Read the passage and answer the questions given:War, natural disasters and climate change are destroying some of the world's most precious cultural sites. Google is trying to help preserve these archaeological wonders by allowing users access to 3D images of these treasures through its site.But the project is raising questions about Google's motivations and about who should own the digital copyrights. Some critics call it a form of "digital colonialism."When it comes to archaeological treasures, the losses have been mounting. ISIS blew up parts of the ancient city of Palmyra in Syria and an earthquake hit Bagan, an ancient city in Myanmar, damaging dozens of temples, in 2016. In the past, all archaeologists and historians had for restoration and research were photos, drawings, remnants and intuition.But that's changing. Before the earthquake at Bagan, many of the temples on the site were scanned. . . . [These] scans . . . are on Google's Arts & Culture site. The digital renditions allow viewers to virtually wander the halls of the temple, look up-close at paintings and turn the building over, to look up at its chambers. . . . [Google Arts & Culture] works with museums and other nonprofits . . . to put high-quality images online.The images of the temples in Bagan are part of a collaboration with CyArk, a nonprofit that creates the 3D scanning of historic sites. . . . Google . . . says [it] doesn't make money off this website, but it fits in with Google's mission to make the world's information available and useful.Critics say the collaboration could be an attempt by a large corporation to wrap itself in the sheen of culture. Ethan Watrall, an archaeologist, professor at Michigan State University and a member of the Society for American Archaeology, says he's not comfortable with the arrangement between CyArk and Google. . . . Watrall says this project is just a way for Google to promote Google. "They want to make this material accessible so people will browse it and be filled with wonder by it," he says. "But at its core, it's all about advertisements and driving traffic." Watrall says these images belong on the site of a museum or educational institution, where there is serious scholarship and a very different mission. . . .[There's] another issue for some archaeologists and art historians. CyArk owns the copyrights of the scans — not the countries where these sites are located. That means the countries need CyArk's permission to use these images for commercial purposes.Erin Thompson, a professor of art crime at John Jay College of Criminal Justice in New York City, says it's the latest example of a Western nation appropriating a foreign culture, a centuries-long battle. . . . CyArk says it copyrights the scans so no one can use them in an inappropriate way. The company says it works closely with authorities during the process, even training local people to help. But critics like Thompson are not persuaded. . . . She would prefer the scans to be owned by the countries and people where these sites are located.QUESTION 15bookmark_borderSelect the correct answerBased on his views mentioned in the passage, one could best characterise Dr. Watrall as being:radio_button_uncheckeddismissive of laypeople’s access to specialist images of archaeological and cultural sites.radio_button_uncheckedopposed to the use of digital technology in archaeological and cultural sites in developing countries.radio_button_uncheckeduneasy about the marketing of archaeological images for commercial use by firms such as Google and CyArk.radio_button_uncheckedcritical about the links between a non-profit and a commercial tech platform for distributing archaeological images.

War, natural disasters, and climate change are destroying some of the world's most precious cultural sites. Google is trying to help preserve these archaeological wonders by allowing users access to 3D images of these treasures through its site.But the project is raising questions about Google's motivations and about who should own the digital copyrights. Some critics call it a form of "digital colonialism."When it comes to archaeological treasures, the losses have been mounting. ISIS blew up parts of the ancient city of Palmyra in Syria and an earthquake hit Bagan, an ancient city in Myanmar, damaging dozens of temples, in 2016. In the past, all archaeologists and historians had for restoration and research were photos, drawings, remnants, and intuition.But that's changing. Before the earthquake at Bagan, many of the temples on the site were scanned. . . . These scans . . . are on Google's Arts & Culture site. The digital renditions allow viewers to virtually wander the halls of the temple, look up-close at paintings and turn the building over, to look up at its chambers. . . . Google Arts & Culture works with museums and other nonprofits . . . to put high-quality images online.The images of the temples in Bagan are part of a collaboration with CyArk, a nonprofit that creates the 3D scanning of historic sites. . . . Google . . . says [it] doesn't make money off this website, but it fits in with Google's mission to make the world's information available and useful.Critics say the collaboration could be an attempt by a large corporation to wrap itself in the sheen of culture. Ethan Watrall, an archaeologist, professor at Michigan State University, and a member of the Society for American Archaeology, says he's not comfortable with the arrangement between CyArk and Google. . . . Watrall says this project is just a way for Google to promote Google. "They want to make this material accessible so people will browse it and be filled with wonder by it," he says. "But at its core, it's all about advertisements and driving traffic," Watrall says these images belong on the site of a museum or educational institution, where there is a serious scholarship and a very different mission. . . .There's another issue for some archaeologists and art historians. CyArk owns the copyrights of the scans — not the countries where these sites are located. That means the countries need CyArk's permission to use these images for commercial purposes.Erin Thompson, a professor of art crime at John Jay College of Criminal Justice in New York City, says it's the latest example of a Western nation appropriating a foreign culture, a centuries-long battle. . . . CyArk says it copyrights the scans so no one can use them in an inappropriate way. The company says it works closely with authorities during the process, even training local people to help. But critics like Thompson are not persuaded. . . . She would prefer the scans to be owned by the countries and people where these sites are located.By “digital colonialism”, critics of the CyArk–Google project are referring to the fact that:Please select your Answer.countries where the scanned sites are located do not own the scanned copyrights.CyArk and Google have not shared the details of digitization with the host countries.the scanning process can damage delicate frescos and statues at the sites.CyArk and Google have been scanning images without copyright permission from host countries.

Read the following passage and mark the letter A, B, C, or D to indicate the correct answer to each of the questions.     Due to natural disasters or man-made damages during the war, a great deal of historical sites and artifacts have been damaged. It is difficult to repair these sites, as it may take a lot of time, cost, and there is a lack of the information on how the original work actually looked. Rebuilding cultural heritage sites and artifacts is similar to solving a big jigsaw puzzle without knowing what it should look like - everything starts from the beginning and guesses.     One project has been run by a group of scientists to help with the time-consuming restoration of the heritage sites. The technologies in the project are robotics, 3-D scanning, modern machines and artificial intelligence.     These artifact pieces are scanned by high-tech computers to predict their original architecture. Throughout the process, the computer system is guided by humans to ensure that the pieces are accurately rebuilt. The computer software collects all pieces and connects them together to draw a picture of what the original heritage site looked like.     The second component brings robots into the workplace. The robot should be able to scan those pieces of a heritage site on its own, and connects them together as a complete one. The robot looks like an average person to save a large amount of time and human resources when gathering the information about the heritage sites.(Adapted from https://amt-lab.org/blog)Question 29.Which best serves as the title for the passage?A.Why we restore cultural heritage sitesB.How we promote our world heritage sitesC.How technology helps restore heritage sitesD.Why robots replace human beingsQuestion 30.The word “run” can be best replaced by ________.A.moved quicklyB.set upC.carriedD.chosenQuestion 31.Which of the following statements about high-tech computers is true?A.It works automatically without people's control.B.It is impossible to predict the heritage's original shape.C.It can show us how heritage sites looked like.D.The computer system cannot work properly.Question 32.The word “one” can be best replaced by ________.A.personB.robotC.workplaceD.heritage siteQuestion 33.Which of the following is NOT mentioned as the use of robots?A.Robots can connect all pieces of a world heritage site to make a complete one.B.Robots can help us collect the information about heritage sites.C.Robots do not waste our natural resources.D.If we use robots, the time spent on gathering information about heritage sites can be reduced.

Use apa 7th reference style: TikTok and the Globalization of Intangible Cultural Heritage Author: Smith, J. The Role of TikTok in Cultural Communication: A Case Study of The Intangible Cultural Heritage of China Author: Chen, L. TikTok and the Digital Age: Exploring New Dimensions of Cultural Heritage Transmission" Author: Lee, S. TikTok as a Platform for Cultural Exchange: A Comparative Study Author: Wang, H. The Challenges of Preserving Intangible Cultural Heritage in the Digital Age Author: Zhang, M. 6. Li, X., & Li, Y. (2020). TikTok: A new platform for cultural communication. Journal of International Communication, 26(1), 1-18. 7. Zhou, Y., & Leung, L. (2020). TikTok and cultural globalization: A comparative study of Chinese and Western users. Telematics and Informatics, 54, 101475. 8. Dinhopl, A., & Gretzel, U. (2019). TikTok: The future of social media? Social Media + Society, 5(1), 2056305119828772. 9. Jiang, Y., & Zhao, S. (2021). TikTok and cultural diplomacy: A case study of China's digital soft power. Media International Australia, 179(1), 5-19.

Key concepts: participatory cultures, digital war, techniques of the observer, destructive creation, simulacra, mediatisation, cloud protesting

Which quotations from the excerpt provide evidence to support the claim that governments have responded to criticism delivered through social media? Select three options. “Security forces arrested three people who administered nearly two dozen Facebook pages.” “It [Egypt] also detained activists who had been involved in prior protests.” “Facebook’s Free Basics service . . . had offered free Internet services to Egyptians on mobile phones.” “More than 3 million people had signed up for the program in just two months.” “Meanwhile Turkey has made 805 requests for tweets to be removed since 2012.”