Audioscripts IELTS Practice 16 Listening Test 01

Part 1

You will hear a father phoning to enquire about a science summer camp for his children.

First, you have some time to look at questions 1 to 5.

(pause)

Now listen carefully and answer questions 1 to 5.

Staff: Good morning, Little Einsteins Science Camp.

Man: Oh, hello. I’m calling to ask for some information about the summer camps you run during the holidays. I have two sons who are very keen on science.

Staff: Wonderful. How old are they?

Man: Well, my youngest is five.

Staff: OK. So he would be in the Mini-Scientists group. That’s for children aged four to six.

Man: And what sort of things do they do?

Staff: It’s very hands-on. For example, on the first day, they learn about gravity and air resistance. They have to design a parachute.

Man: A parachute? For an egg? I remember doing that at school.

Staff: We used to do that, but it got too messy! So now they make a parachute for a small toy. They have to drop it from a height and make sure it lands safely without hitting the ground too hard.

Man: That sounds like fun. He loves building things.

Staff: Then he’ll enjoy the engineering challenge. We have a competition to see who can build the longest tunnel.

Man: Using what?

Staff: Just cardboard boxes and tape. Last year we tried bridges, but tunnels proved to be much more exciting for that age group.

Man: I can imagine. And does it involve any machinery?

Staff: At that age, we keep it simple. But they do build a small car. It doesn't use a battery, though. Instead, they learn how to move it using magnets.

Man: Magnets?

Staff: Yes, using the repelling force to push the car along the floor. It teaches them about magnetic fields in a really simple way.

Man: That sounds brilliant. Now, my other son is older. He’s just turned nine.

Staff: Right. So he would be in the Junior Inventors group. That’s for seven to nine-year-olds.

Man: Do they do the same activities?

Staff: The concepts are similar, but the tasks are more complex. So, for the biology session, instead of just looking at insects under a microscope, they use clay and wire to create monsters.

Man: Monsters?

Staff: Yes, they design a creature that could survive on another planet. It teaches them about adaptation and environment.

Man: I see. That sounds very creative.

Staff: It is. And for the construction project, they don’t just use cardboard. They use wood and glue to build a working crane.

Man: A crane. Like for lifting things?

Staff: Exactly. We tried building robots last year, but the crane project teaches them more about pulleys and levers. It has to be strong enough to lift a small weight.

Man: He’d love that. He’s always playing with construction sets at home.

Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.

(pause)

Now listen and answer questions 6 to 10.

Staff: Then we have a technology day. They work in pairs to produce a digital comic.

Man: A comic?

Staff: Yes, they take photos of their models and use a computer program to add speech bubbles and a story. It’s great for their computer skills.

Man: And do they build anything electronic?

Staff: Yes, at the end of the week, they build a simple electric fan.

Man: Oh, handy for the summer heat!

Staff: Exactly. They wire up the motor and the switch themselves. It's perfectly safe, of course.

Man: That sounds excellent. Now, regarding the cost. Is it expensive?

Staff: Well, the full price is usually £65, but if you book this week, there is an early bird discount, so it’s £55 for the week.

Man: £55. That’s reasonable. And which day does it start? Is it a Monday?

Staff: We normally run them on Mondays, but because of the bank holiday, the next course actually starts on Thursday.

Man: Thursday. OK, I’ll have to check our calendar, but that should be fine. And the hours?

Staff: It’s 9 am until 12 pm.

Man: Great. And lastly, where is it held? I know you have a few centres.

Staff: This one is at the Winslow Centre.

Man: Sorry, how do you spell that?

Staff: It’s W-I-N-S-L-O-W.

Man: Winslow. Is that the one near the library?

Staff: No, it’s the one next to the sports stadium.

Man: Ah, I know it. Is there parking?

Staff: Yes, there is a large car park round the back, so you won’t have any trouble.

Man: Perfect. I’d like to book them in.

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

Part 2

You will hear the Head Librarian of a historic city library talking to a group of new volunteers.

First, you have some time to look at questions 11 to 14.

[Pause]

Now listen carefully and answer questions 11 to 14.

