听力原文：W: My guest today is the artist, Alan Carey, who over the last thirty years has established himself as one of the country's leading sculptors, making a range of fascinating objects out of metal, stone and other materials. Alan, welcome. M: Hello. W: But you don't come from an artistic background, do you, Alan? M: Oh, absolutely not. If my father had had anything to do with it, I'd never have gone in for sculpture because he was an accountant and ideally he wanted me to join his finn, or if not, go into insurance or banking. But none of these ideas appealed to me, I'm afraid. I'd been doing sculpture as a hobby through my teenage years and, although my parents encouraged me in that, it didn't seem like a prospective career at the time, at least not to my father. W: But he got a sculptor to look at your work at one point, didn't he? M: Oddly enough, yes. We went to see a man who taught sculpture in a big London art school who said, 'Well, let's have a look at the work', and this chap looked at it and said to my father, 'Your son will never be any good, you know', and my father was rather relieved and said to me, 'You see, you can do it as a hobby'. And then, when we got home he said, 'Well, what do you want to do?' and I didn't know … engineering? … architecture? I considered various things, even geology, but finally, in the end, after I’d got a maths degree, I said, 'What I really want to do is sculpture, you know' and he said, 'Well, you'd better do it then.' W: So, he gave in in the end? M: He did. But I'm glad it happened that way, that I had to struggle to do it, because he made me dedicate myself to sculpture and do the job properly. He had the idea that art was for amateurs, and that was the one thing that I did not want to be. I wanted to do it as a professional. I knew he was wrong, so I set out to prove it. And, you know, I'm sure that if I had joined his firm, I'd have done it in a half-hearted way which he wouldn't have approved of anyway. And I must say, after I'd decided to become a sculptor, he couldn't have been more supportive. W: And so you went on to Art College. Did you enjoy it? M: At the beginning, I appreciated it a lot because we had a different teacher every term. This meant you got a good grounding in the basics because you picked up different things from each one. You know, it might be the material they worked in, for example, or their technique, or whatever. But eventually I got fairly restless because it was a five-year course and by about half-way through I was getting a bit fed up because it was extremely traditional in terms of approach and I was looking for something more out of the ordinary. W: So this was what led you to Harold Morton? M: Yes, he was the most advanced sculptor of the time, and he was really doing very different things which I found exciting. And so I sent him some photos of my work, on the off-chance, and amazingly he offered me a part-time job and so I managed to combine that with the final years of college, which made all the difference. W: And how would you sum up that experience, what did you get out of it? M: Well, we talked about art a lot. He taught me that a sculptor's studio is quite different from an art college. I had to do drawing at college, a subject I never really understood, and when I got back, he would criticise what I'd done. And from him, I learnt how a sculptor draws, because I was being taught by painters, who are looking at things in a different way. W: And I suppose it was thanks to him that you started doing abstract art? M: Well, yes it was, because I don't do sculptures of people or animals, they are not meant to be lifelike. So they are examples of what, I suppose, you'd call abstract art. They are meant to mean something, to make you think. Questions: 11.What did Alan's father do? 12.Which degree did Alan get first? 13.Which statement is true about Alan and his father? 14.Which stat