【正文】 n the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information. ○Functional appliedart objects cannot vary much from the basic patterns determined by the laws of physics. ○The function of appliedart objects is determined by basic patterns in the laws of physics. ○Since functional appliedart objects vary only within certain limits, arbitrary decisions cannot have determined their general form. ○The general form of appliedart objects is limited by some arbitrary decision that is not determined by the laws of physics. Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of appliedart objects. It is often taken for granted that this is also true for the maker of fineart objects. This assumption misses a significant difference between the two disciplines. Fineart objects are not constrained by the laws of physics in the same way that appliedart objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overe by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor39。 that is why we recognize a Shang Dynasty vase as being different from an Inca vase. What varies is not the basic form but the incidental details that do not obstruct the object39。(3 passages in TPO are abstracted from OG, so they are exactly the same) Then, I cannot resist the temptation to make such a text: I typed every letter of the 13 passages in OG into puter。每當聽到這個問題，我都會裝做趙本山的樣子來一句“誰用誰知道～～” 文勇IntroductionMany students sent me Email, asking me to remend some reading materials. Of assorted iBT preparing materials, Barron, Longman, Delta, etc, which is the best? As often as not, I feel at a loss: does brand equal to quality? These branded institutions are highly publicized, however, their passages and questions are not necessarily of quality. Does the brand “Sanlu” mean something to you? “QUALITY and safety are the foundations of social harmony,” proclaim posters at the headquarters of the Sanlu Group, until recently one of China’s biggest producers of milk powder. Now we all know that Sanlu Scandal has been more than an embarrassment. To say that these “branded” passages are not of quality does not mean they are not stylish, elegant or carefullywritten。我有時候甚至會對著我的弟兄們高呼：“沒有把這53篇做３遍，你好意思上考場么？你好意思花錢在任何一本垃圾書上面么？”另外，如果你正在準備iBTSATGRE的作文部分或者寫留學文書，也應該仔細的琢磨一下這些文章：經(jīng)過ETS打磨的文章，無一不是精妙絕倫，極具模仿價值。再花了些時間，把這53篇文章都做了答案，附在文章的后面。我其實很無奈因為盡管這些機構(gòu)很大牌,但大牌絲毫都不意味著文章“質(zhì)量高”(比如你可以想想三鹿奶粉)說這些機構(gòu)的文章質(zhì)量不高,并不是說文字寫得不好,而是說這些文章的句子結(jié)構(gòu), 論述方式, 出題思路與ETS的并不一致(有時候甚至大相徑庭)：用這樣的材料訓練，實在是 事倍功半。在文勇的網(wǎng)站于是，我們實在應該去找找由ETS出的iBT文章來做：（我們能夠找到的|由ETS編纂的標準iBT文章有）1. OG Official Guide 官方指南，由ETS提供的iBT考試指南；之中的13篇文章 Applied Arts and Fine Arts一文屬于ETS范例文章,故題目不全；；（其中3篇為第三版OG之中的文章）2. 13次（套）TPO TOEFL Practice Online: (由ETS提供的，)；之中的3*13=39篇文章 現(xiàn)在報名之后，贈送的是一套Mini Test， 只有1篇文章13道題目；；3. 早期 大家都知道,我是一個溫和的人。（由于TPO之中有3篇文章與OG中完全重復,于是減去3篇,只剩下53篇。常常有同學拜托我?guī)退ㄋ慞S，也說起自己的句子怎么看都像是小學生寫的（盡管用上了GRE里面的單詞），于是會隨口問我“勇哥，您的寫作能力是怎么訓練出來的。 in fact, I discovered that the passage types, sentence patterns, arguing methods, and arrangement of questions are not quite consistent with, and sometimes even wildly divergent from those of ETS. I reflect that practicing with these materials cannot expect a satisfactory result. At this, we should collect ETS’s original passages and questions. Such passages available include:1. 13 passages in Official Guide (OG)。 I paid dollars for the TPO and pleted it myself, filming the screen and capturing every page. Then I typed all the passages with the help of videos and captured pictures. The 3 passages in the online test happened to be available to me。s primary function. Sensitivity to physical laws is thus an important consideration for the maker of appliedart objects. It is often taken for granted that this is also true for the maker of fineart objects. This assumption misses a significant difference between the two disciplines. Fineart objects are not constrained by the laws of physics in the same way that appliedart objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These are problems that must be overe by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demands of the laws of physics, not the sculptor39。s aesthetic intentions, placed the ball there. That this device was a necessary structural promise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). 5. According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because ○They began