Furniture Rental Company Consultation

ANNOUNCER: Part 1. You will hear a woman phoning the owner of a house she is going to rent about companies that she could rent furniture from. First, you have some time to look at questions 1 to 5. Now listen carefully and answer questions 1 to 5.

MAN: Good morning.

SHELLEY MAYER: Hi, this is Shelley Mayer. I'm renting your house on Archwood Avenue. I'm due to move in next week.

MAN: Oh yes, hello, Ms Mayer. What can I do for you?

SHELLEY MAYER: When I viewed the house, I told you I'll most probably need to rent some furniture — at least until I know whether my temporary work contract is going to be made permanent.

MAN: Yes, of course. I remember. And I said I could give you some information about furniture rental companies in the city.

SHELLEY MAYER: That's right.

MAN: Well, the biggest company is called Peak Rentals. I've recommended them to other people, and I've always heard positive reports about them.

SHELLEY MAYER: Could you give me an idea of their costs?

MAN: Sure, I actually have one of their brochures here. It says the monthly price per room starts at $105 and goes up to $239.

MAN: That depends on which rooms you need furniture for, of course.

SHELLEY MAYER: Sure. It's just to get a general idea of how much it's going to cost.

SHELLEY MAYER: And you said you had some positive feedback about this company.

MAN: Yes. People have mentioned that the furniture from Peak Rentals is more modern than any of the other companies.

MAN: And also, once you place an order, the furniture will be delivered to you in just 1 or 2 days.

SHELLEY MAYER: That would be really helpful.

MAN: Oh, and the brochure says that there's a special offer at the moment.

MAN: If you rent living room furniture — I believe that's a set of chairs and a TV table — you'll also get a lamp at no extra cost.

SHELLEY MAYER: Ok, but you know that price range you gave is more than I was hoping to pay.

MAN: Then you could try Aaron and Oliver.

SHELLEY MAYER: Sorry, what and Oliver?

MAN: Aaron — A A R O N.

SHELLEY MAYER: Ok, are they cheaper?

MAN: I'd say they're a mid-price company, but if you chose them, you need to be aware that they charge an extra 12% every month in case of damage.

SHELLEY MAYER: I see. I'd have to do the math carefully then.

MAN: Right. But one helpful thing is that they also do cleaning for customers.

SHELLEY MAYER: For the furniture?

MAN: For the house.

SHELLEY MAYER: Oh, I see. I probably won't need that.

ANNOUNCER: Before you hear the rest of the conversation, you have some time to look at questions 6 to 10. Now listen and answer questions 6 to 10.

MAN: There's another company called Larch Furniture. It's quite new, and it has the lowest prices in town.

MAN: That's for both furniture and also electronic equipment.

SHELLEY MAYER: Well, that would be good. I'm not bringing much with me, and I won't have much time to go shopping after I start my job.

MAN: There are two things you need to know about Larch Furniture.

MAN: First of all, you have to take out insurance on the furniture, and you need to organize that yourself.

SHELLEY MAYER: That wouldn't be too hard.

MAN: Also, you can't take out a contract for less than 6 months.

MAN: But I figure that might not be a problem for you. You're renting the house for 12 months after all, aren't you?

SHELLEY MAYER: Yes. Ok, well I...

MAN: Sorry to interrupt. I just thought of another furniture rental company.

MAN: It's called Space Rentals, and it's located very near to the house.

SHELLEY MAYER: Ok.

MAN: I don't have any information about their charges. So it's best to use their app to find out what it would cost you.

SHELLEY MAYER: Ok, thanks. I'll do that.

MAN: One good thing about that company is that if you don't like the furniture once it's delivered, you can request exchanges.

MAN: As long as you do that within a week of receiving it.

SHELLEY MAYER: That sounds really great. Ok, well thanks very much — that's so helpful.

ANNOUNCER: That is the end of part 1. You now have one minute to check your answers to part 1.

This map is for Questions 17 to 20 Trancribe given map below.

