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Aleonysh [2.5K]
2 years ago
5

Order the objects in order of size in the natural world. The biggest celestial (space) object should be at the top and the small

est celestial (space) object at the bottom.
1.milky way galaxy
2.earth
3.solar system
4.universe (needs help)
Social Studies
1 answer:
aleksandrvk [35]2 years ago
4 0
1. Universe
2. Milky way galaxy
3. Solar system
4. Earth

hope this helps :)
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PLEASE HELP ME!!!!! WILL GIVE BRAINLIEST!!
Dominik [7]

Just needed some points :)

8 0
3 years ago
What role do faith and religion play in the book. How do Nadia and Saeed differ in their approaches to faith and religion? Cite
olga_2 [115]

Answer:

The role of religion in the book is to establish personal relationships between people, culture and homeland, as well as to establish a strong sense of identity and adequacy.

Explanation:

The book in question is called "Exit West" and deals with the problems and experiences lived by immigrants and refugees in a country other than their native country.

In the book we are introduced to Nadia and Saeed. The narrator does not inform which country they are from, nor their religion, but shows how this religion manifests itself in different ways in each of the two and how it shapes their personality and the way they both live.

Although the book does not say what the religion of the two girls is, we know that they need to wear religious robes, in addition to being called to pray. This shows that this religion is similar to Islam, if not its own.

Nadia and Saeed are refugees and miss their home country. To reduce this longing, Saeed uses religion to get closer to his native country, because religion has cultural concepts closely linked to his culture, within religious rituals. Nadia, on the other hand, is not so connected in religion, but uses religious concepts to gain advantages. That's because she feels safe wearing religious clothes, although she doesn't feel connected to the theological part.

5 0
3 years ago
When was it first known on earth that there would be a latter day restoration?
Novosadov [1.4K]
It first known when: <span>Prophets in all ages have foretold that latter-day Restoration of the gospel

Basically, almost every religion teach that at the end of the time, humans will be divided into those who are 'good' and those who are 'bad'. The promise of </span>latter-day Restoration is used by every religion to influence their believers that they need to keep doing the teachings of that religion because they can never know when will the restoration day come.
8 0
3 years ago
Emerging adults demonstrating evidence of cognitive development in the direction of postformal thinking will be able to express
Setler [38]

Answer: b) clashing belief systems between cultures.

Options:

a) the universality of cultural belief systems.

b) clashing belief systems between cultures.

c) the dominance of certain cultural belief systems,.

d) the diversity of cultural belief systems.

Explanation: Postformal thinking occurs after adolescence. It is at this stage that an individual becomes aware of the contradictions between the same ideas such as the clashing belief systems between cultures. In addition, during this stage of cognitive development , a person is better able to see how comp.ex some issues are, that everything is not black or white but there are varying shades of what is right and what is wrong.

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
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