Audioscripts IELTS Practice 19 Listening Test 02

Part 1

You will hear two friends talking about a painting class.

First, you have some time to look at questions 1 to 6.

(pause)

Now listen carefully and answer questions 1 to 6.

Woman: Hi, Simon. Long time no see.

Simon: Oh, hi. I’ve been keeping busy.

Woman: I heard from Sarah that you’ve started going to an art class. Painting, is it?

Simon: Yes, that’s right. It’s a watercolour class. It’s really relaxing. You should come along.

Woman: I’ve always wanted to try that. Who runs the sessions?

Simon: It’s a local artist. Her name is Amanda Patterson.

Woman: Is that Patterson with one T or two?

Simon: It’s two. P-A-T-T-E-R-S-O-N.

Woman: Great, thanks.

Simon: She’s lovely. She used to teach at the university, so she really knows her stuff.

Woman: And do I need to be good at drawing? I haven’t picked up a brush since school.

Simon: Not at all. There are a couple of experts in the group, but you don't need to be one, as the class is specifically designed for beginners. Most of us are just starting out.

Woman: That’s a relief. So where do you meet? Is it at the art gallery?

Simon: We used to meet in the gallery basement, but it was a bit dark. So Amanda moved it to the community hall on London Road. It’s much brighter there.

Woman: London Road... is that the one next to the post office?

Simon: No, it’s further down, opposite the library.

Woman: Ah, I know it. And what day is the class? I'm usually busy on Wednesdays.

Simon: Well, it’s on Tuesday evenings.

Woman: Perfect, Tuesday works for me. What time?

Simon: It was starting at 6.30, which was a rush for me getting back from work, but luckily she changed it. Now we start at 6.45.

Woman: That sounds manageable. Do I need to bring my own equipment? I don’t have anything.

Simon: You’ll need a set of paints eventually. But don’t buy them from the supermarket, the quality is terrible. There’s a website called Colour World that sells student kits very cheaply.

Woman: Colour World. Okay, I’ll check that out.

Before you hear the rest of the conversation, you have some time to look at questions 7 to 10.

(pause)

Now listen and answer questions 7 to 10.

Woman: So what actually happens in a typical lesson?

Simon: Well, the first ten minutes is always setting up. We get our water jars ready, but we don't start immediately. Amanda always helps us with mixing the paints first.

Woman: Right. Getting the right shades is tricky, isn't it?

Simon: It is. She shows us how to get the consistency right on the palette.

Woman: And then?

Simon: Then we usually do a warm-up exercise for about twenty minutes.

Woman: Like sketching?

Simon: Sort of. But usually, we don't use brushes for this part. She encourages us to use a sponge to create textures on the paper.

Woman: A sponge? That sounds messy.

Simon: It is, but it’s fun. It stops you from worrying about being too perfect.

Woman: I see. And then do you paint a picture?

Simon: Yes. That takes up the main part of the lesson. We don't just paint from imagination; usually, she brings in a photo for us to copy. Last week it was a seascape.

Woman: That sounds nice.

Simon: She walks around and gives us tips while we work. The hardest part comes at the end, though.

Woman: What’s that?

Simon: The last ten minutes. We have to stop painting, and we all put our work on an easel. Then we have to describe what we like about our own painting to the rest of the group.

Woman: No, I’d hate that. I’m too shy.

Simon: Everyone hates it at first! But it actually builds your confidence.

Woman: Well, maybe I’ll give it a go. Thanks, Simon.

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

Part 2

You will hear a man called David talking on the radio about his work as a lifeboat volunteer.

First, you have some time to look at questions 11 to 16.

(pause)

Now listen carefully and answer questions 11 to 16.

David: I didn't like city life. I'd been really keen on boats as a teenager, and I thought if I went to live by the sea, I might be able to pursue that interest a bit more in my free time. I already knew how to sail, so it wasn't about learning that, but then I found that the Lifeboat Institution was recruiting volunteers, so I decided to apply.

The Lifeboat Institution building here in North Sea is hard to miss. It's one of the largest in the country. It was built 15 years ago. It wasn't sponsored by a local business, and as the institution is a charity, the funding certainly wasn't provided by the government. Instead, the funds were provided by a generous private donor who'd lived here all her life, which was a huge help to us.

When I applied, I had to have a health assessment. My hearing was absolutely fine, so they didn't worry about that, but the doctors were particularly interested in my vision. I used to be short-sighted, so I'd had to wear glasses, but I'd had laser eye surgery two years earlier, so that was OK. They gave me tests for colour blindness and they thought I might have a problem there, but it turned out I was OK.

When the Coast Guard gets an alert, all the volunteers are contacted and rushed to the lifeboat station. Our target's to get there in five minutes. Then we try to get the boat off the dock and out to sea in another six to eight minutes. Our team's proud that we usually achieve that. The average time across the country is actually eight and a half minutes.

I've recently qualified as what's called a helmsman, which means I have the ultimate responsibility for the lifeboat. I have to check that the equipment we use is in working order, though I don't handle purchasing new equipment. Nor am I responsible for training the new crew members. But it is ultimately my decision whether it's safe to launch the boat. But it's very rare not to launch it, even in the worst weather.

