Questões de Concursos Públicos - Inglês

Innovation is the new key to survival […] At its most basic, innovation presents an optimal strategy for controlling costs. Companies that have invested in such technologies as remote mining, autonomous equipment and driverless trucks and trains have reduced expenses by orders of magnitude, while simultaneously driving up productivity. Yet, gazing towards the horizon, it is rapidly becoming clear that innovation can do much more than reduce capital intensity. Approached strategically, it also has the power to reduce people and energy intensity, while increasing mining intensity. Capturing the learnings The key is to think of innovation as much more than research and development (R&D) around particular processes or technologies. Companies can, in fact, innovate in multiple ways, such as leveraging supplier knowledge around specific operational challenges, redefining their participation in the energy value chain or finding new ways to engage and partner with major stakeholders and constituencies. To reap these rewards, however, mining companies must overcome their traditionally conservative tendencies. In many cases, miners struggle to adopt technologies proven to work at other mining companies, let alone those from other industries. As a result, innovation becomes less of a technology problem and more of an adoption problem. By breaking this mindset, mining companies can free themselves to adapt practical applications that already exist in other industries and apply them to fit their current needs. For instance, the tunnel boring machines used by civil engineers to excavate the Chunnel can vastly reduce miners’ reliance on explosives. Until recently, those machines were too large to apply in a mining setting. Some innovators, however, are now incorporating the underlying technology to build smaller machines—effectively adapting mature solutions from other industries to realize more rapid results. Re-imagining the future At the same time, innovation mandates companies to think in entirely new ways. Traditionally, for instance, miners have focused on extracting higher grades and achieving faster throughput by optimizing the pit, schedule, product mix and logistics. A truly innovative mindset, however, will see them adopt an entirely new design paradigm that leverages new information, mining and energy technologies to maximize value. […] Approached in this way, innovation can drive more than cost reduction. It can help mining companies mitigate and manage risks, strengthen business models and foster more effective community and government relations. It can help mining services companies enhance their value to the industry by developing new products and services. Longer-term, it can even position organizations to move the needle on such endemic issues as corporate social responsibility, environmental performance and sustainability. (http://www2.deloitte.com/content/dam/Deloitte/ru/Document s/energy-resources/ru_er_tracking_the_trends_2015_eng.pdf) “For instance” in “Traditionally, for instance, miners have focused on extracting” (l. 34-35) is used to:

Innovation is the new key to survival […] At its most basic, innovation presents an optimal strategy for controlling costs. Companies that have invested in such technologies as remote mining, autonomous equipment and driverless trucks and trains have reduced expenses by orders of magnitude, while simultaneously driving up productivity. Yet, gazing towards the horizon, it is rapidly becoming clear that innovation can do much more than reduce capital intensity. Approached strategically, it also has the power to reduce people and energy intensity, while increasing mining intensity. Capturing the learnings The key is to think of innovation as much more than research and development (R&D) around particular processes or technologies. Companies can, in fact, innovate in multiple ways, such as leveraging supplier knowledge around specific operational challenges, redefining their participation in the energy value chain or finding new ways to engage and partner with major stakeholders and constituencies. To reap these rewards, however, mining companies must overcome their traditionally conservative tendencies. In many cases, miners struggle to adopt technologies proven to work at other mining companies, let alone those from other industries. As a result, innovation becomes less of a technology problem and more of an adoption problem. By breaking this mindset, mining companies can free themselves to adapt practical applications that already exist in other industries and apply them to fit their current needs. For instance, the tunnel boring machines used by civil engineers to excavate the Chunnel can vastly reduce miners’ reliance on explosives. Until recently, those machines were too large to apply in a mining setting. Some innovators, however, are now incorporating the underlying technology to build smaller machines—effectively adapting mature solutions from other industries to realize more rapid results. Re-imagining the future At the same time, innovation mandates companies to think in entirely new ways. Traditionally, for instance, miners have focused on extracting higher grades and achieving faster throughput by optimizing the pit, schedule, product mix and logistics. A truly innovative mindset, however, will see them adopt an entirely new design paradigm that leverages new information, mining and energy technologies to maximize value. […] Approached in this way, innovation can drive more than cost reduction. It can help mining companies mitigate and manage risks, strengthen business models and foster more effective community and government relations. It can help mining services companies enhance their value to the industry by developing new products and services. Longer-term, it can even position organizations to move the needle on such endemic issues as corporate social responsibility, environmental performance and sustainability. (http://www2.deloitte.com/content/dam/Deloitte/ru/Document s/energy-resources/ru_er_tracking_the_trends_2015_eng.pdf) The fragment “To reap these rewards” (l. 17) means to:

Our Kids Don’t Belong in School By Bridget Samburg | Boston Magazine | September 2015 When Milva McDonald sent her oldest daughter to Newton public school kindergarten in 1990, she was disturbed by what she saw. The kids were being tracked, even at that young age. And then there were the endless hours the small children spent sitting at their desks. It felt unnatural. In the real world, you wouldn’t be stuck in a room with people all the same ages with one person directing them, she thought. During that single year her daughter was in the school system, McDonald saw enough to convince her that she could do better on her own. That would be no small feat: Newton’s public schools have long been rated as among the best in the state (in our Greater Boston rankings this year, they’re 10th.). But she’d always worked part time—she’s now an online editor—and she was fortunate that she could maintain a flexible schedule. So she yanked her daughter out of school, and over the next two decades homeschooled all four of her children—including her youngest, Abigail Dickson, who’s now 16. McDonald’s first homeschool rule was to throw out the book and let her children guide their learning, at their own pace. In lieu of a curriculum or published guides, McDonald improvised, taking advantage of the homeschooling village that had sprouted up around her. One mother ran a theater group, a dad ran a math group, and McDonald oversaw a creative-writing club. Their children took supplementary classes at the Harvard Extension School and Bunker Hill Community College. “I wanted them to be in charge of their own education and decide what they were interested in, and not have someone else telling them what to do and what they were good at,” she says. And by any measure, it’s working. McDonald’s daughter Claire—the third of her four children to be homeschooled—will enter Harvard College as a freshman this fall. Back in the ’90s, McDonald was considered a homeschooling pioneer; now she’s joined by a growing movement of parents who are abstaining from traditional schooling, not on religious grounds but because of another strong belief: that they can educate their kids better than the system can. Though far from mainstream (an estimated 2.2 million students are home-educated in the U.S.), secular homeschooling is trending up. Last year, 277 children were homeschooled in Boston, more than double the total from 2004; in Cambridge the number was 46. (In surrounding towns, the numbers are growing, too: During the 2013–2014 school year, Arlington had 55; Somerville, 36; Winthrop, 5; Brookline, 11; Natick, 36; Newton, 33; and Watertown, 24.) There’s enough momentum that major cultural institutions—from the Franklin Park Zoo and the New England Aquarium to the Museum of Fine Arts and MIT’s Edgerton Center—now regularly offer classes for homeschoolers. Tellingly, even public school systems are becoming more accommodating. In Cambridge, for example, homeschoolers have the option to attend individual classes in the district’s schools. Some take math or science classes and participate in sports—last year, one homeschooler took music and piano lessons. Carolyn Turk, deputy superintendent for teaching and learning at Cambridge Public Schools, says she’s seeing more of this “hybrid” approach than in the past. “In Cambridge we look at homeschooling as a choice,” she says. “Cambridge is a city of choice.” The Boston Public Schools, meanwhile, have begun to view homeschooling as one of the many laboratories in which it can explore new teaching methods. “These people are looking to do instructive, nontraditional education. It’s all different types of people from all incomes,” says Freddie Fuentes, the executive director of educational options for Boston Public Schools. Fuentes, who personally helps parents with academic plans, finds that many homeschooling parents want “very deep, expeditionary learning” for their children. “A lot of them are looking at innovative ways of learning,” he says. “We as a school system need to think about innovation and the cutting edge.” In other words, homeschooling is arriving here in a very Boston-like way: It’s aspirational, intellectual, entrepreneurial, and innovative. (http://www.bostonmagazine.com/news/article/2015/08/25/homeschooling-in-boston/) The underlined modal verb in “they can educate their kids better than the system can.” (5ᵗʰ paragraph) expresses a

1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.  7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.  Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.  31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.  Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”  52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole.  Aida Edemarian. Francis Bacon: box of tricks. Internet: (adapted). Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text. The author of the text claims that the fact that George Michael liked having his profile photographed revealed a lot about his personality.

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1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.  7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.  Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.  31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.  Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”  52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole.  Aida Edemarian. Francis Bacon: box of tricks. Internet: (adapted). Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text. Bacon left part of his properties to Edwards.

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    1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.      7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.        Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.        31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.          Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”        52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole.  Aida Edemarian. Francis Bacon: box of tricks.  Internet: (adapted). Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text. The two driving forces behind the Hugh Lane Gallery project were Dawson and Edwards.

