What is John's Spanish name?

WHAT IS SCIENCE? - is a way in which answers related to NATURAL events are proposed. - a way in which people can learn and UNDERSTAND events in the NATURAL WORLD - based on OBSERVABLE EVENTS - a study of the NATURAL WORLD - a method of DISCOVERY and UNDERSTANDING by using a PROBLEM-SOLVING process called the?? - A systematic body of knowledge based on observation and experimentation. FOUR COMMON CHARACTERISTICS OF SCIENCE: 1. It focuses on the NATURAL WORLD. 2. Goes through experiment. 3. Relies on evidence. 4. Passes through the scientific community. WHAT IS TECHNOLOGY? Brian Arthur (2009) defined technology as: 1. a means to fulfill a human purpose 2. assemblage of practices and components 3. a collection of devices and engineering practices available to a culture. SOCIETY ST (Science Technology) would not exist without society. WHAT IS STS? Science and Technology and Society (STS) is the study of how society, politics and culture affect scientific research and technological innovation and how these, in turn affects society, politics and culture. EVENTS IN THE HISTORY OF SCIENCE AND TECHNOLOGY THAT TRANSFORMED THE SOCIETY (IN THE WORLD) ANCIENT PERIOD 3500 BC. - 500 AD EUROPE - use of fire by Homo Erectus CA 750,000 - Stone Headed Spears CA 45,000 - Wooden bow and arrow CA 20,000 - The Minoans build palaces in Crete CA 2,000 THE AMERICAS - The Folsom people living on eastern side of the Rocky Mountain developed sophisticated tools CA 8,000. - Pottery is made in South America CA 6,000 - Olmec sculpture carves figurines and giant human heads. CA 1200 ASIA AND OCEANA - Earliest known clay pots are made in Japan CA 11,000. - Bronze is first made in Thailand CA 4000 - A lunar calendar is developed in China CA 2950 - Chinese doctors begin using acupuncture CA 2500 - The Hindu calendar of 360 days was introduced in India CA 1000 AFRICA AND MIDDLE EAST - Homo erectus uses stone tools CA 1000000 - CA 15000 in Africa, bone harpoons are used for fishing. - Clay tokens are used for record keeping in Mesopotamia CA 7500 - Mesopotamian mathematicians discover the Pythagorean Theorem MEDIEVAL PERIOD CA 500 -1500 - Dark ages because few written records and evidences remained - Scholastic tradition was established by Charlemagne - Vertical windmills, spectacles, mechanical clock, water mills, gothic style were invented - Johannes Gutenberg invented the printing press RENAISSANCE PERIOD 14TH – 17TH CENTURY - Rebirth of revival - Printing with movable type allowed Bible, secular books made in large amount - Nicolas Copernicus presented a heliocentric theory - Galileo Galilei invented telescope INDUSTRIAL REVOLUTION 18TH CENTURY - Skilled workers were set aside because of the machines - Iron production, steam engine and textile flourished - Scottish James Watt improved steam engine Robert Fulton (steam boat) - The following were invented: Light bulb, telephone, first steam powered locomotive 19TH CENTURY - Age of machine and tools - Herman Helmholtz (law of conservation of energy) - James Clark Maxwell (light as electro-magnetic wave) - Henry Becquerel (radioactivity) - Marie and Pierre Curie (radium) - Hans Christian Oersted (electric current near the magnet) - Michael Faraday (magnet produces electricity) - Atomic Theory proposed by John Dalton - Electron discovered by JJ. Thomson - Telegraph developed by Samuel Morse 20TH CENTURY - Communication, transportation, military research were developed - Personal computer was created - Intel developed microprocessor - Apple was introduced by Steve Jobs and Steve Wozniak - Internet was created (ARPANET) - Henry Ford's mass production of cars - Artificial Intelligence was invented SCIENCE, TECHNOLOGY AND SOCIETY (PHILIPPINE HISTORY) Stone Age - Archeological findings show that modern man from Asian mainland first came over land on across narrow channels to live in Batangas and Palawan about 48,000 B.C. - Subsequently they formed settlement in Sulu, Davao, Zamboanga, Samar, Negros, Batangas, Laguna, Rizal, Bulacan and Cagayan. Inventions - They made simple tools and weapons of stone flakes and later developed method of sawing and polishing stones around 40,000 B.C. - By around 3,000 B.C. they were producing adzes ornaments of seashells and pottery. Pottery flourished for the next 2,000 years until they imported Chinese porcelain. Soon they learned to produce copper, bronze, iron, and gold metal tools and ornaments. Iron Age - The Iron Age lasted from the third century B.C. to 11th century A.D. During this period Filipinos were engaged in extraction smelting and refining of iron from ores, until the importation of cast iron from Sarawak and later from China. INVENTIONS AND DISCOVERIES - They learn to weave cotton, make glass ornaments, and cultivate lowland rice and dike fields of terraced fields utilizing spring water in mountain regions. - They also learned to build boats for trading purposes. - Spanish chronicles noted refined plank built warships called caracoa suited for interisland trade raids 10TH CENTURY A.D. - Filipinos from the Butuan were trading with Champa (Vietnam) and those from Ma-I (Mindoro) with China as noted in Chinese records containing several references to the Philippines. These archaeological findings indicated that regular trade relations between the Philippines, China and Vietnam had been well established from the 10th century to the 15th century A.D. TRADING - The People of Ma-I and San-Hsu (Palawan) traded bee wax, cotton, pearls, coconut heart mats, tortoise shell and medicinal betel nuts, panie cloth for porcelain, leads fishnets sinker, colored glass beads, iron pots, iron needles and tin. SOME PRESPANISH FILIPINO SCIENCE AND TECHNOLOGY - Curative values of plants extract use as medicine - Alphabet (Alibata) - Counting Methods - Weights - Measuring system (isang gatang) - Calendar based on the periods of moon - Banaue Rice Terraces SPANISH REGIME  Religion the Catholic Church - The latter part of the 16th Century Development of schools: - Colegio de San Ildefonso-Cebu-1595 - Colegio de San Ignacio-Manila-1595 - Colegio De Nuestra Senora del Rosario-Manila 1597 - Colegio De San Jose-Manila-1601  Colegio De San Ildefonso De Cebu - In 1863 the colonial authorities issued a royal degree to reform the existing educational system. In 1871 the school of medicine and pharmacy were opened to UST, after 15 years it had granted the degree Of Licenciado En Medicina to 62 graduates.  Medicine - Development of hospitals San Juan Lazaro hospital the oldest in the far east was founded in 1578.  Roads and Bridges Among other Spanish contributions: - Arithmetic - Algebra - Geometry - Trigonometry - Physics - Hydrography - Meteorology - Navigation - Pilotage American Period and Post Commonwealth Era - BUREAU OF GOVERNMENT LABORATORIES (1901) - BUREAU OF SCIENCE (1905) - INSTITUTE OF SCIENCE (1946) RA 2067 OTHERWISE KNOWN AS THE “SCIENCE ACT OF 1958”. - This was enacted to integrate, coordinate, and intensify scientific and technological research and development and to foster invention including allocation of funds and other purposes. NATIONAL RESEARCH COUNCIL WAS ESTABLISHED ON DECEMBER 8, 1933. - Its Mandate (Nrcp) Promotes And Supports Fundamental Or Basic Research For The Continuing Total Improvement Of The Research Capability Of Individual Scientists Or Group Of Scientists; Provides Advice On Problems And Issues Of National Interest; Promotes Scientific And Technological Culture To All Sectors Of Society; And Fosters Linkages With Local And International Scientific Organizations For Enhanced Cooperation In The Development And Sharing Of Information NATIONAL RESEARCH COUNCIL WAS ESTABLISHED IN DECEMBER 8, 1933. - Its Mandate (NRCP) promotes and supports fundamental or basic research for the continuing total improvement of the research capability of individual scientists or group of scientists; provides advice on problems and issues of national interest; promotes scientific and technological culture to all sectors of society; and fosters linkages with local and international scientific organizations for enhanced cooperation in the development and sharing of information. It was during the American Period when Science was inclined towards: - Agriculture - Food Processing - Forestry - Medicine - Pharmacy - Nursing

Can you make a multiple choice of test questions regarding this information given which is Curriculum from Different Points of View There are many definitions of curriculum. Because of this, the concept of curriculum is sometimes characterized as fragmentary, elusive and confusing. However, the numerous definitions indicate dynamism that connotes diverse interpretations of what curriculum is all about. The definitions are influenced by models of thought, pedagogies, political as well as cultural experiences. Let us study some of these definitions. 1. Traditional Points of View of Curriculum In early years of the 20th century, the traditional concepts held of the “curriculum is that it is a body of subjects or subject matter prepaid by the teachers for the student’s to learn”. It was synonymous to the “course of study” and “syllabus” Robert M. Hutchins views curriculum as “permanent studies” where the rules of grammar, reading, rhetoric and logic and mathematics for basic education are emphasized. Basic education should emphasize the 3 Rs and college education should be grounded on liberal education. On the other, Arthur Bestor as an essentialist, believes that the mission of the school should be intellectual training, hence curriculum should focus on the fundamental intellectual disciplines of grammar, literature and writing. It should also include mathematics, science, history and foreign language. The definition leads us to the view of Joseph Schwab that discipline is the sole source of curriculum. Thus in our education system, curriculum is divided into chunks of knowledge we call subject areas in basic education such as English, Mathematics, Science, Social Studies and others. In college, discipline may include humanities, sciences, language and many more. To Phoenix, curriculum should consist entirely of knowledge which comes from various disciplines. Academic discipline became the view of what curriculum is after the cold war and the race to space. Joseph Schwab, a leading curriculum theorist coined the term discipline as a ruling doctrine for curriculum development. Curriculum should consist only of knowledge which comes from disciplines which is the sole source. Thus curriculum can be viewed as a field of study. It is made up of its foundations (philosophical, historical, psychological and social foundations); domains of knowledge as well as its research theories and principles. Curriculum is taken as scholarly and theoretical. It is concerned with broad historical, philosophical and social issues and academics. Most of the traditional ideas view curriculum as written documents or a plan of action in accomplishing goals. 2. Progressive Points of View of Curriculum On the other hand, to a progressivist, a listing of school subjects, syllabi, course of study, and a list of courses or specific discipline do not make a curriculum. These can only be called curriculum if the written materials are actualized by the learner. Broadly speaking, curriculum is defined as the total learning experiences of the individual. This definition is anchored on John Dewey’s definition of experience and education. He believed that reflective thinking is a means that unifies curricular elements. Thought is not derived from action but tested by application. Caswell and Campbell viewed curriculum as “all experiences children have under the guidance of teachers”. This definition is shared by Smith, Stanley and Shores when they defined “curriculum as a sequence of potential experiences set up in the schools for the purpose of disciplining children and youth in group ways of thinking and acting”. Marsh and Willis on the other hand view curriculum as all the “experiences in the classroom which are planned and enacted by the teacher, and also learned by the students”. Points of View on Curriculum Development From the various definitions and concepts presented, it is clear that curriculum is a dynamic process. Development connotes changes which are systematic. A change for the better means any alteration, modification or improvement of existing condition. To produce positive changes, development should be purposeful, planned and progressive. This is how curriculum evolves. Let us look at the two models of curriculum development and concepts of Ralph Tyler and Hilda Taba. Ralph Tyler Model: Four Basic Principles. This is also popularly known as Tyler’s Rationale. He posited four fundamental questions or principles in examining any curriculum in schools. These four fundamental principles are as follows: 1. What educational purposes should the school seek to attain? 2. What educational experiences can be provided that are likely to attain these purposes? 3. How can these educational experiences be effectively organized? 4. How can we determine whether these purposes are being attained or not? In summary, Tyler’s Model show that in curriculum development, the following considerations should be made: (1) Purpose of the school, (2) Educational experiences related to the purposes, (3) Organization of the experiences, and (4) Evaluation of the experiences. On the other hand, Hilda Taba improved on Tyler’s Rationale by making a linear model. She believed that teachers who teach or implement the curriculum should participate in developing it. Her advocacy was commonly called the grassroots approach. She presented seven major steps to her model where teachers could have a major input. These steps are as follows: 1. Diagnosis of learner’s needs and expectations of the larger society. 2. Formulation of learning objectives. 3. Selection of learning content. 4. Organization of learning content. 5. Selection of learning experiences. 6. Organization of learning activities. 7. Determination of what to evaluate and the means of doing it. Thus as you look into curriculum models, the three interacting processes in curriculum development are planning, implementing and evaluating. Types of Curriculum Operating in Schools From the various concepts given, Allan Glatthorn(2000) describes seven types of curriculum operating in the schools. These are (1) Recommended curriculum- proposed by scholars and professional organizations. (2) Written Curriculum- appears in school, district, division or country documents. (3) Taught Curriculum- what teacher’s implement or deliver in the classrooms and schools. (4) Supported Curriculum- resources-textbooks, computers, audio- visual materials which support and help in the implementation of the curriculum. (5) Assessed Curriculum- that which is tested and evaluated. (6) Learned Curriculum- which the students actually learn and what is measured and (7) Hidden Curriculum- the unintended curriculum. 1. Recommended Curriculum- Most of the school curricula are recommended. The curriculum may come from a national agency like the Department of Education, Commission on Higher Education (CHED), Department of Science and Technology (DOST) or any professional organization who has stake in education. For example the Philippine Association for Teacher Education (PAFTE) or the Biology Teacher Association (BIOTA) may recommend a curriculum to be implemented in the elementary or secondary education. 2. Written Curriculum- This includes documents, course of study or syllabi handed down to the schools, districts, division, departments or colleges for implementation. Most of the written curricula are made by curriculum experts with participation of teachers. These were pilot-tested or tried out in sample schools or population. Example of this is the Basic Education Curriculum (BEC). Another example is the written lesson plan of each classroom teacher made up of objectives and planned activities of the teacher. 3. Taught Curriculum- The different planned activities which are put into action in the classroom compose the taught curriculum. These are varied activities that are implemented in order to arrive at the objectives or purposes of the written curriculum. These are used by the learners with the guidance of teachers. Taught curriculum varies according to the learning styles of students and the teaching styles of teachers. 4. Supported Curriculum- In order to have a successful teaching, other than the teacher, there must be materials which should support or help in the implementation of a written curriculum. These refer to the support curriculum that includes material resources such as textbooks, computers, audio-visual materials, laboratory equipment, playgrounds, zoos and other facilities. Support curriculum should enable each learner to achieve real and lifelong learning. 5. Assessed Curriculum- This refers to a tested or evaluated curriculum. At the duration and end of the teaching episodes, series of evaluations are being done by the teachers to determine the extent of teaching or to tell if the students are progressing. This refers to the assessed curriculum. Assessment tools like pencil-and-paper tests, authentic instruments like portfolio are being utilized. 6. Learned Curriculum- This refers the learning outcomes achieved by the students. Learning outcomes are indicated by the results of the tests and changes in behavior which can either be cognitive, affective or psychomotor. 7. Hidden Curriculum- This is the unintended curriculum which is not deliberately planned but may modify behavior or influenced learning outcomes. There are lots of hidden curricula that transpire in the schools. Peer influence, school environment, physical condition, teacher-learner interaction, mood of the teachers and many other factors made up the hidden curriculum.

To understand melody in music, think about some music you’re familiar with. If you were asked to hum it, what would that sound like? The part of the music that you’d hum is the melody. It’s the main thread of sound that your brain tracks and holds onto when you’re listening to music. In vocal music, the melody is sung by the lead singer. Other vocalists can provide harmony and instruments can add accompaniment, but the melody is the star of the show.What are the characteristics of melody in music? How do you describe a melody in music? A melody needs to have two things. The first is a sequence of notes, or pitches, which range from high to low. The second is rhythm, which is the timing and duration of each note. These two simple elements can create an incredible variety of combinations. Even though a melody only consists of one note at a time, it can convey so much energy and emotion. Melodies can be fast and sparkly, like “The Flight of the Bumblebee.” They can be slow and majestic, like “Finlandia.” They might be sweeping and graceful, like a Strauss waltz. Or they can be fun and exciting, like your favorite pop tunes that you love to sing along with. Melodies often tell you a lot about where a piece of music comes from. It’s easy to recognize and identify melodies from different folk traditions such as the Japanese folk song “Sakura” or the Irish tune “Star of the County Down.” Learn how to play your favorite melodies on piano, and more! Sign up now. What is melody in music? Here are some examples. Here is the famous melody for the song “Lean on Me” written out on a staff. Notice the way that the notes move up, down, and then repeat. What is melody in music? Example of Lean On Me notes on treble staff. A melody all by itself is great, but music can be even more fun when there’s an accompaniment. Here are a few bars of “Lean on Me” with the accompaniment written out. As you listen to this song, notice how the accompaniment has a very similar rhythm and movement to the melody. Then there’s that one note in the bass line that comes along every measure with its own rhythm, which adds some extra energy and movement to the song. What makes a good melody? When you create a melody, there are four types of movement you can use: Repeat (same note) Step (up or down) Skip (up or down) Leap (up or down) Stepping and repeating are the most common types of melodic motion, and this makes a melody easier to sing. Most “hummable” tunes use steps and repeats almost exclusively. This kind of melody is called conjunct. Beethoven’s “Ode to Joy,” one of the most famous melodies of all time.Skips and leaps are generally more sparing in melodies, but when thoughtfully placed they can have a powerful emotional impact. Tunes with a lot of leaps are called disjunct. Listen to Sarah Brightman sing All I Ask of You from The Phantom of the Opera starting at 0:39. This is a very disjunct melody, and challenging to sing. Great melodies also incorporate patterns that blend unity, repetition, and contrast. Our ears love patterns, but they also love novelty and growth. A good melody incorporates all of these elements. For example, listen to John William’s “Princess Leia Theme.” Can you hear the repeated pattern in the melody that gradually moves higher as the theme progresses? Now listen to the way it changes and develops into something that fits with what came before but sounds new at the same time. This is some great melodic writing! Can melody exist without rhythm? There is no way for a melody to exist without rhythm. Even if your melody only has one note, that note has a duration, and that’s the rhythm. If your melody has two notes, how long those notes last and how much time passes between hearing them is also a rhythm. A melody in music can often be recognized even when it’s performed with different rhythms. This frequently happens in live performances of pop, rock, and jazz, in which singers typically improvise slight rhythmic differences with each performance. No two renditions are exactly the same, and this constant reinterpretation keeps the music fresh. How to make a melody for a song on piano Creating your own melodies on the piano is easy and fun! There are so many ways you can discover a melody all your own. Here are a few ideas. Get some inspiration from the world around you. What can you hear right now? A clock ticking? A bird song? A car passing by your house? See if you can find some notes on the piano that imitate the sounds you hear. Think of a feeling you’d like to put into a melody. What are some ways you could make a string of notes sound happy, sad, angry, or maybe just thoughtful. Choose a line from a poem you like, or write your own. Read it out loud and put some feeling into it. Did your voice rise and fall in pitch as you were reading? Now go to the piano, start on any note you like, and try to imitate what happened when you read. Go up when your voice naturally went up, go down when your voice naturally went down. How did that sound? Now you have the perfect melody to go with those words. Too many keys on the piano? The truth is, most melodies use only a limited number of different notes. Try creating a melody using only the black keys. These form what’s called a pentatonic scale. It’s used in a lot of folk music traditions around the world and can be a great place to start if you want to create your own melodies. Remember, when you create your melody, keep it simple. Use repeated notes and steps, but add a few skips to keep things interesting. One tip about leaps: when you do put in a big leap, try doubling back and filling in the empty space you leaped over. This keeps the melody self-contained and easier to sing. Also, see if you can use the same patterns of notes and rhythms to give the melody unity, but also change those patterns to give it variety. There is no right or wrong way to create your own music. Keep trying combinations of notes and rhythms until you find something that you like. How many bars and notes are in a melody? Many types of music tend to have a prescribed number of bars, or measures. This will vary widely between different genres, and creates an overall sense of musical structure. If you’re writing a pop song, a verse will usually have between eight and sixteen bars. The prechorus that follows often has just four bars, and this “foreshortening” creates a sense of acceleration, driving the listener toward the chorus. The number of notes can also vary widely. A melody in music needs at least two notes, and a long and complex one can have hundreds or even thousands of notes. What is a countermelody in music? How many melodies should a song have? A counter melody is a melodic line that interacts with the primary melody as an independent but supportive voice. A great example of this is the song “We Don’t Talk about Bruno.” Each character sings their own melody during the piece, but these melodies all combine at the end as countermelodies. This produces a musical texture known as counterpoint. The same thing happens in “One Day More” from Les Miserables. The different melodies are first sung separately, but end up being combined in a splendid, complex texture that leads the music to its thrilling conclusion. The difference between a countermelody and regular harmony is that harmony usually supports the rhythms of the melody. A countermelody will move more independently, with different rhythms from those of the melody, and will often sound “melodic” when sung or played all by itself. A melodic song should have one main melody. This is the part that the lead voice sings. It’s usually in the spotlight, and will be the most memorable part of the music. Anything else is either harmony, countermelody, or accompaniment. Does all music have to have a melody? A piece of music doesn’t have to have a melody. There are many different kinds of music without melody. For example, a lot of music played on percussion instruments won’t have a melody. Listen to this example of Tahitian drumming. This is some great music, exciting and fun to listen to, but you’d have a hard time humming it. It’s music, but it doesn’t have a melody. Rap music is another style of music where there doesn’t have to be a melody. In rap, words are chanted rather than sung. The performer will raise and lower the pitch of their voice for emphasis, but it’s the rhythm of the words that creates most of the music. Music can even lack any melody, at least in some sections. Listen to the opening chords of “Duel of the Fates.” This choral passage is all about harmony, with little rhythmic variance or sense of melody. But it makes an effective contrast with the next section, which is bustling with rapid instrumental melodies. In some pieces, there are multiple melodic lines but there is no one main melody. When music is made up of equally important countermelodies, it creates a contrapuntal texture. Baroque composer J.S. Bach was one of the greatest masters of this style, such as in his Little Fugue in G minor. It starts with a single melodic line, the subject, but then a countermelody is added, and then more and more until several melodic lines are playing together. It’s fun to listen to, but once all the countermelodies are playing together it becomes hard to decide which part to hum along with! You’ll also hear a lot of counterpoint in jazz music, in which the different instruments are all playing together and improvising their own melodies that combine to create a rich, thick musical texture. Experience the wonder of melody in music! Whether you’re humming your favorite tune, or creating a new song all your own, melody is a memorable, shareable part of music. Enrich your music experience by being aware of, listening for, and enjoying the melodies all around you.

Create a quiz from 1 John:1-3 using these questions as an example How does God’s Word help us determine what is right and wrong? • How can I be better prepared to apply the Bible to my daily life?

What do an ancient Greek philosopher and a 19th century Quaker have in common with Nobel Prize-winning scientists? Although they are separated over 2,400 years of history, each of them contributed to answering the eternal question: what is stuff made of? It was around 440 BCE that Democritus first proposed that everything in the world was made up of tiny particles surrounded by empty space. And he even speculated that they vary in size and shape depending on the substance they compose. He called these particles "atomos," Greek for indivisible. His ideas were opposed by the more popular philosophers of his day. Aristotle, for instance, disagreed completely, stating instead that matter was made of four elements: earth, wind, water and fire, and most later scientists followed suit. Atoms would remain all but forgotten until 1808, when a Quaker teacher named John Dalton sought to challenge Aristotelian theory. Whereas Democritus's atomism had been purely theoretical, Dalton showed that common substances always broke down into the same elements in the same proportions. He concluded that the various compounds were combinations of atoms of different elements, each of a particular size and mass that could neither be created nor destroyed. Though he received many honors for his work, as a Quaker, Dalton lived modestly until the end of his days. Atomic theory was now accepted by the scientific community, but the next major advancement would not come until nearly a century later with the physicist J.J. Thompson's 1897 discovery of the electron. In what we might call the chocolate chip cookie model of the atom, he showed atoms as uniformly packed spheres of positive matter filled with negatively charged electrons. Thompson won a Nobel Prize in 1906 for his electron discovery, but his model of the atom didn't stick around long. This was because he happened to have some pretty smart students, including a certain Ernest Rutherford, who would become known as the father of the nuclear age. While studying the effects of X-rays on gases, Rutherford decided to investigate atoms more closely by shooting small, positively charged alpha particles at a sheet of gold foil. Under Thompson's model, the atom's thinly dispersed positive charge would not be enough to deflect the particles in any one place. The effect would have been like a bunch of tennis balls punching through a thin paper screen. But while most of the particles did pass through, some bounced right back, suggesting that the foil was more like a thick net with a very large mesh. Rutherford concluded that atoms consisted largely of empty space with just a few electrons, while most of the mass was concentrated in the center, which he termed the nucleus. The alpha particles passed through the gaps but bounced back from the dense, positively charged nucleus. But the atomic theory wasn't complete just yet. In 1913, another of Thompson's students by the name of Niels Bohr expanded on Rutherford's nuclear model. Drawing on earlier work by Max Planck and Albert Einstein he stipulated that electrons orbit the nucleus at fixed energies and distances, able to jump from one level to another, but not to exist in the space between. Bohr's planetary model took center stage, but soon, it too encountered some complications. Experiments had shown that rather than simply being discrete particles, electrons simultaneously behaved like waves, not being confined to a particular point in space. And in formulating his famous uncertainty principle, Werner Heisenberg showed it was impossible to determine both the exact position and speed of electrons as they moved around an atom. The idea that electrons cannot be pinpointed but exist within a range of possible locations gave rise to the current quantum model of the atom, a fascinating theory with a whole new set of complexities whose implications have yet to be fully grasped. Even though our understanding of atoms keeps changing, the basic fact of atoms remains, so let's celebrate the triumph of atomic theory with some fireworks. As electrons circling an atom shift between energy levels, they absorb or release energy in the form of specific wavelengths of light, resulting in all the marvelous colors we see. And we can imagine Democritus watching from somewhere, satisfied that over two millennia later, he turned out to have been right all along.

John wants to build a house next to a forest. In the forest, there are lots of trees, flowers and animals. There is a lake too.John takes his axe and goes to the forest. He talks to a tree. “I need wood to build my house,” he says. So, the tree gives John some wood.John’s friends visit him and they like his house. John and his friends go to the forest and cut down more and more and more trees, to build more and more houses.Soon there are not more trees. There aren’t any flowers. There are not any animals. The lake is dirty. The people are sad and thirsty.John goes to the forest.” What happened?” John asks the tree.“You cut down the trees in the forest. Now the animals do not have food to eat or a place to live. The lake is dirty so there aren’t any fishes”, says the tree.“What can I do?” asks John.“Plant trees and clean the lake” says the tree.John and his friends plant trees and they clean the lake. Now the trees are tall and have leaves.There are flowers. The animals are back in the forest. There are fishes in the lake. The forest is cool again. Everyone is happy.

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.

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