In class we have discussed a number of ways to save money no…
Questions
In clаss we hаve discussed а number оf ways tо save mоney now and for the future. Identify three ways that you have identified to save money. Explain how you are implementing these savings habits.
Whаt divides the оuter eаr frоm the middle eаr?
DIRECTIONS: Chооse the best аnswer fоr eаch question. First Artists [A] This is where the cаve lions are, and the woolly rhinos, mammoths, and bison, a collection of ancient creatures, stampeding, battling, stalking in total silence. Outside the cave, where the real world is, they are all gone now. But this is not the real world. Here they remain alive on the shadowed walls. [B] Around 36,000 years ago, someone living in a time incomprehensibly different from ours walked from the original mouth of this cave to the chamber where we stand and, by flickering firelight, began to draw on its bare walls: profiles of cave lions, herds of rhinos and mammoths, a magnificent bison off to the right, and a chimeric creature - part bison, part woman - on an enormous rock. Other chambers harbor horses; an owl shaped out of mud by a single finger on a rock wall; an immense bison formed from handprints; and cave bears walking casually, as if in search of a spot for a long winter's nap. The works are often drawn with nothing more than a single and perfect continuous line. In all, the artists depicted 442 animals over perhaps thousands of years, using nearly 400,000 square feet of cave surface as their canvas. [C] Hidden by a rock slide for 22,000 years, the cave came to light in December 1994, when three spelunkers named Eliette Brunel, Christian Hillaire, and Jean-Marie Chauvet scrambled through a narrow crevice in a cliff and dropped into the dark entry. Since then, what is now known as the Cave of Chauvet-Pont-d'Arc has been ferociously protected by the French Ministry of Culture. We are among the rare few who have been allowed to make the same journey the ancient artists did. The age of these drawings makes youngsters of Egypt's storied pyramids, yet every charcoal stroke, every splash of ocher looks as fresh as yesterday. One moment you are anchored in the present, observing coolly. The next you are seeing the paintings as if all other art - all civilization - has yet to exist. [D] How did such human accomplishment come to be, so long ago, seemingly out of nowhere? Most of the cave paintings in southern France and Spain were created after 40,000 B.C. Why there? Why then? One clue is the deep and extensive caves themselves. Tito Bustillo in northern Spain is a half mile from one end to the other. El Castillo and other caves on Monte Castillo dive, twist, and turn into the ground like enormous corkscrews. France's Lascaux, Grotte du Renne, and Chauvet run football fields deep into the rock, with multiple branches and cathedral-like chambers. [E] Perhaps the explosion of creativity we see on the walls of these caverns was inspired in part by their sheer depth and darkness - or rather, the interplay of light and dark. Illuminated by the flickering light from fires or stone lamps burning animal grease, such as the lamps found in Lascaux, the bumps and crevices in the rock walls might suggest natural shapes, the way passing clouds can to an imaginative child. In Altamira, in northern Spain, the painters responsible for the famous bison incorporated the humps and bulges of the rock to give their images more life and dimension. Chauvet features a panel of four horse heads drawn over subtle curves and folds in a wall of receding rock, accentuating the animals' snouts and foreheads. Their appearance changes according to your perspective: One view presents perfect profiles, but from another angle the horses' noses and necks seem to strain, as if they are running away from you. In a different chamber a rendering of cave lions seems to emerge from a cut in the wall, accentuating the hunch in one animal's back and shoulders as it stalks its unseen prey. [F] In his book La Prehistoire du Cinema, filmmaker and archeologist Marc Azema argues that some of these ancient artists were the world's first animators, and that the artists' images combined with flickering firelight in the pitch-black caves to create the illusion that the paintings were moving. "They wanted to make these images lifelike," says Azema. He has re-created digital versions of some cave images that illustrate the effect. The Lion Panel in Chauvet's deepest chamber is a good example. It features the heads of ten lions, all seemingly intent on their prey. But in the light of a strategically positioned torch or stone lamp, these ten lions might be successive characterizations of just one lion, or perhaps two or three, moving through a story, much like the frames of a flip-book or animated film. Beyond the lions stands a cluster of rhinoceroses. The head and horn of the top one are repeated six times, one image above the other, as if thrusting upward, its whole body shuddering with multiple outlines. [G] Azema's interpretation fits with that of eminent prehistorian Jean Clottes - the first scientist to enter Chauvet, only days after its discovery. Clottes believes the images in the cave were intended to be experienced much the way we view movies, theater, or even religious ceremonies today - a departure from the real world that transfixed its audience and bound it in a powerful shared experience. "It was a show!" says Clottes. [H] Thousands of years later you can still feel the power of that show as you walk the chambers of the cave, the sound of your own breath heavy in your ear, the constant drip, drip of the water falling from the walls and ceilings. In its rhythm you can almost make out the sound of ancient music, the beat of the dance, as a storyteller casts the light of a torch upon a floating image and enthralls the audience with a tale. What is meant in paragraph D when it says the caves run football fields deep into the rock?