We can work on Living in a sea of waves

Choose one type of wave to research that is different from your classmates and share your findings with the class. Discuss how it impacts our lives, and if

these impacts are positive or negative.
The earth’s magnetic field and atmosphere help protect it from solar radiation, but they cannot protect the planet completely from larger CMEs. The largest

CME on record happened in 1859 and is called the Carrington Event. During this event telegraph communications were disrupted. Do some research on CMEs and

discuss how a large one would impact your life and your community. Is there anything you can do to be better prepared for a CME event?
As we learn more about our universe, we see that humans will not be able to live on the earth forever. At some point the sun will die and make the earth

uninhabitable. Don’t worry, it is not forecasted to happen for another 5 billion years. The earth faces other dangers from space such as asteroid impacts and

gamma ray bursts (from the death of larger stars) to name just a couple. Humans also pose a threat to their own existence with climate change. A runaway

greenhouse effect could make the earth more like Venus. This is one argument for promoting space travel and developing technology for colonizing other

planets.
Do you think more effort and resources should be put into colonizing the moon and other plants? Why or why not?
If you were able to be part of a mission to go to Mars, or another planet, would you want to participate? Would it make a difference if you knew you would

never be returning to earth?
Some of the threats to the earth cannot be prevented, but things like climate change can be altered by how humans behave. Should we be putting more resources

into understanding how climate change can impact our planet and take steps to prevent it? Why or why not?

Sample Solution

situating and presentation is his method for legitimately bringing issues to light just as summoning considered the potential outcomes of the human condition. Alison Lapper was conceived without arms and distorted legs, Quinn has decided to utilize her handicap in an enormous and suggestive manner to incite an intellectual reaction from the crowd, which fills in as method of direct communication. His decision to shape with the old style vehicle of marble, a hard and thick stone to depict someone that society characterizes as delicate and feeble, affirms his theme, that the impaired are “monument(s) to future prospects of mankind and its ability for strength” (Quinn, 2000). His provocative work consummately clarifies the trouble of characterizing an individual, and that genuine character ought to be decided by strength and boldness. Fundamentally, Shlipa Gupta, ORLAN, and Marc Quinn challenge the manners in which that we characterize and sort people by contributing perceptiveness, into how our physical bodies are regularly the inspiration for definition, however that the human condition must be comprehended by digging into better approaches for valuing our reality. Their investigation of what exists in (truly and intellectually) gives another significance to being “human”, that qualities the excellence of our logical bodies and independenceThe work of art Cradling Wheat, by Thomas Hart Benton delineates three men and a little youngster in a field gathering and gathering wheat. These characters are situated in the closer view of the work, with the encompassing scene behind them. The four figures and the general condition meet up in a mix of shapes and hues. The blue sky and yellow-tan shading found in the fields of grain and the slopes gives the watcher a feeling of what the climate may resemble. The men’s appearances are avoided see, and each are wearing long dull jeans with blue shirts. The shapes, hues, and characters in the artistic creation make it alluring and grab the eye of the watcher. Thomas Benton’s work is known for its development (Ellison). The movement depicted in his works impart “the vitality, surge, and disarray of American life” (Ellison). The states of the men and the earth in Benton’s painting cause the image to appear as though it is moving. The figures working in the field lean and twist as they cut and gather the grain. This activity is likewise depicted in the manner the slopes, trees, and mists are painted. The watcher can nearly feel the development of the men working since it is communicated all through the whole artistic creation. The bend in the encompassing slopes emulate the bend of the men’s backs as they twist around to accumulate the wheat. This movement stretches out into the coating of trees just past the wheat field. The trees move in a kind of squiggly line over the work of art until they arrive at an enormous tree at the extreme left. The tree bends upward and the watcher’s eyes follow until they arrive at the sky. The spiraling movement finishes in a whirl of white mists. While the figures and the landscape are autonomous from one another, their shapes mix together to make a rush of movement that moves over the whole work of art. At the point when the watcher takes a gander at the work of art, their eyes are taken from option to left. The watcher experiences no difficulty making sense of what’s going on in the artistic creation on the grounds that the picture directs the watcher alongside ease. character are independent and the view are discrete from one another is isolated from the other, however together the lines and bends of their bodies look like the stalks of wheat and the cutting development of the grass shearer. Together they make a broad bended line looking like a grass shearer that climbs through the line of trees and into the removed slopes and shady sky. The trees twist and lean simply like the men and proceed with this upward development, finishing in a whirl of mists mixing about and moving with the breeze (Ellison). The movement in this image drives the watcher’s eyes over the whole canvas which, thus, gives them that broad vitality impact. The hues present in the wheat, sky, slopes, and trees give the artistic creation life. The blues, greens, yellows, and brow>

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