The word “cyberculture” is used in a variety of
ways, often referring to certain cultural products and
practices born of computer and Internet technologies, but
also to specific subcultures that champion
[5] computer-related hobbies, art, and language. In the 1970s,
cyberculture was the exclusive domain of a handful of
technology experts devoted to exchanging and promoting
ideas related to the growing fields of computers and
electronics. But following the commercialization of the
[10] Internet and the World Wide Web in the mid-1990s,
cyberculture took on a new life. In fact, today the Internet
touches many parts of life in advanced industrial societies.
Cyberculture is heralded for breaking down borders
and barriers, not just between nations but also between
[15] groups and individuals separated by physical space or by
political and social conditions. As a result, some would
hold that the Internet fosters a more complex tapestry of
relations than ever existed in the physical world.
However, skeptics warned that the Internet wasn’t
[20] eliminating borders as much as shifting their definition and
location. Instead of physical borders separating one people
from another, these critics contend, the Internet establishes
a border between those who use it and those who do not or
cannot go online. This “digital divide” was of increasing
[25] concern to social activists and policy planners, and to
businesses as well, who see the divide as a stopgap to their
future marketing strategies. This rift grows as cyberculture
becomes a force driving social change, economic relations,
political policy, and cultural life. If cyberculture
[30]increasingly sets the agenda in the dominant culture, those
on the “wrong” side of the digital divide will inevitably
find themselves more and more isolated and alienated from
the societies in which they live.
Cyberculture: society, culture, and the Internet. In: Gale Encyclopedia of E-Commerce, 2002. Internet: www.encyclopedia.com (adapted).
According to the text, judge the following item.
Businesspeople are worried with the ‘digital divide’ (ℓ.24) for the same reasons social activists are.
It has been almost a generation since Sebastião
Salgado first published Exodus in 2000, but the story it
tells, of fraught human movement around the globe, has
changed little in all these years. The push and pull factors
[5] may shift, the nexus of conflict relocates from Rwanda to
Syria, but the people who leave their homes tell the same
tale: deprivation, hardship, and glimmers of hope, plotted
along a journey of great psychological, as well as physical,
toil.
[10] Salgado spent six years with migrant peoples,
visiting various countries all over the world to document
displacement on the road, in camps, and in overcrowded
city slums where new arrivals often end up. His images
feature those who know where they are going and those
[15] who are simply in flight, relieved to be alive. The faces he
meets present dignity and compassion in the most bitter of
circumstances, but also the many ravaged marks of
violence, hatred, and greed.
With his particular eye for detail and motion,
[20] Salgado captures the heart-stopping moments of migratory
movement, as much as the mass flux. There are laden
trucks, crowded boats, and camps stretched out to a
clouded horizon, and then there is the small, bandaged leg;
the fingerprint on a page; the interview with a border
[25] guard. Insisting on the scale of the migrant phenomenon,
Salgado also asserts, with characteristic humanism, the
personal story within the overwhelming numbers. Against
the indistinct faces of televised footage or the crowds
caught beneath a newspaper headline, what we find here
[30] are portraits of individual identities, even in the abyss of a
lost land, home, and, often, loved ones.
Humanity on the move: Sebastião Salgado’s searing account of exiles, migrants, and refugees. Internet: www.taschen.com (adapted).
Considering the text on Exodus and the photograph taken by Salgado, of refugee camp in Rwanda, judge the following item.
Sebastião Salgado’s Exodus contrasts two aspects of mass migration phenomena: the large scale consequences of displacement and the details of individuals.
It has been almost a generation since Sebastião
Salgado first published Exodus in 2000, but the story it
tells, of fraught human movement around the globe, has
changed little in all these years. The push and pull factors
[5] may shift, the nexus of conflict relocates from Rwanda to
Syria, but the people who leave their homes tell the same
tale: deprivation, hardship, and glimmers of hope, plotted
along a journey of great psychological, as well as physical,
toil.
[10] Salgado spent six years with migrant peoples,
visiting various countries all over the world to document
displacement on the road, in camps, and in overcrowded
city slums where new arrivals often end up. His images
feature those who know where they are going and those
[15] who are simply in flight, relieved to be alive. The faces he
meets present dignity and compassion in the most bitter of
circumstances, but also the many ravaged marks of
violence, hatred, and greed.
With his particular eye for detail and motion,
[20] Salgado captures the heart-stopping moments of migratory
movement, as much as the mass flux. There are laden
trucks, crowded boats, and camps stretched out to a
clouded horizon, and then there is the small, bandaged leg;
the fingerprint on a page; the interview with a border
[25] guard. Insisting on the scale of the migrant phenomenon,
Salgado also asserts, with characteristic humanism, the
personal story within the overwhelming numbers. Against
the indistinct faces of televised footage or the crowds
caught beneath a newspaper headline, what we find here
[30] are portraits of individual identities, even in the abyss of a
lost land, home, and, often, loved ones.
Humanity on the move: Sebastião Salgado’s searing account of exiles, migrants, and refugees. Internet: www.taschen.com (adapted).
Considering the text on Exodus and the photograph taken by Salgado, of refugee camp in Rwanda, judge the following item.
The passage “from Rwanda to Syria” (ℓ. 5 and 6) indicates the two countries which were more dominant in Salgado’s work.
