영어 모의고사 (자동 편성)

Modern sports wearables, from wrist-worn fitness trackers to smart insoles ① embedding in running shoes, continuously collect data that would once have required a laboratory to measure. Heart rate, sleep quality, running cadence, and even subtle changes in gait can now ② be monitored during ordinary daily activity rather than only in a controlled clinical setting. Coaches use this constant stream of information to ③ detect early warning signs of overtraining, sometimes noticing a decline in performance before the athlete consciously feels tired. However, the flood of data has created a new challenge: distinguishing a meaningful pattern from ordinary daily fluctuation ④ requires expertise that many amateur athletes simply do not have. For this reason, most experts recommend ⑤ treating wearable data as a general trend to observe over time, not as a precise diagnostic tool.

Child safety experts now argue that this advice is too simple ① to be useful, since most children will inevitably need to interact with unfamiliar adults, whether asking a store employee for help or greeting a new neighbor. A more effective approach focuses on specific situations rather than people in general, ② teaching children to recognize behavior that feels wrong, such as an adult asking a child to keep a secret from parents. Role-playing these scenarios in advance ③ helps children respond quickly under pressure, rather than freezing because the situation feels unfamiliar and confusing. Experts also emphasize that children should be taught they will never get in trouble for ④ refusing an adult's request or for loudly saying no in public, since hesitation ⑤ causing by politeness can cost precious seconds in a genuine emergency.

For my birthday, my older sister took me to a small pottery studio where visitors can shape their own bowl or cup on a spinning wheel. I expected the wheel to do most of the difficult work ① automatically, since it was already spinning quickly by the time I sat down. My first attempt collapsed into a shapeless lump within seconds, because I had not realized how much steady, centered pressure the clay actually requires before it can be shaped at all. The instructor explained that beginners almost always press too ② hard on one side, which throws the entire piece off balance no matter how fast or slow the wheel spins. After nearly a dozen failed attempts, I finally produced a lopsided but recognizable cup, and the small imperfection along its rim somehow made me ③ ashamed of it, unlike a perfectly smooth, machine-made mug. Clay, I learned that afternoon, rewards ④ patience far more generously than it rewards ⑤ force.

Before a single line of dialogue is written for many animated shows, a character designer has already spent weeks deciding how that character should look, move, and be recognized at a glance. A visiting illustrator who spoke at our school explained that a truly successful design should be identifiable even as a plain black silhouette, since audiences often notice a character's outline before they notice any facial detail. She showed us early sketches of a now-famous cartoon hero, in which the same personality had been tested through dozens of different body shapes, from short and round to tall and angular, before the final version was chosen. Small choices, she added, carry surprising weight: rounded shapes tend to feel friendly and safe, while sharp angles suggest danger or power, even to viewers who have never studied design. I left the talk realizing that _______________.

Physical education class often feels like the one period of the day when students can finally move freely, which sometimes leads them to skip the warm-up routine that teachers insist on before any real activity begins. Cold muscles, however, are noticeably less flexible than warmed ones, and _______________. Coaches often compare an unwarmed muscle to a cold rubber band that snaps rather than stretches under sudden pressure.

Walking through the old industrial district downtown, I noticed that a gray concrete wall had been transformed overnight into a wild swirl of color, letters, and cartoon figures. Some residents complained to the city office, calling it vandalism and demanding that workers paint over it immediately. Others argued that the same wall had been an ugly, forgotten eyesore for years, and that the graffiti artist had simply given it a voice no one else bothered to give it. This disagreement reveals a tension at the heart of street art: _______________. The line between vandalism and art, it seems, often depends less on the paint itself than on who gave permission to use the wall.

Seatbelts are so woven into the experience of riding in a car that many passengers buckle them without thinking, yet a surprising number of teenagers still skip them for short trips, assuming that a five-minute drive to a friend's house does not carry much risk. (A) In a collision, a body traveling at a moderate speed continues moving forward at that same speed until something stops it, and without a seatbelt, that something is often the windshield or the dashboard. (B) Traffic safety data tell a different story: most fatal crashes occur within a few kilometers of home, on roads drivers know so well that they let their guard down. (C) A seatbelt spreads the force of a sudden stop across the stronger parts of the body, such as the hips and chest, instead of concentrating it on the head and neck.

Our class field trip to the national art museum began with a worksheet that I initially found annoying, since it asked us to stand in front of a single painting for a full five minutes before moving on. (A) Our teacher later explained that most museum visitors spend under fifteen seconds per artwork on average, which means they experience galleries as a blur of images rather than as individual works. (B) Forcing myself to stay, however, I began noticing details that a quick glance would have missed entirely, and my initial impression of the painting slowly became something closer to fascination. (C) Five minutes felt unbearably long for one picture, and I nearly skipped ahead to the next room.

Those decisions, small as they sound, were entirely her own to make. My cousin, who has never taken a single music lesson, recently used a composing app on her phone to write a short song for her friend's birthday video. ( ① ) Watching her work, I realized the app handled much of the technical difficulty that used to stop beginners from composing at all, automatically keeping her melody in key and suggesting chords that matched the mood she selected. ( ② ) What the app could not do, however, was decide which four notes actually felt right for the opening line, or when a pause said more than another note would have. ( ③ ) She spent nearly an hour adjusting a single short phrase until it matched the feeling she wanted to capture, deleting and replaying it dozens of times. ( ④ ) Watching her patient trial and error, I understood that these tools lower the technical barrier to making music, but they do not remove the very human task of deciding what a piece of music is actually trying to say. ( ⑤ )

I have walked past this corner more times than I can count. On Saturday afternoons, the small square near my house fills with the sound of a street guitarist who sets up his amplifier beside the fountain. ( ① ) At first, I assumed busking was simply a way for musicians to earn a little pocket money, but watching him more closely changed my mind. ( ② ) He does not merely play requests; he studies the mood of the crowd and adjusts his set list on the spot, slowing down for a tired evening walker or speeding up when children start dancing nearby. ( ③ ) Unlike a concert hall performance, a street show has no fixed stage and no guaranteed audience, so the musician must win people's attention within the first few seconds or lose them to their phones. ( ④ ) This constant negotiation between performer and passerby, I realized, is itself a kind of art, one that depends as much on reading people as it does on playing an instrument. ( ⑤ )