Voices in the Deep: How Whales Communicate Across Oceans
Beneath the surface of the sea, the senses that serve animals on land are of limited use. Light fades within the first few hundred metres, so vision reaches only a short distance, and scents disperse slowly and unreliably in water. Sound, by contrast, behaves quite differently below the waves than it does in air: it travels roughly five times faster and, crucially, can carry over enormous distances with little loss of energy. For animals that range across vast stretches of open ocean, this makes acoustic signalling the obvious solution to the problem of staying in contact. It is no accident, then, that whales — mammals whose ancestors returned to the sea tens of millions of years ago — have come to rely on sound to an extent matched by almost no other group of animals.
That whales made noise had long been known to sailors, who sometimes heard eerie moans through the hulls of their ships. But the idea that these sounds were organised into anything resembling music was not taken seriously until the late 1960s. Working with recordings gathered by a naval engineer, the biologist Roger Payne noticed that the utterances of male humpback whales were not random. They were arranged into repeating sequences of themes and phrases, delivered in a fixed order and cycled through for hours on end. Payne called them songs, and a record album of the recordings, released in 1970, brought them to a wide public. The discovery reshaped attitudes to whales almost overnight, lending scientific weight to a creature that had until then been valued chiefly for its oil and meat.
Humpback song is elaborate but relatively local. The most far-reaching whale sounds are far simpler. Blue and fin whales produce pulses of very low frequency, some of them below the threshold of human hearing, and these travel astonishing distances. Part of the reason lies in a peculiarity of the ocean itself. At a certain depth, temperature and pressure combine to form a layer, known as the deep sound channel, in which sound waves are bent back towards the centre rather than spreading outward and dissipating. A call released into this channel can, in theory, be detected hundreds or even thousands of kilometres away. Whether whales routinely communicate over such ranges is debated, but the physical possibility is not in doubt, and it hints at a scale of contact that dwarfs anything on land.
Perhaps the most surprising finding of recent decades concerns not the reach of whale song but the way it changes. The song sung by humpbacks in a given population is not fixed. Over a season it drifts, as small alterations are picked up and copied by other males, so that the version sung at the end of the year differs from the one sung at its start. More striking still, a wholly new song can sweep through a population, replacing the old one entirely, and such songs have been observed spreading eastward across the South Pacific from one group to the next over successive years. This pattern — novelty arising in one place and being adopted by others — is a form of cultural transmission, once thought to be the preserve of humans and a handful of other species.
Why whales sing at all remains less clear than how they do it. Because it is overwhelmingly males that produce the elaborate songs, and because singing peaks during the breeding season, most researchers assume the songs play some part in reproduction — either attracting females or signalling status to rival males. Yet the evidence is frustratingly mixed: females do not reliably approach singers, and singing males sometimes join other males rather than compete with them. Other functions have been proposed, from maintaining spacing between individuals to a form of sonar that helps whales sense their surroundings. It may be that a single behaviour serves several purposes at once, or that its function has shifted over evolutionary time. For now, the meaning of the most famous animal sound in the ocean is still substantially a matter of conjecture.
Whatever their purpose, whale communications now face an obstacle their singers never evolved to cope with: us. The oceans have grown steadily louder over the past century, chiefly because of shipping. The propellers and engines of the world's cargo fleet generate low-frequency noise in exactly the band that large whales use, and this din can mask their calls, shrinking the distance over which they can hear one another. Studies have shown whales falling silent as vessels pass, or raising the pitch and volume of their calls in an effort to be heard, much as people do in a crowded room. Some conservationists argue that reducing ship noise would be among the cheapest and most immediate ways to help whale populations, since, unlike a chemical pollutant, noise vanishes the moment its source is switched off.
Reading Passage 1 has six paragraphs, A–F. Choose the correct heading for each paragraph from the list of headings below. Write the correct number, i–ix, next to each paragraph.
- i Sound as the natural choice in an underwater world
- ii A discovery that changed how whales were seen
- iii Calls that can cross entire ocean basins
- iv Songs that spread and change over time
- v Competing ideas about the purpose of song
- vi The growing threat of human-made noise
- vii How whales locate and capture their prey
- viii The former commercial exploitation of whales
- ix Differences in size between whale species
Do the following statements agree with the information given in Reading Passage 1? Write TRUE if the statement agrees with the information, FALSE if it contradicts it, or NOT GIVEN if there is no information on this.
Complete the sentences below. Choose NO MORE THAN TWO WORDS from the passage for each answer.
