A long time ago, when humans still lived in cities, on a cold morning near the end of a long, cruel winter, in magnificent Central Park in the middle of magnificent New York City, a young squirrel named Patch was awakened very early by the growls of his empty stomach. A squirrel's home is called a drey. Patch's drey was very comfortable. He lived high up an old oak tree, in a hollowed-out stump of a big branch that had long ago been cut off by humans. The entrance was only just big enough for Patch to squeeze in and out, but the drey itself was spacious, for a squirrel. Patch had lined his drey with dry leaves, grasses and bits of newspaper. It was warm and dry, and on that cold morning he would have liked nothing better than to stay home all day and sleep. But he was so hungry. Hunger filled him like water fills a glass. The cherry and maple trees had not yet started to bud; flowers had not yet begun to grow; the juicy grubs and bugs of spring had not yet emerged; and it had been two days since Patch had found a nut. Imagine how hungry you would feel if you went two whole days without eating, and you may have some idea how Patch felt that morning. Patch poked his head out of the drey into the cold air and shivered as he looked around. Clumps of white, crumbly ice still clung to the ground. Gusts of cold wind shook and rustled the trees' bare branches. The pale and distant sun seemed drained of heat. Patch took a moment to satisfy himself that there were no dangers nearby, no hawk circling above or unleashed dog below. Then he emerged from his drey and began to look for acorns. But what marvels, what miracles, what mysteries are hidden inside those simple words! Question: When he emerges from his drey, Patch believes that: Options: A. there is no food anywhere B. not enough information C. there are no dangers nearby D. there are dangers everywhere === The correct answer is
C

I've learnt a great amount throughout this studio, first and foremost I was taught: how the art world functions, how specific galleries such as Gertrude St Contemporary run and how artists earn a living. The studio also provided me with basic filmmaking skills such as how to: create a shooting schedule, write a shooting script, set up three-point lighting, conduct an interview, utilise visual storytelling and edit a short film. Throughout the shooting process with my artist I also developed my abilities regarding how to use a: Sony Zoom H2N (and other such handy recorders), a lapel mic, my own Canon EOS 60D and Adobe Premiere Pro editing software. Overall I think the studio functioned quite successfully, it was great to be in a studio with nineteen people who all were interested in the same topics as you. I felt that overall, the studios had a very happy and supportive environment, and you walked away knowing a great deal about the art world and how to make short documentaries. The project itself taught me a great deal about how to work with talent, as well as my group members. Having to work independently forced me to be completely all over every aspect of the shoot, whether that be choosing which questions to ask, deciding what to focus on, where I wanted the shoot to happen, deciding what gear to use, getting to the shoot, carrying all the gear, what I wanted to shoot, managing the audio, managing the lighting, managing the camera set-ups, managing the talent, editing the film, and finding a great soundtrack for it. I'm a pretty self-conscious person and I often doubt the decisions I make or ask someone else for their opinion (should I shoot this angle, or what do you think of this question etc.). Working independently pushed me to go with my gut instincts, to make decisions and to not seek others approval. It forced me to develop my aesthetic as a filmmaker and to own the work that I ended up producing, so ultimately I was really glad with how everything panned out. Question: What forced the author to develop his personal aesthetic? Options: A. Being glad about the project B. not enough information C. Working by himself D. His self-conscious state === The correct answer is
C

Q: "Please remember me to myself!" When sliding toward mania in 2016, I begged this of my therapist. He cocked his head. "What do you mean?" I had no ideaon a conscious levelwhat I was asking for, just that I felt in a desperate sense that the self I knew was slipping away. An inability to recognize myself either in my writing or in reflecting upon my own actions was taking over. And then? I didn't care. I wanted to kiss girls. Which is finejust not something I ordinarily do. I wanted to drink, smoke. Again, finebut not something I ordinarily do. "Do I seemokay?" I asked a colleague at work. A woman I barely knew. Insanely, I thought that since she worked with disabled students, many of whom struggled with mental illness, she would know mania when she saw it. This was a rather foolish assumptionespecially since she's an educator, not a psychiatrist, especially with how skilled I am at wearing the mask of calm, the face of sanity. "You seem great, Julie. Cheery. Professional as always." I let her reassurance placate me. Wanted to be placated. Yet, within months I lost my job. And not only that, but a chance at a scholarship, two really important long term friendshipsrelationships I'd enjoyed since high school. I was hospitalized three times between September and February. I lost my ability to trust myself, lost my mind. It is now a little over two years since I first felt that sliding. Twenty-six months since I knew that somewhere in the deepest parts of who I am, I was slipping. Nine seasons since I begged Dr. Poe, "Remember me to myself!" I'm still recuperating. Yes. I have felt like I wasn't me. Question: Julie was employed at the job she mentioned losing for how long? Options: A. 2 months B. not enough information C. 20 years D. 2 years === The correct answer is
A: D