Text 22A4-I

Tourism cannot be treated in isolation since it embodies all tourism practices in the system they operate in. Thus, tourism is a complex sociocultural, economic, and political phenomenon that touches all levels of society. The investigation of tourism’s role in society, the tourism system’s effects on nature, tourism spaces, objects, practices, relationships, and tourist typologies demand systematic sociological investigations. It is important to consider the whole macro system through its members’ social, political, cultural, and economic interactions. In such a social context, both human and nonhuman actors continuously shape and reshape the tourism system, and the tourism system reshapes these actors’ values, attitudes, and behaviors.

Researchers examining the sociology of tourism departed from several theoretical perspectives, blended theory and method, and focused on sociological concepts to understand and explain the different aspects of tourism. This group of scholars has been working within the several cores of sociology (like education, family, economy, development, religion, gender, language, migration, social inequalities, labor, and art) and at the margins of emerging interdisciplinary formations, including those crossing many disciplines such as geography, anthropology, economics, political science, psychology, marketing, communication, women’s studies, history, and cultural studies. The sociology of tourism studies engendered transdisciplinary conversations both in academia and in practice, and the results of these studies have created pragmatic changes in tourism practices, habits, and governance.

Internet: <https://www.oxfordbibliographies.com> (adapted).

Text 22A4-I

Tourism cannot be treated in isolation since it embodies all tourism practices in the system they operate in. Thus, tourism is a complex sociocultural, economic, and political phenomenon that touches all levels of society. The investigation of tourism’s role in society, the tourism system’s effects on nature, tourism spaces, objects, practices, relationships, and tourist typologies demand systematic sociological investigations. It is important to consider the whole macro system through its members’ social, political, cultural, and economic interactions. In such a social context, both human and nonhuman actors continuously shape and reshape the tourism system, and the tourism system reshapes these actors’ values, attitudes, and behaviors.

Researchers examining the sociology of tourism departed from several theoretical perspectives, blended theory and method, and focused on sociological concepts to understand and explain the different aspects of tourism. This group of scholars has been working within the several cores of sociology (like education, family, economy, development, religion, gender, language, migration, social inequalities, labor, and art) and at the margins of emerging interdisciplinary formations, including those crossing many disciplines such as geography, anthropology, economics, political science, psychology, marketing, communication, women’s studies, history, and cultural studies. The sociology of tourism studies engendered transdisciplinary conversations both in academia and in practice, and the results of these studies have created pragmatic changes in tourism practices, habits, and governance.

Internet: <https://www.oxfordbibliographies.com> (adapted).

Text 19A4-II

Photo exhibitions are great opportunities for excited and ambitious photographers to showcase their work beyond just the safety of their friends and family. They’re also a stellar opportunity to develop a thicker skin, as your work will be subject to critique, but that’s all part of the territory that comes with getting more exposure as a photographer, which is what all artists should strive for. Beyond that, they’re a great way to advertise yourself as a photographer, both your talents and your availability. Think of it almost as the artist’s equivalent to having a booth at a trade show when you’re selling a product.

First-timers to an exhibition will likely find themselves a bit unsure of what to do and somewhat nervous. Here’s a series of surefire tips to make any exhibition a success. Before you do anything else, it’s imperative that you make up your mind about what you’ll be showcasing at your exhibition. You only have two choices, when you think about it: brand-new work that you’ll shoot especially for the exhibition or archival stuff that you’ll just pull out for the exhibition. Also, being creative when finding the exhibition location is as important as the showcase itself.

Internet: <https://contrastly.com> (adapted).

Text 19A4-I

It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks.

More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer.

Internet: <https://faroutmagazine.co.uk> (adapted).

Text 19A4-I

It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks.

More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer.

Internet: <https://faroutmagazine.co.uk> (adapted).

Text 19A4-I

It is a universal fact that cinema is a visual medium. Films have the power to overwhelm our senses as well as our minds, subjecting us to a variety of experiences that can range from the sublime to the devastating. Colours play a crucial role in this interesting phenomenon, forming an integral part of the composition of each frame and dictating how the viewer perceives the spectacle on the screen. Apart from the cinematic medium, colours have always been a part of our experience and how we make sense of the vastly nuanced world around us. Although science has definitively explained what colours are in terms of light, they have always mystified artists and philosophers like Arthur Schopenhauer and Ludwig Wittgenstein, who tried to understand their importance in anthropological frameworks.

More notably, the famous German poet and artist Johann Wolfgang von Goethe published a seminal exploration of colours in his 1810 work Theory of Colours. In it, he examined how each colour corresponds to various psychological states in the minds of human beings. He wrote, “Light and darkness, brightness and obscurity, or if a more general expression is preferred, light and its absence, are necessary to the production of colour… Colour itself is a degree of darkness.” Goethe’s theories might seem baselessly romantic in the 21st century but the underlying ideas have been implemented by filmmakers and cinematographers to curate the voyeuristic experiences of their audiences. Famed cinematographer Vittorio Storaro has based his artistic vision on Goethe’s work, insisting that colours do have a direct connection to the mind of the viewer.

Internet: <https://faroutmagazine.co.uk> (adapted).

Text 18A3-I

The roar of a waterfall suggests the power of water. Rampaging floodwaters can uproot strong trees and twist railroad tracks. When the power of water is harnessed, however, it can do useful work for humans.

Since ancient times, people have put the energy in the flow of water to work. They first made water work for them with the waterwheel, a wheel with paddles around its rim. Flowing water rotated the waterwheel, which in turn ran machinery that was linked to it. Today, new kinds of waterwheels – turbines – spin generators that produce electricity. Electricity from waterturned generators is known as hydroelectricity.

By building a dam across a river, the natural upstream water level is elevated and a difference in head is created that can be used to drive turbines and generate electricity. A large upstream reservoir may balance seasonal water flow; rain or melted snow can be stored in the reservoir during the wet season to provide electricity during dry seasons.

Waterpower is distributed unevenly among the continents and nations of the world. Europe and North America have developed much of their waterpower. Asia, South America, and Africa have abundant waterpower potential, but while countries such as China and Brazil have become leading hydroelectric producers, much of the waterpower resource on those continents remains undeveloped.

Elizabeth Lachner. Hydroelectricity. Rosen Publishing Group, 2018 (adapted).

Text 20A4-I

Fresh water is a precious resource, and water from rivers, streams, and lakes has often been regarded as an economic commodity in the United States as in much of the world. Water is essential not only for human consumption and for a variety of domestic purposes, but for fire protection, military defense, transporting people and goods, irrigating farmlands, manufacturing, and generating power. The great rivers and their tributaries in the United States are the primary source of the water bounty and are major symbols of American regionalism, ultimately binding together disparate areas into a powerful whole.

American rivers were symbols of a burgeoning nation in the 18th and the 19th centuries. They inspired romantic renderings at the hands of artists, and in some cases, they were depicted as detailed landscape features with physical and even human qualities. But at times they were regarded as untapped or underutilized resources, raw material waiting to be harnessed, managed, and exploited for human benefit. In the neoclassical tradition of the 18th and early 19th centuries, the ‘proper’ channel for a river was not necessarily the one it has carved for itself: by means of canals and locks it can be guided by men along a straight and level line, thereby improving upon natural design. “Rivers, therefore, were most attractive when they yielded to humanity’s needs, whether as mechanisms of transportation or as sites for nascent towns.” For aesthetic and for practical reasons, wild rivers served little purpose, as historian Theodore Steinberg noted:

“As the 19th century progressed, a consensus emerged on the need to exploit and manipulate water for economic gain. A stunning cultural transformation was taking place, a shift in people’s very perception of nature. By the latter part of the 19th century, it was commonly assumed, even expected, that water should be tapped, controlled, and dominated in the name of progress — a view clearly reflected in the law”.

Steamboats, canals, and dams became the technologies of choice to accomplish those goals.

David Billington, Donald Jackson, and Martin Melosi. The History of Large Federal Dams: Planning, Design and Construction.

Text 20A4-I

Fresh water is a precious resource, and water from rivers, streams, and lakes has often been regarded as an economic commodity in the United States as in much of the world. Water is essential not only for human consumption and for a variety of domestic purposes, but for fire protection, military defense, transporting people and goods, irrigating farmlands, manufacturing, and generating power. The great rivers and their tributaries in the United States are the primary source of the water bounty and are major symbols of American regionalism, ultimately binding together disparate areas into a powerful whole.

American rivers were symbols of a burgeoning nation in the 18th and the 19th centuries. They inspired romantic renderings at the hands of artists, and in some cases, they were depicted as detailed landscape features with physical and even human qualities. But at times they were regarded as untapped or underutilized resources, raw material waiting to be harnessed, managed, and exploited for human benefit. In the neoclassical tradition of the 18th and early 19th centuries, the ‘proper’ channel for a river was not necessarily the one it has carved for itself: by means of canals and locks it can be guided by men along a straight and level line, thereby improving upon natural design. “Rivers, therefore, were most attractive when they yielded to humanity’s needs, whether as mechanisms of transportation or as sites for nascent towns.” For aesthetic and for practical reasons, wild rivers served little purpose, as historian Theodore Steinberg noted:

“As the 19th century progressed, a consensus emerged on the need to exploit and manipulate water for economic gain. A stunning cultural transformation was taking place, a shift in people’s very perception of nature. By the latter part of the 19th century, it was commonly assumed, even expected, that water should be tapped, controlled, and dominated in the name of progress — a view clearly reflected in the law”.

Steamboats, canals, and dams became the technologies of choice to accomplish those goals.

David Billington, Donald Jackson, and Martin Melosi. The History of Large Federal Dams: Planning, Design and Construction.

Text 20A4-I

Fresh water is a precious resource, and water from rivers, streams, and lakes has often been regarded as an economic commodity in the United States as in much of the world. Water is essential not only for human consumption and for a variety of domestic purposes, but for fire protection, military defense, transporting people and goods, irrigating farmlands, manufacturing, and generating power. The great rivers and their tributaries in the United States are the primary source of the water bounty and are major symbols of American regionalism, ultimately binding together disparate areas into a powerful whole.

American rivers were symbols of a burgeoning nation in the 18th and the 19th centuries. They inspired romantic renderings at the hands of artists, and in some cases, they were depicted as detailed landscape features with physical and even human qualities. But at times they were regarded as untapped or underutilized resources, raw material waiting to be harnessed, managed, and exploited for human benefit. In the neoclassical tradition of the 18th and early 19th centuries, the ‘proper’ channel for a river was not necessarily the one it has carved for itself: by means of canals and locks it can be guided by men along a straight and level line, thereby improving upon natural design. “Rivers, therefore, were most attractive when they yielded to humanity’s needs, whether as mechanisms of transportation or as sites for nascent towns.” For aesthetic and for practical reasons, wild rivers served little purpose, as historian Theodore Steinberg noted:

“As the 19th century progressed, a consensus emerged on the need to exploit and manipulate water for economic gain. A stunning cultural transformation was taking place, a shift in people’s very perception of nature. By the latter part of the 19th century, it was commonly assumed, even expected, that water should be tapped, controlled, and dominated in the name of progress — a view clearly reflected in the law”.

Steamboats, canals, and dams became the technologies of choice to accomplish those goals.

David Billington, Donald Jackson, and Martin Melosi. The History of Large Federal Dams: Planning, Design and Construction.