Closing the Loop: The Promise and the Problems of the Circular Economy
For two centuries, industrial economies have run on a simple sequence: extract raw materials, turn them into products, and discard those products when they are no longer wanted. This 'take–make–dispose' model, often called the linear economy, treats the planet as both an inexhaustible warehouse and a bottomless bin. The circular economy proposes something different. Rather than accepting waste as the inevitable end point of consumption, it seeks to design waste out of the system altogether, keeping materials, components and products in circulation for as long as possible and at the highest value possible. In its ideal form, the output of one process becomes the input of another, and nothing is thrown away because, strictly speaking, there is no longer any 'away' to throw things to.
The idea is frequently reduced, in popular discussion, to recycling — but recycling is only one part of it, and not the most important. Reprocessing a material typically degrades it: paper fibres shorten, plastics lose strength, and the recovered substance is fit only for a lower-grade use. A genuinely circular approach therefore prioritises strategies that preserve more value. Repairing a product keeps it whole; refurbishing it extends its life; remanufacturing rebuilds it to as-new condition using its original parts. Recycling, which breaks a product down to its raw materials, sits at the bottom of this hierarchy, a last resort before disposal rather than the goal itself. Mistaking the part for the whole, advocates warn, lets manufacturers claim circular credentials while changing very little.
Where the model has taken hold, it often rests on a shift in how ownership is understood. Under a traditional sale, a manufacturer profits by selling as many units as possible and has little stake in what happens afterwards. Under a 'product-as-a-service' arrangement, by contrast, the company retains ownership of the item and the customer pays only to use it — leasing a photocopier, say, or subscribing to lighting rather than buying bulbs. This reversal aligns the producer's interests with durability: a firm that must maintain and eventually reclaim its own products has every reason to make them long-lasting, easy to repair and simple to dismantle. Several large manufacturers have experimented with such schemes, and the results suggest that the circular economy can, in the right conditions, be profitable as well as principled.
So why has the transition been so halting? One barrier lies in the products themselves. Most goods on sale today were designed for a linear world, assembled with glues, composite materials and sealed housings that make them cheap to manufacture but nearly impossible to take apart. A smartphone whose battery is bonded into its casing cannot easily be repaired or its metals recovered; a garment blending cotton and polyester cannot be separated back into its constituent fibres. Designing for disassembly would solve much of this, but it often raises upfront costs and constrains the appearance or performance of a product, and few companies will accept those penalties unless their competitors are obliged to do the same.
A second, deeper obstacle is economic. The circular economy must compete against a linear one whose prices do not reflect its true costs. Virgin materials — freshly mined metals, newly pumped oil for plastics — are frequently cheaper than their recycled equivalents, partly because the environmental damage of extraction is not counted in their price. Collecting, sorting and reprocessing used goods, meanwhile, is labour-intensive and requires infrastructure that in many places does not yet exist. Until the balance tips — whether through taxes on raw materials, mandates on recycled content, or a genuine scarcity of resources — the recycled option will often remain the more expensive one, and cost, not conscience, tends to decide what businesses actually do.
There is also the matter of how people behave, which rarely matches the tidy assumptions of the model. Consumers routinely discard items that still work, drawn by novelty or by the low price of replacements, and even well-intentioned recycling is undermined by contamination, as a single dirty container can spoil an entire batch. More subtly, the confidence that a product can be recycled may encourage people to consume more of it, easing the guilt that might otherwise restrain them. This echoes a wider worry that efficiency gains are often partly cancelled out by increased use — a pattern that makes the circular economy's promised savings harder to realise in practice than on paper.
None of these obstacles is necessarily fatal, but together they explain why the circular economy remains, for now, more aspiration than achievement. Its logic is sound, and in specific sectors it has already proved both workable and worthwhile. What it cannot be is a purely voluntary or purely technical fix. Closing the loop at scale will require changes to product design, to pricing, to regulation and to the habits of consumers, all pulling in the same direction — a far more demanding programme than the cheerful diagrams of endless material cycles tend to admit.
Choose the correct letter, A, B, C or D.
Look at the following statements and the list of concepts below. Match each statement with the correct concept, A–D.
- A The linear economy
- B Recycling
- C Product-as-a-service
- D The circular economy
Complete the sentences below. Choose NO MORE THAN TWO WORDS from the passage for each answer.
Do the following statements agree with the claims of the writer in Reading Passage 2? Write YES if the statement agrees with the claims of the writer, NO if it contradicts them, or NOT GIVEN if it is impossible to say what the writer thinks.