As well as going out on the lifeboat, my work involves other things too. We have a lot of volunteers who organise activities to raise money for us, so I don't need to discuss fundraising. And I don't usually talk about the history of the charity either. Instead, because a lot of people underestimate how quickly conditions can change at sea, I visit local youth groups to discuss the dangers of changing weather conditions.

Before you hear the rest of the talk, you have some time to look at questions 17 to 20.

(pause)

Now listen and answer questions 17 to 20.

David: The training we get is a continuous process, focusing on technical competence and safe handling techniques, and it's given me the confidence to deal with extreme situations without panicking. I was glad I'd completed a first aid course before I started, as that's a big help with the casualty care activities we do. We've done a lot on how to deal with ropes and tie knots. That's an essential skill.

After a year, I did a one-week residential course, led by specialists. They had a massive wave tank where they could simulate extreme storms, so we could get experience at what to do if the boat turned over at night, for example.

Since I started, I've had to deal with a range of emergency situations. But the work's hugely motivating. It's not just about saving lives. I've learned a lot about the technology involved. My professional background in IT has been incredibly useful here, and I can use my expertise to help other volunteers. They're a great group. We're like a family, really, which helps when you're dragging yourself out of bed on a cold, stormy night.

But actually, it's winter that can be the most rewarding time. That's when the incidents tend to be more serious, and you realise that you can make a huge difference to the outcome. So, if any of you listeners are interested, why don't you give us a call?

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

Part 3

You will hear two students called Leo and Maya discussing a presentation they plan to do on the topic of restoring and recycling old furniture.

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

(pause)

Now listen carefully and answer questions 21 to 24.

Leo: Hi Maya. Thanks for meeting me. Did you watch that documentary series on furniture restoration I emailed you about?

Maya: Yes, I did. Are you still happy to keep this as our presentation topic?

Leo: To be honest, Maya, when you first suggested it, I wasn't entirely convinced. I didn't think it would be too difficult to research, but I worried it lacked academic depth. I thought it was just a hobby craft project. But after watching the documentary, I realise there’s a huge economic angle to it.

Maya: That’s a relief! I was shocked by the statistics on Fast Furniture—cheap stuff designed to break quickly. The volume of furniture sent to landfill is unsustainable.

Leo: Exactly. And it's ironic, because vintage style is very fashionable right now. What do you think is the main cause of all this waste?

Maya: Well, it's not just that the materials used are of poor quality these days. And surprisingly, it's not even that repairing furniture is too expensive. I think the real problem is the skills gap. People lack the skills to repair items now. They don't have the tools, and just throw things out.

Leo: I suppose you're right. I’m guilty of that too. I actually don't prefer to buy new items. I have a really nice solid wood desk in my room that I found on the street. But it’s got a massive scratch right across the top. I haven't done a bad job of repairing it, because I haven't even tried! I am just ignoring a damaged item in my room. I cover it with my laptop mat because I'm scared I'll make it worse if I try to sand it.

Maya: Well, maybe this project will inspire you to fix it! The article also mentioned why so much good furniture ends up at the dump. Like why charity shops refuse donations.

Leo: Is it because the items are usually in poor condition? Or is there very little demand for used furniture?

Maya: Neither. Often the items are fine and demand is high. The issue is that they do not have enough space to store them. Furniture takes up too much floor space, so charities can't afford the rental cost while waiting for a buyer.

Leo: That makes total sense.

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.

Leo: Right, so for the second half of the presentation, we should include some case studies of items that were rejected or impossible to fix.

Maya: Good idea. I made notes on the specific items the restoration center inspected in the documentary. The first one was that large Oak Wardrobe.

Leo: Was it too large to transport?

Maya: No, the issue was an infestation of insects. The inspector found tiny fresh holes in the back panel from woodworm. They couldn't risk bringing it inside, so it had to be destroyed.

Leo: That’s heartbreaking. What about the Round Dining Table?

Maya: That looked like solid pine, but when they tried to sand down the surface, they realised it was not made of real wood. It was actually a plastic veneer glued onto cheap chipboard. If you sand plastic, it just melts.

Leo: Right, fake materials. Then there was the set of Armchairs. They looked really comfortable.

Maya: The structural frame was fine, but it failed safety regulations. In the UK, upholstery needs a specific fire-safety label attached. These chairs didn't have one, so legally, the charity couldn’t resell them.

Leo: That seems wasteful. What about the Chest of Drawers?

Maya: The white one? It was accepted in the end, but it had been painted with the wrong material. The previous owner used wall paint instead of wood paint, so it was flaking off everywhere. They had to strip every inch of paint off before starting.

Leo: Okay. And the Antique Lamp?

Maya: The metal base was fine, but the wiring was dangerously old.

Leo: Couldn't they just rewire it?

Maya: They could, but it required a specialist electrician to certify it was safe. The center focuses on carpentry and didn't have an electrician on site, so they couldn't sell an electrical item.

Leo: I see. Finally, I recall a Garden Bench.

Maya: Yes, the cast iron one. It looked very heavy, but the restorer found a major crack in the main support frame. It was structurally broken and couldn't support any weight safely, so it had to be scrapped.

Leo: These are great examples to show the barriers to recycling. Shall we draft the slides now?

Maya: Sounds like a plan.

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

Part 4

You will hear a biology student giving a presentation about a fascinating organism known as Slime Mould.

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

(pause)

Now listen carefully and answer questions 31 to 40.

Student: For my term project on evolutionary biology, I decided to look at an organism that has confused scientists for centuries. I’ve chosen to talk about the Slime Mould, specifically the species known as Physarum polycephalum. Now, when you hear the words "slime mould," you probably imagine a type of fungus, perhaps growing on an old piece of bread or a rotting log. And for a long time, that is exactly how the scientific community classified them—as fungi. Some people even thought they were a type of primitive plant. However, we now know that this is incorrect. These organisms are actually classified as Protists. They are not animals, they are not plants, and despite their name, they are not fungi either. They occupy a unique branch of the tree of life that has existed for hundreds of millions of years.

Let’s look at their physical characteristics first. The most striking thing about the Physarum species is that, despite being visible to the naked eye—sometimes covering an area as large as a bath mat—it is technically a single cell. It is what we call a "coenocyte." This means it is one giant cell containing thousands, or even millions, of nuclei, all floating within the same cell wall. In terms of appearance, you might expect something called "mould" to be a dull green or brown, but this specific species is usually a vibrant, bright yellow colour, which makes it quite easy to spot in the wild if you know where to look.

Structurally, the slime mould resembles a complex network of veins, looking a bit like a road map or the root system of a tree. Inside these veins, there is a constant flow of cytoplasm. If you look at it under a microscope, you can actually see this fluid moving back and forth. It moves by rhythmic pulsing. The organism contracts its veins to push the liquid around, transporting oxygen and nutrients to the parts of the cell that need it most. This pulsing motion is fascinating because it functions almost like a heart, yet the organism has no heart, no brain, and no central nervous system.

This brings me to the most incredible aspect of my research: the "intelligence" of slime moulds. As I mentioned, they lack a brain entirely. However, they are capable of complex problem-solving. There was a famous experiment conducted by researchers at Hokkaido University in Japan, which I found absolutely amazing. They took a petri dish and arranged some food. They didn't use synthetic chemicals; instead, they used oats—specifically oat flakes, which are the slime mould's favourite food—in a pattern that exactly matched the locations of the major cities surrounding Tokyo.

They then placed the slime mould in the centre, representing Tokyo. At first, the mould spread out randomly to explore the area. But within 24 hours, it had reorganized its body. It retracted the branches that led to dead ends and strengthened the connections between the oats. The resulting pattern was almost identical to the actual Tokyo railway system. Engineers had spent decades designing that rail network to be as efficient as possible, and a brainless pile of yellow slime figured out the same optimal solution in just one day.

So, how does it do this without a brain? Well, it uses a form of "external spatial memory." As the slime mould moves across a surface, it leaves behind a trail of translucent slime. This trail acts as a chemical marker. When the organism encounters its own trail, it knows, "I have already been here," and it avoids that path to save energy. It essentially offloads its memory into the environment, which is a very clever evolutionary strategy.

Now, I want to move on to its survival mechanisms. Much like the tardigrades we discussed in last week's seminar, slime moulds are incredibly resilient. Their preferred habitat is cool, moist, and dark environments—usually found on the forest floor on decaying leaves or logs. They don't mind cold temperatures, but they are very sensitive to light and will actually move away from it if possible. However, if the environment changes drastically—for example, if the air becomes too dry or if the food supply runs out—the slime mould does not die. Instead, it enters a dormant state.

It dries itself out and hardens into a structure called a sclerotium. In this form, it becomes like a scab or a piece of hardened horn. It shuts down its metabolism almost completely. It can remain in this sleeping state for years—sometimes decades—waiting for conditions to improve. As soon as moisture returns, the sclerotium absorbs the water, softens, and the slime mould "wakes up," resuming its hunt for food within hours. It’s a survival trick that has allowed them to survive while other species have gone extinct.

Another method of survival involves reproduction. When food is scarce, and the environment is dark, the slime mould might choose to change its shape entirely. It stops being a spreading network and grows upwards, forming tiny stalks with capsules on top. They don't produce seeds like plants do. Instead, these are structures that produce spores. The spores are released into the air and carried by the wind to new locations. If a spore lands in a wet, nutrient-rich environment, it hatches and begins a new life cycle.

In terms of diet, in the wild, they don't eat oats, of course. They feed mainly on bacteria, fungal spores, and other microbes found on rotting vegetation. They feed through a process called phagocytosis. Essentially, they flow over their food, engulf it completely within their body, and digest it internally.

To conclude, while they might look like simple blobs of yellow jelly, slime moulds are offering scientists new ways to think about intelligence and biological network design. There is even a new field called "bio-computing" where researchers are trying to use these organisms to develop biological sensors and computers. The organism proves that it is possible to create an efficient network without needing a central nervous system. It turns out, you don't need a brain to be smart.

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