of the new sedimentary layer that all
landfills inevitably become, this section indicates how contemporary artists are alerting their audiences to the consequences of human-geologic
assemblages.

The fourth section, «Geologic Tomorrow: Wild and Potent Futures,» focuses on a particularly fierce geologic material that promises to shape human
activities, design challenges, and philosophical thought for the rest of our species’ existence. Elizabeth Kolbert’s «Enter the Age of Man» appeared in
National Geographic the same month that Fukushima Daiichi spewed radioactive materials around the globe. This poignant simultaneity gave way to
the undeniable fact that the material composition of the planet (ourselves included) is forever altered as of that date. The degree to which such
fundamental changes are felt in daily life is not evenly distributed. In mid-2012, we spent a month in Kyoto, Japan and we were surprised by how concerns
about radioactive contamination in the air and in water and food supplies in locations hundreds of kilometers south of the accident had become personalized
for people living there. We ate often at a Kyoto café that tested their food for radioactive cesium and openly posted the results. Experiencing this
first hand and regularly encountering television programs and public events that engaged these concerns, we grasped more fully the degree to which
radioactive substances have become a potent geologic materiality — one that is becoming ever-more deeply embedded in individuals’ lives. As this section’s
«Technogeomorphological Mounds» by the Center for Land Use Interpretation, and Geoff Manaugh and Nicola Twilley’s interview with a scientist at Yucca
Mountain remind us, humans will be «designing for deep time» and attempting to contain landscapes contaminated by nuclear materials in perpetuity. Our
species is just at the beginning of a design and engineering project that, if taken up, will span millennia. As Shimpei Takeda, Bryan Wilson, and Jamie
Kruse explore, the new stratum containing radioactive materials that we are now laying down always will be traced back to, and always will affect,
individual humans.

Today, global flows create complex, moving entanglements of earth materials, geologic events, technologies, objects, chemicals, weather, information,
people and other living and nonliving things. Over the past couple of years, we have published a blog (Friends of the Pleistocene) to express and visualize
«the geologic» as interwoven with the rise in global populations; nested within the challenges of nuclear waste storage; enfolded in carbon emissions;
caught up in the rise of tsunami waves; orbiting the planet as space trash; stuck in the stagnant center of the vortex that is the Great Pacific Garbage
Patch; and fermenting in the hills of the Freshkills landfill.

The geologic «now» is a teeming assemblage of exchange and interaction among the bio, geo, cosmo, socio, political, legal, economic, strategic, and
imaginary.

The geologic lives in our bones (as calcium) and our cell phone screens (as indium tin oxide). The geologic «now» in which we live, and for which we design
urban spaces and infrastructures, is an ongoing procession of substances that were formed in the deep past and are arriving into the present. The geologic
passes through our time as the materials and forces that compose us, and that we take up and transform to compose our world. Geo-bio-socio assemblages
reconfigure and ramify geologic materials and forces, with growing consequence, into the stuff of deep futures.

back cover, from Geologic City: A Field Guide to the GeoArchitecture of New York, smudge studio, 2011

Jane Bennett’s work has been an inspiration for the way we have approached the project of Making the Geologic Now. Her concluding essay
«Earthling, Now and Forever?» responds to the collection in light of key ideas that shape her own work.

Throughout the collection, we have dispersed visual and textual provocations that have affinities with the adjacent essays. We call these interjections
«zuihitsu,» after a Japanese term that loosely translates as: «a miscellaneous essay,» «literary jotting,» or «musing.» A kanji that is out of common usage
for «zui» translates as: «at the mercy of (the waves).» The kanji currently in modern usage in Japan translates as: «follow.» Hitsu means «writing or
painting brush.» Our zuihitsu include original photography and excerpted texts from our own work, our contributors, and various public sources. They
provide an unfinished «through line»-a lively and unsettled terrain composed of concepts, images, sensations and waves of realization that «make the
geologic now.»

