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Need helpART/ARTH/BUS 334: THE BUSINESS OF ART TASK SHEET # 8/MODULE: WEEK 8 :LEAVING THE MARKET: PUBLIC ART, STREET ART, AND GRAFFITI, 1980S-2000SDUE DATE : Monday, March 25(!!!), by 9:00 pm! Please submit in Canvas, “Assignments,” only!  This task sheet has 3 PARTS (I, II, III). You must complete ALL 3 PARTS for credit.  ONLY submit Task Sheets that are complete and based on the assigned readings and videos!READINGS [ALL READINGS CAN BE ACCESSED VIA MODULE: WEEK 8 ] Linda Weintraub (et al.): “David Hammons” Amy Harrison: Guerrillas In Our Midst,1992 [see Module: Week 8 and Module: Videos] Guerrilla Girls: AND /our-story Guy Hepner: “Banksy: Art as a Political Weapon”(Guy Hepner Art Gallery): On Banksy’s DismalandINTRODUCTION Throughout history, art and politics have continuously been intertwined and artists have employed ever new art media and practices to express their opinions and engage audiences. Especially since the 1960s, artists took to the streets with legally and illegally placed artworks in the public sphere, thereby creating another form of activist art. They intentionally boycott mainstream art institutions and the gallery system, as well as circumvent an art market deemed racist, sexist, money hungry and generally hypocritical. Public and street artists often angle their poignant critique at the art world as well as at the world, focusing their art on social conditions and injustices, political conflicts, and other current issues.PART I: PUBLIC ART: DAVID HAMMONS: URBAN SCULPTURES FROM URBAN DEBRIS Key Term: Public Art The term public art refers to works of art in any media that have been planned and executed with the specific intention of being sited or staged in the physical public domain, usually outside and accessible to all. This term came to signify a particular working practice, often implying that a work of art is site specific, that there is community involvement and/or that it is a collaboration. The term is also applied to include artwork that is exhibited in a public space, including publicly accessible buildings.Key Artist: David HammonsDavid Hammons: Higher Goals, Cadman Plaza, Brooklyn, NYC, 1986David Hammons, born 1943 in Illinois, went to L.A. City College, then to Otis Art Institute (L.A.), where his work became concerned with African American experiences. In the mid-seventies, Hammons moved to Harlem, NY, where he began to search the streets for litter he used as material for many of his artworks in order to connect to the community. Hammons created many of his pieces in public places around NYC, and especially in impoverished neighborhoods, because he wanted to communicate with people outside of the art mainstream. His mixed media installation, Higher Goals, was influenced by Simon Rodia’s Watts Towers, in the Watts district of Los Angeles.//our-storyYOUR TASKS FOR PART I Read: Linda Weintraub (et al.): “David Hammons”Please answer the following THREE questions in 6-8 sentences EACH: 1) Explain why David Hammons placed his mixed media sculpture, Higher Goals, in impoverished and then predominantly Black neighborhoods of Harlem and Brooklyn, NYC., according to the text. 2) Explain why David Hammons, according to the text, used debris discarded and found in NYC neighborhoods, such as thousands of bottle caps to create intricate patterns around the telephone poles, as well as basket ball hoops and other found objects. 3) Explain the message of Higher Goals according to the text, and how it connects to the specific community within which the artist placed Higher Goals. —————————————————————————————————————————INTRO TO PART II AND III: STREET ART AND GRAFFITI “The underlying impetus behind Street Art grew out of the belief that art should function in opposition to, and sometimes even outside of, the hegemonic system of laws, property, and ownership; be accessible, rather than hidden away inside galleries, museums, and private collections; and be democratic and empowering, in that all people (regardless of race, age, gender, economic status, etc.) should be able to create art and have it be seen by others. Although some street artists do create installations or sculpture, they are more widely known for the use of unconventional art mediums such as spray paint, stencils, wheat paste posters, and stickers. Street Art has also been called independent public art, post-graffiti, and guerrilla art.” [Source:PART II: THE GUERRILLA GIRLS: CONSCIENCE OF THE ART WORLD Key Artist Collective: Guerrilla Girls Guerrilla Girls is an anonymous group of anonymous women artists and art professionals devoted to fighting sexism and racism within the art world, calling themselves the “conscience of the art world.” The group formed in New York City in 1985 in order to expose the continuing gender and racial inequality in the art community and in society in general, as well as corruption and conflicts of interest in museums and the movie industry. They use humor and guerrilla tactics in their work in order to make their serious messages engaging. The Guerrilla Girls have created posters, billboards, a public transportation campaign [see right], books, lectures, interviews, public appearances and websites to distribute their messages to a large audience across the US and beyond.Y OUR TASKS FOR PART II View: Amy Harrison: Guerrillas In Our Midst,1992 [see Module: Week 8 and Module: Videos] Read: Guerrilla Girls: AND /our-storyPlease answer the following FOUR questions in 6-8 sentences EACH: 1) Summarize the Guerrilla Girls’ story according to their website [see above websites]. 2) Explain why the Guerrilla Girls chose to remain anonymous as well as why they placed their art – often illegally – in form of posters etc. in the public sphere instead of in museums and galleries. 3) Pick one of the Guerrilla Girls posters or billboards and explain it, including where it was placed. 4) Please add your reflections on the Guerrilla Girls and whether you believe their strategies and artwork were/are effective in addressing inequality in the art community and beyond./our-story/PART III: GRAFFITI: BANKSY: ‘ART AS A POLITICAL WEAPON’ Key Term: Graffiti (Art Movement) Graffiti [from the Italian word graffiato (“scratched”)] has come to refer to art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings. Emerging in the 1970s in the context of urban neglect, impoverishment, discrimination, and the hip hop movement, Graffiti has since become a major and respected art form and entered the art mainstream. However, it is still considered subversive and controversial, as it is often created without permission and thus considered defacement or vandalism by city officials and property owners, or even an urban “problem” in many cities across the globe.Key Artist: Banksy Acclaimed British [Bristol-born] artist and political activist, publicly known as Banksy, rose to fame in the 1990s with his now iconic stenciling technique, strategically placed, in order to create powerful artworks that respond to current societal and political issues. Banksy, who is, as Hepner writes in his article, “[c]ombining dark political humor and satirical wit, is certainly the most controversial street artist on the modern global stage.” Banksy has described graffiti and street art as a form of underclass “revenge” that grants an individual the ability to take the power back from the privileged, as for generations, “real” art was something only accessible to the elite.YOUR TASKS FOR PART III Read: Guy Hepner: “Banksy: Art as a Political Weapon”(Guy Hepner Art Gallery): View: On Banksy’s Dismaland [You may use further material, however, please reference ALL sources you used!]Please answer the following THREE questions in 6-8 sentences EACH: 1) When it comes to Banksy’s artworks, the location is very often part of the message he is conveying. Using one example, explain how the placing of his powerful artworks is connected to their meaning. 2) View the video on Banksy’s spoof on Disneyland called Dismaland, a temporary “bemusement park” he set up in Weston Super Mare, England, in 2015. Explain the park and some of the current social and political issues he was calling attention to, as well as how he subverted Disneyland. 3) Please add your reflections on Banksy and whether you believe his strategy and artworks were/are effective in addressing social and political issues.Banksy: Season’s Greetings, 2018, in Port Talbot, Wales, one of the most polluted townsBanksy in Birmingham, England, 2019. Created before the Holidays as homeless deaths hit a new high in England that yearArt/ARTH/BUS 334: THE BUSINESS OF ART TASK SHEET #8/MODULE: WEEK 8: LEAVING THE MARKET: PUBLIC ART, STREET ART, AND GRAFFITI, 1980s-2000s PART I: public art: David hammons: URBAN SCULPTURES FROM URBAN debris YOUR TASKS FOR PART II PART III: GRAFFITI: Banksy: ‘Art as a Political Weapon’

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ART/ARTH/BUS 334: THE BUSINESS OF ART
TASK SHEET # 8/MODULE: WEEK 8 :

LEAVING THE MARKET: PUBLIC ART, STREET ART, AND GRAFFITI, 1980S-2000S

DUE DATE : Monday, March 25(!!!), by 9:00 pm! Please submit in Canvas, “Assignments,” only!
 This task sheet has 3 PARTS (I, II, III). You must complete ALL 3 PARTS for credit.
 ONLY submit Task Sheets that are complete and based on the assigned readings and videos!

READINGS [ALL READINGS CAN BE ACCESSED VIA MODULE: WEEK 8 ]
Linda Weintraub (et al.): “David Hammons”
Amy Harrison: Guerrillas In Our Midst,1992 [see Module: Week 8 and Module: Videos]
Guerrilla Girls: AND /our-story
Guy Hepner: “Banksy: Art as a Political Weapon”(Guy Hepner Art Gallery):

On Banksy’s Dismaland

INTRODUCTION
Throughout history, art and politics have continuously been intertwined and artists have employed ever
new art media and practices to express their opinions and engage audiences. Especially since the 1960s,
artists took to the streets with legally and illegally placed artworks in the public sphere, thereby
creating another form of activist art. They intentionally boycott mainstream art institutions and the
gallery system, as well as circumvent an art market deemed racist, sexist, money hungry and generally
hypocritical. Public and street artists often angle their poignant critique at the art world as well as at the
world, focusing their art on social conditions and injustices, political conflicts, and other current issues.

PART I: PUBLIC ART: DAVID HAMMONS: URBAN SCULPTURES FROM URBAN DEBRIS
Key Term: Public Art
The term public art refers to works of art in any media that have been planned and executed with the
specific intention of being sited or staged in the physical public domain, usually outside and accessible
to all. This term came to signify a particular working practice, often implying that a work of art is site
specific, that there is community involvement and/or that it is a collaboration. The term is also applied
to include artwork that is exhibited in a public space, including publicly accessible buildings.

Key Artist: David Hammons

David Hammons: Higher Goals,
Cadman Plaza, Brooklyn, NYC, 1986

David Hammons, born 1943 in Illinois, went to L.A.
City College, then to Otis Art Institute (L.A.), where
his work became concerned with African American
experiences. In the mid-seventies, Hammons moved to
Harlem, NY, where he began to search the streets for
litter he used as material for many of his artworks in
order to connect to the community.
Hammons created many of his pieces in public places
around NYC, and especially in impoverished
neighborhoods, because he wanted to communicate
with people outside of the art mainstream. His mixed
media installation, Higher Goals, was influenced by
Simon Rodia’s Watts Towers, in the Watts district of
Los Angeles.

/

YOUR TASKS FOR PART I
Read: Linda Weintraub (et al.): “David Hammons”

Please answer the following THREE questions in 6-8 sentences EACH:
1) Explain why David Hammons placed his mixed media sculpture, Higher Goals, in impoverished and
then predominantly Black neighborhoods of Harlem and Brooklyn, NYC., according to the text.
2) Explain why David Hammons, according to the text, used debris discarded and found in NYC
neighborhoods, such as thousands of bottle caps to create intricate patterns around the telephone poles,
as well as basket ball hoops and other found objects.
3) Explain the message of Higher Goals according to the text, and how it connects to the specific
community within which the artist placed Higher Goals.
—————————————————————————————————————————

INTRO TO PART II AND III: STREET ART AND GRAFFITI
“The underlying impetus behind Street Art grew out of the belief that art should function in opposition
to, and sometimes even outside of, the hegemonic system of laws, property, and ownership; be
accessible, rather than hidden away inside galleries, museums, and private collections; and be
democratic and empowering, in that all people (regardless of race, age, gender, economic status, etc.)
should be able to create art and have it be seen by others. Although some street artists do create
installations or sculpture, they are more widely known for the use of unconventional art mediums such
as spray paint, stencils, wheat paste posters, and stickers. Street Art has also been called independent
public art, post-graffiti, and guerrilla art.” [Source:

PART II: THE GUERRILLA GIRLS: CONSCIENCE OF THE ART WORLD
Key Artist Collective: Guerrilla Girls
Guerrilla Girls is an anonymous group of anonymous women artists and art professionals devoted to
fighting sexism and racism within the art world, calling themselves the “conscience of the art world.”
The group formed in New York City in 1985 in order to expose the continuing gender and racial
inequality in the art community and in society in general, as well as corruption and conflicts of interest
in museums and the movie industry. They use humor
and guerrilla tactics in their work in order to make their
serious messages engaging. The Guerrilla Girls have
created posters, billboards, a public transportation
campaign [see right], books, lectures, interviews, public
appearances and websites to distribute their messages to
a large audience across the US and beyond.

Y OUR TASKS FOR PART II
View: Amy Harrison: Guerrillas In Our Midst,1992
[see Module: Week 8 and Module: Videos]
Read: Guerrilla Girls: AND /our-story

Please answer the following FOUR questions in 6-8 sentences EACH:
1) Summarize the Guerrilla Girls’ story according to their website [see above websites].
2) Explain why the Guerrilla Girls chose to remain anonymous as well as why they placed their art –
often illegally – in form of posters etc. in the public sphere instead of in museums and galleries.
3) Pick one of the Guerrilla Girls posters or billboards and explain it, including where it was placed.
4) Please add your reflections on the Guerrilla Girls and whether you believe their strategies and
artwork were/are effective in addressing inequality in the art community and beyond.

/

PART III: GRAFFITI: BANKSY: ‘ART AS A POLITICAL WEAPON’
Key Term: Graffiti (Art Movement)
Graffiti [from the Italian word graffiato (“scratched”)] has come to refer to art that is written, painted or
drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges
from simple written words to elaborate wall paintings. Emerging in the 1970s in the context of urban
neglect, impoverishment, discrimination, and the hip hop movement, Graffiti has since become a major
and respected art form and entered the art mainstream. However, it is still considered subversive and
controversial, as it is often created without permission and thus considered defacement or vandalism by
city officials and property owners, or even an urban “problem” in many cities across the globe.

Key Artist: Banksy
Acclaimed British [Bristol-born] artist and political activist, publicly known as Banksy, rose to fame in
the 1990s with his now iconic stenciling technique, strategically placed, in order to create powerful
artworks that respond to current societal and political issues. Banksy, who is, as Hepner writes in his
article, “[c]ombining dark political humor and satirical wit, is certainly the most controversial street
artist on the modern global stage.” Banksy has described graffiti and street art as a form of underclass
“revenge” that grants an individual the ability to take the power back from the privileged, as for
generations, “real” art was something only accessible to the elite.

YOUR TASKS FOR PART III
Read: Guy Hepner: “Banksy: Art as a Political Weapon”(Guy Hepner Art Gallery):

View: On Banksy’s Dismaland
[You may use further material, however, please reference ALL sources you used!]

Please answer the following THREE questions in 6-8 sentences EACH:
1) When it comes to Banksy’s artworks, the location is very often part of the message he is conveying.
Using one example, explain how the placing of his powerful artworks is connected to their meaning.
2) View the video on Banksy’s spoof on Disneyland called Dismaland, a temporary “bemusement
park” he set up in Weston Super Mare, England, in 2015. Explain the park and some of the current
social and political issues he was calling attention to, as well as how he subverted Disneyland.
3) Please add your reflections on Banksy and whether you believe his strategy and artworks were/are
effective in addressing social and political issues.

Banksy: Season’s Greetings, 2018, in Port
Talbot, Wales, one of the most polluted towns

Banksy in Birmingham, England, 2019.
Created before the Holidays as homeless
deaths hit a new high in England that year

  • Art/ARTH/BUS 334: THE BUSINESS OF ART
  • TASK SHEET #8/MODULE: WEEK 8:
  • LEAVING THE MARKET: PUBLIC ART, STREET ART, AND GRAFFITI, 1980s-2000s
  • PART I: public art: David hammons: URBAN SCULPTURES FROM URBAN debris
  • YOUR TASKS FOR PART II
  • PART III: GRAFFITI: Banksy: ‘Art as a Political Weapon’

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It is on progress and current EVD care advances after the 2014–16 outbreak, such as point-of-care diagnostics breakthroughs characterization of clinical course in infected patients and patient – optimized standards. The article makes reference to critical care clinicians playing an essential role in managing complications arising from causation of EVD which often include life threatening conditions such as hypotension, electrolyte imbalance and respiratory failure among others. Kiiza et al. (2020) place critical care interventions, such as intravenous fluid resuscitation and vasoactive medications at the center of focus esp. renal replacement therapy for improved outcomes in patients. The issue of viability and safety when performing clinical interventions such as critical care in Ebola affected patients with highly trained personnel and upheld standards on infection prevention control are also dissected. This article gives useful insights of EVD management in intensive settings and the importance of ICU so that patients survival is improved.Rojas, M., Monsalve, D. M., Pacheco, Y., Acosta-Ampudia, Y., Ramírez-Santana, C., Ansari, A. A., Gershwin, M. E., & Anaya, J.-M. (2020). Ebola virus disease: An emerging and re-emerging viral threat. Journal of Autoimmunity, 106(102375), 102375. This EVD review covers molecular biology, etiology, clinical characteristics, and therapy. It describes the genomics and proteins of Ebola virus and their role in viral pathogenicity. Rojas et al. (2020) discusses Ebola intrinsic immunopathogenic manifestation and autoimmune-like symptoms in survivors. The veterinary pathologies rheumatoid arthritis and systemic lupus erythematosus have been supported by putative mechanisms from many sources today. It emphasizes the challenges of autoimmune complications in EVD therapy and control and calls for greater study. This article provides a comprehensive picture of EVD, including its molecular causes, clinical manifestations, and consequences.References Almeida-Pinto, F., Pinto, R., & Rocha, J. (2024). Navigating the Complex Landscape of Ebola Infection Treatment: A Review of Emerging Pharmacological Approaches. Infectious Diseases and Therapy. Bettini, A., Lapa, D., & Garbuglia, A. R. (2023). Diagnostics of Ebola virus. Frontiers in Public Health, 11. Jacob, S. T., Crozier, I., Fischer, W. A., Hewlett, A., Kraft, C. S., Vega, M.-A. de L., Soka, M. J., Wahl, V., Griffiths, A., Bollinger, L., & Kuhn, J. H. (2020). Ebola virus disease. Nature Reviews Disease Primers, 6(1). Kiiza, P., Mullin, S., Teo, K., Adhikari, N. K. J., & Fowler, R. A. (2020). Treatment of Ebola-related critical illness. Intensive Care Medicine, 46(2), 285–297. Rojas, M., Monsalve, D. M., Pacheco, Y., Acosta-Ampudia, Y., Ramírez-Santana, C., Ansari, A. A., Gershwin, M. E., & Anaya, J.-M. (2020). Ebola virus disease: An emerging and re-emerging viral threat. Journal of Autoimmunity, 106(102375), 102375.

see upload Surname 2 TaMinka Watford Microbiology Lab A.Rocha Annotated Bibliography on Ebola Almeida-Pinto, F., Pinto, R., & Rocha, J. (2024). Navigating the Complex Landscape of Ebola Infection Treatment: A Review of Emerging Pharmacological Approaches. Infectious Diseases and Therapy. Almeida-Pinto et al. (2024) offer a comprehensive analysis of evolving pharmacological

Around 1200-word research paper about Climate Change.Guide Questions：What is the history that has led to our current understanding of the topic you are researching?Who were the scientists involved in the discovery / major advancements in the history and evolution of the subject (if your topic has any)?What are the major processes (physical and / or chemical) involved in your topic?How does your topic affect our world, today? -If you are researching a subject involved with deep time, how does it influence our thinking and understanding of our place on this planet, today?

Around 1200-word research paper about Climate Change. Guide Questions： What is the history that has led to our current understanding of the topic you are researching? Who were the scientists involved in the discovery / major advancements in the history and evolution of the subject (if your topic has any)?

Instructions Spirits ADD TO THE EXISITNG PRESENTATION Presentations should have a minimum of  14 slides that include the following information using the titles and the order specified below. Please note that this project should be focused on the REGIONS you chose and not the state or country your regions are in. · History & Politics – 6 slides minimum  (3 for US region / 3 for international region) · What are the major historical factors that have impacted distilled spirits production in the regions you have selected? · How has history influenced the distilled spirits culture in both of those regions today? · Identify major political events that have impacted the production or consumption of distilled spirits in the regions. · Culture – 4 slides minimum  (2 for US region / 2 for international region) · What is the dominant culture surrounding distilled spirits in the regions you have selected? · What are the cultural/social characteristics that define distilled spirits consumption and culture in the country you have selected? For example, when and where is distilled spirits consumed? · Who drinks distilled spirits in the country and what are the popular styles? · Identify at least 2 festivals, religious events, fairs, or events dealing with distilled spirits in the regions. · Local Food – 2 slides minimum  (1 for US region / 1 for international region) · What are the traditional and trendy local foods that are paired with distilled spirits in your regions? · How does the local food in both region affect distilled spirits culture?  · Economic Impact – 2 slides minimum  (1 for US region / 1 for international region) · Identify the economic impact of the production or consumption of distilled spirits in the region. · Do the selected regions export distilled spirits? · How popular is distilled spirits in the region compared to other beverages such as wine, beer, coffee, and tea? · Are there many distilled spirits producers or is it dominated by a few?  · BIBLIOGRAPHY SLIDE (APA style) – 1 slide minimum ·  REQUIRED!!! Final analysis: After examining each component separately, what can you deduce about the effects geography, environment, history, culture and local food have had upon the distilled spirits culture in the country you have selected?  What do these characteristics say about the culture as a whole?  Finally, compare this region to your selected region in the U.S. (at least 9 slides, including conclusion) Specifically answer the following: i. Compare and contrast the climate of each region. j. How would you describe the distilled spirit culture in each country/region? k. Compare and contrast the distilled spirits processing in your two regions. l. Include at least one slide that references one aspect of pop culture (such as movies, television, books, commercials, songs, etc.) that feature a distilled spirit in  each  of your regions. m. Compare and contrast the religious history and current religious climate of the two regions as they relate to distilled spirits production or consumption. n. What are the similarities between the distilled spirits cultures within the two regions you’re examining? o. What are the differences? p. Conclusion: reflect upon how your world has been affected by analyzing the perspectives, needs, desires, and interests of other citizens of the world. (1 slide)BIBLIOGRAPHY REQUIRED

Instructions Spirits ADD TO THE EXISITNG PRESENTATION Presentations should have a minimum of  14 slides that include the following information using the titles and the order specified below. Please note that this project should be focused on the REGIONS you chose and not the state or country your regions are in.

Instructions – BEERADD TO THE PRESENTATION THAT HAS ALREADY BEEN CREATED Presentations should have a minimum of  14 slides that include the following information using the titles and the order specified below. Please note that this project should be focused on the REGIONS you chose and not the state or country your regions are in. · History & Politics – 6 slides minimum  (3 for US region / 3 for international region) · What are the major historical factors that have impacted beer production in the regions you have selected? · How has history influenced the beer culture in both of those regions today? · Identify major political events that have impacted the production or consumption of beer in the regions. · Culture – 4 slides minimum  (2 for US region / 2 for international region) · What is the dominant culture surrounding beer in the regions you have selected? · What are the cultural/social characteristics that define beer consumption and culture in the country you have selected? For example, when and where is beer consumed? · Who drinks beer in the country and what are the popular styles? · Identify at least 2 festivals, religious events, fairs, or events dealing with beer in the regions. · Local Food – 2 slides minimum  (1 for US region / 1 for international region) · What are the traditional and trendy local foods that are paired with beer in your regions? · How does the local food in both region affect beer culture?  · Economic Impact – 2 slides minimum  (1 for US region / 1 for international region) · Identify the economic impact of the production or consumption of beer in the region. · Do the selected regions export beer? · How popular is beer in the region compared to other beverages such as wine, distilled spirits, coffee, and tea? · Are there many beer producers or is it dominated by a few?  · BIBLIOGRAPHY SLIDE (APA style) – 1 slide minimum ·  REQUIRED!!! Final analysis: After examining each component separately, what can you deduce about the effects geography, environment, history, culture and local food have had upon beer culture in the country you have selected?  What do these characteristics say about the culture as a whole?  Finally, compare this region to your selected region in the U.S. (at least 9 slides, including conclusion) Specifically answer the following: i. Compare and contrast the climate of each region. j. How would you describe beer culture in each country/region? k. Compare and contrast the US beer processing to that of your international region. l. Include at least one slide that references one aspect of popular culture such as movies and or music that features beer in  each  of your regions. m. Compare and contrast the religious history and current religious climate of the two regions as they relate to beer production or consumption. n. What are the similarities between the cultures within the two countries you’re examining? o. What are the differences? p. Conclusion: reflect upon how your world has been affected by analyzing the perspectives, needs, desires, and interests of other citizens of the world. (1 slide)REQUIRED: Bibliography Slide with APA formatting (1 slide) –  Failure to include will result in a zero.

Instructions – BEER ADD TO THE PRESENTATION THAT HAS ALREADY BEEN CREATED Presentations should have a minimum of  14 slides that include the following information using the titles and the order specified below. Please note that this project should be focused on the REGIONS you chose and not the state or

Funda lesi siqeshana bese uphendula imibuzo elandelayo yolimi: Abasebenzi abaningi bakushayela ihlombe ukusebenzela ekhaya ngesikhathi izwe livalwa ngenxa yokhuvethe. Babejatshuliswa ikakhulukazi ukunyuka kukaphethioli ezweni okungeke kusabaphazamisa.  Babona kungcono uma besebenzela emakhaya ngoba angeke besagcwalisa izimoto ngophethiloli masonto onke ukuze baye emsebenzini. Abesifazane abanabantwana bona bakushayele ihlombe kakhulu lokhu kusebenzela ekhaya ngoba bathi besemhlanganweni belalele kumakhalekhukhwini noma kukhompuyutha, bebe befaka izingubo emshinini wokuwasha, bebonda uphuthu esitofini, noma bewasha nezitsha. Abesifazane bavuka bageze ubuso kuphela, bese benza isidlo sasekuseni, bahlanze nendlu ngaphambi kokuqala umsebenzi wabo womqashi. Abesilisa bona bavuka bageze ongazi angathi baya emsebenzini kanti cha, badle isidlo sasekuseni bese behlala kumakhompuyutha benze umsebenzi wabo wosuku. Babejatshuliswa, masonto, besemhlanganweni, womqashi 1.1 Gagula inguquko yefonoloji eyenzeke emagameni abhalwe ngokugqamile, uveze nokuthi yenzeke kanjani. (20) 1.2 Cozulula amagama alandelayo ngamalunga awo: a) ihlombe b) nendlu c) emshini

Funda lesi siqeshana bese uphendula imibuzo elandelayo yolimi: Abasebenzi abaningi bakushayela ihlombe ukusebenzela ekhaya ngesikhathi izwe livalwa ngenxa yokhuvethe. Babejatshuliswa ikakhulukazi ukunyuka kukaphethioli ezweni okungeke kusabaphazamisa.  Babona kungcono uma besebenzela emakhaya ngoba angeke besagcwalisa izimoto ngophethiloli masonto onke ukuze baye emsebenzini. Abesifazane abanabantwana bona bakushayele ihlombe kakhulu lokhu kusebenzela ekhaya ngoba bathi besemhlanganweni belalele kumakhalekhukhwini noma

The suspension system of a car traveling on a bumpy road has a stiffness of and the effective mass of the car on the suspension is m=750kg. The road bumps can be considered to be periodic half- sine waves as indicated in Figure. Determine the displacement response of the car. Assume the damping of the system to be negligible.: The Fourier series representation of the bumpy road, y(t), is given byy(t)=\frac{1}{\pi}+\frac{1}{2}sin~2\pi t-\frac{2}{\pi}\{\frac{cos~4\pi t}{1(3)}+\frac{cos~8\pi t}{3(5)}+\frac{cos~12\pi t}{5(7)}+\cdot\cdot\cdot\}x(t)t(time)7777J_{f}m(20 marks)8^{k}y(t)hann

The suspension system of a car traveling on a bumpy road has a stiffness of and the effective mass of the car on the suspension is m=750kg. The road bumps can be considered to be periodic half- sine waves as indicated in Figure. Determine the displacement response of the car.

800-900 words for the essay, plus a section of Further Reading There are three main purposes in this assignment: To give you practice at summarizing scholarly work in your own words. Any research paper is a combination of your own ideas with facts or ideas that you have found in your research. Summarizing an argument (or article) is not easy, and it takes practice to learn what to information to include and what to leave aside. To practice giving page numbers for the source of information even when you are not quoting the exact wording from your source. To help you learn to search for scholarly articles on a given topic in Roman Civilization. To practice consistent formatting for a bibliography. Description of assignment:Select one of the articles. Prepare a summary (800-900 words plus Further Reading) that includes the following elements. Give a word count at the end of the assignment. The numbered points below indicate the elements to include in the assignment. You will be summarizing and evaluating a work rather than creating and supporting a thesis statement. What is the problem/question that the scholar is trying to answer? What kind of ancient evidence does she or he use? These might be ancient written texts such as letters, plays, speeches, or historical writings. They might be ancient inscriptions. Some of the articles draw information from different types of artefacts, artworks, or buildings. You don’t need to name every ancient author that the writer mentions; instead, summarize the types of sources, perhaps naming a couple of the most important more specifically. Two or three sentences on sources is enough. This section basically works as an introduction. What conclusions does he or she draw? Here is where you are largely summarizing the article. Be sure to state clearly what the author’s main argument is. This section will be the meat of your assignment and would be a few paragraphs long, perhaps two thirds of your words. I expect to see frequent page references to show particular information comes from (see below) What is your reaction to the article? Discuss it in the context of ideas raised in class or concepts in the textbook (look for a chapter that addresses similar topics even if we have not discussed it in class just yet). Critiques? Further questions? Does it make you think of modern parallels? I anticipate about a paragraph here. As you refer to particular ideas of the author, provide a reference with the page number. I expect to see frequent references. Chicago style uses footnotes (see examples below). You may also use a bracketed in-text reference (surname year, page), like this: (Vout 1996, 212-14). It is important to give references even when you are not making a direct quote. Use only 1-3 direct quotes from the article within this summary (punctuated with quotation marks: (“ ”) and be sure to give the page number. This is practice at citing your source of information. Further Reading. Identify four scholarly works held in the University of Manitoba library (digital or paper) that a person could read to learn more about the topic of the article. Look for items identified as a book or article (and book chapter is fine too but a little harder to format). Be sure to include at least one book and one article from a scholarly journal. They should be items published since 2000, the more recent the better. You do not need to read these works, just identify them and format them properly. Create a list called “Further reading” and list these works alphabetically, using correct formatting in the Chicago style (this link takes you to a downloadable Quick Guide from the library). The library catalogue itself and other tools will get you started on formatting entries, but you need to check them anyhow for consistency. List of articles: Carter, M. J. “Gladiatorial Combat: The Rules of Engagement.” Classical Journal, 102, no. 2 (2006): 97-114. Huemoeller, Katharine P. D. “Freedom in Marriage? Manumission for Marriage in the Roman World.” Journal of Roman Studies 110 (2020): 123-139. Vout, Caroline. “The Myth of the Toga: Understanding the History of Roman Dress.” Greece and Rome 43, no. 2 (1996): 204–220. [some components to note for formatting: full first name unless author uses initials; capitalize important words in title; italicize title of journal; colon before page nos.] Footnotes in Chicago style: The first footnote gives full information. The page number is the one where the information comes from. It’s ok to give a run of pages.Lea M. Stirling, “A New Portrait of Livia from Thysdrus (El Jem, Tunisia),” American Journal of Archaeology 116, no. 4 (2012): 626. If you refer to the same source again, you can abbreviate the information, and note there is a comma before the page number instead of a colon.Stirling, “Livia,” 627. How do I find the articles? Start at the main webpage of the library  search tab there looks through books and journals and works well with keywords from the authors and titles of the references above. If the article title doesn’t work, try the title of the book or journal. Strategies for reading I have chosen articles whose writing and argument seem clear to me, but they are serious, detailed works even so. They are written by scholars for other scholars and students. I recommend you read the article twice for the assignment. Read through the article once to get the main argument. You will probably see names, places, terms or bits of Latin (etc.) that you don’t recognize. Keep going. Some of these may come into focus later; for others, you will find they are not necessary for understanding the broad argument. If they crop up frequently, underline them as something to come back to or look up. The second time you read the article, take notes in your own words as you go. Note the page number where information comes from. This is useful when you want to show the location of particular information in your bracketed references. Taking notes in your own words helps you compose the assignment in your own words. Formatting the list of Further Reading Use the MLA stylesheet to format your list of Further Reading. There is a handy compressed instruction sheet here). The library catalogue can get you started on formatting entries, but you need to check them anyhow for consistency (such as capitalization, placement of commas, whether to use initials or full first names). For instance, sometimes the bibliography generators include the name of the e-publisher (e.g. Ebscohost) along with the author’s name. Sometimes they give a title in all capital letters. You need to correct these things if they occur. Use the stylesheet to format the bibliography, but you do not need to follow other components from this style for the rest of the assignment (such as whether or not there is a cover page). Note that the list of Further Reading should be in alphabetical order. Lists of bibliography or Works Cited are normally alphabetized. Submitting your paper Format: Times New Roman 12 point font, double spacedLabel the file thus: SURNAME_firstname_CLAS1280_AuthorSubmit the paper to an Assignments folder in UMLearn (you will find it under the tab for Assessments).Papers are due by midnight on February 28. Sample entry for a chapter in an edited book. Students often have trouble citing a chapter from an edited volume. Here is some advice. If one person wrote the whole book, just give the title of the book. You don’t need to name individual chapters in this situation. One way to tell that one person wrote the whole thing is that the table of contents will give only chapter titles and not individual titles. There are also books called “edited volumes” where an editor or editors collect chapters written by a bunch of different people. Our textbook is an example. You can see the editors’ names on the cover, and then there are separate authors listed for different chapters. Note that the three editors also wrote chapters within the book. When you cite a chapter from an edited volume, you need to provide the author(s) and title for the chapter AND the editor(s) and title for the book. You also have to give the run of pages within the book. So, we would cite chapter 5 from our textbook like this: Ripat, Pauline. “Class and Status.” In Themes in Roman Society and Culture: An Introduction to Ancient Rome, edited by Matt Gibbs, Milorad Nikolic and Pauline Ripat, 88-111. Oxford: Oxford University Press, 2021.

800-900 words for the essay, plus a section of Further Reading There are three main purposes in this assignment: To give you practice at summarizing scholarly work in your own words. Any research paper is a combination of your own ideas with facts or ideas that you have found in your

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