The Past in the Making: Why Histories Are Rewritten
It is tempting to think of history as simply the past itself — the sum of everything that once happened, waiting to be recovered and set down. On reflection, this cannot be right. The past, in its entirety, is infinitely detailed and utterly gone; no account could reproduce it, and none tries to. What we call history is not the past but an account of it, composed by historians who must decide, from an unmanageable abundance of possible facts, which few are worth recording and how they fit together. Every history is therefore a selection, and every selection reflects a judgement about what matters. The past does not arrange itself into a narrative; the historian does that, and the same events can support very different stories depending on which threads are followed and which are left aside.
This dependence on judgement is compounded by the nature of the evidence. Historians do not observe their subject directly; they work from traces — documents, objects, testimony — that have survived by accident as much as by design. Those traces are partial and skewed. The literate and the powerful left more records than the poor and the illiterate, so the surviving material tilts towards certain voices and falls silent on others. A historian who relied only on what the sources say most loudly would reproduce their biases. Reconstructing the past therefore demands interpretation: reading between the lines, weighing a source against its likely motives, inferring from an absence what a gap might mean. Facts, in this sense, do not simply present themselves; they are established, and sometimes contested, through argument.
The ambition to make this process rigorous shaped the discipline as it professionalised in the nineteenth century. The German historian Leopold von Ranke is usually credited with insisting that the historian's task was to show the past 'as it actually was', setting aside present concerns and moral judgement to let the documents speak. His method — the careful, critical examination of primary sources — became the foundation of modern historical training and remains indispensable. But bound up with it was a hope that has proved harder to sustain: that a sufficiently disciplined historian could achieve something close to objectivity, recovering the past as it really happened rather than as any particular observer wished to see it. For a time this aspiration lent history the prestige of a science, and the accumulation of verified fact seemed to promise a steadily more complete and impartial picture.
That confidence did not last. In the twentieth century a number of thinkers questioned whether the historian could ever stand outside the story being told. The English historian E. H. Carr put the objection memorably: before you study the history, he advised, study the historian — and before you study the historian, study his historical and social environment. On this view, the facts a historian selects, and the significance assigned to them, are inevitably shaped by the questions that the historian's own time finds pressing. Each generation, confronting new problems, brings new questions to the past and so produces a different account of it. History is thus not a fixed body of knowledge slowly being completed, but an unending dialogue between the present and the past, in which the present always has a hand in what it discovers.
One consequence of this reorientation was a dramatic widening of what counted as a fit subject for history. For most of the discipline's existence, its attention had fixed on the doings of elites — rulers, statesmen, generals — whose activities the surviving documents most fully recorded. From the mid-twentieth century, historians increasingly turned to those the old narratives had ignored: labourers, women, the enslaved, the colonised, the ordinary and the obscure. This 'history from below' did not merely add new chapters to an existing story; it often unsettled that story, revealing that the past looked quite different when viewed from the vantage of those to whom it had happened rather than those who had made the headlines. The choice of whose experience to place at the centre, it became clear, was itself a kind of argument.
Taken to an extreme, the recognition that all history is interpretation can shade into a corrosive doubt. If every account is shaped by the standpoint of its author, some have argued, then no account can claim to be truer than any other, and history dissolves into a contest of perspectives with no ground beneath it. Most historians resist this conclusion, and for good reason. To concede that objectivity is never perfectly attained is not to concede that all interpretations are equally valid. The evidence, though incomplete, is not infinitely pliable: it rules some claims out and renders others overwhelmingly likely. A historian who asserts that a documented event never occurred, or who ignores evidence that contradicts a favoured thesis, can be shown to be wrong. Interpretation operates within constraints, and the discipline's methods exist precisely to enforce them.
Seen in this light, the constant rewriting of history is not the embarrassment it might first appear, nor a sign that the enterprise has failed. That interpretations change is exactly what one should expect of a discipline that asks fresh questions, uncovers new sources and learns to hear voices it once ignored. A history that never altered would be a history that had stopped thinking. The past, of course, does not change; but our understanding of it is provisional by nature, always open to revision in the light of better evidence or a sharper question. To study history seriously is to accept that its conclusions are the current state of a long conversation, not the final word.
Reading Passage 3 has seven paragraphs, A–G. Which paragraph contains the following information? Write the correct letter, A–G. NB You may use any letter more than once.
- A Paragraph A
- B Paragraph B
- C Paragraph C
- D Paragraph D
- E Paragraph E
- F Paragraph F
- G Paragraph G
Do the following statements agree with the information given in Reading Passage 3? Write TRUE, FALSE or NOT GIVEN.
Choose the correct letter, A, B, C or D.
Answer the questions below. Choose NO MORE THAN THREE WORDS from the passage for each answer.