what is he? (Lonky from the giraffe tribe)

a prince of the Giraffe Tribe, 49th in line to the throne

guess one of popo's quotes

'' The one who rules the cards!"

"Shake it, shake it, shake it!"

"Hey, what going on? What's wrong with you guys huh!? This, is how you plan? By insulting, fighting and giving up?"

guess one of liu's quotes

"Hey, what going on? What's wrong with you guys huh!? This, is how you plan? By insulting, fighting and giving up?"

"People get hurt while playing this game. If we stop for everything, it's no longer a game."

"That's strange. I feel like he's hiding something..."

'' The one who rules the cards!"

(this is in netflix and made in korea so dont judge it) running man quiz

The film begins as a journey to film the largest animal on the planet, the blue whale. But during the journey the filmmakers (journalist Craig Leeson and environmental activist Tanya Streeter) make the shocking discovery of a huge, thick layer of plastic floating in the middle of the Indian Ocean. This prompts them to travel around the world to look at other areas that have been affected. In total, they visited 20 locations around the world during the four years it took them to make the film. The documentary premiered in 2016, and is now on streaming services such as Netflix.It’s very clear that a lot of research went into the film. There are beautiful shots of the seas and marine life. These are contrasted with scenes of polluted cities and dumps full of plastic rubbish. We see how marine species are being killed by all the plastic we are dumping in the ocean. The message about our use of plastic is painfully obvious. But the film doesn’t only present the negative side. In the second half, the filmmakers look at what we can do to reverse the tide of plastic flowing around the world. They present short-term and long-term solutions. These include avoiding plastic containers and ‘single-use’ plastic products as much as possible. Reuse your plastic bags and recycle as much as you can. The filmmakers also stress the need for governments to work more on recycling programmers, and look at how technology is developing that can convert plastic into fuel We make a staggering amount of plastic. In terms of plastic bags alone, we use five hundred billion worldwide annually. Over 300 million tons of plastic are produced every year, and at least 8 million of those are dumped into the oceans. The results are disastrous, but it isn’t too late to change. Once you’ve seen A Plastic Ocean, you’ll realize the time is now and we all have a role to play.

This is an apartment block. We live in a block of flats. I like to drink coffee on the balcony. There are some old boxes in the attic. My bedroom is upstairs. We need to walk down the stairs. The laundry room is in the basement. The kitchen is downstairs. There is a small yard behind the house. My friend has a beautiful garden in their backyard.

Can you create an evaluation using this information PHONETICS VS. PHONOLOGY Whereas phonetics is the study of sounds that occur in language, phonology is the study of how these sounds are organized and how they function in language. It uses the classifications of sounds derived from phonetics to describe and analyze how sounds occur in speech. STRUCTURALIST PHONEMICS STRUCTURALIST PHONEMICS As linguists began to study sounds in fine detail, they recognized increasingly complex aspects of phonetic organization. For example, the sound /p/ appears in different varieties in English. STRUCTURALIST PHONEMICS One of the varieties of /p/ is indicated by [ph]. This sound is produced with an accompanying puff of air called aspiration, as in the words “pill,” and “peace.” Another sound, indicated by [p•], is produced when there is little or no aspiration; this sound occurs in a word like “spill.” A third major variety for the /p/ sound is the unreleased [p– ], which may occur at the end of a word like “stop.” To deal with these variations for the /p/ sound, the structuralists suggested the existence of an abstract unit which they termed a phoneme. STRUCTURALIST PHONEMICS A phoneme was defined by the structuralists as an abstract phonological unit that represents a class of real sounds, termed the allophones of a phoneme. The phoneme /p/ in English, then, is represented by the allophones [ph], [p•], and [p– ]. STRUCTURALISTS: MINIMAL PAIRS How do we know what these abstract units of sound called phonemes are? In order to find the phonemes of a language, the structuralists developed the concept of the minimal pair, defined as any two words that: a) Contain the same number of segments b) Differ in meaning c) Exhibit only one phonetic difference. STRUCTURALISTS: MINIMAL PAIRS In practical terms, phonemes distinguish meanings; and a phoneme can also be defined as the smallest meaning-distinguishing unit of sound. For instance, the words “pin” /pɪn/ and “bin” /bɪn/ mean different things, and the only one difference in these words occurs in the initial sounds. STRUCTURALISTS: MINIMAL PAIRS By using the concept of a minimal pair, we can determine that the three variations of the /p/ sound do not represent three phonemes. Certainly, it is possible to pronounce the word cap with either an aspirated [ph ] or unreleased [p– ]; however, the two forms [kæph ] and [kæp– ] are not a minimal pair, even though they involve different sounds, because they are identical in meaning. STRUCTURALISTS: FREE VARIATION The two forms [kæph ] and [kæp– ] are, therefore, said to exhibit free variation: that is, the pronunciation may vary without signifying a change in meaning. In other words, we may conclude that the unreleased [p– ] and the aspirated [ph ] are not representations of different phonemes in English; they are, in fact, allophones of one phoneme, /p/. STRUCTURALISTS: COMPLEMENTARY DISTRIBUTION When phonemes have more than one allophone in a language, the allophones are said to be in complementary distribution. Complementary distribution means that the allophones of a phoneme occur in different phonetic environments (that is, with different sounds surrounding them). TRANSFORMATIONAL- GENERATIVE PHONOLOGY TRANSFORMATIONAL-GENERATIVE PHONOLOGY Transformational-generative phonology is a relatively recent development in linguistic theory. Chomsky launched Transformational-Generative Grammar in 1957, but the earliest studies within this framework were largely concerned with syntax. A decade later, the first comprehensive transformational-generative treatment of English phonology appeared: Chomsky and Halle’s The Sound Pattern of English (1968). TRANSFORMATIONAL-GENERATIVE PHONOLOGY Transformational-generative phonologists strongly oppose the structuralists’ phonemic level. They replace this level by a series of rules that directly relate underlying representations to observed phonetic representations. The central mechanisms in transformational-generative phonology, then, are underlying representations and phonological rules. PHONOLOGICAL RULES A rule is an operational statement in which some linguistic entity is modified, resulting in a new linguistic entity. Rules may add elements, remove elements, or change elements. By using phonological rules, linguists attempt to demonstrate that there is order in linguistic phenomena and that linguistic patterns are systematic. PHONOLOGICAL DERIVATION A phonological derivation is an operation that begins with an underlying representation and, through the application of a set of specific rules, yields the actual sound the speaker produces. The representation of a phonological rule has the following general appearance. /A/ → [B] / C “A” changes to “B” under condition “C” PHONOLOGICAL RULE – EXAMPLE In most Southern dialects, the word ten is pronounced like the word tin. This is not an isolated fact, for den is pronounced like din and Ben is pronounced like bin, and so on. This very general fact can be represented by the phonological rule: /ɛ/ → [I] / ___ [n] den /dɛn/ → /dIn/ Ben /bɛn/ → /bIn/ ten /tɛn/ → /tIn/ /ɛ/ → [I] / ___ [n] - high - low - tense + front + high - tense + front + sonorant + anterior + coronal - continuant NOTATIONAL DEVICES IN PHONOLOGICAL RULES The statement of phonological rules can be complex, and linguists have developed several notational devices for writing them. Often, the following symbols will be necessary for stating the conditions under which rules apply: # indicates a word boundary + indicates an intraword boundary $ indicates a syllable boundary UNDERLYING REPRESENTATIONS AND RELATED ISSUES The transformational-generative description of phonology relates underlying representations to phonetic representations by rules. This can be represented in a simple example: In English, there are certain pairs of words like sign / signature, and malign / malignant that exhibit a regular alternation in their phonetic representations: [g] is present in the second member of the pairs but absent in the first member. UNDERLYING REPRESENTATIONS AND RELATED ISSUES To explain the relatedness of words such as sign / signature, we could claim that the underlying representation of the segment in all such pairs is /g/ and that a rule operates to delete /g/ before syllable-final nasals. Thus, the rule “/g/ is deleted before syllable-final nasal” would appear formally as: + voice - anterior →∅ ____ [+ nasal] $ - coronal UNDERLYING REPRESENTATIONS AND RELATED ISSUES On the left-hand side of the arrow, we place the features needed to uniquely specify /g/ among the consonants; that is, no other consonant has the features [+ voice], [- anterior], and [- coronal]. The symbols → mean that the sound /g/ changes to nothing or more properly “/g/ is deleted.” The horizontal line following the slash mark refers to the position of /g/ - namely, before a segment that is [+nasal]. Finally, this [+nasal] segment occurs before a syllable boundary, as indicated by $. A less formal way of writing this rule would be: /g/ → / _ [+nasal] $ Notice that this rule also helps describe such alternations as phlegm/phlegmatic and paradigm/paradigmatic. Application Activity: Think of other words in which this rule can be applied. Write the sound segments to prove /g/ is deleted. Another example is the process through which the prefix meaning “not” is added to words. This prefix alternates among the forms /Im/, /In/, and /Iŋ/, depending on the point of articulation of the initial segment of the following word. -If the segment begins in the extreme front part of the mouth (labials), the form is /Im/, as in improper. -If the segment begins in the extreme back part of the mouth (velars), the form is /Iŋ/, as in incomplete. -If the segment begins in the mid-region of the mouth (all other sounds), the form is /In/, as in indecent. *Exceptions:Words beginning with /r/ or /l/. Analyze the Word “in + complete,” for example. /n/ → [ŋ] / __ [k] - continuant - continuant - continuant + sonorant → + sonorant - sonorant + anterior - anterior - strident + coronal - coronal - coronal + tense THE VELAR SOFTENING RULE Still another example of alternation in English is found in pairs of words like “electric / electricity,” in which the segments /k/ and /s/ alternate. /k/ changes to [s] only before non- low, front vowels. THE VELAR SOFTENING RULE /k/ → [s] / __ - continuant + continuant - strident → - sonorant V - anterior + anterior - low - coronal + coronal - back

Parts of Microscope 1. Arm It is in the back of the microscope and supports the objectives and ocular. Also, it is the part that we use to carry or lift it. 2. Base It’s the bottom of the scope. In addition, it houses the light source and the back section of base acts as a handle to carry the scope. 3. Course Focusing Knob We use it to adjust the position of objective lenses. Also, this should be done keeping in mind that the objective should not hit the slide. In addition, it should be stopped when the object is completely visible through the ocular. 4. Fine Focusing Knob We use it to bring the specimen in perfect focus once the specimen is visible through the course-focusing knob. Also, focus slowly to avoid contact between the objective and the specimen. 5. Illuminator It is the light source of the microscope. 6. Numerical Aperture or Objective lens It is found in a compound scope and is the lens that is closest to the specimen. 7. Ocular Lens This is the lens closest to the viewer in a compound light microscope. 8. Oil immersion Lens This is a 100x (100 times) objective lens. Also, this lens is small in order to attain high resolution and magnification. Furthermore, due to its size, it is important for the lens to get as much light as possible. Moreover, by immersion of lens in oil it eliminates the refraction of light, it happens because the glass and oil have almost the same refractive index. Most noteworthy, in this way the light is maximized and gives the clearest image. Besides, It oil immersion lens is used without oil then the produced Image will become unclear and has a poor resolution.

Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

There are two numbers you need to know about climate change. The first is 51 billion. The other is zero. Fifty-one billion is how many tons of greenhouse gases the world typically adds to the atmosphere every year. This is where we are today. Zero is what we need to aim for. To stop the warming and avoid the worst effects of climate change, humans need to stop adding greenhouse gases to the atmosphere. This sounds difficult, because it will be. Every country will need to change its ways. Virtually every activity in modern life – growing things, making things, getting around from place to place – involves releasing greenhouse gases, and as time goes on, more people will be living this modern lifestyle. That’s good, because it means their lives are getting better. Yet if nothing else changes, the world will keep producing greenhouse gases, climate change will keep getting worse, and the impact on humans will be catastrophic. But “if nothing else changes” is a big If. I believe that things can change. We already have some of the tools we need, and as for those we don’t yet have, we can not only invent, but also deploy them, and, if we act fast enough, avoid a climate catastrophe. Two decades ago, I would never have predicted that one day I would be talking in public about climate change. My background is in software, not climate science. Things changed for me when I met with two former Microsoft colleagues who were starting non-profits focused on energy and climate. They brought along two climate experts who were well versed in the issues, and the four of them showed me the data connecting greenhouse gas emissions to climate change. I kept learning everything I could about climate and energy, agriculture, oceans, sea levels, glaciers, power lines, and more. One thing that became clear to me was that our current sources of renewable energy – wind and solar, mostly – could make a big dent in the problem, but we weren’t doing enough to deploy them. It also became clear why, on their own, they aren’t enough to get us all the way to zero. The wind doesn’t always blow and the sun doesn’t always shine. Within a few years, I had become convinced of three things: 1. To avoid a climate disaster, we have to get to zero. 2. We need to deploy the tools we already have, like solar and wind, faster and smarter. 3. We need to create breakthrough technologies that can take us the rest of the way.

Alaska: A special place Where can you find mountains, glaciers, and volcanoes? Alaska is the location you would visit. Alaska has different regions. In each part of the state, there are different features. Land Features The tallest mountain in the United States is in Alaska. It is called Mt. McKinley. Some people go to Alaska just to climb it. Alaska also has the biggest glaciers in all of the United States. Glaciers are made when one layer of snow falls on top of another. The snowfall becomes very thick. It turns to ice. The growth of a glacier takes many years to form. Temperature Changes Alaska has different temperatures. Northern Alaska is called the Arctic region. The temperatures are much colder than inside your freezer. The ground, lakes, and rivers are almost always frozen. As a result, most people live in the south of Alaska. It is warmer there. Crops grow well in the rich soil there. Animals Alaska has many different animals. You may spot a walrus or polar bear among the glaciers. You can see a black or brown bear fishing in a river or stream. In another region, you can see a moose or caribou. Daylight and Darkness The seasons are special here, too. In summer, people celebrate the mild temperate weather. These lively people also celebrate the sunlight because the sun does not set for many days. In one village, the Sun doesn't set for more than 80 days! You might be in bed and still see the sun shining. In winter, the Sun doesn't rise in some places in Alaska. These places have more than 60 days of winter darkness. You could have afternoon soccer practice in the dark! You might think this would be eerie, but Alaskans don't think this is weird. They are used to the dark winter days. Alaska is a very interesting place to live!

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