Librarian: Good morning, everyone, and a warm welcome to the City Central Library. We are delighted that you’ve chosen to spend your summer volunteering with us. My name is Sarah Jenkins, and I’ve been the Chief Librarian here for the last ten years.

This library has a fascinating history. It was established by a local merchant named Edward Thorne. Like many philanthropists of his time, he wanted to leave a legacy. He originally made his fortune in the textile industry, retiring in 1895. He actually proposed the idea of the library in 1898, but it wasn't until he passed away in 1901 that the funds became available. Construction began the following year, and we finally welcomed our first readers in 1904.

Thorne had a very specific vision for this building. His friends urged him to house his private art collection here, but he refused, preferring to donate that to the national museum. Instead, his initial intention was for this building to be a specialized institute for the study of Botany and Natural Sciences, as that was his personal passion. However, the city council at the time argued strongly that the town needed a general space for literature and history accessible to everyone. There was a bit of a legal battle, but eventually, the council won, and for the first decade, we focused primarily on history books.

Regarding the building itself, we have remained on this same site for over a century. We are right in the city centre, which is convenient, but it does mean we are a bit squeezed for space. There was a proposal in the 1980s to relocate us to a larger, modern site on the outskirts, but the public outcry was huge, so we stayed put. While the exterior remains unchanged, we are aware that the layout is somewhat old-fashioned. So, you’ll be pleased to hear that we have secured funding to update the inner reading rooms and install a new lift system over the next two years.

Now, a little bit about what you’ll be doing as volunteers. You might assume your first job is sorting returned books and putting them back on the shelves. Instead, we want you to get a broader taste of library management. We’ve arranged for you to spend the first few days shadowing our senior archivists. You’ll be watching how they handle delicate manuscripts and learning the cataloging system. And don't worry, unlike previous years, we won't be asking you to deal with phone enquiries at the front desk, as we’ve found that can be a bit overwhelming for new starters.

Before you hear the rest of the talk, you have some time to look at questions 15 to 20.

[Pause]

Now listen and answer questions 15 to 20.

Librarian: Right, let me give you a quick tour of the layout so you don't get lost. We are currently standing at the Main Entrance, at the bottom of your map. As you come in, you enter the Main Foyer.

The first place you need to know is the Reference Room. From the Main Foyer, take the wide corridor on the right and continue all the way to the far end. The Reference Room is the large room in the top right corner, next to the garden.

The Main Archive is easier to find. It is the large room directly above the central courtyard. From the foyer, go through the double doors into the courtyard, cross straight over, and the archive entrance is directly opposite you.

For your breaks, you will use the Staff Room. This is very close to the entrance. As soon as you come in through the Main Entrance, it is the small room immediately on your left, just off the Main Foyer.

The Digitisation Suite is in a quieter part of the building. From the Main Foyer, go into the courtyard and take the narrow corridor on the right-hand side. The suite is the small room at the very end of that corridor, before you reach the garden.

If you need help with your timetable, you should go to the Volunteer Coordinator's Office. That is also on the right-hand side of the building, but closer to the foyer. It is the small room just below the Digitisation Suite, opening off the same corridor.

Finally, the Rare Books Room is on the opposite side of the building. From the Main Foyer, take the corridor on the left, go past the stairs, and continue to the room in the top left corner. That is where we keep the oldest and most valuable items.

Right, does anyone have any questions?

That is the end of Part 2. You now have half a minute to check your answers to Part 2.

Part 3

You will hear two architecture students, Mark and Lucy, discussing their final year design project on sustainable housing.

First, you have some time to look at questions 21 to 24.

[Pause]

Now listen carefully and answer questions 21 to 24.

Mark: Hi Lucy. How is your design project coming along? The one on sustainable housing?

Lucy: It’s getting there, Mark. To be honest, when they first handed out the assignment brief with that huge reading list, I was completely overwhelmed. I honestly thought I’d never get through all those articles.

Mark: Me too. I actually went to the tutor and almost asked to be assigned a different topic!

Lucy: I don't blame you. But once I sat down and started reading about the new materials they’re using in Japan and Scandinavia, I got really fascinated by it.