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       1 Barbara Dawson, director of the Hugh Lane Gallery in Dublin, remembers very clearly the day in 1997 when she climbed the steep stairs and entered Francis Bacon’s studio at 4 7 Reece Mews, South Kensington. It had been left the way it was when he passed away, on April 28 1992, and it was a chaos of slashed canvases, paint-splashed walls, cloths, 7 brushes, champagne boxes, and a large mirror. She stood and stared for a long time, in a kind of incredulity, “and actually it became quite beautiful.” She began to see “paths cut through 10 it,” and details. “The last unfinished painting was on the easel when I went in there, and on the floor underneath the easel was a short article on George Michael, the singer, about how he 13 liked to be photographed from one side. It was like looking into somebody’s mind”.         7 Reece Mews was tiny, and apart from the studio 16 consisted of two rooms — a kitchen that contained a bath, and a living room that doubled as a bedroom. The studio had one skylight, and Bacon usually worked there in the mornings. He 19 tried to paint elsewhere — in South Africa, for example, when he was visiting family, but couldn’t. (Too much light, was the rather surprising objection.) He liked the size and general 22 frugality, too.        Dawson recognised that the studio was the making of Bacon’s art in a more profound sense than just being a 25 comfortable space to paint in, and determined that it should not be dismantled. John Edwards, to whom Bacon had bequeathed Reece Mews, felt similarly, and after months of painstaking 28 cataloguing by archaeologists, conservators and photographers, the Hugh Lane Gallery took delivery of the studio, in 1998. It was opened to the public in 2001.        31 What is visible now, in a climate-controlled corner of the gallery, a gracious neo-classical building on Parnell Square in Dublin, is in fact a kind of faithful “skin” of objects; the 34 tables and chairs have all been returned to their original places, the work surfaces seem as cluttered as they were — but the deep stuff, the bedrock, has been removed and is kept in 37 climate-controlled archival areas. In the end, there were 7,500 items — samples of painting materials, photographs, slashed canvasses, umpteen handwritten notes, drawings, books, 40 champagne boxes.        Bacon was homosexual at a time when it was still illegal, and while he was open about his sexuality, his notes for 43 prospective paintings refer to “bed[s] of crime]”, and his homosexuality was felt as an affliction, says Dawson. It wasn’t easy. The sense of guilt is apparent in his work, as well as his 46 fascination with violence. “His collections of pictures, dead bodies, or depictions of violence — he’s not looking at violence from the classic liberal position”. It was all, concedes 49 Dawson, accompanied by intellectual rigour, and an insistent attempt at objectivity — “he’s trying to detach from himself as well.”        52 Everything was grist, and in his studio even his own art fed other art. He returned to his own work obsessively, repeating and augmenting. And of course, he responded 55 negatively — and violently — as well as positively; a hundred is a lot of slashed canvasses to keep around you when you’re working, especially when they are so deliberately slashed. In 58 a way, all this might serve as a metaphor for the importance of our understanding of his studio as a whole.  Aida Edemarian. Francis Bacon: box of tricks. Internet: (adapted). Decide whether the statements below are right (C) or wrong (E) according to the ideas and facts mentioned in the text. Bacon believed that his inability to work in South Africa was due to the visits of his relatives.

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Teenage drinking and drug-taking The Guardian newspaper in the UK invited people to send in their opinions about the phenomenon of young teenagers turning to drink and drugs. Below is a selection of  ome of those opinions:   I'm 27. Since the age of about 13 I've been drinking and smoking. Why? Let me attempt to answer. My generation's culture is accelerating at a pace never before experienced. We have instant solutions to everything. We want information - we log onto the net. We want to contact someone - we have our mobile phone. We want entertainment - we turn on the TV or the games console. With so many ways to instantly gratify ourselves is it any wonder than when things aren't going so well we turn to the quickest solution: drink and drugs?  Andrea, Manchester I am sickened by teenagers who blame society for their drinking habits. These kids say that society doesn't provide enough for them and that they are bored and that's why they turn to drink and drugs. Well, I grew up in a rural village that had absolutely nothing: no bars, cinemas, sports centres, youth clubs - NOTHING! But we didn't take drugs and I had my first drink when I was 17. Boredom is no excuse.  G. Winterbottom, Greenwich Let's remember how influential TV can be. Inevitably TV shows things that look good on the screen. This means they focus on people doing crazy things, being hip and generally acting like a true party animal. Filming university lecturers talking about good books is no way to attract a mass audience. Repeatedly kids are bombarded with images implying that life is about excitement and craziness - a message that entails a total disregard for the virtues that stop adult society falling apart. This must make young people nowadays much more demanding than kids in the past, and it must make them much more likely to look for easy ways of forgetting the thoroughly unexciting demands of adult life.  Yazoo, Brazil All 14-year-olds want to do is go out and do exactly what the 18 year olds are doing. I am constantly hearing tales from my friend's 14-year-old sister about how she's been sick in a club. She thinks it's great, and says it's what everybody does. She also tells me that the most popular radio station in the UK has a program on Saturday morning where teenagers regularly phone in and talk to the DJ about how drunk they got the previous night. Everybody just laughs.  Andrew, Birmingham If your future is going to consist of fifty or sixty years stuck in a tedious 9 to 5 job like a rat on a treadmill, chemicals are the way to go.  Naz, UK When I was young I turned to drink for the following reasons: I always felt like an outsider. Teachers and adults never valued my thoughts and contributions, I was a second class citizen because of my age. Yet when I went out at the weekend and drank I forgot all about that, and for a few hours I felt on top of the world.  Alan, New Zealand In Holland there isn't this idea that sex, drink and drugs (at least soft drugs) are something bad. The whole system is more relaxed and people are much more open about these issues. Of course there are problems but I don't think the solution is stricter legislation. Britain has much stricter legislation and the problems there are far worse. Take teenage pregnancies as an example. The age of consent for sex in the UK is 16, whereas in Holland it is 12, and we have the lowest rate of teenage pregnancy in Europe.  Helga, Amsterdam (http://fullspate.digitalcounterrevolution.co.uk/archive/drugs2.html) The text presents people’s opinions on the consumption of alcohol and drugs by young adolescents. Most of these people try to give a reason for the young adolescents’ drinking habits and drug use but

