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Blababa [14]
3 years ago
8

Which of these would be an example of an enumerated power of Congress?

Social Studies
2 answers:
hodyreva [135]3 years ago
8 0
D.............,,,,.......
Dmitrij [34]3 years ago
7 0

The answer would be C

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The Collective Unconscious Earlier in this lesson, you learned about the idea of a collective unconscious set forth by psychoana
Olin [163]
<span>CorrectThe direction of the electric field stays the same regardless of the sign of the charges that are free to move in theconductor.Mathematically, you can see that this must be true since the expression you derived for the electric field isindependent of .Physically, this is because the force due to the magnetic field changes sign as well and causes positive charges tomove in the direction (as opposed to pushing negative charges in the direction). Therefore the result isalways the same: positive charges on the side and negative charges on the side. Because the electric fieldgoes from positive to negative charges will always point in the direction (given the original directions of</span>
5 0
3 years ago
Which type of assessment is performed to obtain data about an actual, potential, or possible problem that has been identified or
german

Answer: Focused assessment

Explanation: Focused assessment is the assessment made in the field of nursing .The assessment is made on the basis of the particular body function or parts concern.

The evaluation is made on the basis of the physical inspection, examining, percussion etc activities. This assessment focuses on the requirement of the further assessment compared with the actual assessment done till the present time.

6 0
3 years ago
Assess the role of artists as political activists
labwork [276]

Answer:

Explanation:

Several years ago we had the good fortune to ask the renowned activist artist Hans Haacke a

question:

How can you know when what you’ve done works?

He thought for a moment, and then replied,

I’ve been asked that question many times, and that question requires one to go around it

before one really avoids it.

Haacke’s response was meant to be humorous, but beneath it lay a serious problem: a general

aversion to conceptualizing the relationship between art, activism and social change. To be fair,

on the spectrum of artistic activism Haacke’s place is more toward the pole of the artist, and thus

his refusal to be pinned down by such a question merely conforms to the modern tradition that

valorizes art’s autonomy from society. Yet, even as we slide down the scale from expressive

artist to the more instrumental activist, the answer to the questions of how artistic activism works

to bring about social change and how to assess that impact remains elusive.1

This is a shaky foundation upon which to construct a rapidly growing field. Art schools have

devoted whole programs to the practice of arts and activism. Since Portland State University

launched the first of such programs, Art & Social Practice in 2007, the School of Visual Arts in

New York has added a department of Art Practice; CalArts: Social Practice & Public Forms; and

Queens College: Art & Social Action. New York University has two graduate programs devoted

to the intersection of arts and activism: Arts Politics in its performing arts school, and Art,

Education and Community Practice in its school of education and fine arts. Regardless of

program and department, university courses on arts and politics abound. In the Fall of 2010

alone, NYU offered over twenty courses, across four schools and colleges, exploring the

interconnections between arts, politics and social activism. This academic interest has prompted

a slew of recent books on arts and activism, with a cursory search on Amazon.com under “art

and activism” returning a staggering 1,345 results.

Museums curate entire exhibitions around the practice. In recent years, in New York City alone,

the Brooklyn Museum staged their monumental AgitProp show, the Whitney Museum, offered

up An Incomplete History Of Protest, and the Museum of the City of New York hosted AIDS at

Home, Art and Everyday Activism. Over the past decade, the Queens Museum has centered their

curatorial and educational mission around socially engaged arts, while Creative Time, the

1

“Artistic Activism,” a term first popularized in scholarship by Chantal Mouffe and in the field by the Center for

Artistic Activism, goes by many names: political art, creative activism, activist art, artivism socially engaged arts,

social practice arts, community based arts, artivism, arte útil, etc., each with slightly different emphases, and a

different place on the art/activism spectrum. What unites them all is the mobilization of both affect and effect.

2

ambitious NYC-based arts institution, organizes yearly “summits” which bring together artistic

activists from around the world. Around the world, from the Disobedient Objects show at the

Victoria and Albert Museum in London to The Art of Disruptions at Iziko South African

National Gallery, arts and activism has become an integral part of the arts scene. No global

Biennale is complete these days without its “social interventions” and the requisite controversy

surrounding the place of activism in the art world.

More important than academic and artistic institutions, however, is the attention turned to the

artistic activism by NGOs and philanthropic funders. Large organizations like the Open Society

Foundations have created new programs like the Arts Exchange to integrate arts into all levels of

their social programming, and smaller foundations like A Blade of Grass, Compton,

Rauschenberg, Surdna, et al. have made the support of arts and activism central to their mission.

Research groups like Americans for the Art’s Animating Democracy, and The Culture Group

produce reports and user guides for a range of actors in the field. Training institutes like the

Center for Artistic Activism, Beautiful Trouble, The Yes Labs, Intelligent Mischief, Center for

Story-Based Strategies, Backbone Campaign, to list just a few US examples, work with activists

who aspire to create more like artists and artists who would like to strategize more like activists.

But probably most critical of all is the attention paid to the practice by activists themselves. It is

now common in global activist NGOs like Greenpeace to local grassroots groups working on

immigration reform such as the New Sanctuary Coalition in NYC to develop “creative

strategies” alongside more traditional legal, electoral and mobilization approaches

5 0
3 years ago
What is the expected amplitude of the biosignal being recorded at its source (amplitude of the myocardial contractile and autory
Bumek [7]

Answer:

110mVat its source and 1mV at the place of measurement.

Explanation:

A biosignal is any signal in living beings that can be continually measured and monitored.

The term biosignal is often used to refer to bioelectrical signals, but it may refer to both electrical and non-electrical signals. The usual understanding is to refer only to time-varying signals, although spatial parameter variations (e.g. the nucleotide sequence determining the genetic code) are sometimes subsumed as well.

6 0
3 years ago
Which country In Europe has a terrible problem with acid rain?
JulijaS [17]

Answer:

Places significantly impacted by acid rain around the globe include most of eastern Europe from Poland northward into Scandinavia, the eastern third of the United States, and southeastern Canada. Other affected areas include the southeastern coast of China and Taiwan.

5 0
3 years ago
Read 2 more answers
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