Mark: Same here. There’s so much more to it than just solar panels. So, did you manage to go on the site visit to the Eco-Village last Tuesday?

Lucy: Yes, I went. But honestly, it failed to meet my expectations.

Mark: Oh really? I missed it because I had a dentist appointment.

Lucy: You didn't miss much. The guide was an hour late, and then it started pouring with rain, so we couldn't even walk around the gardens. We spent the entire afternoon just sitting inside the visitor centre watching a promotional video.

Mark: That’s a shame. The trip to the City Archives was much better.

Lucy: Oh yeah, looking at the old blueprints was really useful. Anyway, have you finished writing your project proposal yet?

Mark: Almost. Have you?

Lucy: I’ve written the first draft, but I’m not going to hand it in yet. I was looking through my notes last night and I realized I’ve made a big mistake.

Mark: What’s that? Did you forget the budget?

Lucy: No, I did the budget plan, and the risk assessment is fully complete too. The issue is that I’ve got loads of data and facts about the materials, but it lacks sufficient evaluation. I’ve essentially just described things. I need to go back and critically analyze why certain materials are superior to others.

Mark: Ah, right. I think the tutor mentioned that was crucial.

Lucy: What about you? How is yours going?

Mark: Good, but I got stuck on the section where we have to outline the final outcome. You know, describing the 3D model.

Lucy: Oh? I’ve already detailed exactly what mine will look like.

Mark: Really? I spoke to a third-year student, and she advised me to avoid making firm decisions too early. She said it’s much safer to leave that section a bit open-ended at this stage. If you lock yourself into a strict design now, you can’t change your mind later if a better idea comes along.

Lucy: That makes sense. I guess I should go back and edit that part then, just to leave my options open.

Before you hear the rest of the discussion, you have some time to look at questions 25 to 30.

[Pause]

Now listen and answer questions 25 to 30.

Mark: So, for the second part of the project, we have to select six existing eco-buildings and explain what appeals to us about them. Have you chosen yours?

Lucy: I’ve got a few ideas. I definitely want to include the 'Vertical Forest' building in Milan.

Mark: Oh, the high-rise with trees on every balcony?

Lucy: Yeah. I know most people focus on how much carbon dioxide it absorbs, but personally, I’m interested in the psychological benefits. Living surrounded by that much greenery in a dense urban area significantly improves the residents' emotional state.

Mark: True. I was looking at the 'Earth-Ship' homes in New Mexico.

Lucy: The ones made of old tyres and glass bottles? I suppose they are extremely cheap to construct, which is great for low-income families.

Mark: Actually, the labour costs make them quite expensive to build. The real appeal for me is that they operate entirely off the grid. They catch their own rainwater and generate their own solar power, meaning they don't rely on public utilities at all.

Lucy: That is cool. What about the 'Glass Cube' house in London?

Mark: I’ve seen pictures. It’s fully transparent, isn't it?

Lucy: Yes. I wouldn't want to live there because of the privacy issues, but I chose it because it challenges our conventional idea of living spaces. It completely blurs the line between what is considered indoor and outdoor space.

Mark: Interesting point. I’ve picked the 'Bamboo Cathedral' in Colombia.

Lucy: Is that the one built entirely by the local community?

Mark: Yes. It’s beautiful. But the reason I picked it is actually quite sentimental. My uncle visited it years ago and brought me back a small wooden model of it when I was a child. So, it holds a lot of nostalgic value for me.

Lucy: That’s a valid reason. We’re allowed to be personal. Have you seen the 'Floating School' in Nigeria?

Mark: Yes, it’s built on plastic barrels to float on the lagoon.

Lucy: Exactly. I think it’s a brilliant architectural response to climate change. It shows how buildings can be designed to withstand extreme weather events like severe floods and rising sea levels.

Mark: I completely agree. Finally, I’m including the 'Stone House' in Portugal. It’s built perfectly between two giant boulders.

Lucy: It looks highly unusual! Like something straight out of a fantasy cartoon.

Mark: It does have a very strange appearance, but that's not why I selected it. I chose it because it perfectly demonstrates how to utilize the immediate natural surroundings. They didn't have to transport heavy materials across the country; they simply constructed it from what was already sitting on the ground.

