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1.i need help with a littiary anallisis essay Review of Violet Evergarden:1/13 episodes The story of ...

he story of Violet Evergarden, written by Kana Akatsuki, takes its viewers through a story of tragedy, hardship, and community of a recovering solder in thirteen episodes. The provided series shows the difficulties and challenges soldiers encounter when returning home after the Great War, much like World War I. One character, Violet, is a young female soldier who recently returned from war. In the past, she was utilized as a fighting machine raised for that purpose, and that purpose only. She had no emotions throughout her drafted time and did not understand people deeply. Following her service, she gained employment as an auto memory doll, much like a typographer. From this employment, she regained the use of her emotions through mentorships and friendships. This resulted in her becoming a highly requested person in her field. Violet was a child soldier in the Great War and was raised to fight and die for her cause. She was relieved of active duty following her hospitalization after her aquatint, Mr, Hodgin’s pulled some strings to have her discharged. Hodgin’s assisted Violet in finding a job due to his respect for his past friend and her mentor, Major Gilbert. She finally settles on becoming an auto memory doll, someone who writes for others. From her years of being a soldier, violet had become numb to her emotions. Because of the need for an auto memory doll to understand the client’s emotions, she thought this would be a good area of employment. While working as an auto memory doll for a foreign diplomat, she suffered a great loss of both of her prosthetic arms during an attack. While recovering, Violet learned of the prior death of her mentor Major Gilbert. At this time, she falls into a state of denial and has difficulty accepting this is with the support of a friend that she can accept his death and move forward in her life and become a highly recommended person in her field. After experiencing all of these tragedies, she can regain her emotions. Kana Akatsuki uses Violet to exhibit the worst-case scenario of the experiences of a soldier coming back from war. This is exemplified by her being a child soldier and the loss of her arms in action. These experiences resulted in her losing her emotions. Ms. Akatsuki’s portrayals of soldiers struggling with the aftermath of war are vividly explained. The mental problems and stress of losing one’s arms would cause one a great deal of distress, with having to relearn how to live one’s daily life. In episode one, Violet awakes in the hospital after a battle that costs her arms. I could only assume what uncertainty was coursing through her mind due to becoming reliant on others. How does one previously trained to be self-reliant now become dependent upon others? Even though she has been groomed out of emotions, she would undoubtedly feel despair. In episodes two through seven, Violet has a difficult time adjusting to civilian life. His work offers her the opportunity to grow through communication with others, resulting in new friendships. Upon learning of Major Gilbert’s death in episode eight, I feel that Violet expresses raw emotion for the first time in the series. Now understanding what loss is, Violet has a whole new outlook on life. She takes further job assignments, but she has a different tone in her writing as she expresses greater compassion towards others. During episodes eleven through thirteen, Violet gets thrown back into her life as a soldier. Because of her new understanding of emotions, she refuses to kill others to prevent inflicting that pain upon others. This was the first sign, in my opinion, that she was thinking about her actions and the effects they would have on other characters’ lives. For example, if she kills this character, his family will go through the same pain she did when she learned that Gilbert had died. This is a true sign of compassion. In episode 13, Violet attends an air show where she writes a letter to the Major explaining all she had learned. He wanted most for her to be a normal girl, and she expressed in the letter how she had done that. I feel like this is where she shows just how much she has grown personally and how she has adjusted to her new life. Ms. Akatsuki uses a great deal of symbolism to give the viewer a clear and decisive point of view into Violet’s life. At the beginning of the story, Ms. Akatsuki gave the viewers just enough information about Violet without spoiling the whole story. She slowly eases the viewers into the plot to allow just how difficult Violet’s life is, to truly sink into the mind of the audience. Throughout the show, the viewer becomes familiar with different characters, both young and old. I believe that Ms. Akatsuki took the time to match the voice actors with their characters. For example, the voice of Violet sounds like she is very unsure of herself while at the same time having a disciplined tone. Major Gilbert's voice actor has a kind and heartwarming tone. He sounds like someone who truly was invested in others’ well-being, someone who would take Violet in. The other characters follow these examples no matter how small their part is and that makes this story more engaging. The story of Violet Evergarden is one of hardship, tragedy, and a community. Portrayed by a true literary genius, Kana Akatsuki. This story takes its viewers through a roller coaster of emotions and draws them deeper into the story. Through the eyes of a Great War soldier. Violet, a child soldier, goes through a transformation from a once lacking emotional character, to an auto memory doll that writes for others. Where she conveys other emotions onto paper. It is through community, friendship, and healing that Violet follows a path to recovery. One that made her face many trials and allowed her to become a renowned person in her field.
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3.Hi, i require somebody with advance knowledge in the following topics and teaching skills. Functions, Cartesian coordinates, graphs, kinematics. Trigonometric functions Exponential and ...

ions, Cartesian coordinates, graphs, kinematics. Trigonometric functions Exponential and logarithmic functions Limits and differentiation Algebra, vector and matrices Combinatorics and Probability This task is divided in 3 stages. each stage will have its own milestone and will be released upon completion and review. Please just bid if you are available for all the tasks, check carefully the times. Complete a questionary with the math questions, approx. 7 pages every answer should be complete and extensive and fully explained in order to be fully understood the process. Approx. time 2 to 2.5 hours. Task 2 will take place on Monday, September 6, 2021 at: 1:00pm / 13:00 Coordinated Universal Time (UTC) This task will include a similar questionary with A B OR C Answers, approx time 1.5 hours to 2 hours, This questions will be provided one by one and requires that we connect by chat live. Task 3 will take place on Monday, September 6, 2021 at: 1:00pm / 13:00 Coordinated Universal Time (UTC) after task2 Upon completion of task 2 a document similar to task 1 will be provided in pdf, this one need to be completed within 4 hours after provided approx. 7 pages every answer should be complete and extensive and fully explained in order to be fully understood the process. For now I will provide task 1 document.
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4.Hi, Is the article below non-fiction or creative non-fiction? What makes it either of these titles? Rose By: Tomson Highway Should ...

Rose By: Tomson Highway Should Only Native Actors Have the Right to Play Native Roles? Deep in my Cree heart of hearts, I had two-millennium projects on the go, though this only in hindsight. One was for the year 2000, the other for 2001, and thus just to make sure I had the right year for actually beginning this brand new, and incredibly exciting, millenium. Those two projects? For the year 2000, an English language production, in Toronto, of the third play in what I call my “Rez Septology,” a play called Rose. And for the year 2001, the Japanese-language premiere, in Tokyo, of the second play in the septology, a play called Dry Lips Oughta Move to Kapuskasing. And this is how the two projects affected me and my life: When it dawned on me, one cloudy day, that my career as a playwright had been destroyed by political correctness, I just about died. I wanted to throw myself under a subway train and just call it a day. I was horrified! After all that work? After all those years of struggle and of hope and of prayer and of pain and of tears and of more struggle, against odds that were impossible to begin with? But how can it be? How can the voice of a playwright be silenced? By a method so brutally effective as political correctness? In a country supposedly as civilized as Canada? Questions like this, and others like them, resounded through my brain over and over and over again. As they do to this day. Permit me, therefore, to start off with the “backdrop” before I go into “the projects,” please: First of all, I don’t happen to have the good fortune of coming from a city such as Montreal or Vancouver or Toronto or Ottawa or New York or any other major city where educational (and employment) opportunities, right from age one, are virtually unlimited (believe me, you can be a movie star by age one in such cities!). And I don’t come from a city where English (or French) is the language of the day. I come, instead, from one of the tiniest, most remote, most inaccessible, most underprivileged and most troubled Indian reserves in the country, Brochet, Manitoba, population 700, one thousand five hundred kilometers directly north of Winnipeg (further than Churchill but on the opposite side of the province). I come from a place where the language spoken is Cree. AND Dene, incidentally; because we are located so far north, we spill over into the land of such sub-arctic peoples as the Dene (linguistically speaking) to the Navajo and other southwest Native nations. In fact, to fly from Toronto (my home until recently) to Brochet costs more than a ticket to Sydney, Australia or to Rio de Janeiro. To fly home to visit my family (which I do regular as clockwork), I could fly from Toronto to London, England and back - three times each way- for the same amount of money, easy. No jumping in a taxi or a car or on a bus or a train or a “seat sale” seat on a plane from Toronto to Vancouver for the likes of us, not to go have lunch with Mom, not to go to a funeral. Plane ticket prices for Canada’s northerners? Brutal. Brutal, brutal, brutal. And that’s just the distance barrier, never mind the linguistic. For Cree is as different from English as English is from Cantonese; not one shred of resemblance exists. In fact, the two languages are often completely at odds with each other. In one language, for instance, God is male, in the other, female. And that’s just the start… So along comes this little Indian boy from one such remote northern Native community and into the big, big city of Toronto and he dares to dream of a career in the theatre, or, at the very least, in the world of Canadian letters. Fat chance, baby! Forget it. He doesn’t listen. He goes ahead anyway. “No matter how they laugh, let them laugh. I can do it,” he says to himself. And he puts his shoulder to the grindstone, as they say in movies. People always say The Rez Sisters was my first play. That’s not true. It’s not true at all. It may have been my first play to be successful with the general public. But there were five plays that came before that, every one of them self-produced, with money from my very own pocket. And some of these plays were awful, some of them were good, at least two of them were very, very good. But only with The Rez Sisters did my work suddenly, finally get noticed by, as I say, a wider public. By which time, I was almost forty. And what I had to go through to get those first five plays self-produced, you don’t even wanna know! How do you make money standing with your back against the wall in some big city, downtown back alley? Late, late at night? Guess. When it came to that “first” play, however - and I speak here about The Rez Sisters, which, in fact, was my sixth - it was the fall of 1986. In those days, of course, you could count the number of professional Native actors in this country on the fingers on one hand alone. In my wildest dreams - keeping in mind that my work was totally unknown then - I dared to write this play for “them,” meaning for those four or five professional Native actors then in existence. The reason? I adored them. I just absolutely adored these people AND their work. They were my heroes. They kept my dreams alive. So it came to the casting of the show. Finally, my play was going to get done! I was so excited I could hardly sleep at night. So then I approached them, these Native actors, for you see, as always, I was the producer, again, or at least in this case, one of the two co-producers, god bless the other co-producer, may he rest in peace. These Native actors, however, all said “no.” They were all too busy working on other projects, many of them on Native subject matter written by - horrors! - white people! I pleaded with them and pleaded with them and pleaded with them but, still, they said “no.” God bless them and their courageous careers but they made me cry. They made me want to give up and die. So what choice did I have? Either I forget the play and kill myself. OR I go right ahead and hire - horrors! - white actors! Which is what I did, exactly. And these white actors, they were SO generous, they were so kind, so supportive, so confidence generating that, with their help as with that of those Native actors who did say “yes,” god bless them - I simply bloomed. The play opened. The play was successful. And it has never really stopped playing ever since, somewhere in the world, giving continued employment to many, many, many actors both Native and non-Native. As it will do probably forever - your grandchildren will be playing in The Rez Sisters! - something that would NEVER have happened if not for the help of extremely generous people who happened NOT to be Native, actors who happened to be white! Several years later, I experienced a similar situation. This time, it was with a play called Rose. Again I wrote it for Native actors - of which, by this time (1991), there were many more - actors whom I absolutely adored, whose work I absolutely adored. And again, for some strange reason, they said “no.” They were NOT interested. I couldn’t get them interested. If their objective was to make me cry, then they were certainly utterly successful. So then I waited ten years. Ten years! And by this time, I’m almost fifty years old, okay? Until some incredibly generous non-Native person comes along and offers to produce it, albeit, in a university setting, that is, a non-professional (i.e., non-paying) setting. I was thrilled. I was so thrilled I could have danced myself to shreds! So then they went to work on it, this group of “white kids,” none of whom was older than twenty-five. And they worked. And they worked and they worked and they worked and they worked. Never seen such a group of people work so hard. And with so much faith and so much conviction and so much love. It was a blessing from heaven to be sitting there beside them, to be in the same room as them. They glowed, they glowed like lightbulbs. You’ve never seen people so happy, so high. And by the time the show opened, you couldn’t get a ticket; it had been sold out way before opening; hundreds of people were turned away. On virtually no advertising; it all happened by word of mouth. And, to me -as to most people who saw it - the production was FANTASTIC! It was rich, it was beautiful, it was spectacular, it was moving, it was...miraculous! Not perfect, perhaps, but pretty gall-darned good. But these were the things about this experience that most struck me, that most stayed with me: Not one of these actors got paid; they were students; in fact, because they were students of the drama programme at the University of Toronto, they were paying for the experience through their tuition fees which, if I understand correctly, can be as much as $8,000 a year at that particular institution. Pardon me - ONE of those actors DID get paid, a little girl we needed who, of course (being little), came from outside the drama programme. And she, by the way - and god bless her - was the only performer in that production who was Native. But how many Native actors do YOU know who would be willing to pay $8,000 to be in a show? Any show? That question stunned me. All the other performers? Well, we had French-Canadians and Anglo-Canadians and Dutch-Canadians and Polish-Canadians and Ukrainian-Canadians and Jewish-Canadians and Peruvian-Canadians and Lebanese-Canadians and Portuguese-Canadians and god only knows what else! And none of them have even met a Native person, up until then. They pretty well all came from the city of Toronto, or somewhere very close by (such as Barrie, or Sudbury) so they had never, ever been privy to any even remotely “Native experience” in their lives. Now, for the first time, in their third year of university, at ages 21-25, here they were getting this heavy-duty immersion course in “Native Studies,” meaning Native culture, Native history, Native spirituality, Native language - they were learning to speak Cree for god’s sake, something you can’t get Cree kids to do these days! - Native art, Native music, and just generally, Native life in this country, today. And you know what? They all fell in love with it. Now, as the direct result of such an experience, what they have for Native culture and people and languages is endless respect, even awe. And love. And what’s more, they will pass on that knowledge and that love and respect - and wisdom - on to their children and their grandchildren and their great grandchildren, etc., etc., etc…. The experience changed their lives. And both communities - Native AND non-Native - will benefit from it, both in the long term AND permanently. The experience certainly changed MY life. It shocked me. The shock? That generosity and kindness and love know no racial boundaries. And that, contrariwise, UN generosity and lack of kindness and just plain cruelty ALSO know no racial boundaries. Coming out of Rose, I ended up with the immense gift of, minimum, 30 gorgeous, fantastically kind new friends, people whose friendship and generosity - and laughter - I will cherish right up until the day I die. And the icing on the cake? A show was born that otherwise would never have been born, that otherwise would have died forever. A show was born that will give useful, meaningful, enriching employment - and enjoyment - to many, many people for many, many years. Like, I say, the whole thing was a shock. And it took ten years! One more story before I close off on my point, the story, that is of my second “millennium project,” so-called. As it turns out, I’m writing this from Japan, specifically Tokyo, where the Japanese-language production of another play of mine, Dry Lips Oughta Move to Kapuskasing, just opened. It was awesome. And, again, it wasn’t so much the production - which was absolutely stunning! Imagine, if you will, the Seven Samurai doing Dry Lips.. - that move me so much as the generosity of the cast and crew, Japanese every one of them. That generosity, that kindness, that largeness of heart, just astonished me. It made me cry. To be the beneficiary of kindness on that scale is a gift one could easily die for. As a result of just that one project, I now have a hundred friends, easy, in Japan. For the rest of my life! I LOVE Tokyo! And again, none of these people had ever met a Native person - well, two had, but…- much less knew anything about Native culture first hand. By the end of the six-week rehearsal process, however, some of them were speaking Cree AND some Ojibway. And let me tell you, to hear your own Native tongue being spoken with a Japanese accent is a bittersweet experience indeed. (I mean, come on, folks! To be unilingual in a language that’s not even your own? If the Japanese can learn Cree, YOU can learn Ojibway!) And, again, these people will pass their respect for Native people and culture on to their children, their grandchildren, their great great grandchildren etc., etc., etc…. The experience changed their lives. It changed mine. The one question I kept being asked over and over? How does it feel to have Japanese actors playing Native parts? (In the aforementioned Canadian production of The Rez Sisters, it was more like, “how dare these two white women STEAL Native parts from Native actors!” Well, good grief! The show would never have been born without them in the first place!) Anyway, my answer to the question in Japan was this: 1) These Japanese actors, they’re human beings, for god’s sake. What they are, first, foremost and last, is real-life, flesh-and-blood human beings with feelings, human beings who happen to be incredibly talented. And incredibly generous. If they hadn’t agreed to do it, it would never, EVER have happened. 2)To me, saying that only Native actors have the right to play Native roles - on stage, anyway, as opposed to film, which another thing entirely and not at all what I’m talking about here - well, that’s like saying only Italian actors have the right to play in Romeo and Juliet, or only Danish actors have the right to play in Hamlet, or only Spanish actors have the right to play in Blood Wedding. It would be like saying to someone like Canadian film-maker Atom Egoyan, “you have the right to work with Armenian actors only,” which, of course, would automatically bring his career to a standstill; it would destroy it, it would kill it, right there on the spot. Or as I asked, one sunny day, a respected, much admired Jewish theatre artist, “how would you like to work with no but Jews for the rest of your life?” You could almost see his hair stand on end; the very thought horrified him. My argument with someone else at that same summer gathering? “Theatre is about illusion, the better the magic, the more profound the experience.” Besides, working in a situation of cultural, ethnic and linguistic diversity can be the most empowering, most liberating, most exhilarating experience in anyone’s life. Working in a pressure cooker environment by comparison? Working in the context of a “ghetto” of any kind whatsoever, be that “ghetto” Native or black or French or English or Jewish or female or male or gay or…? Remember the expression, “familiarity breeds contempt”? Well, only too frequently, such a working environment can only mean THAT kind of disaster. Or one of plain, out-and-out hatred. And hatred, as who doesn’t know, kills and kills completely. It kills relationships, it kills communities, it kills love. Look at what the Argentinians did TO EACH OTHER during the so-called “dirty war” of the 1970s. Look at what the Spanish did TO EACH OTHER during the Spanish Civil War. Look at what the Chileans have done TO EACH OTHER. Look at the Irish in Northern Ireland. Look at the Balkans, at Cambodia in the ‘80s, at Haiti, at Rwanda, etc., etc., etc…. Does anybody out there actually want to live like that? Internally directed hatred, internally directed violence - which, in essence, is what civil war is - well, there is nothing more destructive, we all know that. Diversity! What we all need is diversity! What we all need, desperately, is room to breathe! That’s what makes Canada work as a society; precisely its diversity. If we - all of us - were Cree, I would have had my head macheted off a long, long time ago! All by way of saying the following: “Only Native actors have the right to play Native roles?” Music to Native actor’s ears, perhaps, yes, god bless them. But death to a Native playwright’s career. Because chances are that the show will NEVER, ever get done. No producer in the country has balls that size, balls big enough, that is to say, of going against the political grain. Not today. Not tomorrow. Stop it, you people! It’s killing us! Myself, I had to move out of the country, finally. I could no longer live there, not really. I kind of live, well...all over the world now. I do where I can find work. Because I certainly am NOT finding it in my own country. I go where I can find the kindness, I go where I can find the generosity, I go where I can find the friendship and support. The working situation in Canada, for someone like me? Well, it has simply become unworkable. I find it stultifying, asphyxiating. I CAN’T work under such artificial constraints. No one can. Sooner or later, it will drive you crazy. Not to mention kill your imagination. AND your career. All as you watch, with envious eyes, the careers of your non-Native playwright colleagues (whom you love) bloom like a garden everywhere around you… It seems to me that what we have here are two distinct choices: a) either we cast a show politically correctly (meaning only Native actors play Native parts) and the show never, ever gets produced (trust me; I waited ten years for Rose to happen, more for others which will NEVER get done), or b) cast it any way you want, in whatever way you can afford it budget-wise (plane tickets are a waste of money, trust me), let the show be born, let the show become successful, and THEN it will live on forever to employ many, many, many more actors, Native and otherwise, for many, many, many more years. And the upshot of the latter arrangement? Having Native and non-Native actors working side by side like that? There is no better healing agent for bringing two only-too-frequently disparate, disharmonious communities together. And, in the process, making our country an even better, richer, healthier country than it is already. The life of an artist is so incredibly challenging, after all, a Native artist’s most especially, in Canada today, or anywhere in the world. Everywhere you turn, insurmountable obstacles meet you square in the face. Everywhere you turn, events, or people, conspire to bring you down, to destroy you. What those artists need, and need most desperately, is as much breathing space as you can give them, the freedom to create, the freedom to employ, the freedom to fly with their souls and imaginations. Don’t hold them down. Don’t shoot them down. You will kill them. Or drive them away. They need all the help they can possibly acquire. They’ve already almost killed themselves just to get to where they are today. Someone said to me one day: “Artists are here to break down barriers, not to create them.” So, myself, I’ve moved away. I’ve left my own country, to continue helping to break down barriers in whatever way I still can, at my age, in the only way I know how, and to have a good time doing it. The thing is, I can do that. I can take it. I’ve had, as they say in the business, my “fifteen minutes of fame.” Enough already. I’ve been very, very lucky (not to mention being the beneficiary of extraordinary teachers, absolutely extraordinary parents and many dear, dear friends). And I’ve moved on, to other things. I have had, after all, no choice. The sad thing is this: what about the next generation of Native playwrights? Will they, too, one day find themselves standing on that subway platform - late, late at night, stoned, drunk out of their skulls, not a penny in their pockets, no future in sight - and those long, silvery tracks down below gleaming up at them in a manner most, most enticing?
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5. Take me as someone who has always had an interest in air pollution, but doesn't have the time to learn ...

earn about it independently. I am hiring you to learn all that you can about it and put together a report that will summarize all the information so that I can learn as much as I can in as little time as possible. Here is what you need to include in your report: An explanation of air pollution. What is air pollution? // Explain 4 causes of air pollution. Explain 2 sources of air pollution. What are the toxins or pollutants that contaminate the air? Explain at least 5 effects of air pollution on human health and/or the environment. Explain 3 solutions to stopping air pollution. What can be done by the government or private organizations? Work cited page should also be included, listing all the sources you used to get your information. THIS REPORT SHOULD BE TYPED AND ORGANIZED IN 5 OR MORE PARAGRAPHS. READ THE RUBRIC BELOW CAREFULLY TO UNDERSTAND HOW THIS PROJECT WILL BE GRADED!! WORKS CITED PAGE General guidelines for citing sources: List entries alphabetically by author (if no author list title first) Separate entries with periods General format: Author, last name first. "Webpage title." Website title. Date published/updated. Organization/publisher. Date accessed. < URL > Example: Landsberger, Joseph. “Citing Websites." Study Guides and Strategies . 12 May 2005. University of X. 13 May 2005. < >. These websites will format your citations for you: & **You should use google slides or powtoons to put together your information. You should have a minimum of 6 slides not including the title slide with your name.** DUE FRIDAY, APRIL 3, 2020 Rubric Criteria Points Information Included Three or more required elements are missing (not including additional facts). (20 points) 1 or 2 required elements are missing (not including additional facts). (30 points) All required information is present, but no additional information is given. (40 points) All required information is present, including two additional facts. (50 points) _________ Quality of information Information has little or nothing to do with the main topic OR sections do not provide any supporting detail or explanation. (5 points) Information clearly relates to the topic, but some sections are lacking detail and explanation. (10 points) Information clearly relates to the main topic and all sections include some supporting detail and explanation. (15 points) Information clearly relates to the main topic and all sections include significant supporting details and explanation. (20 points) ________ Format Title page is not present at all AND/OR there are errors in typing, spacing, no picture, etc. (5 points) Product has improperly formatted title page AND/OR no picture or not creative. (8 points) Product has incorrectly formatted title page and has pictures. (12 points) Product has a title page in the proper format, has pictures and is creative. (15 points) ________ Spelling/Grammar 5 or more grammatical, spelling or punctuation errors present throughout the product. (2 points) 3-4 grammatical, spelling or punctuation errors present throughout the product. (3 points) 1-2 grammatical, spelling or punctuation errors present throughout the product. (4 points) No grammatical, spelling or punctuation errors present throughout the product. (10 points) ________ Works Cited Works Cited page not present. (2 points) All sources are documented with 3-4 errors in format OR Works Cited is not done a separate page. (3 points) Works Cited is done on a separate page and all sources are documented with 1-2 errors in format. (4 points) Works Cited is done on a separate, properly headed page with all sources documented in proper Works Cited format. (5 points) ________ Total _____/100
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7.I just need someone to look over my paper for anatomy and to just let me know what I need ...

t or add. I'll attach the questions, my rubric, as well as my answers I made. It would really help me out please. The questions: 1.) Choose two somatosensory receptors. Please include a description of each receptor, what they sense, and which part of the brain processes the information from the receptor. 2.) Provide a discussion of the thyroid gland. Include the following: Description of the thyroid gland's structure and location. Description of the cells of the thyroid gland. Description of the hormones secreted by the thyroid gland and their functions. Description of how thyroid hormones are controlled by hormones secreted by the hypothalamus and anterior pituitary gland. Description of how the feedback system works in the cases of high or low thyroid hormone levels. 3. Describe the cardiac cycle. Include descriptions of the 3 phases, the pressure changes in each of the heart's chambers, valves are open and closed, and blood flows during each step. My answer: 1.) Exteroceptor - receives external stimuli from outside of the body. An example, the skin (Thermoreceptors) detects the temperature of the outside area of the body. Interceptor - receives stimuli from inside of the body. An example would be blood pressure as well as blood oxygen levels. 2.) Thyroid Gland is located near the front lower part of the neck, beneath Adam's apple. Its structure includes Thyroid Epithelial that form follicles filled with colloid - a protein-rich reservoir of the materials needed for thyroid hormone production. The cells are responsible for releasing hormones that control metabolism (Energy levels). The thyroid gland releases triiodothyronine (T3) and thyroxine (T4). These hormones regulate weight, energy levels, internal temperature, skin, and growth. When the hypothalamus and pituitary function well, they can detect when hormone levels are low, which causes them to produce more TRH and TSH, which stimulates the thyroid to produce hormones. When the hormone levels exceed their limit, they then have less TRH and TSH, which results in reduced hormone production by the thyroid. Feedback is when a product feeds back into its initial cycle. The Feedback includes both positive and negative feedback. Positive Feedback is when a product provides back to increase production: an example, milk production by a mother for her baby. As the baby suckles, nerve messages from the nipple cause the pituitary gland to secrete prolactin. Prolactin, in turn, stimulates the mammary glands to produce milk, so the baby suckles more. Which causes more prolactin to be secreted and more milk to is made. Negative Feedback is when a product feeds back decreases production; it brings down show if they increase past their limit. It also controls insulin secretion by the pancreas. 3.) The Cardiac Cycle takes place from the beginning of a heartbeat to the next. It contains two periods: One is when the heart muscle relaxes and refills with blood, called diastole, following a time when it begins contraction and pumping of blood, systole. Once emptied, the heart then relaxes and expands to receive another inrush of blood coming back from the lungs and other areas of the body. The atrioventricular valves remain open while the semilunar valves are closed. During the middle part of the diastole, a small amount of blood flows into the ventricles. The blood flows from the veins and passes the atria fills the ventricles. The pressure in both ventricles is close to zero as a result.
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8.I am not sure about an experiment that I need to do. I had an idea before but my teacher ...

do it and to be more specific. However. I am not sure if my solution is correct. My original experiment question was to "Investigate how many loops of wires around a nail affect the strength of electromagnetism". "How many loops of wire around a 10D nail does it take for a quarter to be lifted? ". My teacher said the first one wasn't correct because I need something more quantifiable than the strength of electromagnetism. Also, he said quarter one wouldn't work because the quarter is not an actual dependant variable. I wanted to see if I could do this question instead, "Investigate how many paper clips a 10D nail wrapped 50 times with wires can pick up." and discuss the voltage and amps of this process.
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics