1- i love the my school because i can learn many things 2- i love my school because it's my second home where i spent my half day on it. 3- I love my school becacuse I enjoy seeing my friends and my teachers 5 times a week.
Televised Intelligence
Consider the cognitive demands that televised narratives place on their viewers. With many shows that we associate with ''quality'' entertainment -- ''The Mary Tyler Moore Show,'' ''Murphy Brown,'' ''Frasier'' -- the intelligence arrives fully formed in the words and actions of the characters on-screen. They say witty things to one another and avoid lapsing into tired sitcom cliches, and we smile along in our living rooms, enjoying the company of these smart people. But assuming we're bright enough to understand the sentences they're saying, there's no intellectual labor involved in enjoying the show as a viewer. You no more challenge your mind by watching these intelligent shows than you challenge your body watching ''Monday Night Football.'' The intellectual work is happening on-screen, not off.
Watching TV Makes You Smarter
But another kind of televised intelligence is on the rise. Think of the cognitive benefits conventionally ascribed to reading: attention, patience, retention, the parsing of narrative threads. Over the last half-century, programming on TV has increased the demands it places on precisely these mental faculties. This growing complexity involves three primary elements: multiple threading, flashing arrows and social networks.
According to television lore, the age of multiple threads began with the arrival in 1981 of ''Hill Street Blues,'' the Steven Bochco police drama invariably praised for its ''gritty realism.'' Watch an episode of ''Hill Street Blues'' side by side with any major drama from the preceding decades -- ''Starsky and Hutch,'' for instance, or ''Dragnet'' -- and the structural transformation will jump out at you. The earlier shows follow one or two lead characters, adhere to a single dominant plot and reach a decisive conclusion at the end of the episode. Draw an outline of the narrative threads in almost every ''Dragnet'' episode, and it will be a single line: from the initial crime scene, through the investigation, to the eventual XXXXXing of the case. A typical ''Starsky and Hutch'' episode offers only the slightest variation on this linear formula: the introduction of a comic subplot that usually appears only at the tail ends of the episode, creating a structure that looks like this graph. The vertical axis represents the number of individual threads, and the horizontal axis is time.
A ''Hill Street Blues'' episode complicates the picture in a number of profound ways. The narrative weaves together a collection of distinct strands -- sometimes as many as 10, though at least half of the threads involve only a few quick scenes scattered through the episode. The number of primary characters -- and not just bit parts -- swells significantly. And the episode has fuzzy borders: picking up one or two threads from previous episodes at the outset and leaving one or two threads open at the end. Charted graphically, an average episode looks like this.
Critics generally cite ''Hill Street Blues'' as the beginning of ''serious drama'' native in the television medium -- differentiating the series from the single-episode dramatic programs from the 50's, which were Broadway plays performed in front of a camera. But the ''Hill Street'' innovations weren't all that original; they'd long played a defining role in popular television, just not during the evening hours. The structure of a ''Hill Street'' episode -- and indeed of all the critically acclaimed dramas that followed, from ''thirtysomething'' to ''Six Feet Under'' -- is the structure of a soap opera. ''Hill Street Blues'' might have sparked a new golden age of television drama during its seven-year run, but it did so by using a few crucial tricks that ''Guiding Light'' and ''General Hospital'' mastered long before.
Bochco's genius with ''Hill Street'' was to marry complex narrative structure with complex subject matter. 'Dallas'' had already shown that the extended, interwoven threads of the soap-opera genre could survive the weeklong interruptions of a prime-time show, but the actual XXXXXXX of ''Dallas'' was fluff. (The most probing issue it addressed was the question, now folkloric, of who shot J.R.) ''All in the Family'' and ''Rhoda'' showed that you could tackle complex social issues, but they did their tackling in the comfort of the sitcom living room. ''Hill Street'' had richly drawn characters confronting difficult social issues and a narrative structure to match.
Since ''Hill Street'' appeared, the multi-threaded drama has become the most widespread fictional genre on prime time: ''St. Elsewhere,'' ''L.A. Law,'' ''thirtysomething,'' ''Twin Peaks,'' ''N.Y.P.D. Blue,'' ''E.R.,'' ''The West Wing,'' ''Alias,'' ''Lost.'' (The only prominent holdouts in drama are shows like ''Law and Order'' that have essentially updated the venerable ''Dragnet'' format and thus remained anchored to a single narrative line.) Since the early 80's, however, there has been a noticeable increase in narrative complexity in these dramas. The most ambitious show on TV to date, ''The Sopranos,'' routinely follows up to a dozen distinct threads over the course of an episode, with more than 20 recurring characters. An episode from late in the first season looks like this.
The total number of active threads equals the multiple plots of ''Hill Street,'' but here each thread is more substantial. The show doesn't offer a clear distinction between dominant and minor plots; each story line carries its weight in the mix. The episode also displays a chordal mode of storytelling entirely absent from ''Hill Street'': a single scene in ''The Sopranos'' will often connect to three different threads at the same time, layering one plot atop another. And every single thread in this ''Sopranos'' episode builds on events from previous episodes and continues on through the rest of the season and beyond.
Put those charts together, and you have a portrait of the Sleeper Curve rising over the past 30 years of popular television. In a sense, this is as much a map of cognitive changes in the popular mind as it is a map of on-screen developments, as if the media titans decided to condition our brains to follow ever-larger numbers of simultaneous threads. Before ''Hill Street,'' the conventional wisdom among television execs was that audiences wouldn't be comfortable following more than three plots in a single episode, and indeed, the ''Hill Street'' pilot, which was shown in January 1981, brought complaints from viewers that the show was too complicated. Fast-forward two decades, and shows like ''The Sopranos'' engage their audiences with narratives that make ''Hill Street'' look like ''Three's Company.'' Audiences happily embrace that complexity because they've been trained by two decades of multi-threaded dramas.
Multi-threading is the most celebrated structural feature of the modern television drama, and it certainly deserves some of the honor that has been doled out to it. And yet multi-threading is only part of the story.
Camels are even-toed ungulates within the genus Camelus, bearing distinctive fatty humps on their backs. There are two species: the dromedary or Arabian camel has a single hump, and the Bactrian camel has two humps. They are native to the dry desert areas of western Asia, and central and east Asia, respectively. XXXX species are domesticated to provide milk and meat, and as beasts of burden. The term camel is also used more broadly to describe any of the six camel like creatures in the family Camelidae: the two true camels, and the four South American camelids, the llama, alpaca, guanaco, and vicuña. The average life expectancy of a camel is 40 to 50 years. A fully grown adult camel stands 1.85 m (6 ft 1 in) at the shoulder and 2.15 m (7 ft 1 in) at the hump. The hump rises about 30 inches (75 cm) out of its body. Camels can run at up to 65 km/h (40 mph) in short bursts and sustain speeds of up to 40 km/h (25 mph). Fossil evidence indicates that the ancestors of modern camels evolved in North America during the Palaeogene period, and later spread to most parts of Asia. Humans first domesticated camels before 2000 BC.
Distribution and numbers:- The almost 14 million dromedaries alive today are domesticated animals (mostly living in Somalia, the Sahel, Maghreb, Middle East and Indian subcontinent). An estimated quarter of the world's camel population is found in Somalia and in the Somali Region of Ethiopia, where the camel is an important part of nomadic Somali life. They provide the Somali people with milk, food and transportation. Camel headcount in 2003 The Bactrian camel is now reduced to an estimated 1.4 million animals, mostly domesticated. It is thought that there are about 1000 wild Bactrian camels in the Gobi Desert in China and Mongolia.[3] There is a substantial feral population of dromedaries estimated at up to 700,000 in central parts of Australia,[4] descended from individuals introduced as transport animals in the 19th century and early 20th century. This population is growing at approximately 11% per year. The government of South Australia has decided to cull the animals using aerial marksmen, because the camels use too much of the limited resources needed by sheep farmers.[citation needed] For more information, see Australian feral camel. A small population of introduced camels, dromedaries and Bactrians survived in the Southwest United States until the 1900s. These animals, imported from Turkey, were part of the US Camel Corps experiment and used as draft animals in mines and escaped or were released after the project was terminated. A descendant of one of these was seen by a backpacker in Los Padres National Forest in 1972. Twenty-three Bactrian camels were brought to Canada during the Cariboo Gold Rush.
Eco-behavioural adaptations:-</SPAN>
Camels do not store water in their humps as is commonly believed. The humps are actually a reservoir of fatty tissue. Concentrating body fat in their humps minimizes heat-trapping insulation throughout the rest of their body, which may be an adaptation to living in hot climates. When this tissue is XXXXbolized, it acts as a source of energy, and yields more than 1 g of water for each 1 g of fat converted through reaction with oxygen from air. This process of fat XXXXbolization generates a net loss of water through respiration for the oxygen required to convert the fat.
A camel's thick coat is one of their many adaptations that aid them in desert-like conditions. Their ability to withstand long periods without water is due to a series of physiological adaptations. Their red blood cells have an oval shape, unlike those of other mammals, which are circular. This is to facilitate their flow in a dehydrated state. These cells are also more stable[ in order to withstand high osmotic variation without rupturing when drinking large amounts of water (100 litres (22 imp gal; 26 US gal) to 150 litres (33 imp gal; 40 US gal) in one drink). Oval red corpuscles are not found in any other mammal, but are present in reptiles, birds, and fish. Camels are able to withstand changes in body temperature and water XXXXXXX that would kill most other animals. Their temperature ranges from 34 °C (93 °F) at night up to 41 °C (106 °F) during the day, and only above this threshold will they begin to sweat. The upper body temperature range is often not reached during the day in milder climatic conditions, and therefore, the camel may not sweat at all during the day. Evaporation of their sweat takes place at the skin level, not at the surface of their coat, thereby being very efficient at cooling the body compared to the amount of water lost through sweating. This ability to fluctuate body temperature and the efficiency of their sweating allows them to preserve about five litres of water a day.
Domsticated camels at the Pyramids of Giza A feature of their nostrils is that a large amount of watervapor in their exhalations is trapped and returned to their body fluids, thereby reducing the amount of water lost through respiration. They can withstand at least 20-25% weight loss due to sweating (most mammals can only withstand about 15% dehydration before cardiac failure results from circulatory disturbance). A camel's blood remains hydrated, even though the body fluids are lost, until this 25% limit is reached.[ Camels eating green herbage can ingest sufficient moisture in milder conditions to maintain their bodies' hydrated state without the need for drinking A camel's thick coat reflects sunlight, and also insulates it from the intense heat radiated from desert sand. A shorn camel has to sweat 50% more to avoid overheating. Their long legs help by keeping them further from the hot ground. Camels have been known to swim. Their mouth is very sturdy, able to chew thorny desert plants. Long eyelashes and ear hairs, together with sealable nostrils, form a barrier against sand. Their gait and their widened feet help them move without sinking into the sand The kidneys and intestines of a camel are very efficient at retaining water. Urine comes out as a thick syrup, and their feces are so dry that they can fuel fires All camelids have an unusual immunesystem. In all mammals, the Y-shaped antibody molecules consist of two heavy (or long) chains along the length of the Y, and two light (or short) chains at each tip of the Y. Camels also have antibody molecules that have only two heavy chains, which makes them smaller and more durable. These heavy chain-only antibodies, which were discovered in 1993, probably developed 50 million years ago, after camelids split from ruminants and pigs, according to biochemist Serge Muyldermans. The camel is the only animal to have replaced the wheel (mainly in NorthAfrica) where the wheel had already been established. The camel did not lose that distinction until the wheel was combined with the internal combustion engine in the 20th century.[
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