What group of nerve cells senses and responds to changes in the chemical composition of its fluid environment?

    Primitive art – the kind of paintings drawn on cave walls and ceilings tens of thousands of years ago – -might naturally be considered the result of primitive minds drawing simple animal-shaped doodles.  However, a closer look at cave drawings found throughout the world reveals a very sophisticated artistry, one that archeologist and art historians try to “lead” in order to understand the minds and culture that created such intricate work.     We do know the cave artists themselves come from the hunter people roaming throughout what is now Western Europe as much as 30,000 years ago.  These hunters were armed with not much more than simple tools fashioned from stone, bone, or wood.  They had to rely on sight, smell, agility, quick wits, and in intimate knowledge of the animal prey that in most cases was larger, swifter, and more powerful than the hunters themselves.     By continually searching for, stalking, chasing, and bringing down their next meal, hunters developed an almost magical bond with the prey; they came to revere and honor the very animals they hunted and ate.  Thus the hunters’ daily thoughts, plans, and actions centered on animals in what could be described as a unique and vital relationship.  Not surprisingly then, and perhaps as an expression of this essential relationship, hunter-artists etched and even sculpted those animals by firelight on the ceilings and interiors of caves in, for example, the Dordogne region of France, northern Spain, through Russia, China, and into the Arctic Region.     From the earliest “rough” works of 25,000 years ago, we see the importance of the prey-animal itself.  The caves yield x-ray like outlines of what appear to be musk ox, bison, bear, and fish sketched by fingertip on the damp clay walls.  About 12,000 years later, cave painters began to produce strikingly realistic animal figures in motion during various stages of the hunt.  Drawn in red ocher and charcoal, large scale, “herds” of horses and deer animate the artist’s storytelling, a narrative that even includes, in many paintings, such details as the traps used for the lure and capture.     In addition to illustrating the significance of the prey-animal itself, cave artists also revealed themselves and their culture through other means.  By drawing some human figures wearing animal skins and heads, they showed a profound identification with their prey, and by incorporating some geometric designs in certain works, cave artists demonstrated an ability   to think abstractly and symbolically.     Clearly, the paintings of these animals and portrayals of the hunt and kill show that early humans were able to convey honor and respect through abstract and literal means.  Such artistic expression suggests a far more sophisticated mentality than we might think possible on the first glance into the dark and “primitive” caves. Passage 4 Question 34:  The author shows bias in favor of

    Primitive art – the kind of paintings drawn on cave walls and ceilings tens of thousands of years ago – -might naturally be considered the result of primitive minds drawing simple animal-shaped doodles.  However, a closer look at cave drawings found throughout the world reveals a very sophisticated artistry, one that archeologist and art historians try to “lead” in order to understand the minds and culture that created such intricate work.     We do know the cave artists themselves come from the hunter people roaming throughout what is now Western Europe as much as 30,000 years ago.  These hunters were armed with not much more than simple tools fashioned from stone, bone, or wood.  They had to rely on sight, smell, agility, quick wits, and in intimate knowledge of the animal prey that in most cases was larger, swifter, and more powerful than the hunters themselves.     By continually searching for, stalking, chasing, and bringing down their next meal, hunters developed an almost magical bond with the prey; they came to revere and honor the very animals they hunted and ate.  Thus the hunters’ daily thoughts, plans, and actions centered on animals in what could be described as a unique and vital relationship.  Not surprisingly then, and perhaps as an expression of this essential relationship, hunter-artists etched and even sculpted those animals by firelight on the ceilings and interiors of caves in, for example, the Dordogne region of France, northern Spain, through Russia, China, and into the Arctic Region.     From the earliest “rough” works of 25,000 years ago, we see the importance of the prey-animal itself.  The caves yield x-ray like outlines of what appear to be musk ox, bison, bear, and fish sketched by fingertip on the damp clay walls.  About 12,000 years later, cave painters began to produce strikingly realistic animal figures in motion during various stages of the hunt.  Drawn in red ocher and charcoal, large scale, “herds” of horses and deer animate the artist’s storytelling, a narrative that even includes, in many paintings, such details as the traps used for the lure and capture.     In addition to illustrating the significance of the prey-animal itself, cave artists also revealed themselves and their culture through other means.  By drawing some human figures wearing animal skins and heads, they showed a profound identification with their prey, and by incorporating some geometric designs in certain works, cave artists demonstrated an ability   to think abstractly and symbolically.     Clearly, the paintings of these animals and portrayals of the hunt and kill show that early humans were able to convey honor and respect through abstract and literal means.  Such artistic expression suggests a far more sophisticated mentality than we might think possible on the first glance into the dark and “primitive” caves. Passage 4 Question 29:  According to the passage, the hunter-artists

    Primitive art – the kind of paintings drawn on cave walls and ceilings tens of thousands of years ago – -might naturally be considered the result of primitive minds drawing simple animal-shaped doodles.  However, a closer look at cave drawings found throughout the world reveals a very sophisticated artistry, one that archeologist and art historians try to “lead” in order to understand the minds and culture that created such intricate work.     We do know the cave artists themselves come from the hunter people roaming throughout what is now Western Europe as much as 30,000 years ago.  These hunters were armed with not much more than simple tools fashioned from stone, bone, or wood.  They had to rely on sight, smell, agility, quick wits, and in intimate knowledge of the animal prey that in most cases was larger, swifter, and more powerful than the hunters themselves.     By continually searching for, stalking, chasing, and bringing down their next meal, hunters developed an almost magical bond with the prey; they came to revere and honor the very animals they hunted and ate.  Thus the hunters’ daily thoughts, plans, and actions centered on animals in what could be described as a unique and vital relationship.  Not surprisingly then, and perhaps as an expression of this essential relationship, hunter-artists etched and even sculpted those animals by firelight on the ceilings and interiors of caves in, for example, the Dordogne region of France, northern Spain, through Russia, China, and into the Arctic Region.     From the earliest “rough” works of 25,000 years ago, we see the importance of the prey-animal itself.  The caves yield x-ray like outlines of what appear to be musk ox, bison, bear, and fish sketched by fingertip on the damp clay walls.  About 12,000 years later, cave painters began to produce strikingly realistic animal figures in motion during various stages of the hunt.  Drawn in red ocher and charcoal, large scale, “herds” of horses and deer animate the artist’s storytelling, a narrative that even includes, in many paintings, such details as the traps used for the lure and capture.     In addition to illustrating the significance of the prey-animal itself, cave artists also revealed themselves and their culture through other means.  By drawing some human figures wearing animal skins and heads, they showed a profound identification with their prey, and by incorporating some geometric designs in certain works, cave artists demonstrated an ability   to think abstractly and symbolically.     Clearly, the paintings of these animals and portrayals of the hunt and kill show that early humans were able to convey honor and respect through abstract and literal means.  Such artistic expression suggests a far more sophisticated mentality than we might think possible on the first glance into the dark and “primitive” caves. Passage 4 Question 31:   The author’s primary purpose is to

What is the difference between a mechanical vector and a biological vector?  Provide an example of each type. (Please use proper sentence structure.  Grammar, punctuation, and spelling will be graded.) Be sure to use the appropriate terminology as given in our textbook and notes/lectures.

What is the difference between a sign and a symptom?  Provide an example to illustrate the difference. (Please use proper sentence structure.  Grammar, punctuation, and spelling will be graded.) Be sure to use the appropriate terminology as given in our textbook and notes/lectures.

1)Name 3 portals of entry.  2)What is the most common portal of entry?  3)Identify 3 portals of exit.  4)Choose one of the portals of exit and describe how exit occurs. Be sure to use the appropriate terminology as given in our textbook and notes/lectures.

To remain enrolled in this course, you must complete AT LEAST one of the first two attendance markers. The first two attendance markers are associated with which of the below?

You can use your filled out key term guides to take the midterm and final exams. But, you can only use it by accessing it on OneDrive through the same web browser window that you have the test open.

Any student may take a quiz or test up to 48-business hours past the due date without contacting Professor D.