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seropon [69]
3 years ago
6

On this map, the line of 49 degrees north latitude follows a

Social Studies
2 answers:
Paul [167]3 years ago
4 0
Longitude of course because it is on the earths equater


Elena L [17]3 years ago
3 0

national border i think if it is

your welcome

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Why did congress create each of the morrill acts
snow_lady [41]

Answer:

The Morrill Land-Grant Acts are statutes that allowed for the creation of land-grant colleges in U.S. states using proceeds of federal land sales. The Morrill Act of 1862 was enacted during the American Civil War and the Morrill Act of 1890 expanded it. This would be a good move on the government, because granted revenues from the sale of millions of acres of federal lands to states in order to create higher education institutions. This is a positive on the economy and education. :)

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3 years ago
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​participants in one experiment were either frustrated or not frustrated. they then were given what they thought was an opportun
stepladder [879]
The correct answer is displacement. 

According to Dollard et al.'s frustration-aggression hypothesis, aggression is caused by and followed by feelings of frustration or anger. In terms of this hypothesis, displacement refers to the phenomenon where frustration causes individuals to direct their aggression on to something or someone who has nothing to do with the actual cause or source of the person's frustration. 
4 0
3 years ago
What are the four major social groups in the varna system?
melisa1 [442]
These and other Hindu literature classified the society in principle into four varnas:
Brahmins: priests, scholars and teachers.
Kshatriyas: rulers, warriors and administrators.
Vaishyas: agriculturalists and merchants.
Shudras: laborers and service providers.

Hope this helps you!
3 0
3 years ago
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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
When Caesar became dictator how long was this for? *
Mkey [24]

Answer:

10 years

Explanation:

He was first appointed dictator in 49 BC, possibly to preside over elections, but resigned his dictatorship within 11 days. In 48 BC, he was reappointed dictator, only this time for an indefinite period, and in 46 BC, he was appointed dictator for 10 years.

7 0
3 years ago
Read 2 more answers
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