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Until 1992. microprocessor types were identified by number, and for a long time they were considered so _________that manufacturers would share design specifications for them.

There is a rather________ reason for astronomers sudden interest in comets: most other bodies in the solar system have been explored already.

When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss—he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire;

Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.

Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's "undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.

The passage suggests which of the following about Van Dyck's portraits of men?

Economists use two competing models to describe the effects of commercial advertising—advertising as market competition and advertising as market power. The market competition model holds that the fundamental function of advertising is to provide information about products and brands. It is argued that information in ads permits greater marketplace efficiencies, such as lower prices and reduced monopoly power. In a similar vein, much discussion regarding political advertising has rested on its informational value Does political advertising provide political information and help voters make informed decisions'1 Nelson argues that promoting bars of soap in commercial ads is no different than promoting political ideas ideology from political candidates in political ads. on the grounds that information is being distributed m both cases. Others, such as Ferguson and Jamieson, disagree with Nelson's proposition Ferguson, for example, pointed out that choosing a political candidate is more like buying an experience good (where the quality is hard to evaluate prior to purchase) rather than a search good (where the quality is easily evaluated before the purchase). According to Ferguson, claims in political ads do not have true informational value, because it is difficult for voters to draw inferences about the future deeds of a candidate from what the ads say Furthermore. Jamieson argues that political ads reshape the public image of political candidates and change voters' feelings about the candidates with subtle emotional cues but without substantive information upon which to base a reasoned judgment.

The passage implies that Ferguson and Jamieson agree that political advertising

Recent research has questioned the long-standing view of pearly mussels as exclusively suspension feeders (animals that strain suspended particles from water) that subsist on phytoplankton (mostly algae). Early studies of mussel feeding were based on analyses of gut contents, a method that has three weaknesses. First, material in mucus-bound gut contents is difficult to identify and quantify. Second, material found in the gut may pass undigested out of the mussel, not contributing to its nutrition. Finally, examination of gut contents offers limited insight into the mechanisms and behaviors by which mussels acquire food. Modem studies suggest that pearly mussels feed on more than just algae and may use other means than suspension feeding. Pedal feeding (sweeping up edible material with a muscular structure called the foot) has been observed in juvenile pearly mussels.

Besides the phytoplankton pearly mussels capture from the water column, their guts also contain small animals, protozoans, and detritus (nonliving particulate organic material). Recent studies show that mussels can capture and assimilate bacteria as well, a potentially important source of food in many fresh waters. Another potential source of food for mussels is dissolved organic matter. Early studies showing that pearly mussels could take up simple organic compounds were largely discounted because such labile (unstable) compounds are rarely abundant in nature. Nevertheless, recent work on other bivalves suggests that dissolved organic matter may be a significant source of nutrition.

Of this complex mix of materials that pearly mussels acquire, what is actually required and assimilated? Stable-isotope analyses of mussels taken from nature and of captive-reared mussels are beginning to offer some insight into this question. Nichols and Garling showed that pearly mussels in a small river were omnivorous, subsisting mainly on particles less than 2S micrometers in diameter, including algae, detritus, and bacteria. Bacterially derived carbon was apparently the primary source of soft-tissue carbon. However, bacteria alone cannot support mussel growth, because they lack the necessary long-chain fatty acids and sterols and are deficient in some amino acids. Bacteria may supplement other food resources, provide growth factors, or be the primary food In habitats such as headwater streams, where phytoplankton is scarce. Juvenile mussels have been most successfully reared m the laboratory on diets containing algae high in polyunsaturated fatty acids. Thus, it appears that the pearly mussel diet in nature may consist of algae, bacteria, detritus, and small animals and that at least some algae and bacteria may be required as a source of essential biochemicals.

Which of the following can be inferred about the "recent research?

Not only do the brains of people with great memories appear anatomically_________those of control subjects, but in terms of general cognitive ability, great memorizers appear to be well within the normal range.

The author mentions "sentimental novels" primarily to

Carbon dating of charcoal gathered from a Nok iron smelter at Intime. Nigeria, suggests that iron technology was established there by 410 B.C. This may not be the oldest smelter in sub-Saharan Africa, however. Archaeologists have located evidence of iron-smelting in the Termite Hills of Niger from as early as 1400 B.C.. but skeptics say the wood used for that dating could have already been centuries old when burned as fuel—a problem that dogs carbon dating, especially in arid places like Niger, where wood desiccates and lasts longer. Of course, the same problem could distort dates for the Intime furnace as well, but here there is an important piece of corroborating evidence: Nok pottery found inside the furnace alongside the charcoal.