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Humans Assembling the Geologic

Draper, UT, smudge studio 2010, from Below the Line

We believe that turning toward the geologic, in ways reported and enacted by the essays collected in Making the Geologic Now, has the
potential to relocate human sensibilities and assumptions with great effect

. It may, for example, compel activists and designers who invoke the ecological and the «environmental» to take the geologic fully into account. The first
wave of environmentalism in the 1970s was dominated by discourses that understood «the environment» primarily in biological terms. It focused its concern
on the surface of the earth-on the soil, water, living organisms, and atmosphere that compose the thin layer that is the biosphere. But recent insights
about just how deeply the bio is intertwined with the geo make it necessary for any concept of «the environment» to now acknowledge the roles and powers of
the geologic in terrestrial life. Given new understandings of the figurative and literal depth of the enmeshment of the bio and the geo, it’s now difficult
to hold previous distinctions between animal, vegetable and mineral. Current understandings of earth cycles show that the bio is instrumental in the
composition, history, and future of the geo. We now know that solar flares, asteroids, and supervolcanoes can alter and have altered the course of
biological life on earth in seconds. This awareness extends what we consider to be our environment far beyond Earth’s surface. The soci-geo-bio «order»
that we live today draws all things on Earth — human and nonhuman — into relation at a much vaster breadth and depth than acknowledged by the
environmentalism of the 1970s. Even the landscape or surface that architects design for and build upon can no longer be taken to be that single, thin,
folded surface depicted by computer aided design software. Today, the geologic counts as «the environment» and extends it out to the cosmos and down to the
Earth’s iron core.

A geologic turn may recalibrate nothing less than our senses of temporal and spatial dwelling. It may make us capable, McKay suggests, of an entirely new
human relationship to time — one in which we no longer see time only or primarily in relation to humanity’s place in it. As we lose our position in/as the
pinnacle of all that has been made possible by the material force of geologic time itself, McKay suggests, we may gain new capacities to sense and act in
terms of mutuality (McKay).

By making a geologic turn, we direct sensory, linguistic, and imaginative attention toward the material vitality of the earth itself. We come closer to
entertaining the idea that matter is not passive. Assuming its passivity weakens our abilities to discern the force of things (Bennett,
65). It precludes potentially productive questions such as: how is this geologic actant — this earthquake, geologic stratum, geologic flow, earth
materiality — contributing to a problem affecting me? How might these nonhumans contribute to its solutions

(Bennett, 103)? We might design and respond differently if we were to work from a place of recognizing that our actions always do assemble with the
geologic. This change in perspective may result in wildly unpredictable innovations.

Laura Moriarty, Breccia (detail), 2009

In Vibrant Matter, Jane Bennett asserts that it would be advisable, productive, and ethical for contemporary philosophers to «theorize a kind
of geological affect or material vitality» that recognizes the «shimmering, potentially violent vitality intrinsic to matter» (61). The Japanese
earthquakes and tsunamis of 2011 opened up new potentials for humans to invent and collectively adopt new modes of action at the intersections of the human
and the geologic. We can no longer relate to the Earth as brute, static material: rocks, mountains, canyons, continents. Mountains are in constant motion.
The stuff of rocks is in continuous transformation. The Earth’s crust is a conveyor belt that digests continents and regurgitates new landmasses. Earth has
a finite life span constrained by its cosmic environment. New understandings of the power of relatively ephemeral geo-bio-socio assemblages have altered
our senses of the place we inhabit. No longer the inert matter outside of ourselves that is there to support us and our buildings, the geologic is a
cascade of events. Humans and what we build participate in their unfolding.

Making a geologic turn, we create an opportunity to recalibrate infrastructures, communities, and imaginations to a new scale-the scale of deep time,
force, and materiality. This would require us to assemble responsively with the non-human scale of geo-forces in play on this planet. Such a move has the
potential to turn Western-encultured humans (once again?) toward what is most real about human life on this planet: we are not simply «surrounded» by the
geologic. We do not simply observe it as landscape or panorama. We inhabit the geologic. We live within it. This means that humans are always forced to
come to terms with earth forces, eventually.

Copper Cliff, Sudbury, Ontario, smudge studio 2011

But, as the works collected here show us, it can also mean more than that.

Perhaps the qualitatively new and different cultural sensibility that is signaled by those who are «making the geologic now» is this

: as the very medium of human existence, geologic assemblages are vibrant forces, and they are capable of instructing not only architecture and design
practices, but everyday life as well.

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