It has been almost a generation since Sebastião
Salgado first published Exodus in 2000, but the story it
tells, of fraught human movement around the globe, has
changed little in all these years. The push and pull factors
[5] may shift, the nexus of conflict relocates from Rwanda to
Syria, but the people who leave their homes tell the same
tale: deprivation, hardship, and glimmers of hope, plotted
along a journey of great psychological, as well as physical,
toil.
[10] Salgado spent six years with migrant peoples,
visiting various countries all over the world to document
displacement on the road, in camps, and in overcrowded
city slums where new arrivals often end up. His images
feature those who know where they are going and those
[15] who are simply in flight, relieved to be alive. The faces he
meets present dignity and compassion in the most bitter of
circumstances, but also the many ravaged marks of
violence, hatred, and greed.
With his particular eye for detail and motion,
[20] Salgado captures the heart-stopping moments of migratory
movement, as much as the mass flux. There are laden
trucks, crowded boats, and camps stretched out to a
clouded horizon, and then there is the small, bandaged leg;
the fingerprint on a page; the interview with a border
[25] guard. Insisting on the scale of the migrant phenomenon,
Salgado also asserts, with characteristic humanism, the
personal story within the overwhelming numbers. Against
the indistinct faces of televised footage or the crowds
caught beneath a newspaper headline, what we find here
[30] are portraits of individual identities, even in the abyss of a
lost land, home, and, often, loved ones.
Humanity on the move: Sebastião Salgado’s searing account of exiles, migrants, and refugees. Internet: www.taschen.com (adapted).
Considering the text on Exodus and the photograph taken by Salgado, of refugee camp in Rwanda, judge the following item.
With “many ravaged marks of violence, hatred, and greed” (ℓ. 17 and 18) the text may be referring to suffering migrants experienced both before and after leaving their homeland.
It has been almost a generation since Sebastião
Salgado first published Exodus in 2000, but the story it
tells, of fraught human movement around the globe, has
changed little in all these years. The push and pull factors
[5] may shift, the nexus of conflict relocates from Rwanda to
Syria, but the people who leave their homes tell the same
tale: deprivation, hardship, and glimmers of hope, plotted
along a journey of great psychological, as well as physical,
toil.
[10] Salgado spent six years with migrant peoples,
visiting various countries all over the world to document
displacement on the road, in camps, and in overcrowded
city slums where new arrivals often end up. His images
feature those who know where they are going and those
[15] who are simply in flight, relieved to be alive. The faces he
meets present dignity and compassion in the most bitter of
circumstances, but also the many ravaged marks of
violence, hatred, and greed.
With his particular eye for detail and motion,
[20] Salgado captures the heart-stopping moments of migratory
movement, as much as the mass flux. There are laden
trucks, crowded boats, and camps stretched out to a
clouded horizon, and then there is the small, bandaged leg;
the fingerprint on a page; the interview with a border
[25] guard. Insisting on the scale of the migrant phenomenon,
Salgado also asserts, with characteristic humanism, the
personal story within the overwhelming numbers. Against
the indistinct faces of televised footage or the crowds
caught beneath a newspaper headline, what we find here
[30] are portraits of individual identities, even in the abyss of a
lost land, home, and, often, loved ones.
Humanity on the move: Sebastião Salgado’s searing account of exiles, migrants, and refugees. Internet: www.taschen.com (adapted).
Considering the text on Exodus and the photograph taken by Salgado, of refugee camp in Rwanda, judge the following item.
In the first paragraph, “fraught human movement” (ℓ.3) expresses the idea that the migration depicted by Salgado is one full of tension and distress.
It has been almost a generation since Sebastião
Salgado first published Exodus in 2000, but the story it
tells, of fraught human movement around the globe, has
changed little in all these years. The push and pull factors
[5] may shift, the nexus of conflict relocates from Rwanda to
Syria, but the people who leave their homes tell the same
tale: deprivation, hardship, and glimmers of hope, plotted
along a journey of great psychological, as well as physical,
toil.
[10] Salgado spent six years with migrant peoples,
visiting various countries all over the world to document
displacement on the road, in camps, and in overcrowded
city slums where new arrivals often end up. His images
feature those who know where they are going and those
[15] who are simply in flight, relieved to be alive. The faces he
meets present dignity and compassion in the most bitter of
circumstances, but also the many ravaged marks of
violence, hatred, and greed.
With his particular eye for detail and motion,
[20] Salgado captures the heart-stopping moments of migratory
movement, as much as the mass flux. There are laden
trucks, crowded boats, and camps stretched out to a
clouded horizon, and then there is the small, bandaged leg;
the fingerprint on a page; the interview with a border
[25] guard. Insisting on the scale of the migrant phenomenon,
Salgado also asserts, with characteristic humanism, the
personal story within the overwhelming numbers. Against
the indistinct faces of televised footage or the crowds
caught beneath a newspaper headline, what we find here
[30] are portraits of individual identities, even in the abyss of a
lost land, home, and, often, loved ones.
Humanity on the move: Sebastião Salgado’s searing account of exiles, migrants, and refugees. Internet: www.taschen.com (adapted).
Considering the text on Exodus and the photograph taken by Salgado, of refugee camp in Rwanda, judge the following item.
The photograph of refugee camp in Rwanda is an example of Salgado’s ability to feature mass flux and can be correctly described by the following phrase of the text: “camps stretched out to a clouded horizon” (ℓ. 22 and 23).