“Children and teenagers shouldn't be allowed to do what they want. Parents have their rights, too, says Wayne Short, a famous British psychologist. In his opinion, children who have too much freedom will become “difficult” adolescents. Mr. Short believes that modern parents must take old-fashioned attitudes and guide their children’s behavior so that they become adolescents who respect other people`s rights – including their own parents. Among other things, the British psychologist thinks that parents mustn’t fear telling adolescents off if they are not behaving properly either at home or at school. Also, parents have the right to phone teachers to find out whether their teenage son or daughter has been missing classes recently. In fact, parents must be on the alert for any strange attitude their children might take. Some recent interviews with parents show they are very much worried that their teenage sons and daughters might become troublemakers. Speaking to a magazine reporter, William Wavy (62) said that his son, Phil, did not want to work or study when he was younger. Wavy added that, when Phil turned twenty, things got much worse. One night, the father found out that his son had stolen a car and had been taken to a police station. “I simply got desperate and tried to help my son”, says William. He managed to take his son home, but a few days later the police called again. Phil had been arrested for robbing a house. This time William did not raise a finger and Phil is doing time in a state prison. Should Willian have tried to free his son again? Did he do the right thing? These are questions which will remain unanswered for some time. Willian now feels that it may have been his son’s upbringing that went wrong. He says that he should have searched his son’s bedroom and got to know his friends. But he also feels that now he has the right to live in peace and that his son must be held responsible for his own acts. In the sentence “In his opinion, children who have too much freedom Will become ‘difficult’ adolescents”, Will suggests:

Older and Better     Many people opt ____________ newer homes because they are cleaner, bigger and often have more amenities. But new research shows old houses ____________ old neighborhoods may be better for your health.   University of Utah researchers found that people who live in older, more walkable neighborhoods are ____________ lower risk for overweight and obesity. The study, to be published in the September issue of The American Journal of Preventive Medicine, tracked the body mass index ____________ nearly a half million Salt Lake County residents in Utah. They found that neighborhoods built before 1950 tended ____________ offer greater overall walkability because they had been designed for pedestrians. Newer neighborhoods often were designed primarily to facilitate car travel, the researchers noted.   “It’s difficult for individuals to change their behavior,” said Ken Smith, co-author of the study and professor of family and consumer studies at the University of Utah. “But we can build environments that promote healthy behavior.”   Dr. Smith and colleagues used census data as well as height and weight information obtained from the drivers’ license records of 453,927 Salt Lake County residents between the ages of 25 and 64. They found that men, on average, weighed ten pounds less if they lived in a walkable neighborhood versus a neighborhood less conductive to walking. The average women weighed six pounds less.   “The data show that how and where we live can greatly affect our health,” Dr. Smith said. “Neighborhoods with higher fractions of residents who walk to work tell us that something beneficial about neighborhood is promoting health.”   The research offers a blueprint for communities on better ways to design new developments to encourage healthful living. And for people shopping for homes, the lesson is to think about not just the house itself but whether the neighborhood is pedestrian-friendly, with sidewalks, bikes and walking paths, low traffic and amenities like coffee shops or convenient stores that are within walking distance.   Last fall, Stanford Medicine Magazine also looked at the effect neighborhoods have on health. Researchers there found that among people who were trying to be more active, living in walkable neighborhoods dramatically improved their odds of exercising for at least two-and-a-half hours week. In one study of people who lived in walkable neighborhoods achieved their goals, compared to just 30 percent of those who lived in pedestrian-unfriendly areas.    Read these sentences and, according to the text, decide if they are true ( T ) or false ( F ).  (   ) People prefer newer homes because they are better for your health.  (   ) The risk of gaining weight diminishes if you live older, more walkable neighborhoods.  (   ) More residents in Salt Lake County live in neighborhoods built before 1950.  (   ) Ken Smith believes that changing one’s behavior is hard to do.  (   ) Teenagers’ data were not taken into consideration in the research carried on by DR. Smith and his colleagues.  Choose the alternative which presents the correct sequence: