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1.Part I. Reaction Paper Read and understand the text below. Follow outline in writing your reaction paper at least 250-750 ...

paper at least 250-750 words. 1. Introduction 2. Thesis Statement 3. Supporting details 4. Conclusion The Digital Divide: The Challenge of Technology and Equity (1) Information technology is influence the way many of us live and work today. We use the internet to look and apply for jobs, shop, conduct research, make airline reservations, and explore areas of interest. We use Email and internet to communicate instantaneously with friends and business associates around the world. Computers are commonplace in homes and the workplace. (2) Although the number of internet users is growing exponentially each year, most of the worlds population does not have access to computers of the internet. Only 6 percent of the population in the developing countries are connected to telephones. Although more than 94 percent of U.S households have telephones, only 56 percent have personal computers at home and 50 percent have internet access. The lack of what most of us would consider a basic communication necessity the telephone does not occur just in developing nations. On some Native American reservations only 60 percent of the residents have a telephone. The move to wireless connectivity may eliminate the need for telephone lines, but it does not remove the barrier to equipment costs. (3) Who has internet access? The digital divide between the populations who have access to the internet and information technology tools and those who dont is based on income, race, education, household type, and geographic location, but the gap between groups is narrowing. Eighty-five percent of households with an income over $75,000 have internet access, compared with less than 20 percent of the households with income under $15,000. Over 80 percent of college graduates use the internet as compared with 40 percent of high school completers and 13 percent of high school dropouts. Seventy-two percent of household with two parents have internet access; 40 percent of female, single parent households do. Differences are also found among households and families from different racial and ethnic groups. Fifty-five percent of white households, 31 percent of black households, 32 percent of Latino households, 68 percent of Asian or Pacific Islander households, and 39 percent of American Indian, Eskimos, or Aleut households have access to the internet. The number of internet users who are children under nine years old and persons over fifty has more than triple since 1997. Households in inner cities are less likely to have computers and internet access than those in urban and rural areas, but the differences are no more than 6 percent. (4) Another problem that exacerbates these disparities is that African-American, Latinos, and Native Americans hold few of the jobs in information technology. Women about 20 percent of these jobs and receiving fewer than 30 percent of the Bachelors degrees in computer and information science. The result is that women and members of the most oppressed ethnic group are not eligible for the jobs with the highest salaries at graduation. Baccalaureate candidates with degree in computer science were offered the highest salaries of all new college graduates. (5) Do similar disparities exist in schools? Ninety-eight percent of schools in the country are wired with at least one internet connection. The number of classrooms with internet connection differs by the income level of students. Using the percentage of students who are eligible for free lunches at a school to determine income level, we see that the higher percentage of the schools with more affluent students have wired classrooms than those with high concentrations of low-income students. (6) Access to computers and the internet will be important in reducing disparities between groups. It will require higher equality across diverse groups whose members develop knowledge and skills in computer and information technologies. The field today is overrepresented by white males. If computers and the internet are to be used to promote equality, they have to become accessible to schools cannot currently afford the equipment which needs to be updated regularly every three years or so. However, access alone is not enough; Students will have to be interacting with the technology in authentic settings. As technology has become a tool for learning in almost all courses taken by students, it will be seen as a means to an end rather than an end in itself. If it is used in culturally relevant ways, all students can benefit from its power.
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2.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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3.In the United States only 6.2% of physical therapists are Hispanic. In fact, the percentage of Hispanics working in any ...

nics working in any other health profession is similar. These figures can be discouraging to aspiring health care professionals that are Hispanic. The number of Hispanic health care professionals will inevitably continue to increase over the years and I want to be a representation for my community. I want the young aspiring Hispanic health care professionals in my community to know that someone just like them is capable of anything. I always knew I wanted to work in the health care industry ever since I was a kid. I always idolized doctors, dentists, nurses, etc. It has always been a dream of mine to end up working in a job where I can help people. It was not until my senior year of high school that I knew for sure I wanted to be a physical therapist. As I started thinking about what career path in the health care industry aligned the most to my hobbies; I concluded that physical therapy was the career I wanted to pursue. The reasons were simple, my favorite activity is going the gym, I like staying active, and I enjoy learning about the human body. During my first experience in a physical therapy setting, I was amazed that light resistance exercise can help someone recover from an injury or relieve chronic pain. Many of the patients I saw during my time were patients that recently got a knee replacement. The program the physical therapists created involved strengthening the leg muscles and supporting muscles of the lower body. It illustrates that exercise can be a form of medicine. I observed many patients during my observation hours, but one patient will always be in my memory. The patient was an older lady who broke down in tears of joy and said, "Today I woke up so happy because I had no pain." The way she said it warmed up my heart so much, I had an insane feeling of joy I never really experienced. That moment will always be something I think of when I need motivation to keep going. I want to relive that experience from the physical therapist's point of view one day.
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4.It is estimated that during any one hour period, an average of 10 Internet users visit the website of Sport-Equip Ltd, ...

of Sport-Equip Ltd, a company that sells sports equipment. Some of the users who visit the website end up buying sports equipment from the website while others are simply browsing in order to obtain product information. (a) Clearly explain and justify which probability distribution you would use to describe the number of Internet users who visit the website of Sport-Equip Ltd in a one hour period. [There is no need to calculate any probabilities for this part of the question] (5 marks) (b) What is the probability that during any half-hour period, there will be less than 3 visitors to the website? (5 marks) (c) What is the probability that during any two-hour period, there will be more than 15 visitors to the website? (5 marks) (d) If a user has just visited the website, find the probability that the website will have another visitor within the next 10 minutes. In your answer, state the probability distribution you have used and explain your choice. (4 marks) (e) It is estimated that 40% of Internet users who visit Sport-Equip Ltd’s website buy a product from the company. If 100 users visit the website over a given period of time, find the probability that more than 50 of them will buy a product from the company. In your answer, state the probability distribution you have used and explain your choice
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5.11. In a game, you draw thirteen cards with replacement from a deck of playing cards. If you draw any ...

y aces or twos, you lose the game immediately. You also lose if you draw picture cards(J,Q,K) more than twice. In this question, you’ll study the probability of winning this game.(a) What is the probability of drawing no aces or twos after thirteen draws?(b) Given you have drawn thirteen times, none of which is aces or twos, what is the probability that you draw at most two picture cards?(c) What is the probability to win this game? 12. Suppose you are tossing an unbiased coin for100times.(a) What is the probability of getting50heads and50tails?(b) LetXbe the random variable counting the number of heads you observe in this exper-iment. What is the expected value ofX? What is the variance ofX? What is thestandard deviation ofX? 13. The following are probability distributions for two random variablesX,Y. kPr(X=k) 0,0.4 1,0.3 2,0.3 kPr(Y=k) 0,0.5 1,0.3 2,0.2 (a) Construct the probability distribution table for the random variableXY.(b) Find E[X],E[Y] and E[XY]. Is is true that E[XY] =E[X]E[Y]?(c) Find the variances σ2X,σ2Y,σ2XY of X,Y and XY. Is it true that σ2XY=σ2Xσ2Y? 14. The aliens who are fond of gambling came back to play another game with you. In this game, you first toss a coin5times. If you observe3or fewer tails, you roll a die3times. If youobserve4or more tails, you roll a die20times. What is the probability that you end up with at most two6’s in your dice rolls? 15. (Challenge question, worth2points) You have two bags, each of which contains10marbles.Each time you remove a marble from a random bag. What is the probability that after one of the bags is emptied, there are still exactly3marbles in the other bag?
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6.1. Other than the Egyptian pyramids, what other pyramids does Akala discuss? 2. What Akala's address. Identify 2 facts discussed ...

. Identify 2 facts discussed at the beginning of the lecture (within the first 20-25 minutes) that you were unaware of prior to listening to his lecture. What does he say about these facts? Why are these facts significant? How might these facts impact American culture as well as African American culture? 3. What Akala's address. Identify 2 facts discussed at the end of the lecture (within the last 50 minutes to the end of the video) that you were unaware of prior to listening to his lecture. What does he say about these facts? Why are these facts significant? How might these facts impact American culture as well as African American culture? 4. Select 2 facts from Akala's address that you would like to know more about. Research the topic and write a 1-2 paged paper discussing what you learned. Tell why these facts interest you. How might these facts and what you learned impact you and AA culture? 5. Select 2 facts from Akala's address that you would like to know more about. Research the topic and write a 1-2 paged paper discussing what you learned. Tell why these facts interest you. How might these facts and what you learned impact you and AA culture? 6. Notice the audience members in attendance at Akala's speech given at Oxford. Use what you learned about the mis-education of a Negro to discuss what/who you see. Do you think Akala is mis-educated is some regards? Why or why not. 2-3 paragraphs
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7.Describe the parallels between cell differentiation, nutrient supply, and final cellular state for the majority of cells involved in the ...

he majority of cells involved in the epidermis, hair follicles/hair growth, and nail synthesis/nail growth. How does the structure of spongy bone support the function of the red bone marrow contained within said bone? How do bones, synovial fluid, tendons, ligaments, and articular cartilage work together to allow synovial joint movement? Please explicitly include the bone feature that allows for tendon/ligament attachment. What is the difference in function between the vertebrae and the intervertebral disks in the vertebral column? Please discuss both the connective tissue subtype for each of these features and how the composition of their extracellular matrix contributes to function Describe the extracellular matrix of bone to someone who isn't familiar with anatomy (this should be a general description of appearance/tactile nature, no specific mention of cells or function is needed) How does hair contribute to the sensory role of the integumentary system? (A short explanation is all that is needed, no in-depth description of associated structures is required for full credit) Back when he was 16, Jordan left eye orbit floor was fractured in a bizarre fencing accident, leaving a few fragments behind inside his skull. Assuming the floor was punctured from above in the maxillary bone and no additional bones were broken, where did the bone fragments end up in his skull? (This should be a particular space in the skull, not a separate bone where the fragments are embedded The skeletal and integumentary systems rely heavily on collagen for function - describe one or more features other than ligaments that involve collagen, and how you would expect function to change in someone with EDS that affected the relevant subtype of collagen
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8.1) Which of the following statements about scientific methods / theories is correct? (1/0/0) a) A scientific theory must be able to ...

a) A scientific theory must be able to be proven. b) A scientific theory has been derived from known facts and always applies. c) A scientific method should give different results depending on who performs the method. d) Knowledge of our surroundings usually emerges through an interplay between theory and experiment. 2) The sides of a straight block are measured to 3,202 cm; 0.0012 cm and 11.2 cm, respectively. Calculate the volume of the straightening block and enter it with the correct number of value digits. (2/0/0) Number of words: 0 3) A 9.2 dm long and evenly thick rod rests on a support. 0.55 dm from one end, a dynamometer is hung so that the rod will hang horizontally. Then the dynamometer shows 4.4 N. How much does the bar weigh? (1/1/0) Number of words: 0 4) A bar AB that is homogeneous and evenly thick has a length of 2.70 m and is rotatable about an axis at A. The bar weighs 25 kg and is kept in equilibrium by a force F which has its point of attack in B. is 45 degrees. How big is the force F? (1/1/0) Saved! 25 * 9.82 = 245.5 N Number of words: 6 5) A trolley rolls at a constant speed to the right. On the cart is an upward cannon that suddenly shoots a bullet. The carriage continues to the right with the same speed as before. Where does the bullet end up when it falls? For a detailed reasoning. (1/1/1) Number of words: 0 6) A river is 200 m wide. The water in the river flows at a speed of 2.5 m / s. A motorboat steers across the river at its maximum speed, which in stagnant water is 5.0 m / s. The boat is constantly heading perpendicular to the banks of the river. Where does the motorboat land on the other shore? (2/0/0) Number of words: 0 7) A ball with a mass of 2.0 hg moves at a constant speed in a circular path. The radius of the track is 1.5 m and it takes the ball 3.0 seconds to move one turn. How big is the centripetal force? (1/1/0) Number of words: 0 8) A bullet moves at a constant speed. Can we then safely say that the resultant of the forces acting on the bullet is zero? Motivate and discuss your answer. (0/1/1) Number of words: 0 9) A conductor is located between the poles of a permanent magnet. The current in the conductor goes in the direction of the plane of the paper (away from the reader). How is the force acting on the leader directed? (1/0/0) a) To the right of the figure b) To the left in the figure c) Downwards in the figure d) Upwards in the figure 10) Protons enter horizontally from the left between two large metal plates at a speed v = 0.80 Mm / s. The plates are connected to a voltage source with the pole voltage U. Between the plates there is a homogeneous magnetic field with a flux density of 38 mT directed perpendicular to the plane of the paper. The distance between the plates is 1.5 cm. They want the protons to continue with unchanged direction and speed between the plates. Which of the plates should be connected to the positive pole of the voltage source and how large should the voltage U be? (0/2/0) Number of words: 0 11) The magnetic flux Φ through a 700-speed coil decreases linearly with time according to the diagram below. Calculate the voltage across the coil at time t = 1.0 ms. 12) The current in a coil with an inductance of 35 mH has a growth rate of 6.2 A / s at a given moment. What is the instantaneous value of the ems induced in the coil?
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1.AU MAT 120 Systems of Linear Equations and Inequalities Discussion

mathematicsalgebra Physics