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.

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.

Does Snoozing Your Alarm Really Increase Sleepiness?

Snoozing the alarm doesn’t necessarily mean you’ll feel groggy the rest of the day. But it’s important to get as much sleep as you can. Getting up early in the morning is no easy task for plenty of people. That’s why alarms are important — they ensure that you wake up at your desired time. However, nobody can deny how tempting it is to try and squeeze in a few more minutes of sleep.

According to a survey, about 57 percent of people snooze in the morning, which is defined as needing multiple alarms to wake up. If you set a single alarm and snooze it repeatedly or set several alarms at regular intervals until the time you absolutely need to get up, you are a snoozer. Waking up on the first alarm is commonly recommended, but does it really make a difference if you are woken up by one alarm compared to several ones? In a recent sleep study, researchers examine how snoozing affects an individual’s health and sleep.

According to the study, people snooze for a variety of reasons. Most of the participants said that they just can’t get up with only the first alarm. Some say they snooze because they feel comfortable in bed, while others do it because they feel less tired when they do get up. A researcher said that snoozing might be a sign that people are waking up because of important scheduled activities — like school or work — rather than because they have adequately rested.

Internet: <www.discovermagazine.com> (adapted).

According to the preceding text, judge the following items.