Lucy: That cuts down the carbon footprint massively. Good choice.

That is the end of Part 3. You now have half a minute to check your answers to Part 3.

Part 4

You will hear a psychology lecturer giving a presentation about the concept of 'Flow' and the field of Positive Psychology.

First, you have some time to look at questions 31 to 40.

[Pause 1 minute]

Now listen carefully and answer questions 31 to 40.

Lecturer: Good morning. In today's lecture, we are going to shift our focus from the traditional subjects of clinical psychology, such as depression and anxiety, to a relatively new branch of the field known as Positive Psychology. Specifically, I want to discuss a mental state that you have likely experienced yourselves, perhaps while playing a musical instrument, coding, or playing a sport. It is a state of total immersion and optimal performance, technically known as "Flow".

To understand Flow, we first need to look at the history of the discipline. For most of the 20th century, psychology operated under a disease model. It was primarily focused on curing psychological conditions like mental illness. The goal was to find what was broken in the human mind and fix it; to bring a patient from a negative state back to a neutral one. While this was necessary, it left a gap. It didn't address how to take people from a neutral state to a flourishing one. It wasn't until the late 1990s that a major shift occurred. Researchers argued that instead of just looking at flaws, the discipline must also investigate human strengths and virtues.

The concept of Flow was introduced by a researcher named Mihaly Csikszentmihalyi. He spent decades interviewing high performers—artists, chess players, surgeons—to understand when they felt their best. He discovered they all described a similar state of mind. It wasn't just about being relaxed; in fact, it was often quite demanding. He defined Flow as a state achieved when there is a perfect balance between the level of skill an individual possesses and the degree of challenge presented by the task. If the task is too easy, you get boredom. If it is too difficult, you get anxiety. But right in the middle, you enter Flow.

So, what actually happens during this state? Well, there are several distinct characteristics. Firstly, the activity must have clear goals. You need to know exactly what you are trying to achieve. Secondly, and this is crucial, the person receives immediate feedback. For a musician, they hear the note instantly; for a tennis player, they see where the ball lands. This allows the brain to adjust behavior in real-time without conscious thought.

Perhaps the most famous subjective feature of Flow is how we experience reality. You might assume people in this state become hyper-aware of their physical surroundings, but actually, they report a distorted sense of time. Hours frequently fly by like minutes. This happens because the brain is processing so much information that it stops allocating resources to tracking the clock. You essentially lose yourself in the moment.

Csikszentmihalyi also distinguished between activities done for an external reward, like money or fame, and those that are "autotelic". An autotelic experience is one that is performed purely for the sake of the activity itself. The joy is in the doing, not the result. Think of a painter who enjoys the physical act of mixing colours more than the finished gallery exhibition.

Let's move on to the application of this theory in daily life. There is a common misconception that Flow is mostly a leisure phenomenon. We naturally assume we achieve this peak state on the weekends or during holidays. However, the data contradicts this. In large-scale studies, it was found that Flow occurred much more frequently during work. This is because employment often provides the structure, the clear goals, and the necessary demands required to trigger this state, whereas unstructured leisure often lacks them.

This brings us to a modern problem. When we have free time, we often choose passive activities, like watching television or scrolling through social media. While these are relaxing, they rarely induce Flow because they require absolutely no skill. Prolonged exposure to this kind of passive consumption often leads not to happiness, but to a state of apathy—a complete lack of interest or energy. To combat this, we need to engage in "active leisure," like hobbies that require learning and effort.

Another major barrier to Flow in the 21st century is how we use screens. Flow requires deep, unbroken concentration. However, modern technology, with its constant notifications, leads to the fragmentation of our attention. Every time your phone buzzes, it breaks the cognitive momentum required to reach that peak experience. It takes approximately 20 minutes to get back into a deep state of focus after an interruption.

In conclusion, understanding Flow gives us a blueprint for a better life. It teaches us that the path to true satisfaction lies in seeking out difficulties that push our abilities to the limit, leading to long-term growth rather than just short-term pleasure.

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