Archaeological Excavation of an Ancient Village
ANNOUNCER: Part 2. You will hear an archaeologist who is part of a community project to excavate an ancient village, talking to members of the public who are visiting the site. First, you have some time to look at questions 11 to 16. Now listen carefully and answer questions 11 to 16.
HAYDEN: Hello, I'm Hayden. I'm one of the archaeologists investigating the site here at Bidcaster. This is the third summer for this community project, and most of the people digging here are volunteers.
HAYDEN: I'm a full-time archaeologist for the town council, but I was asked to join the project by NHA, a charity which sets up projects like this across the country.
HAYDEN: As you can see, we're next to Bidcaster Castle, which is great because the owners let us use their facilities.
HAYDEN: So how did we get to where we are today? Many archaeology projects begin when an ancient object is found, and in our case that object was a gold coin.
HAYDEN: Coins are often found by people using metal detectors to search for objects buried in the ground, or they may be uncovered when animals like rabbits dig tunnels.
HAYDEN: In this case, a walker found it on the ground after a rainstorm washed away some of the earth and sand.
HAYDEN: When the story of the coin appeared in the news, an amateur historian called Peter Swift contacted me. He believed there had once been a village on this site centuries before the castle was built.
HAYDEN: By chance, our team later discovered some old maps and documents in the library showing 500-year-old drawings of ruined buildings between the castle walls and the river.
HAYDEN: At that point we knew we were onto something. Over the last three summers we have discovered the remains of several buildings and many broken pots.
HAYDEN: Normally archaeologists might expect to find items such as brooches or other jewellery, but we have not uncovered any yet.
HAYDEN: However, we have found evidence that the villagers were skilled at making tools from animal bones, which you will see in the exhibition.
HAYDEN: On the other side of the river, we have also discovered evidence of human activity. We haven't found houses there, but we can see the borders of an ancient field system.
HAYDEN: At one point we discovered a long wall and thought it might be an ancient palace, but it turned out to be a modern wall.
HAYDEN: This summer's excavation will finish soon, but we plan to return next summer. In the meantime, we will run guided tours for school groups in the autumn.
HAYDEN: You may also have seen the TV documentary about the project. It suggested that the objects we found will go to the town museum, but that decision has not yet been confirmed.
ANNOUNCER: Before you hear the rest of the talk, you have some time to look at questions 17 to 20. Now listen and answer questions 17 to 20.
HAYDEN: When you enter the site, please make sure you keep to the paths at all times.
HAYDEN: If you look at the map, our present location is marked at the bottom.
HAYDEN: This year we discovered the foundations of an ancient bridge. A team of divers are currently searching the river for objects.
HAYDEN: To reach the bridge, follow the main path straight ahead until it bends to the left. Then take the smaller track on the right which leads to the river.
HAYDEN: Another place you may want to visit is the rubbish pit. This is near the castle walls in the north-west corner of the site.
HAYDEN: It dates from the time of the castle rather than the village. We found oyster shells and fish bones there, probably thrown away from the castle kitchen.
HAYDEN: In the first summer we also uncovered the remains of a meeting hall. We knew it was important because it had two rows of post holes deep enough to support a large roof.
HAYDEN: It is the largest structure in the central area of the site, next to the current excavation area.
HAYDEN: Last year we discovered a fish pond in the village. Usually these are beside rivers, but this one is slightly further away, possibly because the river has moved.
HAYDEN: To reach it from here, turn right at the first information board, follow the path into the trees, and you will see it on your right before you reach the river.
HAYDEN: If you reach the river, you have gone too far. So, does anyone have any questions?
ANNOUNCER: That is the end of part 2. You now have 30 seconds to check your answers to part 2.

Theater Studies Students' Discussion on Theater Programs

ANNOUNCER: Part 3. You will hear two theater studies students, Maya and Finn, discussing their project on theater programs. First, you have some time to look at questions 21 to 26. Now listen carefully and answer questions 21 to 26.

MAYA: So Finn, I've done as much as I can for our project on theater programs. How's your research coming along?

FINN: Ok, Maya. I didn't know theater programs are called playbills in the USA until I started looking into the topic.

FINN: Even though I struggled to find many useful websites, I'm glad we picked this subject. No one else on the course is doing the same as us, although it is one of the research areas of the module convenor.

MAYA: That might actually put some people off.

FINN: Huh, I suppose so. Anyway, I hadn't realized there are actually companies specializing in creating theater programs.

MAYA: Yes, they're quite common nowadays. Contrary to what many people think, theatres don't hire people to produce the programs.

MAYA: In fact, companies buy the rights to publish programs on the theatre's behalf.

MAYA: Then they make their money by selling advertising space within the program booklet.

FINN: It must be easier for theatres to do it that way.

MAYA: Yes.

FINN: I remember reading something about programs in early British theatre. It said that the cast was always very important.

MAYA: Yeah, audiences were very familiar with leading actors, and big names would attract huge crowds.

FINN: But I hadn't realized that if the program named a famous actor, that's who the public expected to perform.

FINN: If that didn't happen, people accused the theatre of breaking their agreement with the audience.

FINN: They demanded refunds, and if they didn't get them, there were even riots.

MAYA: Outrageous. That would never happen now.

FINN: No, people are too polite, even when they are disappointed if the star performer misses a show.

MAYA: We should definitely include that information about early audiences in our project.

MAYA: I also think it's important to mention that many ordinary people were illiterate at that time.

MAYA: So theater programs were of limited value for advertising plays.

MAYA: When a company of actors arrived in a town, they would parade through the streets in costume, beating drums and announcing performances.

FINN: Interesting. I can't imagine that happening today either.

MAYA: There's also an interesting comparison between 18th-century and 19th-century programs.

FINN: Wasn't it in the 19th century that theater programs started to resemble programs today?

MAYA: Yes, and unlike programs from the 18th century, they always used colour.

FINN: And there was a greater variety of designs.

FINN: But personally, I think 18th-century programs were better because they included much more information.

MAYA: Yes, about the actors, the writer, the plot, and sometimes the history of the play.

FINN: That's right. What should we say about theater programs in the 20th century?

MAYA: I think the most important thing is the dramatic change they underwent during World War II.

FINN: When the government imposed restrictions on paper.

MAYA: Yes, but that was only in the UK. In the USA, playbills continued to be published in the same format.

FINN: Here in the UK, programs were reduced to a single sheet of paper folded into four pages.

MAYA: What I don't understand is why, after the war, they didn't return to the earlier format for more than 25 years.

FINN: Hmm, strange.

ANNOUNCER: Before you hear the rest of the discussion, you have some time to look at questions 27 to 30. Now listen and answer questions 27 to 30.

MAYA: I've got some pictures of programs we could include on the slides for our presentation.

FINN: I found a couple too. Let's go through them.

MAYA: This is an old one for a play called Ruy Blas.

FINN: I've never heard of it, but the program looks very decorative.

MAYA: Yes, the images are beautiful enough to frame on a wall.

FINN: I found some pages from a program for Man of La Mancha.

FINN: It's useful because it includes articles written by members of the theatre company explaining the production.

MAYA: Good. I also have a copy of a program for The Tragedy of Jane Shore.

MAYA: It's believed to be the earliest surviving document printed on Australia's first printing press.

FINN: Fantastic.

MAYA: Another example is a program for the Sailors Festival.

MAYA: It comes from the British Library's digitized collection of theatre programs.

MAYA: The collection already contains more than 200,000 programs.

FINN: I wish I had known about that while doing my research.

ANNOUNCER: That is the end of part 3. You now have 30 seconds to check your answers to part 3.

Inclusive Design: Concepts, Examples and Consequences

ANNOUNCER: Part 4. You will hear a design and technology lecturer talking about inclusive design. First, you have some time to look at questions 31 to 40. Now listen carefully and answer questions 31 to 40.

SPEAKER: It's only relatively recently that designers have become aware of the need to be inclusive when designing products, but what does that mean exactly?

SPEAKER: Well, it simply means designing products that span economic, social and cultural barriers.

SPEAKER: It means making sure products are accessible, so that as many different types of people as possible can use them without needing any adaptation to the original design.

SPEAKER: Inclusive design is often linked with universal design, although they are not quite the same thing.

SPEAKER: Universal design aims to make products that work for everyone.

SPEAKER: This includes considering the needs of people with cognitive difficulties, which can present quite a challenge.

SPEAKER: Today, examples of successful inclusive design can be seen all around us.

SPEAKER: In workplaces it is common to see adjustable desks that suit people of different heights or wheelchair users.

SPEAKER: However, this is not always the case, which is one reason why many office workers suffer from back or neck problems.

SPEAKER: Another example can be found in the public toilets of hotels, airports and offices.

SPEAKER: Sensor taps that activate automatically require no pressing or twisting.

SPEAKER: They are not only more hygienic, but also easier for people with dexterity or mobility issues.

SPEAKER: In the past, the technology industry was criticized for focusing too much on young consumers, but this is changing.

SPEAKER: Many products are now designed with the elderly in mind.

SPEAKER: For example, it is well known that vision declines with age.

SPEAKER: People also become worse at distinguishing between similar colours.

SPEAKER: In particular shades of blue, which is why software designers rarely create interfaces using this colour.

SPEAKER: Motor skills also decline with age.

SPEAKER: Some people have difficulty doing everyday tasks such as picking up a cup or opening a door.

SPEAKER: This can affect their ability to use a mouse or keyboard.

SPEAKER: As a result, voice access is now commonly used to give commands.

SPEAKER: It's also important to consider the problems caused by non-inclusive designs.

SPEAKER: These can have serious consequences for people's lives.

SPEAKER: Accessibility is one example because it strongly affects disabled people's independence.

SPEAKER: If buses or trains are not wheelchair-friendly, many disabled people cannot travel independently.

SPEAKER: Safety is another important issue.

SPEAKER: Most cars are still crash tested using a dummy based on an average-sized male.

SPEAKER: This has serious safety implications for women, particularly those who are pregnant.

SPEAKER: In workplaces, employers must provide personal protective equipment (PPE) free of charge.

SPEAKER: This can include items such as goggles, hi-vis jackets or even full-body suits.

SPEAKER: However, most PPE is designed to fit men.

SPEAKER: Employers often assume that buying smaller versions designed for men will work for female workers.

SPEAKER: But women can still have different body proportions, such as narrower shoulders.

SPEAKER: Ill-fitting PPE such as body armour or safety jackets can therefore put women at risk.

SPEAKER: A recent report found that 95% of women said their PPE often hampered their work.

SPEAKER: This issue is particularly serious in the emergency services, especially the police.

SPEAKER: Another problem relates to comfort in workplaces.

SPEAKER: In many offices during summer, women are often wrapped in blankets while the air conditioning is running.

SPEAKER: Meanwhile men may feel comfortable in shorts and T-shirts.

SPEAKER: This happens because of differences in metabolic rates between men and women.

SPEAKER: The standard office temperature is usually set at 21°C, which was originally designed to suit men.

SPEAKER: In many modern offices the temperature cannot easily be changed.

SPEAKER: As a result, offices that employ mainly women may waste energy because the air conditioning is set too high.

SPEAKER: As these examples show, failing to consider the needs of all users can lead to serious consequences.

ANNOUNCER: That is the end of part 4. You now have one minute to check your answers to part 4.