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Anthropogenic climate changes stress the importance of understanding why people harm the environment despite their attempts to behave in climate friendly ways. This paper argues that one reason behind why people do this is that people apply heuristics, originally shaped to handle social exchange, on the issues of environmental impact. Reciprocity and balance in social relations have been fundamental to social cooperation, and thus to survival, and therefore the human brain has become specialized by natural selection to compute and seek this balance. When the same reasoning is applied to environment-related behaviors, people tend to think in terms of a balance between “environmentally friendly” and “harmful” behaviors, and to morally account for the average of these components rather than the sum. This balancing heuristic leads to compensatory green beliefs and negative footprint illusions—the misconceptions that “green” choices can compensate for unsustainable ones. “Eco-guilt” from imbalance in the moral environmental account may promote pro-environmental acts, but also acts that are seemingly pro-environmental but in reality more harmful than doing nothing at all. Strategies for handling problems caused by this cognitive insufficiency are discussed.
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I do not follow along with news wether local or global culture. Because, almost most of the time the media just petrays the negative side of the world. And it can be difficult to decipher what is always negative or if they are just pertaying one part, but it is mostly positive. There is so much more to this world then negative, and to put your mind in a state where your just watching and reading someone elses opinion, without actualy seeing both sides <em>can</em> be unhealthy.
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He sought to emphasize the historic nature of the events at Pearl Harbor, implicitly urging the American people never to forget the attack and memorialize its date.
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<em>corporation</em>
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Classical decomposition requires the study of the space the art takes place in, the color composition if applicable, the lines and flow of the work, the technique used, and the emotion and intellectual response it evokes. The space in which the art takes place could be the phsyical setting, the division of space in the work itself (common in paintings) and how it interacts with the space (negative vs. positive space.) The color composition is important in how the colors chosen relate to the work (or the lack there of). The lines and flow of the work tend to pertain more to visual works but anyone that has evaluated the artwork in automotive design know full well the importance of lines in the work. The technique is important especially in phsyical artwork such as sculpture and relief painting. This is also crucial in multimedia work and abstract sculpture. The last part, largely subjective, is what the work solicits from the viewer. Art without emotion could be argued ... isn't art. Andy Worhol explored this idea with pop art (cambell soup can anyone?) on what is the nature of art. Art is either everywhere (in your spoon, fork, stapler, etc.) or some rare thing (a painting by Raphel verus the macroni happy face the 4 year old did) and if it is a rare thing then what does the art have to convey? What elevates art from engineering then? This last part is solely the responsibility of the critic rather then the artist. An artist always sees their art as art, but what prompts the view to consider it art and what steps does the work take to make a believer out of the viewer.
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