The author implies which of the following about the "Nok pottery found inside the furnace"?

When Flemish painter Anthony Van Dyck moved to England in 1632 to become court painter to Charles The introduced an entirely new way of representing dress in portraiture. In women's portraits. he left off fashionable accessories, depicted subjects in unbuttoned sleeves and collars, and added lavish drapery and jewels. For the first time an artist actively participated in dressing his subjects, creating an amalgam of fantasy and reality. While Van Dyck was most innovative when representing women, he used similar elements in portraits of men.

Van Dyck's Portrait of Thomas Killigrew and Willian. Lord Crofts (1638) demonstrates how the artist relaxed and unbuttoned men's dress to accord with an underlying theme. The double portrait may be seen as an essay in grief: Killigrew. a poet and playwright, had lost his wife Cecelia to the plague shortly before the sitting, and Crofts was her nephew. The painting contains clear references to the situation at hand. The background features a broken column, a traditional emblem of earthly transience. A drawing in Killigrew's right hand depicts two Itinerary monuments. Crofts holds a blank sheet of paper, seen by some scholars as an analog to the drawing Killigrew holds: a symbol of what is gone.

At historians have interpreted the clothing depicted in this portrait, particularly Crofts' doublet which is worn unbuttoned in back, as an allusion to the subjects' grief-stricken distraction. It is true that Killigrew's dress includes references to his loss—he wears a cross inscribed with his wife's initials. There is an intimate nature to this painting, which seems underscored by the loose clothing worn by both subjects. However, diis reading of the costumes as signs of grief does not take account of seventeenth-century fashion conventions. Only Killigrew appears in noticeably disheveled attire;

Crofts" dress would be quite appropriate for a formal portrait. Though black clothing, such as that won by Crofil, was common for mourning, it was also ordinary on other occasions. Furthermore, during the first stage of mounting no shiny surfaces, such as Crofts' satin doublet, would be permitted. The unbuttoned slit on Crofts" doublet was probably a matter of style: a French courtier in a 1635 fashion print by Bosse. who is gallivanting rather than grieving, wears a similarly undone doublet. Evidence suggests that by the late 1630s a certain calculated looseness was conventional in men's formal dress. Ribeiro. for example, cites the writings of moralists objecting to this style.

Killigrew's attire, though even looser than Crofts", should not necessarily be associated with grief. Other seventeenth-century subjects depicted in melancholic states do not dress this way. Although Killigrew's "undress" lends this portrait a distinctive intimacy, it might also refer to Killigrew's literary career. Many of Van Dyck's other subjects who engaged in literary pursuits are depicted in loose clothing. The blank sheet held by Crofts may be a reminder not only of Killigrew's loss but also of his solace: he had but to express his grief in writing.

The author of the passage suggests that if the cited "art historians" had taken account of seventeenth-century fashion, they would have been more likely to

Discussions of the collapse of the lowland Maya are not new. However, it might be better to say that Maya civilization as a whole did not collapse, although many zones did experience profound change. Because societies are not bounded, unitary entities. collapses are rarely total, and continuity is a normal part of collapse. At the end of the Classic period [200-900 C.E.]. the institution of divine kingship and many of the well-known markers of elite culture such as caned slelae [slabs erected for funerals or commemorative purposes] and hieroglyphic polychromes [multicolored artistic pottery] ended, but Maya civilization continued in modified form with many important features intact (e.g.. literacy, war. art. the production of fine ceramics). In some cases large buildings were constructed in the Postclassic period [900-1512 C.E.], but the transition to the Early Postclassic [900-1200 CXj era is distinctive for a decrease in elite goods and contexts. The variability in artifact changes during the Terminal Classic [800-900 C.E.] and into the Postclassic. even within artifact classes (e.g., fine versus unslipped ceramics), suggests weaker centralized control than during the Classic period. Site abandonments in the Terminal Classic indicate the collapse of the functional ability of Maya states, but sites that survived show that Maya civilization continued albeit without divine kingship and much of the spectacle around it.

The author would most likely characterize the claim that Maya civilization collapsed as