knowledge organiser 9 - files.schudio.com
TRANSCRIPT
1
knowledge organiser
Success is the sum of small efforts repeated day in and out.
‘
’Name:
Tutor:
Cycle 4 2021
9
Science
English
French
HistoryGeography Hegarty
MathsModern Britain
QUESTIONS STEMSUse these to help you set your own questions. Try to use some from each section.
Simple Question Stems - recognising and recallingWhere is it? Describe what happens when?
What is? How would you define?
When did it happen? How would you recognise?
How is? Which one?
Why did? Explain what is meant by?
More complex questionsIdentify the pros and cons of What do you think about?
What would be the result of? Which is the most important factor?
What explanation can you give for What could you suggest about?
What is the problem with? What would happen if?
What can you point out about? What is the most important reason why
1
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Show more PRIDE in your learning. Be proud to learn and be proud of your work.
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Most dates and titles are underlined Work is usually neat and well presented Extended writing tasks are good SPaG is usually correct
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You are RESILIENT. You always show PRIDE in your work.
1 2
3 4
Contents PageSubject PageEnglish 2 - 3Maths 4 - 6Science Biology 7 Chemistry 8 Physics 9French 10 - 11Georgraphy 12 - 13History 14 - 15Modern Britain 16 - 17
Options Art & Design 18 - 19 Business 20 - 21 Child Development 22 Computer Science 23 - 24 Dance 25 - 26 Drama 27 - 28 Health and Social Care 29 - 31 IT 32 - 33 Media 34 - 35 Music 36 - 37 Photography 38 - 39 Sociology 40 - 41 Sport 42 - 43
2
Trag
edy
(Wee
ks 1
+ 2
)
A t
rage
dy
usu
ally
beg
ins
wit
h t
he
mai
n c
har
acte
r st
arti
ng
in a
n im
po
rtan
t p
osi
tio
n, l
ike
a p
rin
ce o
r a
kin
g. T
hey
are
so
meo
ne
wh
o is
ad
mir
ed a
nd
res
pec
ted
, bu
t w
ho
als
o h
as a
‘tra
gic
flaw
’ in
th
eir
ch
arac
ter.
The
flaw
is o
ften
par
t o
f th
eir
gre
atn
ess,
bu
t it
als
o le
ads
the
pro
tago
nis
t to
mak
e m
ista
kes
and
mis
jud
gmen
ts, e
vent
ual
ly c
ausi
ng
thei
r d
ow
nfal
l. Th
ey s
tru
ggle
to
reg
ain
th
eir
po
siti
on
in s
oci
ety,
o
nly
rec
ogn
isin
g t
he
erro
r o
f th
eir
way
s w
hen
it is
to
o la
te.
His
tori
cal C
on
text
(W
eeks
3 +
4)
Qu
een
Eliz
abet
h I
Eliz
abet
h I
was
qu
een
wh
ilst
Shak
esp
eare
was
wri
tin
g. S
he
mad
e Pr
ote
stan
tism
th
e o
ffic
ial r
elig
ion
of
Engl
and
, wh
ich
an
gere
d m
any
Cat
ho
lics
and
led
to
co
nflic
t.
Shak
esp
eare
may
be
refe
ren
cin
g th
is in
Rom
eo a
nd J
ulie
t, w
ith
th
e tw
o fe
ud
ing
fam
ilies
.
Patr
iarc
hyPa
tria
rch
al s
oci
etie
s ar
e o
nes
wh
ere
men
are
th
e m
ost
po
wer
ful a
nd
do
min
ant,
an
d h
ave
cont
rol o
ver
wo
men
e.g
. by
cho
osi
ng
wh
o t
hey
wo
uld
mar
ry.
Nu
rses
Nu
rses
wer
e em
plo
yed
by
wea
lthy
fam
ilies
to
car
e fo
r th
eir
child
ren
. Wet
nu
rses
w
ere
also
em
plo
yed
to
th
eir
feed
bab
ies.
The
Hu
mo
urs
Eliz
abet
han
s b
elie
ved
th
e b
od
y co
ntai
ned
fou
r ‘h
um
ou
rs’:
blo
od
, ph
legm
, yel
low
b
ile a
nd
bla
ck b
ile. T
he
amo
unt
yo
u h
ad o
f ea
ch d
eter
min
ed y
ou
r p
erso
nal
ity.
Pe
op
le w
ith
to
o m
uch
ph
legm
are
em
oti
on
al. P
eop
le w
ith
to
o m
uch
blo
od
are
ir
resp
on
sib
le a
nd
glu
tto
no
us.
Peo
ple
wit
h t
oo
mu
ch y
ello
w b
ile a
re v
iole
nt a
nd
ve
nge
ful.
Peo
ple
wit
h t
oo
mu
ch b
lack
bile
are
dep
ress
ed a
nd
sel
f-ce
ntre
d.
Fate
The
bel
ief
that
yo
ur
life
is m
app
ed o
ut
for
you
, or
‘wri
tten
in t
he
star
s’. M
any
Eliz
abet
han
s b
elie
ved
th
at G
od
dec
ided
yo
ur
fate
, an
d t
hat
ast
rolo
gy c
ou
ld h
elp
yo
u id
enti
fy y
ou
r co
urs
e in
life
.
Bu
bo
nic
P
lagu
e/B
lack
D
eath
A p
lagu
e th
at k
illed
man
y p
eop
le. S
uff
ers
wer
e q
uar
anti
ned
in t
hei
r h
ou
ses,
wit
h a
re
d ‘X
’ pai
nted
on
th
e d
oo
r, an
d le
ft t
o d
ie.
Year
9 K
now
ledg
e O
rgan
iser
- Cy
cle
3 - S
hake
spea
re a
nd h
is C
onte
mpo
rari
es
Dra
mat
ic T
erm
ino
logy
(W
eek
5 +
6)
Stru
ctu
re a
nd
Fo
rm
Def
init
ion
Pro
se
Pro
se is
lan
guag
e w
ith
ou
t a
met
er. I
t w
as c
on
sid
ered
to
be
the
styl
e o
f sp
eech
use
d b
y th
e co
mm
on
man
.
Bla
nk
Ver
se
A t
ype
of
po
etry
. It
do
es h
ave
met
er b
ut
it d
oes
n’t
rh
yme.
Sh
akes
pea
re o
ften
use
d ia
mb
ic p
enta
met
er.
Dra
mat
ic
Iro
nyW
hen
th
e au
die
nce
kn
ow
s m
ore
ab
ou
t ev
ents
in t
he
pla
y th
an t
he
char
acte
rs.
Iam
bic
Pe
nta
met
er
A fo
rm o
f m
etre
in w
hic
h t
he
lines
co
nsi
st o
f fi
ve p
airs
o
f sy
llab
les.
Mo
st s
pee
ches
in J
uliu
s C
aesa
r ar
e in
Ia
mb
ic p
enta
met
er.
Rhy
thm
A
str
on
g, r
egu
lar
and
rep
eate
d p
atte
rn o
f m
ove
men
t o
r so
un
d.
Cae
sura
A
pau
se in
th
e m
idd
le o
f a
line.
P
rolo
gue
Op
ens
the
sto
ry a
nd
fore
shad
ow
s ev
ents
. R
hym
ing
Co
up
lets
R
hym
ing
cou
ple
ts a
re t
wo
rhy
min
g li
nes
wri
tten
in
iam
bic
pen
tam
eter
. Th
ey a
re o
ften
use
d t
o s
um
up
th
e en
d o
f a
char
acte
r's
spee
ch in
Rom
eo a
nd J
ulie
t.
Du
olo
gue
A p
lay
or
par
t o
f a
pla
y w
hic
h o
nly
has
tw
o p
eop
le
spea
kin
g.
Stic
ho
myt
hia
Dia
logu
e in
wh
ich
tw
o c
har
acte
rs s
pea
k al
tern
ate
lines
o
f ve
rse.
Mo
no
logu
eA
sp
eech
by
on
e ch
arac
ter.
Solil
oq
uy
Wh
en a
ch
arac
ter
spea
ks t
hei
r th
ou
ghts
alo
ud
on
st
age.
Asi
de
Wh
en a
ch
arac
ter
spea
ks t
o t
he
aud
ien
ce, n
ot
inte
nd
ing
to b
e h
eard
by
oth
er c
har
acte
rs in
th
e p
lay.
Frey
tag’
s P
yram
id (
Wee
ks 4
-5)
Shak
esp
eare
’s G
lob
e (W
eek
1)
The
Glo
be
Thea
tre
was
wh
ere
man
y o
f Sh
akes
pea
re’s
pla
ys w
ere
per
form
ed.
It w
as c
on
stru
cted
in 1
599.
It w
as o
ctag
on
sh
aped
, ro
ofl
ess
and
hel
d a
rou
nd
300
0 p
eop
le.
It b
urn
ed d
ow
n in
161
3 d
uri
ng
a p
erfo
rman
ce a
s a
resu
lt o
f a
stag
ed c
ann
on
fir
e.
Lan
guag
e D
evic
es (
Wee
k 5+
6)
Sim
ileCo
mpa
ring
two
thin
gs u
sing
‘lik
e’ o
r ‘a
s’.
Sym
bolis
m
Whe
n an
imag
e re
pres
ents
an
idea
, e.g
. lig
ht s
ymbo
lises
ha
ppin
ess,
flow
ers
sym
bolis
e yo
uth
etc.
Dou
ble
mea
ning
/ A
mbi
guit
yW
hen
a w
ord
can
be r
ead
to m
ean
two
thin
gs e
.g. ‘
grav
e’ c
an
mea
n se
riou
s or
ref
er to
a g
rave
sto
ne.
Pers
onifi
cati
onW
hen
an o
bjec
t is
give
n hu
man
qua
litie
s or
cha
ract
eris
tics.
Oxy
mor
onA
figur
e of
spe
ech
in w
hich
two
cont
rast
ing
term
s ar
e us
ed
toge
ther
.
Met
apho
rCo
mpa
ring
two
thin
gs b
y sa
ying
that
one
is th
e ot
her.
Sibi
lanc
eRe
peat
ed ‘S
’ sou
nd a
t the
beg
inni
ng o
f wor
ds.
Hyp
erbo
le
Exag
gera
ted
sta
tem
ents
or
clai
ms
no
t m
eant
to
be
take
n li
tera
lly.
Alli
tera
tion
Sam
e so
un
ds
rep
eate
d a
t th
e b
egin
nin
g o
f co
nse
cuti
ve o
r cl
ose
ly
pla
ced
wo
rds.
Path
etic
Fal
lacy
A t
erm
for
the
attr
ibu
tio
n o
f h
um
an e
mo
tio
n a
nd
co
nd
uct
to
thin
gs fo
un
d in
nat
ure
th
at a
re n
ot
hu
man
.
Juxt
apo
siti
on
Tw
o c
ont
rast
ing
idea
s p
lace
d n
ear
each
oth
er fo
r em
ph
asis
.
Ch
arac
ters
(W
eeks
2+3
)
The
Mo
nta
gues
Ro
meo
- a
yo
un
g m
an -
init
ially
in lo
ve w
ith
Ro
salin
e b
ut
falls
in lo
ve w
ith
Ju
liet.
Mer
cuti
o -
Ro
meo
’s b
est
frie
nd
.B
envo
lio -
Ro
meo
’s c
ou
sin
.
The
Cap
ule
tsJu
liet
- ap
pro
xim
atel
y 13
yea
rs o
ld a
nd
falls
in lo
ve w
ith
Ro
meo
. Th
e n
urs
e -
the
wo
man
wh
o h
as c
ared
for
Julie
t h
er e
ntir
e lif
eTy
bal
t -
Julie
t’s
cou
sin
wh
o h
ates
th
e M
ont
agu
es.
Pari
s -
a m
an w
ho
has
bee
n p
rom
ised
Ju
liet’
s h
and
in m
arri
age.
Fria
r La
wre
nce
- a
fri
end
of
bo
th R
om
eo a
nd
Ju
liet,
wh
o m
arri
es t
hem
in s
ecre
t.
3
Frey
tag’
s P
yram
id (
Wee
ks 4
-5)
Shak
esp
eare
’s G
lob
e (W
eek
1)
The
Glo
be
Thea
tre
was
wh
ere
man
y o
f Sh
akes
pea
re’s
pla
ys w
ere
per
form
ed.
It w
as c
on
stru
cted
in 1
599.
It w
as o
ctag
on
sh
aped
, ro
ofl
ess
and
hel
d a
rou
nd
300
0 p
eop
le.
It b
urn
ed d
ow
n in
161
3 d
uri
ng
a p
erfo
rman
ce a
s a
resu
lt o
f a
stag
ed c
ann
on
fir
e.
Lan
guag
e D
evic
es (
Wee
k 5+
6)
Sim
ileCo
mpa
ring
two
thin
gs u
sing
‘lik
e’ o
r ‘a
s’.
Sym
bolis
m
Whe
n an
imag
e re
pres
ents
an
idea
, e.g
. lig
ht s
ymbo
lises
ha
ppin
ess,
flow
ers
sym
bolis
e yo
uth
etc.
Dou
ble
mea
ning
/ A
mbi
guit
yW
hen
a w
ord
can
be r
ead
to m
ean
two
thin
gs e
.g. ‘
grav
e’ c
an
mea
n se
riou
s or
ref
er to
a g
rave
sto
ne.
Pers
onifi
cati
onW
hen
an o
bjec
t is
give
n hu
man
qua
litie
s or
cha
ract
eris
tics.
Oxy
mor
onA
figur
e of
spe
ech
in w
hich
two
cont
rast
ing
term
s ar
e us
ed
toge
ther
.
Met
apho
rCo
mpa
ring
two
thin
gs b
y sa
ying
that
one
is th
e ot
her.
Sibi
lanc
eRe
peat
ed ‘S
’ sou
nd a
t the
beg
inni
ng o
f wor
ds.
Hyp
erbo
le
Exag
gera
ted
sta
tem
ents
or
clai
ms
no
t m
eant
to
be
take
n li
tera
lly.
Alli
tera
tion
Sam
e so
un
ds
rep
eate
d a
t th
e b
egin
nin
g o
f co
nse
cuti
ve o
r cl
ose
ly
pla
ced
wo
rds.
Path
etic
Fal
lacy
A t
erm
for
the
attr
ibu
tio
n o
f h
um
an e
mo
tio
n a
nd
co
nd
uct
to
thin
gs fo
un
d in
nat
ure
th
at a
re n
ot
hu
man
.
Juxt
apo
siti
on
Tw
o c
ont
rast
ing
idea
s p
lace
d n
ear
each
oth
er fo
r em
ph
asis
.
Ch
arac
ters
(W
eeks
2+3
)
The
Mo
nta
gues
Ro
meo
- a
yo
un
g m
an -
init
ially
in lo
ve w
ith
Ro
salin
e b
ut
falls
in lo
ve w
ith
Ju
liet.
Mer
cuti
o -
Ro
meo
’s b
est
frie
nd
.B
envo
lio -
Ro
meo
’s c
ou
sin
.
The
Cap
ule
tsJu
liet
- ap
pro
xim
atel
y 13
yea
rs o
ld a
nd
falls
in lo
ve w
ith
Ro
meo
. Th
e n
urs
e -
the
wo
man
wh
o h
as c
ared
for
Julie
t h
er e
ntir
e lif
eTy
bal
t -
Julie
t’s
cou
sin
wh
o h
ates
th
e M
ont
agu
es.
Pari
s -
a m
an w
ho
has
bee
n p
rom
ised
Ju
liet’
s h
and
in m
arri
age.
Fria
r La
wre
nce
- a
fri
end
of
bo
th R
om
eo a
nd
Ju
liet,
wh
o m
arri
es t
hem
in s
ecre
t.
4
Year
9 M
aths
Kno
wle
dge
Org
anis
er C
4
Skill
D
efin
ition
Ex
ampl
es
Skill
D
efin
ition
Ex
ampl
es
Poly
gon
A
2D s
hape
whi
ch
has
at le
ast t
hree
st
raig
ht s
ides
and
an
gles
. The
se a
re
clos
ed s
hape
s (A
ll
side
s ar
e
conn
ecte
d).
A re
gula
r pol
ygon
is
a p
olyg
on
whi
ch h
as a
ll
side
s eq
ual t
o on
e
anot
her,
and
all
angl
es e
qual
to
one
anot
her.
Su
m o
f In
terio
r an
gles
in a
po
lygo
n
To fi
nd th
e
sum
of
inte
rior
angl
es o
f a
poly
gon ,
m
ultip
ly th
e
num
ber o
f tri
angl
es in
th
e
poly
gon
by
180°
All t
he s
ides
in
a re
gula
r po
lygo
n ar
e
equa
l.
Inte
rior
and
Ex
terio
r A
ngle
s
Inte
rior a
ngle
s
refe
r to
the
angl
es
insi
de a
pol
ygon
.
An e
xter
ior a
ngle
is
the
angl
e
betw
een
a si
de o
f a
shap
e an
d a
lin
e ex
tend
ed
from
that
sid
e.
Inte
rior +
Ext
erio
r = 1
80
Pyth
agor
as’
Theo
rem
A
theo
rem
attr
ibut
ed to
Py
thag
oras
that
the
squa
re
on th
e hy
pote
nuse
of a
rig
ht-a
ngle
d tri
angl
e is
equ
al
in a
rea
to th
e su
m o
f the
sq
uare
s on
the
othe
r tw
o
side
s.
c 2 = a
2 + b
2
Whe
re c
is th
e hy
pote
nuse
.
(N
ote:
Thi
s is
a c
alcu
lato
r an
d a
non-
calc
ulat
or to
pic.
Ex
amin
ers
will
expe
ct y
ou to
kn
ow y
our s
quar
e nu
mbe
rs
up to
15 2 )
5
Year
9 M
aths
Kno
wle
dge
Org
anis
er C
4
Inte
rpre
t Sc
atte
r G
raph
s
You
inte
rpre
t a s
catte
r gra
ph b
y lo
okin
g fo
r tre
nds
in
the
data
as
you
go fr
om le
ft to
righ
t. Th
ere
are
thre
e
type
s; p
ositi
ve, n
egat
ive
and
no c
orre
latio
n.
Line
of B
est
Fit
A tre
nd li
ne w
hich
is a
dded
to a
sca
tter g
raph
to re
pres
ent t
he
trend
/cor
rela
tion
of th
e da
ta.
Inte
rpol
atio
n
In
terp
olat
ion
is
whe
n yo
u m
ake
an
est
imat
e fro
m
with
in th
e ra
nge
of
data
.
(Not
e: T
o ga
in fu
ll
mar
ks in
you
r ex
am y
ou w
ill
need
to d
o th
is
with
a ru
ler a
nd
be a
s ac
cura
te a
s
poss
ible
)
Extr
apol
atio
n Ex
trapo
latio
n is
whe
n yo
u
mak
e an
est
imat
e fro
m
outs
ide
the
rang
e of
dat
a.
U
sing
the
exam
ple
to th
e
right
, ext
rapo
latio
n w
ould
be
us
ed to
est
imat
e th
e pr
ice
of
a ho
use
250k
m fr
om L
ondo
n.
Venn
D
iagr
am
A Ve
nn d
iagr
am is
a
diag
ram
that
sh
ows
all p
ossi
ble
lo
gica
l rel
atio
ns
betw
een
a fin
ite
colle
ctio
n of
di
ffere
nt s
ets.
W
e us
e th
ese
to
find
prob
abilit
ies.
Set t
heor
y in
Ve
nn
Dia
gram
s
Ther
e ar
e va
rious
diff
eren
t ev
ents
that
can
be
re
pres
ente
d by
a V
enn
D
iagr
am.
C
ompl
emen
t, U
nion
and
In
ters
ectio
n.
6
Year
9 M
aths
Kno
wle
dge
Org
anis
er C
4
Aver
ages
fr
om
Gro
uped
D
ata
To c
alcu
late
the
mea
n of
gro
uped
dat
a , th
e fir
st
step
is to
det
erm
ine
the
mid
poin
t of e
ach
inte
rval
, or
clas
s.
Thes
e m
idpo
ints
mus
t the
n be
mul
tiplie
d by
the
fre
quen
cies
of t
he c
orre
spon
ding
cla
sses
. (fx
)
Th
e su
m o
f th
e pr
oduc
ts
divi
ded
by
the
tota
l nu
mbe
r of
valu
es w
ill
be th
e va
lue
of
the
mea
n.
Ran
ge o
f G
roup
ed
Dat
a
The
diffe
renc
e be
twee
n th
e
low
er li
mit
of th
e m
inim
um
inte
rval
and
upp
er li
mit
of th
e
max
imum
inte
rval
of t
he
grou
ped
data
.
This
follo
ws
our d
efin
ition
s of
ra
nge
bein
g th
e di
ffere
nce
be
twee
n th
e bi
gges
t and
the
sm
alle
st.
R
ange
: 50
- 25
= 25
Arc
Len
gth
Ar
c le
ngth
is th
e di
stan
ce b
etw
een
two
poin
ts a
long
a
sect
ion
of a
cur
ve.
E.g
θ =
30 a
nd r
= 10
cm
30/3
60 x
2 x
π x
10
= 5.
235.
..cm
Sect
or A
rea
E.
g θ
= 30
and
r =
10cm
30
/360
x π
x 1
0 2 = 2
6.17
99...
cm 2
7
Cycle
4 B
iodi
vers
ity a
nd C
omm
unica
ble
dise
ase.
Keyw
ord
Defin
ition
Key
Idea
s
W E E K 5
Indi
cato
r Spe
cies
Spec
ies u
sed
as a
gui
de to
det
erm
ine
pollu
tion
leve
ls of
air
or a
riv
erAs
hum
an p
opul
atio
n ris
es, s
o do
es w
aste
pro
duct
ion.
Indi
cato
r sp
ecie
s can
be
used
as a
mea
sure
of p
ollu
tion,
esp
ecia
lly in
wat
er
cour
ses s
uch
as st
ream
s and
rive
rs.
Cons
erva
tion
prog
ram
mes
aim
to m
aint
ain
the
num
ber o
f spe
cies
in a
hab
itat w
hen
envi
ronm
enta
l cha
nges
occ
ur. C
aptiv
e br
eedi
ng
prog
ram
mes
can
be u
sed
to m
aint
ain
biod
iver
sity.
Bio
dive
rsity
is
impo
rtan
t bec
ause
it h
elps
an
ecos
yste
m fu
nctio
n an
d gi
ves r
ise to
m
any
diffe
rent
varie
ties o
f org
anism
. The
Am
azon
rain
fore
st is
ver
y bi
odiv
erse
but
hum
an im
pact
such
as d
efor
esta
tion
man
y th
reat
en
thes
e sp
ecie
s. On
e of
the
reas
ons h
uman
s are
cutt
ing
dow
n la
rge
area
s of t
he ra
info
rest
is fo
r far
min
g of
sing
le cr
op sp
ecie
s. Th
is is
know
n as
mon
ocul
ture
. Oil
palm
is a
n ex
ampl
e of
such
a sp
ecie
s. Th
e im
pact
of t
his i
s tha
t hab
itats
of t
he n
ativ
e sp
ecie
s are
lost
.
Con
serv
atio
nTh
e m
ainte
nanc
e of
a sp
ecie
s or h
abita
t in
the
face
of c
hang
e
Sust
ainab
leTh
e us
e of
reso
urce
s in
a w
ay th
at e
nsur
es th
at th
ey a
re st
ill av
ailab
le in
futu
reM
onoc
ultu
reW
here
onl
y a
single
cro
p sp
ecie
s or v
arie
ty is
gro
wn
in a
give
n ar
eaIm
mun
eU
nabl
e to
cat
ch a
n in
fect
ion
for a
seco
nd ti
me
Cau
sal m
echa
nism
An u
nder
lying
reas
on fo
r an
even
t or s
erie
s of e
vent
s
Com
mun
icabl
eC
an b
e pa
ssed
or t
rans
ferr
ed fr
om p
erso
n to
per
son
Path
ogen
An o
rgan
ism w
hich
infe
cts a
nd c
ause
s dise
ase
W E E K 6
Vacc
inat
ion
A pr
oces
s whe
reby
a pe
rson
rece
ives a
wea
kene
d or
dea
d ve
rsio
n of
a p
atho
gen
(or p
arts
of i
t) to
prim
e th
eir i
mm
une
syst
em
Com
mun
icabl
e di
seas
es ca
n be
pas
sed
from
per
son
to p
erso
n ea
sily.
Soc
ial d
istan
cing
durin
g th
e gl
obal
pan
dem
ic of
202
0-20
21 is
be
ing
used
to re
duce
Cov
id-1
9 be
ing
pass
ed fr
om p
erso
n to
pe
rson
. Cov
id-1
9 is
a co
mm
unica
ble
dise
ase.
Non
com
mun
icabl
e di
seas
es li
ke ca
ncer
cann
ot b
e pa
ssed
from
pe
rson
to p
erso
n. H
owev
er th
ere
are
risk
fact
ors a
ssoc
iate
d w
ith
gett
ing s
uch
dise
ases
. Ofte
n lif
esty
le ch
oice
s can
incr
ease
the
likel
ihoo
d of
get
ting
a no
n-co
mm
unica
ble
dise
ase.
Ther
e ar
e fo
ur g
roup
s of p
atho
gens
; bac
teria
, viru
ses,
prot
ists a
nd
fung
i. Th
ere
are
mul
tiple
way
s in
whi
ch v
iral d
iseas
es ca
n be
sp
read
, inc
ludi
ng th
roug
h co
ntac
t or t
hrou
gh a
irbor
ne d
ropl
ets.
Bact
eria
l and
vira
l dise
ases
hav
e sim
ilarit
ies b
ut a
lso d
iffer
ence
s, es
pecia
lly in
term
s of p
ossib
le tr
eatm
ents
. Pla
nts c
an a
lso su
ffer
from
com
mun
icabl
e di
seas
e, e
spec
ially
one
s cau
sed
by fu
ngi
Man
y dise
ases
caus
ed b
y pr
otist
s, su
ch a
s mal
aria
, hav
e co
mpl
ex
life
cycle
s.
Salm
onel
laAn
exa
mpl
e of
a b
acte
rium
, the
mos
t com
mon
of w
hich
can
ca
use
seve
re fo
od p
oiso
ning
Gon
orrh
oea
A se
xuall
y tr
ansm
itted
bac
teria
l dise
ase
SARS
-CoV
-2Th
e co
rrec
t nam
e fo
r the
viru
s orig
inat
ing i
n C
hina
in la
te 2
019
(Sev
ere
Acut
e Re
spira
tory
Syn
drom
e C
oron
aviru
s 201
9)In
tras
pecif
ic C
ompe
titio
nC
ompe
titio
n am
ong o
rgan
isms f
rom
the
sam
e sp
ecie
s
Inte
rspe
cific
Com
petit
ion
Com
petit
ion
betw
een
two
diffe
rent
spec
ies o
f org
anism
Belt
Tran
sect
A sa
mpl
ing m
etho
d us
ed to
see
if th
e po
pulat
ion
of a
n or
gani
sm
chan
ges a
s an
abio
tic fa
ctor
cha
nges
.Bi
otic
fact
ors
Fact
ors c
ause
d by
livin
g or
gani
sms,
such
as f
ood
avail
abilit
y an
d co
mpe
titio
n be
twee
n sp
ecie
sAb
iotic
Fac
tors
Phys
ical o
r non
-livin
g con
ditio
ns th
at a
ffect
the
dist
ribut
ion
of a
po
pulat
ion
in a
n ec
osys
tem
, suc
h as
ligh
t, te
mpe
ratu
re, s
oil p
H.
8
Year
9 C
ycle
4 C
rude
Oil
Frac
tions
, The
Atm
osph
ere
and
Pollu
tion,
Pot
able
Wat
er
Keyw
ord
Defin
ition
Key
Idea
s
W E E K 3
Cra
ckin
gA
chem
ical p
roce
ss in
whi
ch a
long
cha
in a
lkan
e is
brok
en u
p in
to a
sh
orte
r ch
ain a
lkan
e pl
us a
n alk
ene.
CRAC
KING
: lon
ger c
hain
frac
tions
from
crud
e oi
l can
be
brok
en
into
smal
ler,
mor
e us
eful
one
s.EA
RTH’
S EA
RLY
ATM
OSPH
ERE:
The
ear
ly a
tmos
pher
e ar
ose
from
ga
ses f
rom
vol
cano
es. W
ater
vapo
ur co
nden
sed
to fo
rm th
e oc
eans
. The
re w
as a
hig
h pe
rcen
tage
of c
arbo
n di
oxid
e an
d no
ox
ygen
.W
HY D
ID T
HE E
ARLY
ATM
OSPH
ERE
CHAN
GE?
Alga
e us
ed ca
rbon
di
oxid
e fo
r pho
tosy
nthe
sis. P
hoto
synt
hesis
pro
duce
d ox
ygen
so
leve
ls in
crea
sed.
Som
e ca
rbon
dio
xide
diss
olve
d in
the
ocea
ns,
mak
ing
them
acid
ic.W
HAT
ARE
THE
CONS
EQUE
NCES
OF
THE
GREE
NHOU
SE E
FFEC
T?
Gree
nhou
se g
ases
are
ess
entia
l for
kee
ping
tem
pera
ture
s sta
ble.
If
we
had
no g
reen
hous
e ef
fect
the
Eart
h w
ould
not
sust
ain
life.
Th
e ba
lanc
e of
gas
es ch
ange
s the
effe
ct a
nd co
uld
be d
amag
ing.
Alka
neA
satu
rate
d hy
droc
arbo
n in
whi
ch e
ach
carb
on a
tom
is b
onde
d to
4
hydr
ogen
ato
ms.
Alke
neA
satu
rate
d hy
droc
arbo
n in
whi
ch e
ach
carb
on a
tom
is b
onde
d to
fe
wer
than
4 h
ydro
gen
atom
s.Ai
rA
mix
ture
of g
ases
: 80%
nitr
ogen
, 20%
oxy
gen,
and
small
pr
opor
tions
of c
arbo
n di
oxid
e an
d no
ble
gase
s.At
mos
pher
eLa
yers
of g
ases
surr
ound
ing
a pl
anet
and
hel
d in
plac
e by
the
plan
et’s
grav
ity.
Car
bon
Foot
prin
tTh
e to
tal a
mou
nt o
f car
bon
diox
ide
and
othe
r gr
eenh
ouse
gase
s em
itted
ove
r the
full
life
cycle
of a
pro
duct
, ser
vice
or e
vent
.C
ombu
stio
nEx
othe
rmic
reac
tion
of a
subs
tanc
e w
ith o
xyge
n.
Gre
enho
use
gas
Any
of th
e ga
ses w
hose
abs
orpt
ion
of so
lar r
adiat
ion
is re
spon
sible
fo
r the
gre
enho
use
effe
ct, e
.g. c
arbo
n di
oxid
e, m
etha
ne.
W E E K 4
Exha
ust g
ases
Gas
es d
ischa
rged
into
the
atm
osph
ere
from
an
engin
e as
a re
sult
of
com
bust
ion
of fu
els
HOW
CAN
WE
REDU
CE T
HE E
FFEC
T OF
HUM
AN A
CTIV
ITY?
We
can
redu
ce th
e us
e of
foss
il fu
els a
nd u
se re
new
able
ene
rgy.
We
can
use
sunl
ight
mor
e di
rect
ly fo
r ene
rgy n
eeds
. We
can
use
reso
urce
s m
ore
effic
ient
ly a
nd fa
irly.
WHA
T AR
E TH
E EF
FECT
S OF
ATM
OSPH
ERIC
POL
LUTI
ON?
Sul
phur
di
oxid
e (p
rodu
ced
whe
n co
al is
bur
ned)
diss
olve
s in
wat
er to
form
ac
id ra
in. S
ulph
ur d
ioxid
e an
d ox
ides
of n
itrog
en ca
n ca
use
resp
irato
ry p
robl
ems.
Part
icula
tes c
an ca
use
glob
al d
imm
ing.
HOW
CAN
WE
ENSU
RE A
CCES
S TO
DRI
NKIN
G W
ATER
AND
TR
EATM
ENTS
? W
ater
nee
ds to
be
free
from
micr
obes
and
solid
s Th
ere
is lim
ited
fresh
wat
er so
seaw
ater
nee
ds d
esal
inat
ion.
Se
wag
e an
d w
aste
wat
er n
eed
trea
tmen
t bef
ore
recy
cling
.
Exot
herm
ic re
actio
nC
hem
ical r
eact
ion
in w
hich
ther
mal
ener
gy is
give
n ou
t.
Foss
il fu
els
Fuel
s whi
ch a
re th
e fo
ssilis
ed r
emain
s of
plan
ts o
r ani
mals
, suc
h as
co
al, o
il an
d ga
sIn
com
plet
e co
mbu
stio
nTa
kes p
lace
whe
n th
ere
is no
t eno
ugh
oxyg
en p
rese
nt fo
r co
mpl
ete
com
bust
ion.
Pota
ble
wat
erW
ater
that
is sa
fe to
drin
k.
Part
iculat
esSm
all p
artic
les
in th
e air
ofte
n ca
used
by
burn
ing
fuel
s.
Pollu
tant
s Su
bsta
nces
that
can
cau
se d
amag
e to
the
envir
onm
ent.
Pollu
tePu
t unw
ante
d or
har
mfu
l sub
stan
ces i
nto
the
envir
onm
ent.
Pollu
tion
Con
tam
inat
ion
of th
e en
viron
men
t as a
resu
lt of
hum
an a
ctivi
ties.
9
Cycle
4 P
hysic
s Yea
r 9 K
now
ledg
e Or
gani
ser
Keyw
ord
Defin
ition
Key
Idea
s
W E E K 3
Char
geM
easu
red
in C
oulo
mbs
. Cal
cula
ted
by cu
rren
t x ti
me
In se
ries c
ircui
ts:
Cu
rren
t is t
he sa
me
thro
ugh
each
com
pone
nt.
Th
e to
tal p
oten
tial d
iffer
ence
of t
he p
ower
supp
ly is
shar
ed b
etw
een
the
com
pone
nts.
Th
e to
tal r
esist
ance
of t
he ci
rcui
t is t
he su
m o
f ind
ivid
ual r
esist
ors.
In p
aral
lel c
ircui
ts:
Th
e to
tal c
urre
nt su
pplie
d is
split
bet
wee
n th
e co
mpo
nent
s on
diffe
rent
lo
ops.
Po
tent
ial d
iffer
ence
is th
e sa
me
acro
ss e
ach
loop
.
The
tota
l res
istan
ce o
f the
circ
uit i
s red
uced
as t
he cu
rren
t can
follo
w
mul
tiple
pat
hs.
Whe
n a
char
ge m
oves
thro
ugh
a po
tent
ial d
iffer
ence
, ele
ctric
al w
ork i
s don
e an
d en
ergy
tran
sfer
red.
Pot
entia
l Diff
eren
ce =
Cur
rent
X R
esist
ance
(V =
IR)
po
tent
ial d
iffer
ence
(V) i
s mea
sure
d in
vol
ts (V
)
curr
ent (
I) is
mea
sure
d in
am
ps (A
)
resis
tanc
e (R
) is m
easu
red
in o
hms (
Ω)
Coul
omb
The
unit
of e
lect
ric ch
arge
, equ
al to
the
quan
tity o
f ele
ctric
ity
conv
eyed
in o
ne se
cond
by
a cu
rren
t of o
ne a
mpe
re.
Diod
eA
com
pone
nt th
at le
ts e
lect
ric cu
rren
t flo
w th
roug
h it
in o
ne
dire
ctio
n on
ly.
Fila
men
t bu
lbAn
ele
ctric
al cu
rren
t hea
ts th
e fil
amen
t in
a bu
lb so
that
it
give
s out
light
.
Ohm
(Ω)
The
unit
for m
easu
ring
elec
trica
l res
istan
ce.
Pote
ntia
l di
ffere
nce
The
ener
gy tr
ansf
erre
d to
or f
rom
a co
ulom
b of
ele
ctric
char
ge
whe
n it
flow
s bet
wee
n tw
o po
ints
. Som
etim
es ca
lled
volta
ge.
Calcu
late
d us
ing
V =
curr
ent x
resis
tanc
e
Resis
tanc
eA
mea
sure
men
t of h
ow d
ifficu
lt it
is fo
r ele
ctric
ity to
flow
th
roug
h so
met
hing
. Mea
sure
d in
ohm
s (Ω)
.
W E E K 4
Fuse
A sa
fety
dev
ice co
ntai
ning
a le
ngth
of w
ire th
at is
des
igne
d to
m
elt i
f the
curr
ent i
n a
circu
it ge
ts to
o ho
t.Al
tern
atin
g and
Dire
ct C
urre
ntAn
ele
ctric
curr
ent f
low
s eith
er a
s a d
irect
curr
ent o
r as a
n al
tern
atin
g cur
rent
. Di
rect
curr
ent o
n a
volta
ge-ti
me
grap
h th
is w
ould
app
ear a
s a st
raig
ht h
orizo
ntal
lin
e at
a co
nsta
nt vo
ltage
. Car
bat
terie
s, dr
y ce
lls a
nd so
lar c
ells
all p
rovi
de a
dire
ct
curr
ent (
dc) t
hat o
nly f
low
s in
one
dire
ctio
n. A
ltern
atin
g cu
rren
t (ac
) is a
n el
ectr
ic cu
rren
t tha
t reg
ular
ly ch
ange
s its
dire
ctio
n an
d siz
e.Po
wer
stat
ions
som
etim
es p
rodu
ce e
lect
ricity
usin
g m
agne
ts. T
his p
rovi
des a
n al
tern
atin
g cur
rent
(ac)
. In
the
UK, t
he m
ains
ele
ctric
al su
pply
is g
ener
ated
at a
fre
quen
cy o
f 50
Hert
z (Hz
) and
is d
eliv
ered
to h
ouse
s at 2
30 V
olts
(V).
Hous
ehol
d El
ectr
icity
-Pl
ugs
A pl
ug co
nnec
ts a
dev
ice to
the
mai
ns e
lect
ricity
supp
ly. T
he ca
ble
betw
een
the
devi
ce a
nd th
e th
ree-
pin
plug
cont
ains
thre
e co
pper
wire
s tha
t are
coat
ed w
ith
plas
tic. C
oppe
r wire
s are
goo
d co
nduc
tors
, pla
stic
is a
good
insu
lato
r
Neut
ral w
ire -
Copp
er w
ire co
ated
with
blu
e pl
astic
that
also
conn
ects
to
the
cabl
e in
the
wal
l and
com
plet
es th
e cir
cuit.
Ea
rth
wire
-Co
pper
wire
coat
ed in
strip
ed p
last
ic th
at p
rovi
des a
pat
h fo
r cu
rren
t to
flow
from
the
case
of t
he d
evice
to th
e gr
ound
if th
ere
is a
faul
t.
Live
wire
-Co
pper
wire
coat
ed w
ith b
row
n pl
astic
alo
ng w
hich
the
curr
ent
ente
rs th
e de
vice
.
Light
-de
pend
ent
resis
tor
A re
sisto
r who
se re
sista
nce
gets
low
er w
hen
light
shin
es o
n it.
Natio
nal G
ridTh
e sy
stem
of w
ires a
nd tr
ansf
orm
ers t
hat d
istrib
utes
el
ectr
icity
arou
nd th
e co
untr
y.
Para
llel
circu
itA
circu
it in
whi
ch th
ere
is m
ore
than
one
pat
h fo
r the
curr
ent
to fo
llow
.
Serie
s circ
uit
A ty
pe o
f circ
uit w
ith o
nly o
ne lo
op o
f wire
Ther
mist
orA
com
pone
nt w
hose
resis
tanc
e ch
ange
s as i
ts te
mpe
ratu
re
chan
ges.
The
ther
mist
ors y
ou w
ill m
eet i
ncre
ase
in re
sista
nce
as th
e te
mpe
ratu
re in
crea
ses.
Tran
sfor
mer
A de
vice
that
can
chan
ge th
e po
tent
ial d
iffer
ence
or v
olta
ge
of a
n al
tern
atin
g cur
rent
10
Year
9 -
Fren
ch -
Cyc
le 4
Them
e 2
loca
l, na
tiona
l, in
tern
atio
nal a
nd g
loba
lare
as o
f int
eres
ts:G
loba
l iss
ues.
Wee
kgr
amm
arvo
cabu
lary
Exam
ples
1 The
envi
ronm
ent &
soci
al is
sues
(7.1
G/F
)
devo
ir/po
uvoi
r + in
finiti
veO
n pe
ut: w
e ca
nO
n do
it / i
l fau
t: w
e m
ust
On
devr
ait:
we
shou
ld
Si +
pre
sent
tens
e: “
si”
clau
se”
Sion
recy
cle
plus
de
bout
eille
s, o
n pe
utéc
onom
iser
plu
s de
ver
re.
Verb
s:É
cono
mis
er:t
o sa
veR
ecyc
ler:
to re
cycl
eA
ller:
to g
oP
rend
re:t
o ta
keM
ettre
:to
put
utili
ser :
to u
seFo
ndre
:to
mel
t
L'en
viro
nnem
ent:
the
envi
ronm
ent
La c
ircul
atio
n:tra
ffic
/La
pou
belle
:dus
tbin
Les
déch
ets:
was
te /
Le v
erre
:gla
ssLe
car
ton:
card
boar
d /
Les
boite
s:tin
sL’
eau:
wat
er /
L’él
ectri
cité
:ele
ctric
ityU
ne d
ouch
e: a
show
erLe
s tra
nspo
rts e
n co
mm
un:p
ublic
tran
spor
tU
n ce
ntre
de
recy
clag
e:re
cycl
ing
cent
reLe
s sa
cs e
n pl
astiq
ue:p
last
ic b
ags
La d
estru
ctio
n:th
e de
stru
ctio
nU
n ha
bita
t:a
habi
tat
Un
anim
al/ d
es a
nim
aux:
anim
al/ a
nim
als
Un
man
que
de:a
lack
of
Une
voi
ture
:car
/U
n ca
mio
n:a
lorr
yU
n em
bout
eilla
ge:a
traf
fic ja
mLe
réch
auffe
men
t de
la p
lanè
te:g
loba
l war
min
gLe
s gl
acie
rs:g
laci
ers
La p
ollu
tion:
pol
lutio
nU
ne in
onda
tion
: flo
odIl
n’y
a pa
s as
sez:
ther
e is
n’t e
noug
hE
tre e
n da
nger
: to
be in
dan
ger
Il y
a tro
p de
circ
ulat
ion
Ther
e is
too
muc
h tra
ffic.
On
met
le v
erre
, le
carto
n et
le p
last
ique
dan
s le
spo
ubel
les
de re
cycl
age.
We
put t
he g
lass
, car
dboa
rd a
nd p
last
ic in
the
recy
clin
gbi
ns.
Il fa
ut u
tilis
er le
s tra
nspo
rts e
n co
mm
un.
It is
nec
essa
ry to
use
pub
lic tr
ansp
ort.
Sion
pre
nd u
ne d
ouch
e, o
n ut
ilise
moi
ns d
’eau
.If
you
show
er, y
ou u
se le
ss w
ater
.
Sion
util
ise
le b
us, i
l y a
moi
ns d
’em
bout
eilla
ges.
If yo
u us
e th
e bu
s, th
ere
are
less
traf
fic ja
ms.
Sion
pro
tège
les
forê
ts, o
n ne
dét
ruit
pas
les
habi
tats
des
anim
aux.
If w
e pr
otec
t the
fore
sts
we
don’
t des
troy
anim
als’
habi
tats
.
2S
ocia
l iss
ues
& in
equa
lity
(7.2
G/F
)
Key
ver
bs:
Com
battr
e / l
utte
r -to
figh
tA
ider
-to
hel
pN
ourr
ir -t
o fe
edC
réer
-to
cre
ate
Se
porte
r bén
évol
e -t
o vo
lunt
eer
Col
lect
er d
e l'a
rgen
t -to
col
lect
mon
eyIl
faut
ess
ayer
de
-we
mus
t try
to
ils d
orm
ent -
they
sle
ep
Les
gens
-pe
ople
/le
s pa
uvre
s- p
oor p
eopl
eLe
chô
mag
e -u
nem
ploy
men
tA
u ch
ômag
e -u
nem
ploy
edU
n em
ploi
/ du
trav
ail -
a jo
bLe
s S
DF
-hom
eles
s pe
ople
La p
auvr
eté
-pov
erty
Dan
s le
s ru
es -
in th
e st
reet
Mal
heur
euse
men
t -un
fortu
nate
lyP
as a
ssez
d’a
rgen
t -no
t eno
ugh
mon
eyS
ans
loge
men
t -w
ithou
t acc
omm
odat
ion
Une
ass
ocia
tion
carit
ativ
e -a
cha
rity
De
la n
ourr
iture
-fo
odU
n do
n -a
don
atio
nU
n vo
lont
aire
- a v
olun
teer
Les
SD
F do
rmen
t dan
s le
s ru
es c
ar il
s n’
ont p
as a
ssez
d’ar
gent
. -H
omel
ess
peop
le s
leep
in th
e st
reet
bec
ause
they
don
’t ha
ve e
noug
h m
oney
.
Il fa
ut c
omba
ttre
la p
auvr
eté
et c
réer
plu
s d’
empl
ois.
-We
mus
t fig
ht p
over
ty a
nd c
reat
e m
ore
jobs
.
Bea
ucou
p de
gen
s sa
ns lo
gem
ent s
ont a
u ch
ômag
e. -
A lo
tof
peo
ple
with
out a
ccom
mod
atio
n ar
e un
empl
oyed
.
Il fa
ut e
ssay
er d
e se
por
ter b
énév
ole
pour
des
ass
ocia
tions
carit
ativ
es.-
We
mus
t try
to v
olun
teer
for c
harit
ies.
11
3 &
4C
harit
y w
ork
(6.1
G/F
)
Voul
oir +
infin
itive
:Je
veu
x do
nner
:I w
ant t
o gi
veTu
veu
x ai
der :
you
wan
t to
help
Elle
veu
ttra
vaill
er:s
he w
ants
to w
ork
CO
ND
ITIO
NA
L:Je
/ tu
vou
drai
s:I /
you
wou
ld li
keil/
elle
vou
drai
t:he
/she
wou
ld li
keO
n vo
udra
it:w
e w
ould
like
(inf
.)no
us v
oudr
ions
:we
wou
ld li
ke (f
orm
.)vo
us v
oudr
iez:
you
(plu
r.) w
ould
like
ils/e
lles
voud
raie
nt:t
hey
wou
ld li
keJe
vou
drai
s ai
der:
I wou
ld li
ke to
hel
pJe
vou
drai
s fa
ire:I
wou
ld li
ke to
do
Je v
oudr
ais
donn
er:I
wou
ld li
ke to
giv
e
Une
mal
adie
:an
illne
ss/d
isea
seU
ne c
atas
troph
e na
ture
lle:a
nat
ural
dis
aste
rLa
gue
rre:
the
war
Le S
IDA
:AID
SU
n te
st d
e dé
pist
age:
scre
enin
g te
stD
e la
nou
rritu
re g
ratu
ite:f
ree
food
La fa
im:h
unge
rLe
raci
sme:
raci
smU
n re
fuge
:a s
helte
rD
e l’a
rgen
t:m
oney
Ça
a ét
é fo
ndé
/ cré
é:it
was
cre
ated
Je s
uis
béné
vole
dep
uis
deux
ans
, le
sam
edi a
ux “r
esto
sdu
cœur
”.I'v
e vo
lunt
eere
d fo
r 2 y
ears
, on
Sat
urda
ys a
t the
“res
tos
duco
eur”
sou
p ki
tche
n.
Je v
oudr
ais
faire
des
don
s au
x as
soci
atio
ns c
arita
tives
inte
rnat
iona
les.
I wou
ld li
ke to
mak
e do
natio
ns to
inte
rnat
iona
l cha
ritie
s.
Ma
soeu
r aim
erai
t tra
vaill
er a
utou
r du
mon
de p
oura
ider
des
asso
ciat
ions
car
itativ
es.
My
sist
er w
ould
like
to w
ork
arou
nd th
e w
orld
in o
rder
to h
elp
char
ities
.
5E
atin
g ha
bits
(6.2
G)
Inte
nsifi
ers:
Trop
de/
d’ -
too
muc
h (o
f)P
as a
ssez
de/
d’ -
not e
noug
h (o
f)B
eauc
oup
de/d
’ -a
lot o
f
Key
ver
bs:
On
doit
/ Il f
aut -
we
mus
tJe
ne
man
ge p
as d
e/d’
-I d
on’t
eat a
nyJ’
évite
de
man
ger/b
oire
-I a
void
eatin
g/dr
inki
ngJe
ne
peux
pas
man
ger/b
oire
de/
d’ -
I can
’t ea
t/drin
k an
yÇ
a pe
ut m
ener
à- i
t can
lead
to
Com
para
tives
:P
lus
… q
ue- m
ore
… th
anM
oins
… q
ue- l
ess
… th
an
L’ob
ésité
-ob
esity
Un
régi
me
sain
-a
heal
thy
diet
Pou
r res
ter e
n fo
rme
-to
stay
in s
hape
Pou
r être
en
bonn
e sa
nté
-to
be h
ealth
yIl
faut
man
ger é
quili
bré
-we
mus
t eat
hea
lthily
Troi
s re
pas
par j
our-
3 m
eals
a d
ayJe
sui
s vé
géta
rien(
ne) -
I am
a v
eget
aria
nJe
man
ge d
e to
ut -
I eat
eve
ryth
ing
Je n
e su
is p
as d
iffic
ile- I
’m n
ot d
iffic
ult
Du
porc
-po
rk /
De
la v
iand
e -m
eat
Du
pois
son
-fis
hD
es fr
uits
et l
égum
es -
fruit
and
veg
Des
suc
rerie
s -s
wee
t/sug
ary
thin
gsde
s m
atiè
res
gras
ses
-fat
ty fo
ods
Des
boi
sson
s su
crée
s/ga
zeus
es- s
ugar
y/fiz
zydr
inks
Des
pro
duits
laiti
ers
- dai
ry p
rodu
cts
C’e
st d
ange
reux
/mau
vais
pou
r- it
’sda
nger
ous/
bad
for
Pou
r res
ter e
n fo
rme,
il fa
ut m
ange
r équ
ilibr
é et
boire
plu
sd’
eau.
-To
sta
y in
sha
pe, y
ou m
ust e
at h
ealth
ilyan
d dr
ink
mor
e w
ater
.
J’év
ite d
e m
ange
r tro
p de
mat
ière
s gr
asse
s.-I
avo
idea
ting
too
man
y fa
tty fo
ods.
On
doit
avoi
r un
régi
me
sain
pou
r être
en
bonn
e sa
nté.
- We
mus
t hav
e a
heal
thy
diet
to b
e he
alth
y.
Je n
e m
ange
pas
de
sucr
erie
s ca
r ça
peut
men
er à
l’ob
ésité
- I d
on’t
eat s
wee
t thi
ngs
beca
use
it ca
n le
ad to
obes
ity.
6C
ompa
ring
old
& n
ew h
abits
(6.2
F)
Impe
rfect
tens
e:J’
avai
s -I
had
/use
d to
hav
eJe
fais
ais
-I d
id/u
sed
to d
oJ’
étai
s -I
was
/use
d to
be
Je d
orm
ais
- I s
lept
/ us
ed to
sle
ep
Avan
t -be
fore
/ Mai
nten
ant -
now
Qua
nd j’
étai
s pl
us je
une
-whe
n I w
as y
oung
erJe
fum
e de
s ci
gare
ttes
-I s
mok
e ci
gare
ttes
Je b
ois
de l’
alco
ol -
I drin
k al
coho
lJe
ne
veux
pas
dev
enir
accr
o -I
don
’t w
ant t
obe
com
e ad
dict
edJe
fais
de
l'exe
rcic
e -I
do
som
e ex
erci
seJe
dor
s x
heur
es p
ar n
uit -
I sle
ep x
hou
rs a
nig
ht
Avan
t, je
dor
mai
s hu
it he
ures
par
nui
t. M
aint
enan
t,je
dor
sci
nq h
eure
s. -
Bef
ore,
I us
ed to
sle
ep 8
hou
rs a
nig
ht.N
ow, I
slee
p 5
hour
s.
Je n
e ve
ux p
as d
even
ir ac
cro
aux
ciga
rette
s. -
I don
’tw
ant
to b
ecom
e ad
dict
ed to
cig
aret
tes.
Je b
ois
de l’
alco
ol le
wee
k-en
d. -
I drin
k al
coho
lon
the
wee
kend
.
12
Cyc
le 4
Geo
grap
hy Y
ear
9 K
now
ledg
e O
rgan
iser
: Col
d En
viro
nmen
ts
Sess
ion
Keyw
ords
Kno
wle
dge
Geo
grap
hica
l con
cept
s
Wee
k 1
and
2
Cha
ract
erist
ics
and
adap
tatio
ns
Clim
ate
The
aver
age
wea
ther
pa
ttern
ove
r a lo
ng p
erio
d of
tim
e, us
ually
30
year
sB
iodi
vers
ityTh
e Var
iety
of l
ife in
the
wor
ld o
r in
a pa
rticu
lar
ecos
yste
mPe
rmaf
rost
Perm
anen
tly fr
ozen
gr
ound
, foun
d in
pol
ar a
nd
tund
ra re
gions
Pola
rTh
e m
ost e
xtre
me
cold
en
viron
men
t with
pe
rman
ent i
ce.
Regio
ns a
roun
d th
e N
orth
po
le (A
rctic
Sea
) or S
outh
po
le (A
ntar
ctica
)Tu
ndra
A va
st, fl
at, t
reel
ess A
rctic
re
gion
of E
urop
e, As
ia an
d N
orth
Am
erica
whe
re th
e su
bsoi
l is p
erm
anen
tly
froze
n
Dis
trib
utio
n
Mos
t of t
he w
orld
’s co
ld e
nviro
nmen
ts a
re fo
und
close
to
the
pole
s in
the A
rctic
and
Ant
arct
ic.
Phys
ical
cha
ract
eris
tics
Pola
rC
limat
e - W
inte
r tem
pera
ture
s ofte
n fal
l bel
ow -
50o C
. Ve
ry lo
w p
recip
itatio
n.So
ils -
Perm
anen
tly fr
ozen
in p
erm
afros
tPl
ants
- So
me
mos
s fou
nd a
t frin
ges o
f ice
Tund
raC
limat
e - W
inte
r tem
pera
ture
s dro
p to
- 20
o C. H
igh
prec
ipita
tion
at c
oast
(main
ly sn
ow)
Soils
- Pe
rmafr
ost –
mos
tly fr
ozen
but
will
mel
t nea
r the
su
rface
in su
mm
erIn
fert
ile, o
ften
wat
erlo
gged
Plan
tsLo
w g
row
ing
(bea
rber
ry a
nd a
rctic
mos
s)So
me
low
bus
hes a
nd sm
all tr
ees m
ay g
row
in w
arm
er
regio
nsA
lpin
eC
limat
e - T
empe
ratu
re d
ecre
ases
0.6
o C fo
r eve
ry 1
00m
alt
itude
Both
\tun
dra
and
Polar
env
ironm
ents
pre
sent
dep
endi
ng o
n alt
itude
Col
d en
viron
men
ts h
ave
very
low
bio
dive
rsity
, thi
s mea
ns th
ere
are
few
er sp
ecie
s of p
lants
and
ani
mals
than
mos
t oth
er e
nviro
nmen
ts.
Ada
ptat
ions
The
evo
lutio
nary
pro
cess
whe
reby
an
orga
nism
be
com
es b
ette
r abl
e to
live
in it
s hab
itat o
r hab
itats
.Pl
ants
Few
plan
ts a
re fo
und
in p
olar
regio
ns. A
wid
e va
riety
are
foun
d in
tu
ndra
regio
ns. T
hese
hav
e ad
apte
d to
cop
e w
ith lo
w te
mpe
ratu
res,
stro
ng w
inds
and
dry
con
ditio
ns. A
n ex
ampl
e is
the
Bear
berr
y.B
earb
erry
ada
ptat
ions
•Lo
w g
row
ing
(5-1
5cm
) to
surv
ive st
rong
win
ds.
•H
airy
ste
ms
to re
tain
hea
t.•
Bri
ght
red
berr
ies
eate
n by
bird
s to
dist
ribut
e se
eds.
•Sm
all w
axy
leav
es re
duce
wat
er lo
ssA
nim
als
•Po
lar
bear
s ar
e w
ell a
dapt
ed to
the
polar
env
ironm
ent. T
hick
fu
r, in
sulat
ing
layer
of f
at, b
lack
nose
and
foot
pads
to a
bsor
b su
n.•
Arc
tic fo
x ch
ange
s its
coa
t fro
m w
hite
to b
row
n as
the
snow
m
elts
. It’s
bush
y ta
il is
used
to k
eep
it w
arm
Inte
rdep
ende
nce
Diff
eren
t par
ts o
f the
col
d en
viron
men
t eco
syst
em a
re c
lose
ly lin
ked
toge
ther
and
dep
end
on e
ach
othe
r, es
pecia
lly in
a su
ch a
har
sh
envir
onm
ent.
For e
xam
ple,
Plan
ts g
ain n
utrie
nts f
rom
the
soil
and
prov
ide
nutr
ient
s to
the
anim
als th
at e
at th
em. T
he a
nim
als sp
read
th
e pl
ants
seed
s hel
ping
them
to g
row.
Wee
k 3
and
4
Opp
ortu
nitie
s
Opp
ortu
nitie
s fo
r de
velo
pmen
tTh
e pr
oces
s of a
cou
ntry
in
term
s of e
cono
mic
grow
th, t
he u
se o
f te
chno
logy
and
hum
an
wel
fare
Sval
bard
is lo
cate
d in
the
Nor
ther
n H
emisp
here
in th
e Ar
ctic
Circ
le. It
is in
the
cont
inen
t of E
urop
e an
d is
an
arch
ipel
ago
of is
lands
nor
th o
f Nor
way
. To
the W
est o
f Sv
albar
d is
Gre
enlan
d. Th
e O
cean
surr
ound
ing
Svalb
ard
is th
e Ar
ctic
Oce
an, t
o th
e Ea
st o
f Sva
lbar
d is
the
Bare
nt S
ea. M
uch
of S
valb
ard
has a
pol
ar c
limat
e w
ith 6
0% b
eing
cov
ered
with
gla
ciers
.
Opp
ortu
nitie
s fo
r D
evel
opm
ent
in S
valb
ard
•M
iner
al e
xtra
ctio
n - m
ore
than
300
peo
ple
empl
oyed
in c
oal
min
es. N
ew m
ine
open
ed in
201
4 ne
ar S
vea.
•En
ergy
dev
elop
men
ts -
Svalb
ard
is lo
cate
d clo
se to
the
Mid
-Atla
ntic
ridge
and
cou
ld d
evel
op g
eoth
erm
al e
nerg
y•
Fish
ing
- 150
spec
ies o
f fish
. The
Bar
ents
Sea
is o
ne o
f the
ric
hest
fish
ing
grou
nds i
n th
e w
orld
.•
Tour
ism
- In
201
1 70
,000
peo
ple
visite
d Lo
ngye
arby
en. H
arbo
ur
was
rece
ntly
enlar
ged
with
a n
ew te
rmin
al. To
urism
pro
vides
300
jo
bs a
nd c
ould
be
deve
lope
d fu
rthe
r
13
Cyc
le 4
Geo
grap
hy Y
ear
9 K
now
ledg
e O
rgan
iser
: Col
d En
viro
nmen
ts
Sess
ion
Keyw
ords
Kno
wle
dge
Geo
grap
hica
l con
cept
s
Wee
k 4
and
5
Cha
lleng
es a
nd
Frag
ile
Infr
astr
uctu
reTh
e ba
sic e
quip
men
t and
st
ruct
ures
(roa
ds, u
tiliti
es,
wat
er, s
ewag
e) th
at a
re
need
ed fo
r a re
gion
to
func
tion
prop
erly
Frag
ile E
nvir
onm
ent
An e
nviro
nmen
t tha
t is
both
eas
ily d
istur
bed
and
diffi
cult
to re
stor
e
Wild
erne
ss a
reas
Wild
erne
ss a
reas
are
un
spoi
lt an
d re
mot
e re
gions
of t
he w
orld
Frag
ile e
nvir
onm
ent
Tund
ra v
eget
atio
n ta
kes
a ve
ry lo
ng ti
me
to
beco
me
esta
blish
ed.
Tund
ra is
a d
elica
te
ecos
yste
m w
hich
is
easil
y di
stur
bed
by
hum
an a
ctivi
ties
Hum
an a
ctivi
ties s
uch
as o
ff-ro
ad d
rivin
g ca
n ca
use
thaw
ing
of
Perm
afros
t whi
ch th
en
take
s dec
ades
to
reco
ver
Cha
lleng
es in
Sva
lbar
dEx
trem
e te
mpe
ratu
reW
inte
r tem
pera
ture
s can
dro
p be
low
-30°
C in
Lon
gyea
rbye
n. In
the
win
ter,
ther
e is
limite
d su
nligh
t, th
e se
a fre
ezes
and
road
s bec
ome
very
dan
gero
us.
Con
stru
ctio
nD
ue to
har
sh c
ondi
tions
mos
t con
stru
ctio
n ha
s to
be d
one
in th
e br
ief s
umm
er p
erio
d. Th
e fro
zen
grou
nd (p
erm
afros
t) ca
n pr
ovid
e a
solid
foun
datio
n bu
t if i
t mel
ts it
can
be
very
dan
gero
us a
s it b
ecom
es
unst
able
and
can
cau
se h
ouse
s and
road
s to
colla
pse
or c
rack
.Se
rvic
es (w
ater
, ele
ctric
ity, s
anita
tion
etc.)
M
ost s
ervic
es h
ere
are
prov
ided
to in
divid
ual b
uild
ings
by
over
grou
nd h
eate
d w
ater
and
sew
age
pipe
s. Th
ese
pipe
s nee
d to
be
kept
off
the
grou
nd to
pre
vent
thaw
ing
of th
e pe
rmafr
ost.
Acc
essi
bilit
yLo
cate
d in
a re
mot
e pa
rt o
f the
wor
ld a
nd c
an o
nly
be re
ache
d by
plan
e or
ship
and
ther
e is
only
one
airpo
rt w
hich
is lo
cate
d at
Lon
gyea
rbye
n. Th
ere
are
only
50 k
m o
f roa
ds in
Lon
gyea
rbye
n an
d th
e re
st o
f th
e isl
and
has n
o ro
ads.
Mos
t peo
ple
use
snow
mob
iles t
o ge
t aro
und
the
area
, esp
ecial
ly in
win
ter.
Wee
k 6
and
7
Man
agem
ent
for e
cono
mic
deve
lopm
ent
Econ
omic
dev
elop
men
tC
hanc
es fo
r peo
ple
to
impr
ove
thei
r sta
ndar
d of
lif
e th
roug
h de
velo
pmen
tC
onse
rvat
ion
Man
agin
g th
e en
viron
men
t in
ord
er to
pre
serv
e, pr
otec
t or r
esto
re it
Man
agem
ent
Stra
tegi
esTe
chni
ques
of c
ontr
ollin
g, re
spon
ding
to, o
r dea
ling
with
an
even
t
Col
d en
viron
men
ts
have
an
high
valu
e as
w
ilder
ness
are
as a
nd
ther
efor
e ne
ed to
be
prot
ecte
dSt
rate
gies c
an b
e us
ed
to b
alanc
e th
e ne
eds o
f ec
onom
ic de
velo
pmen
t an
d co
nser
vatio
n.
The
Ant
arct
ic T
reat
y w
as si
gned
in 1
959
by
coun
trie
s with
te
rrito
rial c
laim
s to
Anta
rctic
a. Its
main
aim
is
to p
rote
ct th
e na
tura
l en
viron
men
t of t
he
large
st w
ilder
ness
on
Eart
h.
Econ
omic
dev
elop
men
t in
Ala
ska
The T
rans
-Alas
kan
pipe
line
carr
ies o
il fro
m th
e gr
ound
whi
ch is
ver
y ho
t (49
o C). T
his c
ould
mel
t the
soil.
The
pipe
line
cros
ses c
arib
ou m
igrat
ion
rout
es. T
he Tr
ans-
Alas
kan
pipe
line
carr
ies a
risk
of c
rack
ing
due
to e
arth
quak
es, w
hich
cou
ld c
ause
oil
leak
s. O
ff ro
ad d
rivin
g is
popu
lar in
Alas
ka. U
suall
y ta
king
plac
e in
su
mm
er w
hen
snow
has
mel
ted.
Vehi
cles l
eave
dee
p ty
re tr
acks
and
des
troy
veg
etat
ion.
Stra
tegi
es in
Ala
ska
Tech
nolo
gyTh
e pi
pelin
e is
raise
d an
d in
sulat
ed to
reta
in h
eat a
nd p
reve
nt it
mel
ting
the
grou
nd. It
was
nee
ded
to
raise
the
pipe
abo
ve th
e gr
ound
allo
win
g m
igrat
ing
Car
ibou
to c
ontin
ue th
eir p
atte
rn. T
echn
olog
y all
ows
the
pipe
line
to m
ove
and
slide
if e
arth
quak
es h
appe
n. Th
e flo
w is
aut
omat
ically
cut
off
if th
ere
is a
leak
. G
over
nmen
tsTh
e N
atio
nal E
nviro
nmen
tal P
olicy
Act
ens
ure
com
pani
es in
volve
d w
ith o
il m
ust p
rote
ct th
e en
viron
men
t and
reco
gnise
the
right
s of n
ative
peo
ple.
The
USA
hav
e cr
eate
d th
e Wes
tern
Arc
tic
Rese
rve,
a 9
milli
on h
ecta
re p
rote
cted
wild
erne
ss w
here
dril
ling
for o
il an
d to
urism
is b
anne
d.In
tern
atio
nal a
gree
men
tsAg
reem
ent o
n th
e C
onse
rvat
ion
of P
olar
Bea
rs, O
slo, 1
973.
THis
was
sign
ed b
y U
SA a
nd N
orw
ay
(Sva
lbar
d) a
nd o
ther
cou
ntrie
s to
to b
an h
untin
g of
Pol
ar B
ears
unl
ess f
or sc
ient
ific
purp
oses
.C
onse
rvat
ion
agre
emen
tsTh
e Wor
ld W
ildlif
e Fu
nd is
a c
onse
rvat
ions
gro
up th
at h
elps
to p
rote
ct A
rctic
env
ironm
ents
in C
anad
a. It
wor
ks w
ith lo
cal c
omm
uniti
es, o
il co
mpa
nies
to m
anag
e ec
osys
tem
s. The
y w
ork
with
Alas
ka N
ative
co
mm
uniti
es to
hel
p th
em fi
nd so
lutio
ns
14
Cyc
le 4
His
tory
Yea
r 9
Kno
wle
dge
Org
anis
er: T
urni
ng P
oint
s
Sess
ion
Keyw
ords
Kno
wle
dge
Con
sequ
ence
s
Wee
k 1
and
2Po
litica
l Tu
rnin
g po
ints
Tur
ning
poi
nt -
a po
int a
t w
hich
a si
gnifi
cant
or m
ajor
chan
ge ta
kes p
lace
Polit
ical
tur
ning
poi
nts:
-Thi
s a
time
whe
n so
met
hing
hap
pens
w
hich
cha
nges
the
way
a c
ount
ry
is ru
n.
Soci
al t
urni
ng p
oint
s:-W
hen
som
ethi
ng h
appe
ns w
hich
cha
nges
pe
ople
s live
s.
Envi
ronm
enta
l Im
pact
Whe
n an
eve
nt c
ause
s a m
ajor
impa
ct o
n th
e pl
ace
we
live
Pear
l Har
bour
, Haw
aii
7.55
am o
n Su
nday
7th
Dec
embe
r 194
1 18
3 jap
anes
e pl
anes
at
tack
ed th
e U
S Pa
cific
fleet
at a
ncho
r. A se
cond
wav
e of
170
Jap
anes
e pl
anes
atta
cked
90
min
utes
late
r. 18
US
war
ship
s w
ere
dest
roye
d in
cludi
ng th
e fla
gshi
p Ariz
onia
and
2,40
3 Am
erica
ns d
ied.
On
the
8th
Dec
embe
r U
SA d
eclar
ed w
ar
on Ja
pan.
Japan
said
they
had
awak
ened
a ‘s
leep
ing
lion’
Bom
bing
of H
iros
him
aTh
e at
om b
omb
was
dev
elop
ed b
y Ro
bert
Opp
enhe
imer
as
part
of t
he M
anha
tten
proj
ect t
o be
use
d ag
ainst
Hitl
er. B
y th
e tim
e it
was
read
y an
d te
sted
in th
e N
ew M
exico
Des
ert
in Ju
ly 19
45 H
itler
was
dea
d.O
n 6t
h Agu
st 1
945
the
Enol
a G
ay fl
own
by P
aulT
ippe
tts
drop
ped
an a
tom
ic bo
mb
on th
e Jap
anes
e cit
y of
Hiro
shim
aTh
ree
days
late
r a se
cond
one
was
dro
pped
on
Nag
aski
Pear
l Har
bour
led
to W
W2
Hiro
shim
a Th
e dr
oppi
ng o
f the
bom
b on
Japa
n en
ded W
W2
The
horr
ific
effe
cts o
f the
bom
b - v
apou
risat
ion,
radi
atio
n ac
ted
as a
det
erre
nt a
nd h
ave
prev
ente
d an
y fu
ture
majo
r war
s. 12
0,00
0 pe
ople
die
dTh
e U
SA u
sed
the
bom
b to
show
the
wor
ld th
eir
pow
er -
the
seco
nd b
omb
was
to sh
ow th
ey h
ad m
ore
than
one
wea
pon
and
coul
d bi
ld m
ore
if th
ey n
eede
d it St
arte
d th
e Arm
s Rac
e in
whi
ch th
e U
SA a
nd S
ovie
t U
nion
bui
lt m
ore
and
mor
e w
eapo
ns
Wee
k 3
and
4Te
chno
logi
cal
turn
ing
poin
ts
Spac
e Ra
ce -
the
com
petit
ion
to
be th
e fir
st in
to sp
ace
and
the
first
to
the
moo
nJF
K -
John
Fitz
gera
ld K
enne
dy w
as
35th
Am
erica
n Pr
esid
ent
Lee
Har
vey
Osw
ald
- clai
med
to
hav
e be
en th
e lo
ne a
ssas
sinJa
ck R
uby
- sho
t Lee
Har
vey
Osw
ald b
efor
e he
cou
ld st
and
trial
Mag
ic B
ulle
t The
ory
-the
cla
imed
that
the
sam
e bu
llet
caus
ed th
e 7
diffe
rent
wou
nds o
n JF
K an
d C
onna
lly.
Amer
ican
prid
e w
as d
ente
d w
hen Y
uri G
agar
in w
as th
e fir
st
sovie
t ast
rona
ut in
spac
e. It
seem
ed th
e So
viet U
nion
had
w
on th
e sp
ace
race
but
Pre
siden
t Ken
nedy
resp
onde
d by
sa
ying
the
USA
wou
ld h
ave
a m
an o
n th
e m
oon
befo
re 1
970.
It se
emed
his
pled
ge h
ad c
ome
true
whe
n N
eil A
rmst
rong
an
d th
en B
uzz A
ldrin
walk
ed o
n th
e m
oon
on 2
0th Ju
ly 19
69
.Alm
ost i
mm
ediat
ely
som
e pe
ople
beg
an to
say
the
who
le
miss
ion
was
a fa
ke. T
hey
said
that
in 1
969
the A
mer
icans
did
no
t hav
e th
e te
chno
logy
to la
nd a
man
on
the
moo
n
Assa
ssin
atio
n of
JFK
John
Fitz
gera
ld K
enne
dy a
nd h
is w
ife Ja
ckie
w
ere
on a
sta
te v
isit
to D
alla
s Tex
as w
hen
he
was
ass
assi
nate
d.T
hey
wer
e ri
ding
in a
n op
en t
op p
resi
dent
ial
mot
orca
de d
rivi
ng t
hrou
gh t
he D
ealy
Pla
za
whe
n th
e sh
ots
wer
e fir
ed.
He
was
shot
in th
e he
ad a
nd n
eck
at 1
2.,3
0pm
and
pr
onou
nced
dea
d at
1pm
. Th
e gr
oup
carr
ying
out t
he in
vest
igatio
n w
ere
know
n as
the W
arre
n C
omm
issio
n.-th
ey lo
oked
at w
heth
er
the
Mag
ic bu
llet t
heor
y co
uld
still
stan
d an
d w
heth
er
it w
as p
ossib
le fo
r one
per
son
to h
ave
assa
ssin
ated
JF
KTh
e m
ain a
rgum
ents
aga
inst
the
lone
ass
assin
theo
ry:-
-Six
shot
s wer
e fir
ed n
ot th
ree
-Sh
ots w
ere
fired
from
abo
ve a
nd b
ehin
d th
e m
ain fi
lnm
er-
Man
y pe
ople
said
the
shot
s cam
e fro
m th
e gr
assy
kno
ll no
t the
Boo
k de
spos
itory
The
main
arg
umen
ts a
gain
st th
e U
Sa g
ettin
g to
the
moo
n:-
The
Flag
was
flut
terin
g. Th
e fo
otpr
ints
wer
e to
o cle
ar. N
o st
ars i
n th
e pi
ctur
e an
d th
ere
was
a C
on
one
of th
e ro
cks
15
Cyc
le 4
His
tory
Yea
r 9-
Tur
ning
Poi
nts
Sess
ion
Vie
tnam
Che
mic
als
Envi
ronm
enta
l Tur
ning
Poi
nts
C
hern
obyl
Wee
k 5
and
6:
Envir
onm
enta
l Tu
rnin
g po
ints
Nap
alm
It is
a g
el th
at b
urns
at 8
00
degr
ees
C. w
hen
it fa
lls o
n pe
ople
it s
ticks
to th
e sk
in, h
air,
clot
hes
caus
ing
terr
ible
pai
n an
d bu
rns.
It c
an a
lso
caus
e su
ffoca
tion
and
deat
h38
8,00
0 to
ns w
ere
drop
ped
to
caus
e ps
ycho
logi
cal d
amag
e to
th
e en
emy.
It w
as d
ropp
ed b
y B
52 b
ombe
rsA
gent
ora
nge
Vie
tnam
is a
hea
vily
wo
od
ed
cou
ntr
y w
her
e th
e U
S’s
enem
ies
the
Vie
tco
ng
cou
ld h
ide.
Age
nt
Ora
nge
was
a d
efo
lian
t(fo
rest
re
mo
ver)
. A h
erb
icid
e sp
ray,
so
me
3.5
mill
ion
litr
es w
ere
dro
pp
ed o
n
Vie
tnam
fro
m 1
962
to 7
1.
It h
ad t
erri
ble
sid
e ef
fect
s:-
-Sk
in ir
rita
tio
ns
-M
isca
rria
ges
and
bir
th
def
ects
-Ty
pe
2 d
iab
etes
an
d
can
cer
-Ps
ych
olo
gica
l eff
ects
It a
lso
des
tro
yed
far
mla
nd
an
d r
ice
fiel
ds
wh
ich
cau
sed
fo
od
sh
ort
ages
an
d c
on
tam
inat
ed
anim
al f
oo
d s
ou
rces
18th
Mar
ch 1
967
The
Sup
er ta
nker
the
Torr
ey C
anyo
n sa
iled
from
the
oil r
efin
ery
in K
uwai
t bou
nd fo
r Milf
ord
Hav
en in
wal
es. I
t was
car
ryin
g 11
0,00
0 ga
llons
of
cru
de o
il w
hen
it ra
n ag
roun
d of
the
coas
t of
Cor
nwal
l.It
still
is th
e w
orst
oil
spill
in U
K h
isto
ry w
hich
ca
used
mas
sive
env
ironm
enta
l dam
age
-15
,000
sea
bird
s di
ed-
mar
ine
envi
ronm
ent w
as d
estro
y-
50 m
iles
of F
renc
h co
ast a
nd 1
20 m
iles
of C
orni
sh c
oast
wer
e af
fect
ed fo
r m
onth
sM
uch
of th
e da
mag
e w
as d
one
by th
e at
tem
pts
to s
top
the
spill
In th
e ea
rly h
ours
of 2
6th
Apr
il 19
86 o
ne o
f the
4
reac
tors
at t
he C
hern
obyl
pow
er s
tatio
n ex
plod
ed.
Che
rnob
yl is
a c
ity a
bout
1,5
00 m
iles
from
Uk
and
60
mile
s no
rth o
f Kie
v th
e ca
pita
l of t
he U
krai
neIn
itial
cas
ualti
es w
ere
rush
ed o
ff to
hos
pita
ls in
M
osco
w b
ut th
e ex
act n
umbe
r is
unce
rtain
.Th
e m
ain
conc
ern
was
bec
ause
of t
he in
tens
e ra
dioa
ctiv
e fa
llout
, all
the
surr
ound
ing
popu
latio
n w
ould
hav
e to
be
evac
uate
d - 1
4,00
0 pe
ople
Eva
cuat
ion
On
Sun
day
27th
Apr
il at
1.5
0pm
, loc
al ra
dio
anno
unce
d th
e st
art o
f a m
ass
evac
uatio
n. A
t 2pm
, 1,
100
buse
s be
gan
to p
ick
up th
e 40
,000
resi
dent
s.
Alm
ost a
ll be
long
ings
had
to b
e le
ft be
hind
. Sun
day
lunc
hes
wer
e le
ft on
the
tabl
es,p
ets
and
lives
tock
ab
ando
ned.
By
4.20
pm th
e to
wn
was
em
pty.
In a
ll,
mor
e th
an 1
10,0
0 m
en, w
omen
and
chi
ldre
n w
ere
evac
uate
d fro
m th
e su
rrou
ndin
g ar
ea.
14th
Ap
ril 2
010
the
volc
ano
Eyj
afja
llajo
kull
in
Icel
and
had
a re
lativ
ely
smal
l eru
ptio
n bu
t it
caus
ed m
assi
ve d
isru
ptio
n to
air
trave
l acr
oss
wes
tern
and
Nor
ther
n E
urop
e w
here
20
coun
tries
shu
t the
ir ai
rspa
ce.
95,0
00 fl
ight
s w
ere
canc
elle
d an
d so
me
600,
000
pass
enge
rs in
the
Uk
wer
e af
fect
ed
UK
was
at t
he e
nd o
f the
Eas
ter h
olid
ays
and
thou
sand
s of
pas
seng
ers
wer
e tra
pped
abr
oad.
Th
ey h
ad to
see
k al
tern
ativ
e w
ays
to g
et h
ome
whi
ch w
as n
ot m
ade
easy
bec
ause
all
of
Eur
ope
was
doi
ng th
e sa
me.
Imm
edia
tely
aft
er t
he
acci
den
t ab
ou
t 30
peo
ple
die
d.It
is
imp
oss
ible
to
say
th
at a
par
ticu
lar
can
cer
was
cau
sed
by
this
dis
aste
r b
ut
each
yea
r th
ere
are
4,00
0 ca
ses
of
thyr
oid
ca
nce
r fo
un
d in
ch
ildre
n.3
4 ye
ars
afte
r th
e d
isas
ter
the
area
is
sti
ll ra
dio
acti
ve a
nd
is e
xpec
ted
to
be
for
at le
ast
20,0
00
year
s
16
Wee
kK
ey t
hem
es/F
acts
K
ey t
erm
s /S
pel
lings
Rel
igio
us
view
po
ints
1U
nd
erst
and
ing
Rel
igio
us
Att
itu
des
Att
itu
des
to
so
cial
just
ice
and
h
um
an r
igh
ts -
We
lear
n f
rom
an
ear
ly a
ge t
hat
life
is
som
etim
es u
nfai
r. S
om
e p
eop
le a
re b
orn
po
or
and
so
me
are
bo
rn r
ich
. In
just
ice
com
es w
hen
peo
ple
are
no
t tr
eate
d e
qu
ally
.
Soci
al J
ust
ice
- en
suri
ng
that
so
ciet
y tr
eats
p
eop
le fa
irly
wh
eth
er t
hey
are
po
or
or
wea
lthy
an
d p
rote
cts
peo
ple
’s h
um
an r
ight
s.H
um
an R
igh
ts -
th
e b
asic
rig
hts
and
fre
edo
ms
to w
hic
h a
ll h
um
an b
ein
gs s
ho
uld
be
enti
tled
.U
DH
R -
Un
iver
sal D
ecla
rati
on
of
Hu
man
R
ight
sC
DH
R -
Cai
ro D
ecla
rati
on
of
Hu
man
Rig
hts
Ch
rist
ian
s an
d M
usl
ims
bo
th w
ork
to
war
ds
‘just
ice’
for
all.
C
hri
stia
ns
pro
mo
te s
oci
al ju
stic
e b
y ca
mp
aign
ing
to
imp
rove
th
e liv
es o
f th
e le
ss fo
rtu
nat
e in
so
ciet
y.
Ther
e is
th
e U
DH
R w
hic
h w
as a
do
pte
d b
y th
e U
nit
ed N
atio
ns
in
1948
, wh
ere
all h
um
ans
are
bo
rn f
ree
and
eq
ual
in d
ign
ity
and
rig
hts.
Fo
r M
usl
ims
they
ad
op
ted
th
e C
DH
R b
ased
o
n t
he
Qu
r’an
, Su
nn
ah a
nd
Isla
mic
lega
l tra
dit
ion
. Th
ey
are
all s
ub
ject
to
Sh
ari’a
h L
aw.
Wee
kK
ey t
hem
es/F
acts
K
ey t
erm
s/Sp
ellin
gsR
elig
iou
s vi
ewp
oin
ts
2St
ereo
typ
ing,
P
reju
dic
e an
d
Dis
crim
inat
ion
All
3 w
ord
s -
are
real
ly
imp
ort
ant
to u
nd
erst
and
. It
is
far
too
eas
y to
mak
e a
jud
gem
ent
abo
ut
som
eon
e o
r so
met
hin
g w
ith
ou
t kn
ow
ing
the
fact
s an
d k
no
win
g th
em.
Equ
alit
y -
that
all
hu
man
s ar
e o
f eq
ual
val
ue
and
sta
tus.
Pre
jud
ice
- h
old
ing
bia
sed
op
inio
ns
abo
ut
oth
ers
wit
ho
ut
kno
win
g th
e fa
cts.
Dis
crim
inat
ion
- t
he
acti
on
s o
r b
ehav
iou
r th
at
resu
lt f
rom
pre
jud
ice.
Dis
abili
ty -
a p
hysi
cal o
r m
enta
l im
pai
rmen
t
Ch
rist
ian
s an
d M
usl
ims
bo
th b
elie
ve t
hat
bei
ng
crea
ted
in
Go
d’s
imag
e m
akes
peo
ple
ver
y sp
ecia
l an
d p
reci
ou
s.
Wh
atev
er t
hei
r st
atu
s, r
elig
ion
or
gen
der
th
ey a
re e
qu
ally
va
luab
le a
nd
can
hav
e th
e sa
me
rela
tio
nsh
ip w
ith
Go
d.
Som
e se
e h
om
ose
xual
ity
as a
sin
; Mu
slim
s sa
y it
go
es
agai
nst
Sh
ari’a
h L
aw.
In C
hri
stia
nit
y it
is s
infu
l wh
ilst
oth
ers
see
it a
s m
ora
lly a
ccep
tab
le.
Wee
kK
ey t
hem
es /
Fact
s
K
ey t
erm
s/Sp
ellin
gsR
elig
iou
s vi
ewp
oin
ts
3Eq
ual
ity
and
Fr
eed
om
In B
rita
in -
Ch
rist
ian
s an
d
Mu
slim
s jo
in fo
llow
ers
of
oth
er fa
ith
s in
inte
rfai
th
org
anis
atio
ns.
Th
ey p
rom
ote
h
arm
ony
an
d n
ot
div
isio
n.
Free
do
m o
f R
elig
ion
- t
he
righ
t to
bel
ieve
or
pra
ctic
e w
hat
ever
rel
igio
n o
ne
cho
ose
s.Fr
eed
om
of
Rel
igio
us
Exp
ress
ion
- t
he
righ
t to
wo
rsh
ip, p
reac
h o
r p
ract
ice
on
e’s
fait
h in
w
hat
ever
way
on
e ch
oo
ses.
Ch
rist
ian
ity
is t
he
mai
n r
elig
ion
in m
od
ern
Bri
tain
to
day
. Th
e G
ove
rnm
ent
pro
tect
s th
e fr
eed
om
of
relig
iou
s ex
pre
ssio
n w
hic
h a
llow
s yo
u t
o fo
llow
wh
atev
er r
elig
ion
yo
u c
ho
ose
. M
usl
ims
bel
ieve
th
at r
elig
iou
s fr
eed
om
is
par
t o
f G
od
’s d
esig
n a
nd
tau
ght
in t
he
Qu
r’an
.
Wee
kK
ey t
hem
es/F
acts
Ke
y te
rms/
Spel
lings
/Qu
ote
sR
elig
iou
s p
ract
ices
4R
ole
s o
f W
om
en in
R
elig
ion
The
role
of
Wo
men
- o
ver
the
year
s th
is h
as c
han
ged
ver
y m
uch
. It
was
alw
ays
seen
as
wo
men
sta
y h
om
e an
d
pro
vid
e th
e h
om
e. T
od
ay’s
at
titu
de
is s
o d
iffe
rent
Qu
ote
: ‘H
usba
nds
shou
ld t
ake
good
car
e of
th
eir
wiv
es’ (
Had
ith)
Qu
ote
: ‘W
omen
sho
uld
be s
ilent
in t
he
chur
ches
. Th
ey a
re n
ot a
llow
ed t
o sp
eak,
for
it is
dis
grac
eful
for
a w
oman
to
spea
k in
ch
urch
’ (C
orin
thia
ns)
In C
hri
stia
nit
y an
d Is
lam
th
ey b
elie
ve t
hat
wo
men
hav
e eq
ual
sta
tus
in t
he
eyes
of
Go
d.
The
role
s o
f w
om
en in
re
ligio
n v
ary
as a
ttit
ud
es c
han
ged
th
rou
gho
ut
the
year
s.In
Isla
m m
en a
re t
he
pro
vid
ers
and
wo
men
bri
ng
up
ch
ildre
n a
nd
loo
k af
ter
the
ho
me.
Ch
rist
ian
s se
e G
od
as
a m
an a
nd
so
men
are
ah
ead
of
wo
men
.
Y
ear
9 M
od
ern
Bri
tain
- R
elig
ion
, Hu
man
Rig
hts
& S
oci
al J
ust
ice
17
Wee
kK
ey t
hem
es/F
acts
K
ey T
erm
s/Sp
ellin
gsR
elig
iou
s vi
ewp
oin
t
5R
elig
iou
s A
ttit
ud
es
to W
ealt
h
Som
e p
eop
le -
are
bo
rn r
ich
an
d s
om
e ar
e b
orn
po
or.
Wh
atev
er y
ou
are
bo
rn
into
yo
u c
an m
ake
a d
iffe
ren
ce w
ith
h
ow
yo
u s
ee m
on
ey a
nd
wea
lth
. Pe
op
le w
ork
har
d fo
r th
eir
wea
lth
an
d
earn
it, w
hils
t o
ther
s m
ay b
e p
rivi
lege
to
hav
e w
hat
ever
th
ey w
ant,
wh
en
they
wan
t it
.
Tith
e -
on
e te
nth
of
ann
ual
pro
du
ce o
r ea
rnin
gs.
Zaka
h -
pu
rifi
cati
on
of
wea
lth
by
givi
ng
2.5%
of
savi
ngs
eac
h y
ear
to t
he
po
or.
Sad
aqah
- g
oo
d a
ctio
ns
or
volu
ntar
y p
aym
ents
th
at a
re u
nd
erta
ken
for
char
itab
le r
easo
ns.
Usu
ry -
th
e ac
t o
f lo
anin
g m
on
ey w
ith
in
tere
st
Ch
rist
ian
s an
d M
usl
ims
see
wea
lth
as
a gi
ft o
r b
less
ing
fro
m G
od
. M
usl
ims
bel
ieve
th
at a
b
less
ing
fro
m G
od
is u
sed
to
ben
efit
eve
ryb
od
y an
d n
ot
be
gain
ed b
y ga
mb
ling,
fra
ud
or
dec
epti
on
. C
hri
stia
ns
bel
ieve
th
at t
hey
sh
ou
ld p
ay
on
e te
nth
of
thei
r an
nu
al e
arn
ings
to
be
shar
ed
amo
ng
the
po
or.
Mu
slim
s ar
e re
qu
ired
to
giv
e 2.
5% o
f th
eir
wea
lth
to
th
e m
osq
ue
for
the
po
or
ever
y ye
ar (
zaka
h).
Wee
kK
ey t
hem
es/F
acts
K
ey t
erm
s/Sp
ellin
gsR
elig
iou
s vi
ewp
oin
t
6R
elig
iou
s vi
ews
on
Po
vert
y an
d it
s ca
use
s
Ever
y sh
ares
th
e sa
me
bas
ic n
eed
s.
We
are
hu
ngr
y an
d n
eed
foo
d, w
e ar
e th
irst
y an
d n
eed
wat
er.
We
nee
d
clo
thin
g an
d a
pla
ce o
f sh
elte
r. T
he
Go
vern
men
t is
als
o r
esp
on
sib
le fo
r gi
vin
g as
sist
ance
to
th
ose
wh
o a
re
gen
uin
ely
un
able
to
su
pp
ort
th
emse
lves
. Th
is m
ay b
e b
ecau
se o
f ill
nes
s, d
isab
ility
or
old
age
.
Pove
rty
- b
ein
g w
ith
ou
t m
on
ey, f
oo
d o
r o
ther
bas
ic n
eed
s o
f lif
e.Em
erge
ncy
Aid
- h
elp
giv
en t
o
com
mu
nit
ies
in t
imes
of
dis
aste
r.Lo
ng
Term
Aid
- a
ssis
tan
ce g
iven
to
a
po
or
cou
ntry
ove
r a
lon
g p
erio
d o
f ti
me.
LED
C -
Les
s ec
on
om
ical
ly d
evel
op
ed
cou
ntri
es
Ch
rist
ian
s b
elie
ve in
hel
pin
g o
ther
s w
ho
nee
d it
. Th
ey a
lso
bel
ieve
in p
eop
le t
ryin
g to
bre
ak o
ut
of
po
vert
y if
th
ey c
an.
Ther
e ar
e m
any
reas
on
s fo
r p
ove
rty
esp
ecia
lly in
LED
C’s
. C
hri
stia
ns
and
M
usl
ims
will
hel
p t
he
po
or
thro
ugh
ch
arit
y an
d a
id
wo
rk.
Mu
slim
Aid
wo
rks
in o
ver
70 c
ou
ntri
es
acro
ss E
uro
pe,
Afr
ica
and
Asi
a. T
his
sh
ow
s co
mp
assi
on
an
d g
ivin
g gu
idan
ce t
o o
ther
s. T
hey
ca
n p
rovi
de
edu
cati
on
, hea
lth
care
an
d in
com
e.
Wee
kK
ey t
hem
es/F
acts
K
ey t
erm
s/Sp
ellin
gs
R
elig
iou
s vi
ewp
oin
t
7 Ex
plo
itat
ion
of
the
Poo
r
The
UK
Go
vern
men
t in
tro
du
ced
th
e N
atio
nal
Min
imu
m W
age
in 1
998.
Th
is
set
the
low
est
amo
unt
of
mo
ney
an
em
plo
yer
can
lega
lly p
ay a
wo
rker
per
h
ou
r.
Exp
loit
atio
n -
mis
use
of
po
wer
or
mo
ney
to
get
oth
ers
to d
o t
hin
gs fo
r u
nfai
r re
war
d.
Peo
ple
tra
ffic
kin
g -
the
illeg
al
mo
vem
ent
of
peo
ple
, typ
ical
ly fo
r th
e p
urp
ose
s o
f fo
rced
lab
ou
r o
r se
xual
ex
plo
itat
ion
.
Man
y C
hri
stia
ns
sup
po
rt t
he
intr
od
uct
ion
of
the
Min
imu
m W
age
in 1
998
as t
hey
bel
ieve
in a
fair
p
ay fo
r a
fair
day
’s w
ork
. Th
ey a
lso
op
po
se t
he
use
of
exce
ssiv
e in
tere
st r
ates
on
loan
s. M
usl
ims
see
the
exce
ssiv
e in
tere
st r
ates
go
es a
gain
st
Shar
i’ah
Law
as
is s
een
as
exp
loit
atio
n o
f th
e p
oo
r.
Isla
mic
Rel
ief
pro
vid
es a
id t
o t
ho
se li
vin
g in
p
ove
rty
in m
any
cou
ntri
es in
th
e w
orl
d.
Bo
th r
elig
ion
s ar
e ag
ain
st h
um
an t
raff
icki
ng;
it i
s a
mu
lti m
illio
n p
ou
nd
ind
ust
ry in
wh
ich
cri
min
als
pro
fit
fro
m t
he
cont
rol a
nd
exp
loit
atio
n o
f o
ther
s
Year
9 M
od
ern
Bri
tain
- R
elig
ion
, Hu
man
Rig
hts
& S
oci
al J
ust
ice
18
Art, Craft and Design
WEEK 1 & 4: Assessment Objective 3: Reflective Recording - Record ideas, observations and insights relevant to intentions as work progresses.
Methods of Recording Colour Theory
Observational drawing Drawing from looking at images or objects. Primary : Red, Yellow, Blue Secondary : Primary + Primary Tertiary : Primary + Secondary Shades : Add black Tints : Add white
First hand observation Drawing directly from looking at objects in front of you.
Second hand observation Drawing from looking at images of objects.
Photographs Using a camera or smartphone to record images will class as first hand observation.
Complimentary : Colours opposite on the colour wheel Harmonious : Colours next to each other on the wheel Monochromatic : Shades, tones and tints of one colour Hue : The pigment Warm : Red, Orange, Yellow Cold : Blue, Green, Purple
Sketches Basic sketches and doodles can act as a starting point for development.
Tonal shading Produce a range of tones by varying the pressure and layering - consider using softer pencils for darker shades.
Developing your idea as a final piece.
Rough - A basic sketch of a final idea A Visual/Maquette - A small image or model created in the selected materials Final Piece - An image or sculpture pulling all preparatory work together
WEEK 2 & 5: Assessment Objective 1: Contextual Understanding - Develop ideas through investigations, demonstrating critical understanding of sources.
Artists/Designers
Alexander Rodchenko. was one of the most versatile constructivist and productivist artists to emerge after the Russian Revolution . He worked as a painter and graphic designer before turning to photomontage and photography. His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."
Ian Murphy Ian Murphy works in a variety of drawing, printing and painting techniques to produce large bold canvasses. The character and eroded architecture of Venice has been the inspiration for much of his work. He experiments with collage to create a textured base for his detailed pen and ink work. The colours and mark making used within his work creates a very sad and gloomy effect.
The emotion in his work makes you wonder who, if anybody, lives in the buildings he draws. Look closely to see the different materials and techniques used within the artwork. What would happen if you changed the colours used? Would this change the emotion of the piece of work?
19
WEEK 3 & 6: Assessment Objective 2: Creative Making - refine work by exploring ideas and experimenting with appropriate media, materials, techniques and processes.
Media The substance that an artist uses to make art.
Materials The same as media but can also refer to the basis of the art work eg. canvas, paper, clay.
Techniques The method used to complete the art work, can be generic such as painting or more focused such as blending.
Processes The method used to create artwork that usually follows a range of steps rather than just one skill.
Pencil The basic tool for drawing, can be used for linear work or for shading. Coloured pencils can be layered to blend colours, some are water soluble.
Pen/Biro Drawings can be completed in pen and shaded using hatching or cross hatching.
Pastel/Chalk Oil and chalk pastels can be used to blend colours smoothly, chalk pastels give a lighter effect.
Acrylic paint A thick heavy paint that can be used smoothly or to create texture.
Watercolour A solid or liquid paint that is to be used watered down and layered.
Pressprint A polystyrene sheet that can be drawn into, to print the negative image - can be used more than once.
Monoprint Where ink is transferred onto paper by drawing over a prepared surface. Only one print is produced using pressure in certain areas.
Collograph A printing plate constructed of collaged materials, producing prints that are based on textures.
Card construction
Sculptures created by building up layers of card or fitting together.
Wire Thick or thin wire manipulated to create 2D or 3D forms.
Clay A soft, natural, substance used for sculpting. When fired, it can be glazed to create shiny colourful surfaces. Different techniques included pinching, slab forming, coil building, hand built and wheel thrown.
WEEK 3 & 6: Assessment Objective 1: Contextual Understanding - Develop ideas through investigations, demonstrating critical understanding of sources.
TIER 2 Vocabulary and definitions TIER 3 Vocabulary and definitions
Versatile - able to adapt or be adapted to many different functions or activities. Revolution - a forcible overthrow of a government or social order. Innovative - introducing new ideas; original and creative in thinking. Aesthetic - the appreciation of beauty. Analytical - documentary - research based work Postpone - to wait Recognition - acknowledgement of something Societies - a community of people Transform - to change Reconstruction - to rebuild Restoration - to repair Decay - To deconstruct with age Alludes - to suggest
Artistic - relating to art Art Movement - a style in art with a common theme or idea within a certain time period Constructivist - art movement started in Russia Graphic Designer - a creative profession Photomontage - a collage with photographs Photography - capturing images with a camera Urban landscape - man made environment Geometric - mathematical shapes Architecture - the design of buildings Compositional - the layout or design of an image
20
Wee
kKe
y Kno
wle
dge
Cont
extu
al in
form
atio
n
1
Desig
n m
ix
Aest
hetic
s –a
prod
uct m
ay n
eed
to lo
ok g
ood
for a
cust
omer
. Som
e pr
oduc
ts v
alue
Ae
sthe
tics m
ore
than
oth
ers.
For e
xam
ple
a de
signe
r wat
chTh
e de
sign
mix
for a
Dys
onHo
over
is h
eavi
ly fo
cuse
d on
Func
tion
and
whi
le th
ey
Wan
t the
n to
be
aest
hetic
ally
Plea
sing
it is
mor
e im
port
ant
that
they
are
exc
eptio
nal a
t w
hat t
hey d
o. D
yson
pro
duct
com
men
d a
high
pric
e be
caus
eof
thei
r suc
cess
of m
eetin
g cu
stom
erex
pect
atio
ns
Func
tion
–a
prod
uct w
ill n
eed
to b
e at
leas
t fit
for p
urpo
se. H
owev
er so
me
prod
ucts
w
ill n
eed
to e
nsur
e th
at th
eir f
unct
iona
lity
is ex
cept
iona
l. Fo
r exa
mpl
e an
hig
h pe
rform
ance
car
Cost
–Cu
stom
ers w
ill o
nly
pay
wha
t the
y fe
el is
an
appr
opria
te p
rice
for a
pro
duct
.The
tw
o pr
oduc
t abo
ve co
uld
com
man
d a
high
pric
e be
caus
e of
thei
r aes
thet
ics a
nd th
eir
func
tion.
A s
tand
ard
car o
r an
ordi
nary
wat
ch w
ould
be
cons
ider
ably
che
aper
Wee
kKe
y Kno
wle
dge
Cont
extu
al in
form
atio
n
2
Prod
uctl
ife
cycle
Intr
oduc
tion
–Th
is is
in th
e ve
ry e
arly
stag
es,s
trai
ght a
fter t
he la
unch
oft
he p
rodu
ct
or se
rvice
. An
entr
epre
neur
wou
ld e
xpec
t sal
es to
be
low
but
gro
win
gAl
l pro
duct
s hav
e a
prod
uct l
ife cy
cle b
utth
e le
ngth
of t
ime
prod
ucts
last
var
ies f
rom
prod
uct t
o pr
oduc
t. Fo
r exa
mpl
e;Lo
om b
ands
wer
ein
trod
uced
, gre
w
and
wen
t thr
ough
mat
urity
into
dec
line
over
abo
ut a
n 18
mth
per
iod.
Whe
reas
Hei
nz K
etch
up is
still
in th
e m
atur
ity p
hras
e af
ter 1
30 ye
ars
Grow
th –
At th
is po
int s
ales
of t
he p
rodu
ct o
r ser
vice
shou
ldbe
risin
g ra
pidl
y w
ith th
e on
set o
f rep
eat p
urch
ase
and
grea
ter c
onsu
mer
kno
wle
dge
of th
e pr
oduc
t/se
rvice
Mat
urity
–At
this
stag
e th
e pr
oduc
t or s
ervi
ce is
est
ablis
hed.
Man
y pe
ople
inth
e ta
rget
m
arke
t dem
and
the
prod
uct a
nd a
bus
ines
s will
be
mak
ing
larg
e pr
ofits
Decli
ne –
Whe
n co
nsum
ers t
aste
scha
nge
or a
ltern
ativ
es a
re re
leas
ed, t
hen
peop
le n
o lo
nger
wan
t the
pro
duct
, sal
es d
imin
ish a
nd p
rofit
s will
go
dow
n
Wee
kKe
y Kno
wle
dge
Cont
extu
alin
form
atio
n
3
Exte
nsio
n st
rate
gies
Whe
n a
prod
uct i
s beg
inni
ng to
dec
line
then
a b
usin
ess m
aytr
y to
ext
end
its li
fecy
cle.
The
stra
tegi
es it
mig
ht u
se a
re d
iscus
sed
belo
wAl
l pro
duct
s hav
e a
natu
ral l
ife sp
an,
whe
ther
18m
ths o
r 130
year
s. In
orde
r to
exte
nd th
is, b
usin
esse
s will
mak
e m
odifi
catio
ns to
the
prod
uct o
rse
rvice
thro
ugho
ut th
e m
atur
ity st
age.
For
exam
ple;
Coc
a Co
la h
as re
inve
nted
its p
acka
ging
adve
rtisi
ng a
nd fl
avou
rs o
ver i
ts 1
33 ye
ar h
istor
y.
Busin
esse
s will
also
app
ly e
xten
sion
stra
tegi
es
whe
n sa
les s
tart
to d
eclin
e. F
or e
xam
ple
;Ki
tKat
chun
ky, K
itKat
whi
te ch
ocol
ate
etc
Adve
rtisi
ng–
a bu
sines
s m
ay in
vest
in a
new
ad
vert
ising
cam
paig
n to
bo
ost s
ales
Add
valu
e –
a bu
sines
s m
ay u
pdat
e th
e fe
atur
es
of th
e pr
oduc
t or s
ervi
ce
Pack
agin
g –
the
prod
uct
may
be
rebr
ande
d w
ith
new
pac
kagi
ng/lo
go
Redu
cing
prici
ng –
a bu
sines
s may
inclu
de th
e ite
m in
a sa
les p
rom
otio
n lik
e BO
GOF
Targ
et n
ew m
arke
ts –
a bu
sines
s may
try
to re
ach
a ne
wm
arke
t. Fo
r ex
ampl
e a
new
coun
try
Enco
urag
e gr
eate
r use
–a
busin
ess m
ay re
com
men
d us
ing
mor
e of
a p
rodu
ct
to e
ncou
rage
high
er sa
les
Busin
ess S
tudi
es
Y9
Kn
owle
dge
Orga
nise
r 2
.2
21
Wee
kKe
y Kno
wle
dge
Key t
erm
s
4
Prici
ng st
rate
gies
High
volu
me,
low
mar
gin
–se
lling
lots
of a
pr
oduc
t with
a lo
w m
ark u
p. F
or e
xam
ple
1 m
illio
n lip
stick
s at £
1 =
1 m
illio
n in
Rev
enue
Tech
nolo
gy –
tech
nolo
gy is
chea
pert
han
ever
bef
ore.
Bu
sines
ses w
ill se
ll el
ectr
onic
equi
pmen
t at a
frac
tion
of
the
price
as a
resu
lt.
Cost
s –te
chno
logy
has
driv
en d
own
cost
s of p
rodu
ctio
n.
Mac
hine
ry c
an m
ake
prod
ucts
mor
ech
eapl
y du
e to
effi
cienc
ies.
Bran
ding
–Th
e qu
ality
of a
bra
nd w
ill a
dd v
alue
to a
pr
oduc
t or s
ervi
ceM
arke
t seg
men
t –Di
ffere
ntm
arke
t seg
men
ts w
ill b
e pr
epar
ed to
pa
y m
ore
for p
rodu
cts a
nd se
rvice
s. So
me
mar
ket s
egm
ents
will
on
ly b
e ab
le to
affo
rd a
cert
ain
price
Low
vol
ume
high
mar
gin
–Se
lling
hig
h qu
ality
pr
oduc
ts a
t hig
h pr
icesb
ut e
xpec
ting
less
sale
s. Fo
r exa
mpl
e se
lling
50,
000
lipst
icks a
t £20
= 1
m
illio
nCo
mpe
titio
n –
If th
ere
is lo
ts o
f com
petit
ion
then
price
s w
ill b
e re
duce
d to
win
cust
omer
s. If
ther
e is
little
or n
o co
mpe
titio
n th
en p
rices
will
be
muc
h hi
gher
Prod
uct l
ife cy
cle –
A pr
oduc
t will
var
yits
pric
e th
roug
hout
its l
ife
cycle
. Dur
ing
intr
oduc
tion
and
grow
th it
will
be
chea
p to
en
cour
age
sale
s. In
mat
urity
it w
ill b
e at
its m
ost e
xpen
sive
and
in
decli
ne p
rice
will
redu
ce a
gain
Wee
kKe
y Kno
wle
dge
Key t
erm
sCo
ntex
tual
info
rmat
ion
5
Prom
tiona
l st
rate
gies
Adve
rtisi
ng –
Any
paid
adv
ertis
ing
for e
xam
ple
New
spap
ers,
Radi
o, T
V, so
cial m
edia
Spec
ial o
ffers
–Of
ferin
g de
als o
n pr
oduc
ts a
nd
serv
ices
A pr
omot
iona
l str
ateg
y is w
here
a b
usin
ess w
ill u
se a
sele
ctio
n of
med
ia
to co
mpl
emen
t eac
h ot
her i
n or
der t
o ra
ise t
he p
rofil
e of
the
bran
d an
d th
e pr
oduc
t.Pr
omot
ion
done
in is
olat
ion
is m
uch
less
like
ly to
be
succ
essf
ulSp
onso
rshi
p -
Whe
n a
busin
ess p
ays t
o ha
ve it
s br
and
asso
ciate
d w
ith a
noth
er b
ig b
rand
or
cele
brity
Publ
ic re
latio
ns –
Linki
ng th
e br
and
to a
pos
itive
ev
ent o
r cau
se
Prod
uct t
rials
–Of
fer f
ree
sam
ples
or
subs
tant
ially
disc
ount
ed a
cces
sBr
andi
ng -
Deve
lopi
ng a
bra
nd p
erso
nalit
y th
at
help
s con
sum
ers t
o tr
ust i
n th
e pr
oduc
t or s
ervi
ce
Wee
kKe
y Kno
wle
dge
6
Plac
e
Reta
iling
–Tr
aditi
onal
ly sh
ops
used
to b
e fo
und
on th
e hi
gh
stre
et. T
his w
as w
here
you
w
ould
find
all s
hopp
ers.
Now
th
ey a
re o
ften
loca
ted
on th
e ou
tski
rts o
f tow
n in
reta
il pa
rks.
E-ta
iling
–w
ithth
e ad
vent
of
Onlin
e sh
oppi
ng m
ore
and
mor
e co
nsum
ers s
hop
on th
e in
tern
et.
This
mea
ns a
hug
e re
duct
ion
in
cost
s and
hig
h st
reet
pre
mise
s ar
e ex
pans
ive.
Plu
s the
abi
lity
to
sell
glob
ally
.
Loca
tion
–So
me
busin
esse
s ch
oose
to lo
cate
nea
r to
a pa
rticu
lar r
esou
rce
or ta
rget
mar
ket.
For e
xam
ple
a clo
thes
m
anuf
actu
rer m
ay lo
cate
to
chin
a to
take
adv
anta
ge o
f la
bour
cost
s
Wee
kKe
y ter
ms
6In
tegr
ated
mar
ketin
g m
ix
Price
-is
impa
cted
by
the
qual
ity o
f the
pr
oduc
t and
the
prom
otio
nof
the
prod
uct.
It a
prod
uct i
s hig
h qu
ality
and
pro
mot
ed
in a
way
that
enc
oura
ges t
he cu
stom
er to
be
lieve
it is
qua
lity
then
a co
nsum
er w
ill
pay
a hi
gher
pric
e.
Prod
uct –
the
high
er th
e qu
ality
of t
he
prod
uct t
he h
ighe
r the
cost
s to
the
busin
ess.
A bu
sines
s will
nee
d to
be
sure
th
at a
cust
omer
is p
repa
red
to p
ay e
noug
h to
cove
r the
cost
s and
mak
e a
prof
it
Plac
e -
If a
busin
ess w
ants
to se
ll a
high
qu
ality
pro
duct
it w
ill n
eed
to m
ake
sure
it
is lo
cate
d in
the
right
pla
ce to
reac
h th
e ta
rget
mar
ket
Prom
otio
n –
If a
busin
ess i
s goi
ng to
be
an
E-ta
ilert
hen
it w
ill n
eed
to m
ake
sure
that
th
e pr
omot
iona
l met
hods
com
mun
icate
the
prod
uct o
r ser
vice
succ
essf
ully
to th
e ta
rget
mar
ket i
n or
der t
o ge
nera
te sa
les
Busin
ess S
tudi
es
Y9
Kn
owle
dge
Orga
nise
r 2
.2
For e
xam
ple:
Mag
azin
e ad
vert
plu
s sal
es
prom
otio
n
22
Wee
kV
oca
bD
efin
itio
ns
Kn
ow
led
ge
1R
elat
ions
hips
with
sig
nific
ant
adul
tsG
enes
- DN
A m
ade
up fr
om b
oth
pare
nts
Gen
etic
fact
ors
that
affe
ct d
evel
opm
ent
The
effe
ct o
f pov
erty
C
hrom
osom
e- p
art o
f a c
ell t
hat
carr
ies
the
info
rmat
ion
that
de
term
ines
trai
ts a
per
son
will
inhe
rit
The
effe
cts
of d
rugs
and
alc
ohol
on
a ch
ild’s
de
velo
pmen
t
Soc
io e
cono
mic
that
affe
ct g
row
th
and
deve
lopm
ent (
rela
tions
hips
w
ith a
dults
)
Foet
us- U
nbor
n ba
by g
row
ing
in th
e w
omb
Dis
crim
inat
ion
and
soci
al e
xclu
sion
Wee
kVo
cab
Kno
wle
dge
2S
pina
bifi
da- A
birt
h de
fect
whe
re b
ones
in th
e sp
ine
do n
ot fo
rm p
rope
rly
arou
nd th
e sp
inal
cor
d -S
ocio
eco
nom
ic th
at a
ffect
gro
wth
and
de
velo
pmen
t (in
com
e an
d po
verty
)- S
ocio
eco
nom
ic th
at a
ffect
gro
wth
and
de
velo
pmen
t (di
scrim
inat
ion)
-Why
mig
ht s
ome
fam
ilies
live
in p
over
ty
Pre
mat
ure-
A b
aby
born
bef
ore
thei
r exp
ecte
d da
te o
f arr
ival
. Med
ical
ly th
is
is b
efor
e 37
wee
ks o
f pre
gnan
cy
Chr
onic
con
ditio
n -
A co
nditi
on th
at is
long
last
ing
Wee
kVo
cab
Kno
wle
dge
3A
cute
con
ditio
n- A
con
ditio
n th
at is
long
last
ing
-E
nviro
nmen
tal t
hat a
ffect
gro
wth
and
de
velo
pmen
t (th
e ho
me)
-R
elat
ive
pove
rty -
This
is w
here
ther
e is
not
en
ough
inco
me
to a
fford
an
ordi
nary
livi
ng
patte
rn.
-A
bsol
ute
pove
rty. T
his
is w
hen
ther
e is
not
en
ough
inco
me
to a
fford
the
basi
cs, f
ood,
cl
othi
ng a
nd s
helte
r.
Con
geni
tal d
isor
der-
A c
ondi
tion
that
a c
hild
is b
orn
with
Are
as o
f dep
rivat
ion
- Can
be
aras
whe
re th
ere
are
pote
ntia
l hea
lth ri
sks
due
to p
over
ty, u
nem
ploy
men
t and
lack
of f
inan
cial
inve
stm
ent
Wee
k3
Key
Res
pons
ibili
ties
Kno
wle
dge
4A
buse
- D
elib
erat
e ha
rmEn
viro
nmen
tal f
acto
rs- t
hat i
mpa
ct d
evel
opm
ent
Soci
o-ec
onom
ic -
The
rela
tions
hip
betw
een
soci
al
and
finan
cial
fact
ors.
N
egle
ct -
Faili
ng to
mee
t bas
ic n
eeds
.
Con
flict
- S
erio
us a
rgum
ent
Yea
r 9
Ch
ild D
evel
op
men
t
Kn
ow
led
ge O
rgan
iser
23
Year 9 Computer Science - Images and Sound Representation
Week 1: Advantages and Disadvantages (relating to Capacity, Speed, Portability, Durability, Reliability, Cost):
Keywords Knowledge
Unicode - A combination of every single character.
ASCII - The codes used to identify the characters on a keyboard.
ASCII (American Standard Code for Information Interchange) has become the standard code, used worldwide.
It was originally developed in the 1960s for representing the English alphabet. It encodes 128 characters into 7-bit binary codes. Characters include numbers 0 to 9, uppercase and lowercase letters A-Z, a-z,
punctuation symbols and a space character. ASCII – 7 Bit set = 128 Extended ASCII – 8 Bit set = 256 Unicode – 24 Bit set = 16 million
Example Question: if the ASCII character code for “a” is 097, what would “e” be? Answer: “e” would be 101.
Week 2: Images (Effect of colour depth and resolution on quality and size):
Keywords Knowledge
Bitmap - Images have pixels arranged into rows and columns.
Image Resolution - The concentration of pixels within a specific area
Bitmap images are made up of PICture ELement or PIXELS A pixel is the smallest identifiable area of an image Each pixel is a single colour and is given a binary value which represents that colour e.g.
11000000 might equal Red A pixel’s colour can be changed by changing this value The area is defined by the image width and height in pixels e.g. 3264x2448 72dpi = screen resolution 300 dpi = print quality resolution 8 bits per pixel = 28 = 256 colours 16 bits per pixel = 216 = 65,536 colours 24 bits per pixel = 224 = 16,777,216 colours
Example Question: How many pixels would be in a 4 bit image? Answer: 2^4 = 16 Colours.
Week 3: Sound (effect of sample rate, duration and bit depth on quality and file size):
Keywords Knowledge
Analogue Signals - Curved waves used by humans.
Digital Signals - Square waves converted from analogue signals and used by computers.
Sound Resolution - The number of bits (audio bit depth) used to record each measurement is known as the resolution.
Sounds must be converted into a digital form in order to be stored and processed by a computer
An ADC or DAC is used to process the input or output Sample rate is usually measured in Hertz (Hz) 1Hz = 1 sample per second CDs are usually sampled at 44,100Hz (44.1kHz)
Example Question: How many samples would 20 Hz produce?? Answer: 20 per second
24
Year 9 Computer Science - Images and Sound Representation
Week 4: Calculating sound file sizes:
Keywords Knowledge
Frequency - The number of occurrences of a repeating event per unit of time
Sample - A small section of a frequency.
The frequency or sample rate per second affects the level of detail in the digital representation
The greater the frequency, the greater the accuracy, and file size File size (bits) = sample rate x resolution x seconds 6 samples per second x 4 bit resolution x 3 seconds = 72 72 bits / 8 (bits in a byte) = 9 bytes
Example Question: If we have 10 samples, 8 bit resolution and 5 seconds of a sample, how many bytes will the take up? Answer: 10 samples per second x 8 bit resolution x 5 seconds = 400 400 bits / 8 (bits in a byte) = 50 bytes
Week 5: Compression Techniques (Lossy):
Keywords Knowledge
Compression - The process of making something smaller.
Algorithms - A series of ordered instructions to complete.
This is used to reduce file size. Mostly used with sound, image and video file types. Permanently removes some data. Recreates the file using the remaining data and uses algorithms to guess the removed
content. Uncompressed data is not the same as the original. Much smaller file sizes but some loss of quality
Example Question: Which image file format would be used in lossy compression? Answer: JPG or JPEG
Week 6: Compression Techniques (Lossless):
Keywords Knowledge
Lossless - Data is stored in patterns.
PNG - Portable Network Graphics are used for full colour images.
This will find patterns in the original text and then will encode each pattern in a dictionary. Finds groups of repeating data and records the data only once along with the number of
times it was repeated. When data is uncompressed it is restored exactly as it was in the original Why use compression?
Download times are reduced Data allowances go further Voice can be transmitted fast enough to keep up with speech
Example Question: What is a benefit to using lossless compression over lossy?. Answer: Lossless will retain the original information for an image.
25
Dan
ce -
Year
9 -
Kno
wle
dge
Org
anis
er C
4
Dan
ce T
erm
inol
ogy:
: Wee
ks 1
and
3
Prof
essi
onal
wor
k: W
eeks
2 a
nd 4
Lear
n to
spe
ll th
e te
rms
corre
ctly
Ta
rget
aud
ienc
e: a
par
ticul
ar g
roup
at w
hich
a p
rodu
ct s
uch
as a
da
nce
or a
dver
tisem
ent i
s ai
med
.
Ph
ysic
al: r
elat
ing
to th
e bo
dy a
s op
pose
d to
the
min
d
Ac
tion:
The
6 b
asic
dan
ce a
ctio
ns, j
ump,
turn
, bal
ance
, ges
ture
, tra
nsfe
r of w
eigh
t, an
d tra
vel.
Spac
e: fo
rmat
ion,
dire
ctio
n, le
vels
and
pat
hway
.
D
ynam
ics:
Spe
ed a
nd q
ualit
y of
mov
emen
t.
St
imul
us :
The
star
ting
poin
t of t
he d
ance
.
Dan
ce s
kills
: a d
ance
mov
e su
ch a
s a
piro
uette
.
Dan
ce te
chni
ques
: A la
yer s
uch
as c
anon
, lev
els
and
dyna
mic
s to
m
ake
the
danc
e lo
ok m
ore
inte
rest
ing.
Frag
men
tatio
n : C
hang
e th
e or
der o
f the
mot
if.
R
etro
grad
e : P
erfo
rm th
e m
otif
back
war
ds.
Inst
rum
enta
tion :
Mov
e a
skill
into
ano
ther
bod
y pa
rt.
M
irror
ing :
Ref
lect
ing
som
eone
's m
ovem
ent.
Con
tact
: Hap
tic c
onne
ctio
ns s
uch
as p
artn
er li
fts.
So
lo : A
sin
gle
danc
e
D
uet :
Partn
er d
anci
ng in
har
mon
y
En
sem
ble :
A g
roup
of d
ance
rs.
Ges
ture
: A m
ovem
ent p
erfo
rmed
by
the
hand
s or
arm
s to
ofte
n
sym
bolis
e em
otio
ns o
r spo
ken
wor
ds.
St
amin
a : R
etai
ning
a h
igh
leve
l of e
nerg
y ov
er a
per
iod
of ti
me.
Flex
ibilit
y : a
rang
e of
mov
emen
t in
a bo
dy p
art.
Focu
s : t
he e
yelin
e of
the
danc
er.
Con
text
: Why
the
danc
e is
bei
ng p
erfo
rmed
in a
cer
tain
sty
le o
r m
anne
r.
The
Nut
crac
ker
Dat
e : 1
992
Se
t :A D
icke
nsia
n or
phan
age
on c
hris
tmas
eve
, The
Fro
zen
Lake
, and
Sw
eetie
La
nd.
Cho
reog
raph
er : M
atth
ew B
ourn
e
Cha
ract
ers :
(The
froz
en la
ke)
Prin
ce B
on B
on, S
ugar
Prin
cess
, The
N
utcr
acke
r, C
lara
, The
gob
stop
pers
and
Dan
cers
: 15
Th
emes
: Lov
e, d
ream
ing,
gro
win
g up
and
adv
entu
re.
Con
text
: The
Roy
al B
alle
t wer
e st
rugg
ling
finan
cial
ly a
nd th
eref
ore
deci
ded
to
empl
oy M
atth
ew B
ourn
e to
recr
eate
and
mod
erni
se T
he N
utcr
acke
r. M
atth
ew
Bour
ne u
sed
lavi
sh c
ostu
mes
and
sla
pstic
k hu
mou
r to
mak
e th
e ba
llet m
ore
ap
peal
ing
for f
amilie
s. H
offm
an’s
orig
inal
sto
ry w
as v
ery
dark
whi
ch h
e ad
apte
d
and
mad
e in
to a
fairy
tale
.
Prod
uctio
n el
emen
ts
Ligh
t : Fa
de to
bac
k to
sym
bolis
e th
at C
lara
has
falle
n as
leep
.
So
und :
Lei
tmot
if (w
hen
a ce
rtain
sco
re o
f mus
ic is
pla
yed
whe
n a
char
acte
r is
on
sta
ge to
enh
ance
the
audi
ence
's u
nder
stan
ding
of t
he c
hara
cter
s
pers
onal
ity)
Se
t : G
iant
feat
her a
nd p
illow
to s
ymbo
lise
the
them
e of
dre
amin
g.
Cos
tum
e : (S
ugar
Prin
cess
) Pin
k kn
ee le
ngth
dre
ss, c
row
n an
d fu
r col
our t
o
sym
bolis
e he
r wea
lth a
nd ro
yal s
tatu
s.
26
Dan
ce -
Year
9 -
Kno
wle
dge
Org
anis
er C
4
Styl
istic
feat
ures
: Wee
k 5
Pr
actit
ione
r: W
eek
6
Styl
istic
feat
ures
of B
alle
t:
1.Pa
s D
e D
eux
Partn
er w
ork
mal
es s
uppo
rting
the
fem
ales
2.
On
Poin
te
3.Em
otio
ns a
nd w
ords
are
com
mun
icat
ed th
roug
h ge
stur
es.
St
ylis
tic fe
atur
es o
f Stre
et:
Aggr
essi
ve
Po
sing
Tric
ks a
nd fl
icks
suc
h as
a b
ackh
ands
prin
g.
Styl
istic
feat
ures
of C
onte
mpo
rary
:
1.Fl
oor w
ork
2.
Flex
ion
3.
Low
cen
ter o
f gra
vity
Styl
istic
feat
ures
of J
azz:
Ener
getic
Angu
lar m
ovem
ents
Isol
atio
n
Wes
t Sid
e St
ory :
Jaz
z
Clic
king
is u
sed
thro
ugho
ut th
e fil
m to
sym
bolis
e th
e lo
yalty
with
in th
e tw
o
gang
s. T
he g
ang
lead
ers
Riff
and
Ber
nard
o st
art t
he c
licki
ng w
hile
thei
r m
embe
rs s
low
ly jo
in in
usi
ng a
ccum
ulat
ion.
Th
e N
utcr
acke
r : Ba
llet,
cont
empo
rary
, fla
men
co
W
ithin
the
froze
n la
ke s
cene
pas
de
deux
is u
sed
frequ
ently
to
sym
boliz
e fig
ure
skat
ing.
The
mal
e pe
rform
ers
supp
ort t
he w
eigh
t of
thei
r par
tner
whi
le th
ey a
re li
fted
in th
e ai
r.
Eman
cipa
tion
of E
xpre
ssio
nism
: Stre
et a
nd c
onte
mpo
rary
A nu
mbe
r of s
treet
dan
ce s
tyle
s ar
e us
ed th
roug
h th
is p
erfo
rman
ce.
Mat
thew
Bou
rne
Da
nce
By C
hanc
e: a
cho
reog
raph
ic a
ppro
ach
deve
lope
d by
Mer
ce C
unni
ngha
m. U
nlik
e
Cunn
ingh
am w
ho tr
adi
onal
ly u
sed
dice
to c
reat
e m
ovem
ent w
here
as M
athe
w B
ourn
e
assig
ned
a m
ovem
ent t
o a
num
ber a
nd th
en p
ut th
em in
ord
er a
ccor
ding
to th
eir d
ate
of
birt
h or
pho
ne n
umbe
r.
Teac
hing
mov
emen
ts to
dan
cers
: Bou
rne
taug
ht h
is da
ncer
s spe
cific
mov
emen
t to
he
lp th
em p
ortr
ay th
eir c
hara
cter
. The
maj
ority
or h
is w
orks
are
influ
ence
s fro
m
Holly
woo
d fil
ms o
r mus
ical
thea
tre.
Adapn
g an
d refin
ing
mov
emen
t mat
eria
l – M
athe
w B
ourn
e lo
oks p
re-e
xis
ng b
alle
ts
and
adap
ted
them
with
a m
oder
n fla
re. H
e do
es th
is th
roug
h ex
trav
agan
t pro
ps,
cost
umes
and
cha
ract
ers.
Colla
borao
n - i
s key
in h
is w
orki
ng p
roce
ss. T
he d
ance
rs h
ave
grea
t inp
ut in
to th
e
chor
eogr
aphy
and
cha
ract
erisao
n an
d he
bui
lds w
orki
ng re
lao
nshi
ps w
ith d
esig
ners
, co
mpo
sers
and
tech
nica
l dire
ctor
s.
Ma
hew
Bou
rne
does
not
tell
his a
udie
nce
wha
t his
chor
eogr
aphi
c is
abou
t as h
e
wou
ld li
ke th
em to
hav
e th
eir o
wn
inte
rpre
tao
n of
the
perf
orm
ance
. He
will
also
use
th
e da
ncer
s cou
nts r
athe
r tha
n th
e rh
ythm
s fro
m th
e m
usic
scor
e th
roug
h th
e us
e of
m
usic
ality
.
His b
alle
ts d
o no
t inc
lude
wor
ds, b
ut h
is pe
rfor
mer
s are
con
sider
ed d
ance
rs a
nd a
ctor
s as
they
are
exp
ecte
d to
nar
rate
the
wor
ds th
roug
h ge
stur
es a
nd fa
cial
exp
ress
ions
.
His m
ovem
ent s
tyle
is p
ost m
oder
n an
d o
en in
corp
orat
es sl
aps
ck h
umou
r, w
hich
is
pres
ente
d in
ove
r exa
gger
ated
mov
emen
ts a
nd fa
cial
exp
ress
ions
. Add
ion
ally
M
ahe
w B
ourn
e w
ill u
se tr
adi
onal
bal
let m
ovem
ents
and
laye
r the
m w
ith a
mod
ern
tw
ist su
ch a
s flam
enco
and
con
tem
pora
ry d
ance
.
D
ance
- Ye
ar 9
- K
now
ledg
e O
rgan
iser
C4
Krum
ping
is u
sed
thro
ugho
ut s
ectio
n 2
Gro
wth
and
Stru
ggle
to
sym
bolis
e th
at th
e m
ale
solo
ist i
s try
ing
to b
reak
free
from
his
neg
ativ
e
emot
ions
.
27
Dra
ma
- Yea
r 9 -
Kno
wle
dge
Org
anis
er C
3
Dra
ma
KO C
4 Yr
9 - M
akin
g ou
r ow
n PL
AYS
Dev
isin
g: W
eeks
1 a
nd 5
R
espo
ndin
g to
Stim
ulus
: Wee
ks 2
and
6
Wha
t is
Dev
isin
g?
Dev
isin
g is
a w
ay o
f cre
atin
g dr
ama
with
out a
lread
y ha
ving
a s
crip
t. Yo
u
use
a st
imul
us to
gen
erat
e id
eas
to h
elp
you
mak
e a
play
with
in a
gro
up.
Whe
n de
visi
ng a
pie
ce o
f dra
ma,
you
sho
uld
cons
ider
:
W
hat y
ou w
ant t
o sa
y th
roug
h th
e st
ory
How
you
will
mak
e th
e dr
ama
mea
ning
ful a
nd e
ngag
ing
Who
a s
uita
ble
audi
ence
is
Wor
king
suc
cess
fully
in a
gro
up:
At
the
hear
t of d
evis
ing
is c
olla
bora
tion
and
grou
p w
ork .
Thr
ough
out
the
devi
sing
of a
pla
y yo
u w
ill ne
ed to
wor
k co
nstru
ctiv
ely
with
you
r gro
up
mem
bers
. Thi
s m
eans
sha
ring
your
idea
s, b
ut a
lso
show
ing
cons
ider
atio
n
for o
ther
vie
wpo
ints
and
bei
ng fl
exib
le in
you
r app
roac
h an
d vi
sion
.
Que
stio
ns to
ask
you
rsel
f whe
n de
visi
ng in
a g
roup
:
1)D
id I
cont
ribut
e an
y id
eas?
2)
Did
I th
ink
of p
ract
ical
idea
s th
at c
ould
hel
p th
e pi
ece?
3)
Did
I lis
ten
to o
ther
's?
4)
Did
I co
nsid
er th
e au
dien
ce?
5)
Did
I he
lp th
e gr
oup
com
plet
e th
e ta
sk in
the
time
allo
cate
d?
6)W
as I
a fo
cuse
d an
d su
ppor
tive
grou
p m
embe
r?
Wha
t NO
T to
do
whe
n w
orki
ng in
a g
roup
:
X D
O N
OT
cont
ribut
e no
thin
g
X D
O N
OT
bloc
k th
e id
eas
of y
our p
eers
X
DO
NO
T be
neg
ativ
e or
com
plai
n ab
out i
deas
bei
ng s
hare
d
X D
O N
OT
mis
s re
hear
sals
ofte
n
Wha
t is
a ST
IMU
LUS?
A
stim
ulus
is s
omet
hing
whi
ch is
a s
tarti
ng p
oint
for a
pie
ce o
f orig
inal
dra
ma.
Yo
u m
ight
be
show
n so
met
hing
whi
ch y
ou w
ill di
scus
s in
a g
roup
, or e
xplo
re
prac
tical
ly in
a w
orks
hop
less
on. T
his
is c
hose
n to
gen
erat
e id
eas
for a
sce
ne
or a
pla
y. T
he fi
nal p
erfo
rman
ce M
UST
refle
ct th
e st
imul
us.
STIM
ULI
: St
imul
i are
mul
tiple
type
s of
stim
ulus
. It i
s th
e pl
ural
of S
timul
us.
Ty
pes
of S
TIM
ULI
:
A P
iece
of M
usic
- th
is c
an b
e a
grea
t sta
rting
poi
nt fo
r a p
iece
of
Dra
ma.
Con
side
r the
em
otio
n, a
tmos
pher
e or
sto
ry it
gen
erat
es to
be
gin
deve
lopi
ng y
our i
deas
.
Phot
ogra
ph -
look
ing
for c
lues
from
a p
hoto
grap
h - w
ho a
cha
ract
er
mig
ht b
e, w
hat c
ircum
stan
ces
they
are
in, w
hat c
an b
e se
en in
the
ba
ckgr
ound
?
Song
lyric
s / P
oem
/ Pa
rt o
f a p
iece
of W
ritin
g - T
hese
type
s of
st
imul
i will
ofte
n ha
ve a
nar
rativ
e pl
ot ru
nnin
g th
roug
h th
em, w
hich
m
ight
alre
ady
build
an
idea
for c
hara
cter
s an
d th
eir f
eelin
gs.
H
isto
ric E
vent
- A
real
ly g
ood
hist
oric
eve
nt w
ill pr
ovid
e th
e ch
ance
to
rese
arch
key
fact
s w
hich
will
help
to d
evel
op th
e st
oryl
ine
of a
pla
y.
N
ews
Art
icle
- O
ften
a gr
itty
new
s st
ory
allo
ws
you
to e
xplo
re d
iffer
ent
pers
pect
ives
and
the
idea
of b
ias.
It a
lso
give
s fa
ctua
l inf
orm
atio
n
whi
ch c
an b
e re
sear
ched
or h
elp
to d
evel
op a
sto
ry y
ou c
an c
reat
e
your
self.
Prop
or a
rtef
act -
a re
al o
bjec
t whi
ch y
ou w
ould
exp
lore
whe
re it
was
fo
und
or w
ho w
ould
hav
e us
ed it
.
Lette
r or D
iary
- An
othe
r ite
m w
hich
mig
ht b
e fa
ctua
l or m
ight
bui
ld a
st
ory
arou
nd a
fict
iona
l cha
ract
er. W
ho w
rote
it?
Why
? W
ho w
as th
e
lette
r int
ende
d fo
r?
28
Dra
ma
- Yea
r 9 -
Kno
wle
dge
Org
anis
er C
3
Reh
ears
ing:
Wee
ks 3
and
7
Tech
niqu
es to
mak
e yo
ur p
lay
exci
ting:
Wee
ks 4
and
8
Wha
t is
a re
hear
sal?
A
rehe
arsa
l is
time
that
is s
pent
dev
elop
ing
and
prac
tisin
g a
play
in p
repa
ratio
n
for a
pub
lic p
erfo
rman
ce.
Su
cces
sful
rehe
arsi
ng:
To
cre
ate
your
pie
ce o
f dra
ma
and
to c
ompl
ete
a po
rtfol
io, y
ou n
eed
to o
rgan
ise
a
serie
s of
rehe
arsa
ls. T
he c
onte
nt o
f the
rehe
arsa
ls w
ill de
pend
on
the
type
of
piec
e yo
u ar
e cr
eatin
g an
d th
e ch
alle
nges
you
enc
ount
er. I
t is
good
pra
ctic
e to
ha
ve a
focu
s fo
r eac
h re
hear
sal t
o co
nfirm
wha
t you
wan
t to
acco
mpl
ish
and
set
goal
s fo
r fut
ure
rehe
arsa
ls. F
or e
xam
ple:
Cre
ate
an o
peni
ng s
cene
Dev
elop
a m
usic
and
mov
emen
t sec
tion
Impr
ovis
e or
blo
ck a
spe
cific
sce
ne
Ex
plor
e th
e ba
ckgr
ound
of t
he c
hara
cter
s an
d th
eir r
elat
ions
hips
Reh
ears
e th
e di
alog
ue o
r mon
olog
ue fo
r a s
cene
Wor
k w
ith th
e pr
ops
and
cost
ume
(Dre
ss re
hear
sal)
Rew
ork
or tr
oubl
esho
ot a
sec
tion
that
is n
ot w
orki
ng
Pl
oish
a s
ectio
n th
at is
‘nea
rly th
ere’
Hol
d a
tech
nica
l reh
ears
al, i
nclu
ding
sou
nd a
nd li
ghtin
g
Wha
t is
a re
hear
sal s
ched
ule?
A
rehe
arsa
l sch
edul
e is
a p
lan
for h
ow y
ou w
ill pr
ogre
ss w
hen
you
are
plan
ning
a
play
. It c
an lo
ok li
ke th
is:
Cho
ral S
peak
ing
Se
vera
l cha
ract
er d
eliv
er lin
es in
uni
son
- tog
ethe
r
Cro
ss-C
uttin
g
Cha
ngin
g ba
ck a
nd fo
rth b
etw
een
diff
eren
t sce
nes -
usin
g a
cue,
such
as
a lin
e or
cha
nge
of lig
hts t
o kn
ow w
hen
to c
ross
bac
k ag
ain
Dire
ct A
ddre
ss
Spea
king
dire
ctly
to th
e au
die
nce,
giv
ing
the
eye
cont
act
Flas
hbac
k
A sc
ene
from
an
earli
er m
omen
t in
a ch
arac
ter’s
life,
switc
hing
into
the
m
emor
y sc
ene
Free
ze fr
ame/
Stil
l Im
age
/ Ta
blea
ux
A fr
ozen
mom
ent i
n tim
e sh
owin
g ch
arac
ter t
hrou
gh fa
cial
exp
ress
ion,
bo
dy
lang
uage
, lev
els,
eye
focu
s, pr
oxem
ics
Mim
e
To a
ct w
ithou
t wor
ds.
This
mig
ht in
volv
e ge
stur
es o
r mov
emen
ts to
ex
pres
s em
otio
ns o
r pre
tend
ing
to h
ave
phys
ical
obj
ects
Nar
ratio
n
A c
omm
enta
ry o
r bac
kgro
und
to th
e pl
ay o
r sto
ry
Thou
ght T
rack
ing/
Thou
ghts
Alo
ud /
Thou
ght S
crip
t
Whe
n a
char
acte
r spe
aks t
heir
inne
r tho
ught
s alo
ud fo
r the
aud
ienc
e
to u
nder
stan
d th
eir p
rivat
e po
int o
f vie
w
Hot-
seat
ing
A
skin
g a
char
acte
r que
stio
ns to
lear
n m
ore
abou
t the
m
Wee
k 1:
C
hara
cter
w
ork
Goa
l
*Dev
elop
cha
ract
ers
and
thei
r rel
atio
nshi
p
*Cre
ate
poss
ible
ope
ning
sce
ne
Nex
t ste
p:
1.R
esea
rch
char
acte
r ba
ckgr
ound
/ co
ntex
t
2.W
rite
mon
olog
ue in
ch
arac
ter
Reh
ears
al
*Hot
sea
ting
*Im
prov
ise
a ba
ckst
ory
scen
e fo
r eac
h
char
acte
r
29
Year
9 H
ealth
and
Soc
ial C
are
Kno
wle
dge
orga
nise
r Cyc
le 3
.
Expe
cted
, Une
xpec
ted
and
Phys
ical
Life
Ev
ents
[W
eek
1]
Rel
atio
nshi
p C
hang
es: M
arria
ge a
nd
New
Rel
atio
nshi
ps
[W
eek
2]
Rel
atio
nshi
p C
hang
es: B
erea
vem
ent,
Div
orce
and
Pa
rent
hood
[W
eek
3]
Life
Eve
nts:
Are
exp
ecte
d or
une
xpec
ted
even
ts
that
can
affe
ct d
evel
opm
ent
Ex
pect
ed: I
s a
belie
f tha
t som
ethi
ng is
like
ly to
ha
ppen
. Exa
mpl
es in
clud
e M
arria
ge, S
tarti
ng
scho
ol, M
ovin
g ho
use,
Pare
ntho
od.
Une
xpec
ted:
Is n
ot th
ough
t of a
s lik
ely
to
happ
en. C
omes
une
xpec
tedl
y. E
xam
ples
incl
ude
Ill
ness
, Acc
iden
ts, R
edun
danc
y an
d
bere
avem
ent.
Ph
ysic
al L
ife E
vent
s: Il
l Hea
lth
Mos
t illn
esse
s w
ill be
une
xpec
ted
alth
ough
som
e
inhe
rited
illn
esse
s ca
n be
pre
pare
d fo
r. Ill
ness
will
af
fect
peo
ple
diffe
rent
ly a
t eac
h lif
e st
age.
In
fanc
y - c
an a
ffect
the
rate
of p
hysi
cal g
row
th
and
deve
lopm
ent.
For e
xam
ple,
del
ay in
wal
king
.
Chi
ldho
od -
Reg
ular
app
oint
men
ts a
t the
hos
pita
l m
ay b
e re
quire
d af
fect
ing
thei
r lea
rnin
g.
Adol
esce
nce
- Can
impa
ct h
ow a
n in
divi
dual
feel
s
abou
t the
mse
lves
and
how
cop
ing
with
pub
erty
.
Adul
thoo
d - M
ay re
sult
in ti
me
away
from
wor
k
and
soci
al a
ctiv
ities
affe
ctin
g se
lf-es
teem
.
Late
r Adu
lthoo
d - C
an a
ffect
mob
ility
and
in
depe
nden
ce, c
an c
ause
ups
et if
reho
med
.
Ph
ysic
al L
ife E
vent
s: A
ccid
ent a
nd In
jury
Th
ese
are
alw
ays
unex
pect
ed. I
t can
hav
e lif
e
long
effe
cts
such
as
an a
mpu
tatio
n or
a s
hort
Rel
atio
nshi
ps m
ay c
hang
e be
caus
e: a
new
rela
tions
hip
m
ay b
egin
; A c
oupl
e m
ay d
ecid
e to
mar
ry/e
nter
a
partn
ersh
ip; A
cou
ple
may
div
orce
; May
bec
ome
a pa
rent
; may
bec
ome
bere
aved
. The
se re
latio
nshi
p
chan
ges
mos
tly im
pact
on
emot
iona
l and
soc
ial
deve
lopm
ent.
-R
elat
ions
hips
are
rare
ly s
tatic
mea
ning
they
can
co
nsta
ntly
cha
nge.
Dep
endi
ng o
n th
e lif
e st
age
will
de
pend
on
the
reas
ons
why
.
-It
is im
porta
nt to
form
rela
tions
hips
to h
elp
our
emot
iona
l and
soc
ial d
evel
opm
ent.
-F
or a
rela
tions
hip
to re
sult
in p
ositi
ve s
elf-i
mag
e an
d a
hi
gh s
elf e
stee
m it
sho
uld
be b
ased
on
- Mut
ual
unde
rsta
ndin
g; T
rust
and
Loy
alty
.
New
Rel
atio
nshi
ps -
In e
arly
chi
ldho
od te
nd to
mak
e
frien
ds w
ith p
eopl
e th
ey s
ee re
gula
rly a
nd h
ave
the
sa
me
inte
rest
s. A
dole
scen
ce te
nds
to w
iden
thei
r so
cial
circ
le w
hich
hel
ps to
form
frie
ndsh
ips
and
in
timat
e (v
ery
clos
ely
acqu
aint
ed a
nd s
exua
l)
rela
tions
hips
with
oth
ers
who
hav
e si
mila
r int
eres
ts a
nd
valu
es.
-Clo
se F
riend
ship
s pr
ovid
e pr
actic
al a
nd e
mot
iona
l su
ppor
t and
giv
e yo
u pe
ople
to s
hare
you
r wor
ries
with
. Th
ey a
llow
us
to s
hare
soc
ial i
nter
ests
suc
h as
ho
bbie
s, s
port
and
trave
l.
Mar
riage
- En
terin
g in
to a
lega
l rel
atio
nshi
p w
ith
anot
her p
erso
n. It
can
be
a m
ajor
cha
nge
whe
re y
ou
have
to a
dapt
to li
fe a
s a
coup
le a
nd c
hang
e yo
ur
lifes
tyle
(soc
ial a
ctiv
ities
, die
t). T
his
com
mitm
ent c
an
impr
ove
an in
divi
dual
's s
elf-e
stee
m, p
rovi
de s
exua
l
Ber
eave
men
t - Is
losi
ng a
par
tner
, rel
ativ
e or
clo
se
frien
d to
dea
th. S
ome
deat
hs a
re e
xpec
ted
due
to a
lo
ng-te
rm il
lnes
s or
old
age
how
ever
som
etim
es th
is
can
be u
nexp
ecte
d su
ch a
s th
roug
h an
acc
iden
t. Lo
sing
a
spou
se o
r lon
g-tim
e pa
rtner
has
the
larg
est i
mpa
ct o
n
emot
iona
l dev
elop
men
t com
pare
d to
all
life
even
ts. T
his
is
due
to th
e em
otio
ns in
divi
dual
s go
thro
ugh.
Div
orce
- A
lega
l end
ing
of a
mar
riage
. It h
as th
e
seco
nd la
rges
t im
pact
on
emot
iona
l dev
elop
men
t.
-Stro
ng fa
mily
ties
pro
vide
the
stab
ility
and
secu
rity
ne
eded
for p
ositi
ve g
row
th a
nd d
evel
opm
ent.
A
brea
kdow
n in
a re
latio
nshi
p ca
n le
ad to
inse
curit
y fo
r th
e co
uple
and
thei
r chi
ldre
n. T
his
lack
of s
ecur
ity a
nd
poor
sel
f-im
age
can
lead
to il
l hea
lth a
ffect
ing
emot
iona
l an
d in
telle
ctua
l dev
elop
men
t. It
can
affe
ct s
ocia
l de
velo
pmen
t as
ther
e is
a lo
ss o
f frie
ndsh
ips
and
wid
er
fam
ily n
etw
orks
. Som
e in
divi
dual
s m
ay n
eed
time
off
wor
k an
d th
ough
ts a
re ta
ken
over
by
the
divo
rce
affe
ctin
g in
telle
ctua
l dev
elop
men
t.
Pare
ntho
od -
Whe
n yo
u ar
e re
spon
sibl
e fo
r rai
sing
a
child
and
gen
eral
ly b
rings
pos
itive
em
otio
ns o
f gre
at jo
y
and
fulfi
lmen
t. H
owev
er, i
t may
als
o ha
ve n
egat
ive
im
pact
s su
ch a
s:
- hav
e to
cha
nge
who
le ro
utin
es a
nd li
fest
yles
- n
ew re
spon
sibi
litie
s ca
n ca
use
anxi
etie
s
- les
s tim
e to
pur
sue
thei
r int
eres
ts a
nd m
eet f
riend
s.
- Add
ed p
ress
ures
suc
h as
chi
ldca
re if
they
wor
k.
- Lac
k of
sle
ep c
an a
ffect
em
otio
nal d
evel
opm
ent b
y pu
tting
pre
ssur
e on
a m
arria
ge o
r par
tner
ship
.
30
Year
9 H
ealth
and
Soc
ial C
are
Kno
wle
dge
orga
nise
r Cyc
le 3
.
term
impa
ct s
uch
as a
bro
ken
arm
. An
inju
ry c
an
caus
e a
pers
on to
hav
e tim
e of
f of w
ork
or s
choo
l.
It ca
n af
fect
die
t dep
endi
ng o
n th
e in
jury
del
ayin
g
grow
th. A
n in
jury
cha
ngin
g ap
pear
ance
can
ca
use
nega
tive
self
imag
e an
d se
lf es
teem
. Fi
nally
tim
e of
f of w
ork,
pay
ing
for h
ouse
ad
apta
tions
, tre
atm
ents
or s
peci
alis
t equ
ipm
ent
can
be c
ostly
.
intim
acy
and
a fe
elin
g of
saf
ety
and
secu
rity.
Sim
ilar t
o
mar
rage
is a
civ
al p
artn
ersh
ip w
hich
is a
form
al
prom
ise
to a
noth
er p
erso
n us
ually
of t
he s
ame
sex.
Life
Circ
umst
ance
s: E
xclu
ded
from
Ed
ucat
ion,
Red
unda
ncy
and
Impr
ison
men
t
[Wee
k 4]
Life
Circ
umst
ance
s: R
etire
men
t and
M
ovin
g H
ouse
[Wee
k 5]
Life
Circ
umst
ance
s: M
ovin
g Sc
hool
s an
d
Star
ting
Scho
ol
[
Wee
k 6]
Ef
fect
s of
bei
ng E
xclu
ded
from
Edu
catio
n:
- Not
in s
choo
l to
com
mun
icat
e an
d so
cial
ise
with
th
eir f
riend
s at
bre
ak a
nd lu
ncht
imes
.
- M
issi
ng o
ut o
n th
eir l
earn
ing
and
build
ing
kn
owle
dge
as n
ot in
sch
ool.
- L
ess
supp
ort t
o m
ove
onto
furth
er e
duca
tion
- C
an lo
wer
Sel
f-Est
eem
and
Sel
f-im
age.
- M
ay re
mov
e st
ress
that
cau
sed
the
excl
usio
n
- Una
ble
to u
se s
choo
l fitn
ess
faci
litie
s or
pa
rtici
pate
in P
E le
sson
s.
Effe
cts
of b
eing
mad
e re
dund
ant:
R
edun
danc
y - F
orce
d to
leav
e a
job,
usu
ally
due
to
fina
ncia
l rea
sons
from
the
com
pany
but
can
al
so b
e fo
r mal
prac
tice
or in
appr
opria
te
beha
viou
r. U
sual
ly u
nexp
ecte
d.
- Can
low
er s
elf-i
mag
e an
d se
lf-es
teem
- L
oss
of e
arni
ngs
can
impa
ct o
n di
et, l
ifest
yle
ch
oice
s an
d ab
ility
to s
ocia
lise
Ret
irem
ent -
is th
e ac
tion
or fa
ct o
f lea
ving
one
’s jo
b
and
ceas
ing
to w
ork.
For
bot
h m
en a
nd w
omen
this
is
now
at 6
8 ye
ars
old,
alth
ough
peo
ple
do c
hoos
e to
re
tire
earli
er th
an th
is.
Effe
cts
of R
etire
men
t:
- Los
s of
rela
tions
hips
with
col
leag
ues
- L
oss
of S
elf i
mag
e if
peop
le la
ck p
urpo
se in
life
.
- Few
er o
ppor
tuni
ties
for i
ntel
lect
ual c
halle
nge.
- L
ess
inco
me
- R
educ
ed s
tress
- M
ore
time
to s
pend
with
fam
ily
- Mor
e tim
e to
take
on
new
inte
rest
s an
d ho
bbie
s.
Mov
ing
Hou
se:
Th
ere
are
man
y re
ason
s pe
ople
will
mov
e ho
use.
For
ex
ampl
e, A
cha
nge
of jo
b, p
lann
ing
on e
xpan
ding
a
fam
ily, c
hang
e of
cou
ncil
hous
ing,
Dow
nsiz
ing
once
fa
mily
hav
e le
ft ho
me
and
Mob
ilitity
nee
ds.
Mov
ing
Scho
ols
- The
re a
re m
any
reas
ons
an
indi
vidu
al w
ill m
ove
scho
ols.
Exa
mpl
es in
clud
e: c
hang
e
of p
aren
ts jo
b, a
ge to
mov
e on
, bul
lyin
g, p
erso
nal
pref
eren
ce a
nd o
ppor
tuni
ties
avai
labl
e at
diff
eren
t sc
hool
s de
pend
ing
on th
eir s
peci
alis
ms.
Effe
cts
of M
ovin
g Sc
hool
s -
- Opp
ortu
nitie
s to
bui
ld n
ew fr
iend
ship
s
- Opp
ortu
nitie
s to
lear
n ne
w th
ings
- O
ppor
tuni
ties
to ta
ke u
p di
ffere
nt c
lubs
- B
ette
r und
erst
andi
ng fr
om d
iffer
ent t
each
ing
styl
es
- Anx
iety
abo
ut le
arni
ng n
ew ro
utin
es a
nd ru
les
- A
nxie
ry a
bout
bui
ldin
g ne
w fr
iend
ship
s
- Too
ner
vous
to jo
in in
with
new
clu
bs
Star
ting
Scho
ol -
Mos
t chi
ldre
n in
the
UK
star
t Prim
ary
sc
hool
now
at 4
yea
rs o
ld. A
chi
ld w
ill st
art s
econ
dary
sc
hool
at 1
1 ye
ars
old.
Sta
rting
sch
ool c
an b
ring
abou
t m
any
affe
cts
espe
cial
ly if
the
child
is a
you
ng c
arer
ha
ving
to le
ave
thei
r par
ent.
For s
ome
child
ren
it is
the
31
Year
9 H
ealth
and
Soc
ial C
are
Kno
wle
dge
orga
nise
r Cyc
le 3
.
- opp
ortu
nitie
s to
take
on
new
or d
iffer
ent
chal
lene
gs o
r car
eers
.
Effe
cts
of Im
pris
onm
ent:
Im
pris
onm
ent -
Bei
ng p
ut in
pris
on.
- Can
low
er s
elf-i
mag
e an
d se
lf-es
teem
- L
oss
of in
depe
ndan
ce
- Los
s of
soc
ial c
onta
ct w
ith fr
iend
s an
d fa
mily
- C
an g
ive
oppo
rtuni
ties
to le
arni
ng (a
new
la
ngua
ge, a
nger
man
agem
ent)
-C
an g
ive
oppo
rtuni
ties
to d
evel
op n
ew s
kills
(c
ooki
ng, c
lean
ing,
con
stru
ctio
n)
- Opp
ortu
nity
to re
flect
and
mak
e be
tter l
ife
choi
ces.
Effe
cts
of M
ovin
g H
ouse
:
- Exc
item
ent b
ecau
se o
f new
exp
erie
nces
- O
ppou
rtniti
es to
mee
t new
peo
ple
and
join
new
clu
bs
- Cha
nce
to d
isco
ver a
new
are
a th
roug
h w
alki
ng,
cycl
ing
and
runn
ing
- A
nxie
ty a
nd s
tress
of t
he p
hysi
cal c
an m
enta
l de
man
ds o
f mov
ing.
- P
ossi
ble
loss
of c
lose
frie
nds
or fa
mily
.
- Mis
sing
spo
rts c
lubs
, act
iviti
es, g
ym.
first
tim
e th
ey w
ill le
ave
thei
r par
ents
so
may
feel
in
secu
re. S
tarti
ng s
econ
dary
sch
ool t
he b
igge
st w
orry
fo
r ado
lesc
ence
is c
ente
red
arou
nd fr
iend
ship
s an
d if
th
ey w
ill m
ake
frien
ds O
K an
d no
t get
lost
in th
e bi
g
scho
ol.
Effe
cts
of S
tart
ing
Scho
ol -
- N
ew e
quip
men
t to
lear
n fro
m s
uch
as P
E, s
cien
ce a
nd
tech
nolo
gy.
- Cur
ricul
ums
and
stru
ctur
e to
follo
w h
elpi
ng le
arni
ng
- Mak
ing
new
frie
nds
- B
ecom
e m
ore
conf
iden
t and
inde
pend
ant
For W
eek
7 an
d W
eek
8 re
cap
all t
he in
form
atio
n fr
om W
eeks
1 -
6
[Wee
k 7
& 8
]
32
Year 7 Computing Cycle 3 Knowledge Organiser
Week 1: Introduction to user interfaces
Keywords Knowledge
User Interface - the means by which a person is able to interact with a computer system.
Intuitiveness - Making things easy to understand for new users
What is a user interface - A user interface is the means by which a person is able to interact with a computer system.
Human-Device Interaction can be supported through intuitiveness, error reduction and productivity
Example Question: What are the benefits of a menu-based interface? Answer: It is easy to use and easily adaptable
Software Features Human Features
Visual - windows, icons, menus & pointers Accessibility - high contrast schemes, text/icon resizing & text to speech
Audio - speech recognition & synthesis Usability – adaptive interfaces, intuitive layouts & user experience
Interface Text-Based Interface Menu-Based Interface
Pros Requires little processing power. If you know the commands, quick to perform actions.
Easy to use due to simplicity. Easily adaptable to individual needs.
Cons Not very intuitive as you need to know the commands.
Can be very tedious to perform actions. Limited options – not all tasks are possible.
Uses Technical users for performing tasks like network admin.
Self-service kiosks, such as ATMs or self-service tills.
Week 2: Complex User Interfaces
Keywords Knowledge
Performance - how quick the interface is to perform tasks?
Accessibility - Supporting people’s individual needs such as disabilities
Ease of Use - how intuitive & simple to perform tasks?
Example Question: What is meant by accessibility? Answer: Ensuring your interface supports people’s individual needs such as disabilities
Interface Graphic User Interface Speech/Natural Language Interface
Sensor Based Interface
Pros Intuitive navigation – easier for beginners. Simple drag & drop to move data around.
Can be used easily by people with visual impairments. Can be used when hands are unavailable.
Constantly monitoring for changes in the environment. Automatically performs actions based on readings.
Cons Can be very memory & processor intensive. Often slower to perform simple tasks than other interfaces.
Background noise can interfere with use. Limited in complexity of tasks that can be performed.
Can only be used for specific, limited functionality. Often quite expensive to install.
Uses Everyday devices like PCs, tablets & game consoles.
Smart home speakers for easy hands free input. When driving to interact with onboard computers.
Smart/IoT devices like smart thermostats.
33
Year 7 Computing Cycle 3 Knowledge Organiser
Week 3: Hardware and Software Influences and User Accessibility Needs
Keywords Knowledge
Operating System - the software that manages all hardware and other software on a computer
Hardware - the physical parts of a device e.g. monitor or mouse
Software - the programs that we use on a device
Cognitive - our ability to understand things
Factors that can affect a user interface include: Operating systems and platform Display type and size Types of user input Hardware resources available Emerging technologies
User Accessibility is how we ensure that all users are able to use an interface, regardless of individual need or disability We must ensure that we account for all users needs when creating an interface, such as:
Visual needs Hearing needs Speech needs Motor needs Cognitive needs
Example Question: What is hardware? Answer: the physical parts of a device such as a keyboard or screen
Week 4: User Skills and
Keywords Knowledge
Demographic - categorising people based on a range of characteristics such as age, location, beliefs etc
Visual elements - the bits of an interface that determine what it looks like
User Skills - Users will have different levels of experience with IT. | This will affect their ability to use new interfaces
Demographics - The individual characteristics of your target audience should affect the interface design. E.g. age, beliefs/values, culture, experiences, location, gender etc
Colours - colour scheme is extremely important. It must look nice & represent the business’ brand image Use limited colours, use a house style, don’t clash, use appropriate textures Font Styles/Sizes - font is important in ensuring text is attractive & readable Ensure it is readable, use sans serif fonts, avoid decorative fonts, not too big or too small Example Question: Which level of user has some experience but will need some help to use an interface? Answer: Occasional
Expert Regular Occasional Novice
Lots of experience with lots of tech. Confident in use & able to work out functionality.
Good experience with common tech. May need some help but generally able to figure out
Some experience with common tech. Will need support & experience to use effectively.
Little experience with most tech. Likely to need training & ongoing support to use.
Week 5: Text Elements, Layout, User Perception and Attention
Keywords Knowledge
White space - areas that don’t have images of text
Layout - how the different elements (text, images) are positioned
User Perception - what people expect from certain colours, sounds, icons etc
Intuitive design - allowing users to understand interfaces with little training or guidance
Language - language needs to be understandable and appropriate for user needs and user skill levels
Amount of information - Not enough information can make interfaces difficult to use, too much information can too. An interface should provide an appropriate amount of information for the task and make appropriate use of white space
Layout massively affects how usable an interface is. Interfaces should:
always be consistent keep close to user expectations place important items prominently (in obvious places) Place related tasks together Use navigational components and input controls
Users will perceive colours, sounds, symbols and visuals to mean certain things. Retaining attention - it is important to keep the audience engaged, this can be done by grabbing attention, decluttering screens, clear labelling, using default values or autofill and using tip text to help users know what buttons/tools do Example Question: What is white space? Answer: Areas of an interface that don’t have images or text (the background)
Week6: Preparing for Assessment
Self-quiz the knowledge covered in Weeks 1 - 5
34
Med
ia Y
ear
9 C
ycle
4
Wee
k O
ne/F
our
W
eek
Two/
Five
K
ey W
ords
N
arra
tive
The
ory
C
laud
e Le
vi-S
trau
ss -
the
idea
from
the
the
ory
of S
truc
tura
lism
tha
t al
l sto
ries
ca
n be
see
n as
wor
king
aro
und
a se
ries
of b
inar
y op
posi
tes
eg n
ight
and
day
, he
roes
and
vill
ains
, goo
d an
d ba
d, in
side
and
out
side
etc
. T
he t
ensi
on a
nd in
tere
st
aris
es fr
om t
he c
onfli
ct b
etw
een
thos
e tw
o op
posi
tes.
T
zvet
an T
odor
ov -
all s
tori
es s
tart
with
a p
erio
d of
cal
m (
whi
ch h
e ca
lled
eq
uilib
rium
), be
fore
a p
robl
em o
r co
nflic
t em
erge
s. T
his
thro
ws
the
prot
agon
ist’s
w
orld
into
cha
os (
or d
iseq
uilib
rium
). T
he p
rota
goni
st t
hen
has
a m
omen
t of
re
alis
atio
n of
the
pro
blem
and
set
s ou
t on
a q
ues t
to
retu
rn t
he w
orld
to
som
e
kind
of n
orm
ality
. T
his
is a
chie
ved,
alth
ough
the
nor
mal
ity (
equi
libri
um ) m
ay n
ot
be t
he s
ame
as t
hat
at t
he b
egin
ning
of t
he s
tory
.
Vla
dim
ir P
ropp
- sa
ys t
hat
ther
e ar
e 7
mai
n ch
arac
ter
type
s/fu
nctio
ns in
all
st
orie
s -
thes
e be
ing
the
hero
; the
vill
ain;
the
don
o r; t
he p
rinc
ess;
the
pri
nces
s’s
fath
er; t
he h
elpe
r an
d th
e fa
lse
hero
. R
olan
d B
arth
es -
all s
tori
es e
ngag
e th
e au
dien
ce t
hrou
gh e
nigm
as -
puzz
les
or
ques
tions
tha
t ke
ep t
he a
udie
nce
view
ing.
Key
Wor
ds
Mod
e of
add
ress
- T
he w
ay t
hat
a m
edia
tex
t ‘s
peak
s’ t
o an
aud
ienc
e eg
as
if an
ol
der
sibl
ing
givi
ng g
entle
adv
ice
D
irec
t ga
ze -
Whe
n th
e co
ver
star
look
s di
rect
ly a
t th
e ca
mer
a, a
s if
they
are
lo
okin
g di
rect
ly in
to y
our
eyes
as
an a
udie
nce.
R
epre
sent
atio
n -
how
diff
eren
t gr
oups
of p
eopl
e, p
lace
s, is
sues
and
eve
nts
in
soci
ety
are
pres
ente
d
Gen
der
- tr
aditi
onal
ly r
efer
s to
mal
e or
fem
ale
but
can
also
be
used
to
enco
mpa
ss
a br
oad
rang
e of
iden
titie
s
Eth
nici
ty -
a so
cial
gro
up t
hat
has
a co
mm
on n
atio
nal o
r cu
ltura
l tra
ditio
n.
Gen
re -
a ca
tego
ry o
f med
ia p
rodu
ct d
efin
ed b
y a
set
of c
odes
and
con
vent
ions
, fo
r ex
ampl
e co
med
y.
Nar
rati
ve -
stor
y, an
d ho
w it
is o
rgan
ised
M
arke
ting
- A
ll of
the
way
s th
at a
n au
dien
ce is
mad
e aw
are
of a
pro
duct
. T
his
in
clud
es a
dver
tisin
g.
Pre
- pro
duct
ion
- th
e ac
tiviti
es t
aken
bef
ore
a fil
m g
oes
into
pro
duct
ion
(eg
w
ritin
g th
e sc
reen
play
, sto
rybo
ardi
ng, l
ocat
ion
sear
ches
, cas
ting,
cre
atio
n of
a s
hot
lis
t)
Med
ia T
heor
ies
A
udie
nce
The
orie
s
Use
s &
Gra
tific
atio
ns T
heor
y - B
lum
ler
and
Kat
z (1
974)
A
udie
nces
act
ivel
y co
n sum
e m
edia
for
one
of t
he fo
llow
ing
reas
ons:
Su
rvei
llanc
e -
the
view
er w
ants
to
acqu
ire in
form
atio
n, k
now
ledg
e an
d
unde
rsta
ndin
g by
wat
chin
g pr
ogra
mm
es li
ke T
he N
ews.
D
iver
sion
- V
iew
ers
wat
ch p
rogr
amm
es fo
r en
joym
ent
and
esca
pism
.
Pe
rson
al Id
enti
ty -
Vie
wer
s ca
n re
cogn
ise
a pe
rson
or
prod
uct
that
re f
lect
sim
ilar
va
lues
to
them
selv
es a
nd c
an c
opy
som
e of
the
ir c
hara
cter
istic
s.
Pers
onal
Rel
atio
nshi
ps -
Med
ia p
rodu
cts
prod
uce
a to
pic
of c
onve
rsat
ion.
For
ex
ampl
e w
ho is
the
bes
t co
ntes
tant
R
ecep
tion
the
ory
- Stu
art
Hal
l ( 1
980)
M
edia
tex
ts a
re e
ncod
ed a
nd d
ecod
ed . T
he p
rodu
cer
enco
des
mes
sage
s an
d
valu
es in
to t
heir
med
ia w
hich
are
the
n de
code
d by
the
aud
ienc
e. T
he a
udie
nce
Med
ia T
heor
ies
A
udie
nce
The
orie
s
Use
s &
Gra
tific
atio
ns T
heor
y - B
lum
ler
and
Kat
z (1
974)
A
udie
nces
act
ivel
y co
nsum
e m
edia
for
one
of t
he fo
llow
ing
reas
ons:
Su
rvei
llanc
e -
the
view
er w
ants
to
acqu
ire in
form
atio
n, k
now
ledg
e an
d
unde
rsta
n din
g by
wat
chin
g pr
ogra
mm
es li
ke T
he N
ews.
D
iver
sion
- V
iew
ers
wat
ch p
rogr
amm
es fo
r en
joym
ent
and
esca
pism
.
Pe
rson
al Id
enti
ty -
Vie
wer
s ca
n re
cogn
ise
a pe
rson
or
prod
uct
that
ref
lect
sim
ilar
va
lues
to
them
selv
es a
nd c
an c
opy
som
e of
the
ir c
hara
cter
istic
s.
Pers
onal
Rel
atio
nshi
ps -
Med
ia p
rodu
cts
prod
uce
a to
pic
of c
onve
rsat
ion.
For
ex
ampl
e w
ho is
the
bes
t co
ntes
tant
R
ecep
tion
the
ory
- Stu
art
Hal
l ( 1
980)
M
edia
tex
ts a
re e
ncod
ed a
nd d
ecod
ed . T
he p
rodu
cer
enco
des
mes
sage
s an
d
valu
es in
to t
heir
med
ia w
hich
are
the
n de
code
d by
the
aud
ienc
e. T
he a
udie
nce
35
will
tak
e th
e vi
ew o
f:
Dom
inan
t -A
gree
ing
with
the
pro
duce
rs v
iew
. Opp
osit
iona
l - C
halle
ngin
g th
e
prod
ucer
s vi
ew.
Neg
otia
ted
- Fa
lling
bet
wee
n ag
reei
ng a
nd d
isag
reei
ng
will
tak
e th
e vi
ew o
f:
Dom
inan
t -A
gree
ing
with
the
pro
duce
rs v
iew
. Opp
osit
iona
l - C
halle
ngin
g th
e
prod
ucer
s vi
ew.
Neg
otia
ted
- Fa
lling
bet
wee
n ag
reei
ng a
nd d
isag
reei
ng
Wee
k T
hree
/Six
K
ey W
ords
D
emog
raph
ics
- the
aud
ienc
e an
d ho
w it
is c
ateg
oris
ed
NR
S so
cial
gra
de -
the
syst
em o
f cat
egor
isin
g pe
ople
by
inco
me
and
care
er, c
reat
ing
the
cate
gori
es A
, B, C
1, C
2, D
, E
Psy
chog
raph
ics
- the
sys
tem
of c
ateg
oris
ing
peop
le b
y lif
esty
le a
nd p
erso
nalit
y
Sect
ors
- th
e 3
diffe
rent
typ
es o
f med
ia in
dust
ry
Ster
eoty
pe -
a w
idel
y he
ld b
ut fi
xed
and
over
sim
plifi
ed im
age
or id
ea o
f a p
artic
ular
typ
e of
per
son
or t
hing
Med
ia In
dust
ry
The
film
indu
stry
T
he fi
rst
peop
le t
o pr
ojec
t m
ovin
g im
ages
to
a pa
ying
aud
ienc
e w
ere
the
Lum
iere
bro
ther
s in
189
5 in
Fra
nce.
Ini
tially
, film
s w
ere
pure
ly a
nim
ated
pho
tog r
aphs
and
at
trac
ted
audi
ence
s ba
sed
on t
he n
ovel
ty o
f the
form
. N
arra
tive
in fi
lms
was
intr
oduc
ed a
nd p
opul
aris
ed b
y G
eorg
es M
elie
s, a
gain
in F
ranc
e, a
t th
e tu
rn o
f the
cen
tury
(a
roun
d 19
00)
in fi
lms
like
A T
rip
to t
he M
oon .
Film
s in
the
se d
ays
wer
e qu
ite s
tatic
due
to
the
size
of t
he e
q uip
men
t.
Gre
ater
mob
ility
aro
se t
hrou
gh t
echn
olog
ical
dev
elop
men
ts in
the
red
uctio
n in
siz
e of
the
cam
eras
, alo
ng w
ith t
he u
se o
f tra
cks
to e
nabl
e tr
acki
ng s
hots
. By
194
1
deve
lopm
ents
in c
inem
a ap
proa
ched
som
ethi
ng m
uch
clos
e to
the
film
s w
e vi
ew t
oday
. It
is w
idel
y vi
ewed
tha
t Ors
on W
elle
s ’ fi
lm C
itiz
en K
ane
inve
nted
mod
ern
film
la
ngua
ge, w
ith it
s va
riet
y of
cam
era
shot
s, a
ngle
s an
d m
ovem
ent
and
use
of m
ise-
en-s
cene
and
edi
ting
help
ing
the
dire
ctor
to
tell
his
stor
y.
Mor
e re
cent
yea
rs h
ave
seen
the
dev
elop
men
t of
spe
cial
effe
cts
and
CG
I (C
ompu
ter
Gen
erat
ed Im
ager
y) t
ake
film
-mak
ing
into
new
are
a s o
f spe
ctac
le, a
lthou
gh t
here
are
st
ill m
any
film
-mak
ers
who
pre
fer
to u
se m
ore
trad
ition
al w
ays
of c
reat
ing
a se
nse
of w
onde
r (e
g C
hris
toph
er N
olan
in T
enet
cho
se t
o bu
ild a
n ai
rpor
t an
d us
e a
real
ae
ropl
ane
in a
cra
sh s
eque
nce
that
wou
ld m
ore
norm
ally
the
se d
ays
be c
ompl
etel
y co
mpu
ter
gene
rat e
d).
In t
erm
s of
how
the
indu
stry
wor
ks, t
hing
s ha
ve la
rgel
y m
oved
on
from
the
193
0’s
prac
tice
of fi
lm c
ompa
nies
pro
duci
ng th
e fil
m, d
istr
ibut
ing
the
film
and
exh
ibit
ing
the
film
. T
here
is a
lso
an in
crea
sed
mov
e to
war
ds h
ome
vi
ewin
g vi
a st
ream
ing
serv
ices
suc
h as
Net
flix .
The
film
indu
stry
i niti
ally
ref
used
to
reco
gnis
e N
etfli
x an
d A
maz
on P
rim
e’s
own
prod
uctio
ns w
hen
it ca
me
to a
ccep
ting
fil
ms
for
cons
ider
atio
n fo
r A
cade
my
Aw
ards
(m
ore
com
mon
ly k
now
n as
the
Osc
ars)
. H
owev
er, s
ince
the
pan
dem
ic b
egan
the
re is
a n
ew r
ecog
nitio
n th
at w
ithou
t th
e
likes
of s
uch
stre
amin
g se
rvic
es, t
he fi
lm in
dus t
ry w
ould
hav
e su
ffere
d ev
en m
ore
econ
omic
ally.
Net
flix
and
Am
azon
Pri
me
now
fund
a c
onsi
dera
ble
amou
nt o
f film
s th
at
are
scre
ened
in c
inem
as a
nd s
how
n on
tel
evis
ion
via
thei
r st
ream
ing
serv
ices
. T
hese
film
s ar
e no
w r
ecog
nise
d in
Aw
ards
cer
emon
ies.
36
Mus
ic -
Year
9 -
Kno
wle
dge
Org
anis
er C
4
Dyn
amic
s an
d th
eir s
ymbo
ls: :
Wee
ks 1
and
3
Key
voc
abul
ary:
Wee
ks 1
and
6
Spel
ling
thes
e w
ords
cor
rect
ly is
you
r foc
us
Dyn
amic
s - T
he lo
uds
and
softs
(vol
ume)
in m
usic
. Usu
ally
writ
ten
usin
g
the
sym
bols
in th
e ad
jace
nt b
ox.
Expr
essi
on -
conv
eyin
g em
otio
n w
hen
perfo
rmin
g. D
ynam
ics
are
one
w
ay th
at p
erfo
rmer
s ca
n co
nvey
em
otio
ns.
Stag
e Pr
esen
ce -
is th
at e
nerg
y, o
r cha
rism
a an
d ap
peal
,that
an
artis
t ha
s w
hile
per
form
ing
in fr
ont o
f oth
ers.
Proj
ectio
n - V
oice
pro
ject
ion
is th
e st
reng
th o
f spe
akin
g or
sin
ging
w
here
by th
e vo
ice
is u
sed
loud
ly a
nd c
lear
ly.
Enun
ciat
ion
- Enu
ncia
tion
refe
rs to
how
cle
arly
and
dis
tinct
ly a
par
ticul
ar
indi
vidu
al fo
rms
the
soun
ds th
at m
ake
up a
wor
d.
Con
fiden
ce -
Feel
ing
good
abo
ut y
ours
elf a
nd y
our a
bilit
y to
per
form
w
ell.
Tu
ning
- M
akin
g su
re th
at th
e co
rrect
pitc
hes
are
sung
. Rhy
thm
- Ke
epin
g in
tim
e w
ith th
e be
at/o
ther
inst
rum
ents
.
En
sem
ble
- Per
form
ing
as p
art o
f a g
roup
. Als
o m
akin
g su
re th
at e
very
pa
rt of
the
ense
mbl
e is
hea
rd c
lear
ly a
nd e
qual
ly.
Tech
niqu
e - U
sing
the
corre
ct m
usic
al/in
stru
men
tal t
echn
ique
s in
ord
er
to p
erfo
rm a
ccur
atel
y an
d ex
pres
sive
ly.
37
Mus
ic -
Year
9 -
Kno
wle
dge
Org
anis
er C
4
Gen
re: W
eeks
3 a
nd 6
Ex
ampl
e A
rtis
t and
Son
g: W
eeks
4 a
nd 8
Pop
- a g
enre
of m
usic
that
em
erge
d in
the
1950
s w
ith th
e in
tent
of
appe
alin
g to
gen
eral
aud
ienc
es.
Inst
rum
enta
tion
- Com
mon
inst
rum
ents
foun
d in
pop
son
gs a
re:
keyb
oard
, gui
tars
(ele
ctric
, aco
ustic
and
/or b
ass)
, dru
ms
and
voca
lists
.
Har
mon
y - P
op s
ongs
gen
eral
ly fo
llow
a s
impl
e an
d re
peat
ing
chor
d
prog
ress
ion
(indi
cate
d by
Rom
an n
umer
als)
, whi
ch s
tem
s fro
m
Euro
pean
Cla
ssic
al h
arm
ony
but s
impl
ified
.. Fo
r exa
mpl
e, c
hord
s, I,
IV,
V an
d vi
).
Stru
ctur
e - T
he s
truct
ure
of a
pop
son
g is
als
o re
lativ
ely
sim
ple.
It
follo
ws
a ge
nera
l pat
tern
of V
erse
, Cho
rus,
Ver
se, C
horu
s, B
ridge
, C
horu
s.
Lyric
Con
tent
- G
ener
ally
pop
son
gs d
escr
ibe
ever
yday
life
and
th
ings
, suc
h as
love
, fam
ily, f
riend
ship
.
Sing
er-s
ongw
riter
- a
mus
icia
n w
ho w
rites
and
per
form
s hi
s or
her
ow
n m
usic
.
Acc
ompa
nim
ent -
Pla
ying
alo
ng w
ith a
sol
o in
stru
men
t or s
inge
r.
Alb
um -
a co
llect
ion
of s
ongs
rele
ased
as
a di
gita
l dow
nloa
d or
a
12-in
ch L
P re
cord
.
Tayl
or S
wift
- An
Am
eric
an s
inge
r-son
gwrit
er. H
er n
arra
tive
song
writ
ing,
w
hich
ofte
n ce
nter
s ar
ound
her
per
sona
l life
, has
rece
ived
wid
espr
ead
cr
itica
l pla
udits
and
med
ia c
over
age.
Bre
ndon
Urie
- An
Am
eric
an s
inge
r, so
ngw
riter
, and
mus
icia
n, b
est
know
n as
the
lead
voc
alis
t of P
anic
! at t
he D
isco
, of w
hich
he
is th
e on
ly
orig
inal
mem
ber r
emai
ning
.
Me
- The
lead
sin
gle
from
the
albu
m L
over
. " M
e!" i
s a
chee
ry, c
ampy
bu
bble
gum
pop
and
syn
th-p
op d
uet.
Har
mon
y/C
hord
s - T
he to
nalit
y of
the
song
is M
ajor
and
is in
the
key
of
C M
ajor
, usi
ng th
e ch
ords
C, G
, Am
and
F.
Inst
rum
enta
tion
- Thi
s so
ng u
ses
com
mon
pop
inst
rum
ents
, suc
h as
ke
yboa
rd/s
ynth
esis
er, g
uita
rs, v
ocal
s, d
rum
s (w
ith a
mar
chin
g ba
nd
snar
e st
yle)
as
wel
l as
som
e br
ass
inst
rum
ents
.
Prod
uctio
n Te
chni
ques
- Th
e so
ng c
onta
ins
som
e au
totu
ne a
nd re
verb
bu
t not
hing
too
out o
f the
ord
inar
y.
Lyric
Con
tent
- Th
e so
ng is
abo
ut s
elf-l
ove
and
affir
mat
ion.
38
WEE
K 1
& 2
FOC
US
- Ass
essm
ent
Obj
ectiv
e 1
(AO
1)
Art
ists
/Pho
togr
aphe
rs -
Cyc
le 4
Expr
ess Y
ours
elf
Gill
ian
Wea
ring
(196
3 - p
rese
nt) i
s an
Engli
sh
conc
eptu
al ar
tist.
In h
er p
iece
‘Sign
s tha
t say
wha
t you
w
ant t
hem
to sa
y an
d no
t Sign
s tha
t say
wha
t so
meo
ne e
lse w
ants
you
to sa
y’ (1
992-
1993
), W
earin
g m
ade
a se
ries o
f por
trait
s whe
re sh
e ap
proa
ches
stra
nger
s tha
t she
enc
ount
ers o
n th
e st
reet
and
ask
s the
m to
writ
e w
hat t
hey
are
thin
king
ab
out o
n a
whi
te sh
eet o
f pap
er. W
earin
g en
joye
d th
is m
etho
d of
pho
togr
aphi
ng b
ecau
se "w
hen
they
re
turn
ed w
ith so
met
hing
they
had
writ
ten,
it ch
allen
ged
her o
wn
perc
eptio
n of
them
".The
ph
otog
raph
ed su
bjec
ts th
at a
re fr
om d
iffer
ent
back
grou
nds b
ecom
e un
ified
thro
ugh
this
pape
r w
here
‘all
of a
sudd
en y
ou h
ave
to st
art r
e-ap
prais
ing
peop
le.T
his e
xcha
nge
betw
een W
earin
g an
d th
e pe
ople
she
phot
ogra
phs m
akes
the
inte
ract
ion
mor
e co
nver
satio
nal r
athe
r tha
n ty
pica
l doc
umen
tatio
n m
etho
ds o
f por
trait
pho
togr
aphy
..
WEE
K 2
& 3
FOC
US
- Ass
essm
ent
Obj
ectiv
e 2
(AO
2)
Glo
ssar
y of
ter
ms
DIG
ITA
L ED
ITIN
G -
Cha
ngin
g a
pho
togr
aph
on a
com
pute
r or p
hone
usin
g ed
iting
app
s su
ch a
s Pho
tosh
op.
MA
NU
AL
EDIT
ING
- C
hang
ing
a ph
otog
raph
usin
g yo
ur h
ands
, for
exa
mpl
e w
ritin
g,
draw
ing
or p
aintin
g ov
er a
n im
age.
MAT
ERIA
LS -
Wha
t the
pho
togr
aphe
r has
use
d to
mak
e th
e ar
t wor
k eg
. can
vas,
pape
r, ac
etat
e, tr
acin
g pa
per,
pain
t, p
en.
SCA
NN
ING
- A w
ay o
f mak
ing
a co
py o
f you
r man
ual e
dits
and
vie
win
g th
em o
n yo
ur
com
pute
r.C
OM
POSI
TIO
N -
The
arra
ngem
ent o
r str
uctu
re o
f the
form
al el
emen
ts th
at m
ake
up a
n im
age.
CO
NTO
UR
- Th
e ou
tline
of a
n ob
ject
or s
hape
.PH
OTO
JOU
RNA
LIST
- So
meo
ne w
ho ta
kes p
hoto
s to
tell
a st
ory
(for n
ewsp
aper
s and
m
agaz
ines
gen
erall
y).
PERS
PEC
TIV
E - T
he se
nse
of d
epth
or s
patia
l rel
atio
nshi
ps b
etw
een
obje
cts i
n th
e ph
oto.
VIE
WPO
INT
- Th
e po
sitio
n yo
u ta
ke th
e ph
otog
raph
from
. (eg
, from
the
grou
nd u
p or
fro
m a
bove
look
ing
dow
n)PO
RTRA
IT -
Phot
ogra
ph o
f a p
erso
n or
gro
up o
f peo
ple
that
cap
ture
s the
per
sona
lity
of
the
subj
ect b
y us
ing
effe
ctive
ligh
ting,
back
drop
s, an
d po
ses.
SELF
PO
RTRA
IT -
A p
ortr
ait th
at a
pho
togr
aphe
r pro
duce
s of t
hem
selve
s.” O
n th
e ot
her h
and,
a se
lfie!
NEG
ATIV
E - A
n im
age,
usua
lly o
n a
strip
or s
heet
of t
rans
pare
nt p
lastic
film
, (us
ed in
old
fil
m c
amer
as) i
n w
hich
the
light
est a
reas
of t
he p
hoto
grap
hed
subj
ect a
ppea
r dar
kest
and
th
e da
rkes
t are
as a
ppea
r ligh
test
.
Rese
arch
, ins
pira
tion,
min
d m
aps,
shoo
t pl
ans
and
your
id
eas.
Expe
rim
entin
g, p
hoto
shop
ed
its, m
anua
l edi
ts, t
akin
g ph
otos
usi
ng d
iffer
ent
cam
era
sett
ings
.
Phot
osho
ot P
lann
ing
Af
ter r
esea
rchi
ng y
our a
rtist
and
exp
lorin
g th
eir t
echn
ique
s you
nee
d to
cre
ate
a ph
otos
hoot
plan
ning
pag
e. Th
is sh
ould
inclu
de . .
.
WH
AT y
ou w
ill ph
otog
raph
(peo
ple
(who
, why
?), o
bjec
ts e
tc . .
.)
WH
ERE
you
will
phot
ogra
ph S
tudi
o, Sc
hool
, Tow
n, Be
ach
etc
. . )
H
OW
(Wha
t set
tings
on
the
cam
era
(aut
o, m
acro
,
sh
utte
r spe
ed (f
ast o
r slo
w) e
tc)
W
HEN
will
you
shoo
t? D
ay, n
ight,
sunr
ise,
su
nset
. Inc
lude
tec
hnic
al r
esea
rch
if ne
eded
. Wha
t
prob
lem
s m
ight y
ou fa
ce? W
eath
er c
ondi
tions
,
Eq
uipm
ent f
ailur
e, w
rong
ligh
ting
etc
. .
How
will
you
over
com
e th
em?
Tech
nica
l Key
boar
d Sh
ortc
uts
Ctr
l + N
= N
ew p
age
Ctr
l + S
hift
+ A
lt +
V =
Pas
te in
to se
lect
ion
Ctr
l + C
= C
opy
Ctr
l + X
= C
utC
trl +
V =
Pas
te
Ctr
l + T
= T
rans
form
C
trl +
Z =
Ste
p ba
ckw
ards
Ctr
l + =
Zoo
m in
Ctr
l + S
= S
ave
C
trl -
= Z
oom
out
C
trl +
D =
Des
elec
t
39
WEE
K 3
& 4
FOC
US
- Ass
essm
ent
Obj
ectiv
e 3
(AO
3)
Bar
bara
Kru
ger
(194
5 - p
rese
nt) i
s an A
mer
ican
conc
eptu
al ar
tist a
nd c
ollag
ist. M
ost o
f her
wor
k co
nsist
s of b
lack-
and-
whi
te p
hoto
grap
hs, o
verla
id w
ith
decla
rativ
e ca
ptio
ns, s
tate
d in
whi
te-o
n-re
d Bo
ld te
xt.
The
phra
ses i
n he
r wor
ks o
ften
inclu
de p
rono
uns
such
as "
you"
, "yo
ur",
"I", "
we"
, and
"the
y", a
ddre
ssin
g cu
ltura
l con
stru
ctio
ns o
f pow
er, id
entit
y, co
nsum
erism
an
d se
xuali
ty w
ith p
rovo
cativ
e to
pics
like
fem
inism
, co
nsum
erism
, and
indi
vidua
l aut
onom
y an
d de
sire.
She
frequ
ently
use
d im
ages
from
main
stre
am m
agaz
ines
an
d us
ed h
er b
old
phra
ses t
o fra
me
them
in a
new
co
ntex
t. H
er m
etho
d in
clude
s dev
elop
ing
her i
deas
on
a co
mpu
ter,
later
tran
sferr
ing
the
resu
lts (o
ften
billb
oard
-size
d) in
to p
rinte
d im
ages
.
Keyw
ords
Cam
era
Raw
: Also
kno
wn
as R
AW, is
an
imag
e fil
e th
at c
onta
ins a
min
imal
amou
nt
of p
roce
ssed
dat
a fro
m th
e sc
ene.
Man
y ph
otog
raph
ers f
avou
r thi
s im
age
form
at
over
JPEG
as i
t allo
ws m
ore
cont
rol a
t the
ed
iting
stag
e.
Com
posi
tion:
Is th
e pl
acem
ent o
f re
lative
subj
ects
and
ele
men
ts w
ithin
an
imag
e or
scen
e to
cre
ate
a pl
easin
g fe
el.
Con
tact
She
et: U
sed
prim
arily
in fi
lm
cam
eras
, is a
shee
t of a
ll th
e fra
mes
and
is
used
as a
pro
of p
rint.
How
ever
, it is
now
als
o us
ed w
ith d
igita
l im
ages
to sh
owca
se
wor
k to
a c
lient
from
the
shoo
t.
WEE
K 5
& 6
FOC
US
- Ass
essm
ent
Obj
ectiv
e 4
(AO
4)
Viv
ian
Mai
er (1
926
– 20
09) w
as a
pro
fess
iona
l na
nny,
who
from
the
1950
s unt
il th
e 19
90s t
ook
over
10
0,00
0 ph
otog
raph
s wor
ldw
ide,
and
yet s
how
ed th
e re
sults
to n
o on
e. It
was
n’t u
ntil
loca
l hist
orian
John
M
aloof
pur
chas
ed a
box
of M
aier’s
neg
ative
s fro
m a
C
hica
go a
uctio
n ho
use
and
bega
n co
llect
ing
and
cham
pion
ing
her m
arve
lous
wor
k. It
was
just
a fe
w
year
s ago
that
any
of i
t saw
the
light
of d
ay. H
er
unse
en b
ody
of w
ork
can
now
be
seen
all
over
and
sin
ce h
er d
eath
has
bec
ome
one
of th
e m
ost p
opul
ar
stre
et p
hoto
grap
hers
in o
ur c
entu
ry. O
ne a
spec
t of
Maie
r’s w
ork
was
her
self
port
raits
and
how
she
man
aged
to e
xpre
ss h
erse
lf fro
m m
any
view
poin
ts
inclu
ding
the
use
of m
irror
s or r
efle
ctive
obj
ects
, sho
p w
indo
ws a
nd si
lhou
ette
s.
Ligh
ting
Ligh
ting
is a
good
tool
for c
hang
ing
the
way
you
r sub
ject
mat
ter i
s vie
wed
, and
can
be
effe
ctive
in c
reat
ing
a m
ood
or a
tmos
pher
e, or
dra
win
g th
e vie
wer
's at
tent
ion
to a
ce
rtain
are
a of
you
r pho
to. T
here
are
diff
eren
t typ
es o
f ligh
ting
that
you
cou
ld u
se in
ph
otog
raph
y su
ch a
s usin
g th
e fla
sh o
n yo
ur c
amer
a, a
spot
ligh
t or n
atur
al lig
htin
g. D
epen
ding
on
the
situa
tion,
you
wou
ld v
ary
the
type
of l
ightin
g yo
u w
ould
use
. Thi
s im
age
for e
xam
ple,
has b
een
lit u
sing
a sp
otlig
ht a
s it h
as st
rong
ligh
ting.
Usin
g a
win
dow
fo
r nat
ural
light
ing
wou
ld b
e m
uch
less
strik
ing
but s
ofte
r and
mor
e na
tura
l.
Glo
ssar
y of
ter
ms
Exte
rnal
flas
h – A
supp
lem
enta
ry fl
ash
unit
that
con
nect
s to
the
cam
era
with
a c
able
, or
is tr
igger
ed b
y th
e lig
ht fr
om th
e ca
mer
a's in
tern
al fla
sh. M
any
fun
and
crea
tive
effe
cts
can
be c
reat
ed w
ith e
xter
nal f
lash.
Imag
e re
solu
tion
- The
num
ber o
f pix
els i
n a
digit
al ph
oto
is co
mm
only
refe
rred
to a
s its
imag
e re
solu
tion.
300p
pi is
the
corr
ect r
esol
utio
n fo
r prin
t. 72
ppi i
s the
cor
rect
sc
reen
reso
lutio
n.
Wri
ting,
ann
otat
ing,
tak
ing
phot
os e
tc .
. .
Fini
shed
edi
ts, o
utco
mes
, pr
ojec
t ev
alua
tion
& fi
nal
piec
e.
Lead
ing
Line
s
Rule
of T
riang
le
40
Cyc
le 3
Soc
iolo
gy Y
ear
9 K
now
ledg
e O
rgan
iser
: Str
aific
atio
n
Sess
ion
Keyw
ords
Kno
wle
dge
Soci
olog
ical
con
cept
s
Wee
k 1
and
2: W
hat i
s st
ratif
icatio
n
Hie
rarc
hy-T
he w
ay s
ocie
ty is
st
ruct
ured
or
divi
ded
into
laye
rs
with
leas
t fa
vour
able
at
the
bott
omSo
cial
cla
ss,A
form
str
atifi
catio
n ba
sed
on e
cono
mic
fact
ors
Soci
al in
equa
lity-
som
e pe
ople
ha
ve m
ore
pow
er a
nd s
tatu
s in
so
ciet
ySo
cial
mob
ility
,-The
abi
lity
to
mov
e up
and
dow
n th
e so
cial
sc
ale
Soci
al s
trat
ifica
tion-
Peop
le
divi
de b
y ei
ther
gen
der,
age,
cla
ss
or e
thni
city
In
com
e- T
he fl
ow o
f res
ourc
es
into
you
r ho
useh
old
Wea
lth,-O
wne
rshi
p of
ass
ets
like
prop
erty
, lan
d or
oth
er v
alua
ble
thin
gsSo
cial
gro
ups
Kar
l Mar
x in
the
19th
cen
tury
iden
tifie
d tw
o so
cial
cl
asse
s. T
he b
ourg
eois
ie a
nd t
he p
role
tari
at.
Mem
bers
hip
of e
ach
clas
s w
as b
ased
on
econ
omic
fa
ctor
s. W
ho o
wne
d an
d w
ho d
id t
he p
rodu
ctio
n of
goo
ds. T
he b
ourg
eois
ie o
wn
the
mea
ns o
f pr
oduc
tion,
the
bus
ines
ses
and
the
fact
orie
s. T
he
prol
etar
iat
wor
ked
for
them
for
wag
es –
the
y w
ere
forc
ed t
o se
ll th
eir
labo
ur in
ord
er t
o su
rviv
e. T
he w
orke
rs e
xper
ienc
e al
iena
tion
beca
use
they
lack
con
trol
ove
r pr
oduc
tion.
The
ot
her
clas
s w
as t
he lu
mpe
npro
leta
riat
(the
dro
p ou
ts a
nd c
rim
inal
s)
The
tw
o m
ain
clas
ses
have
diff
eren
t in
tere
sts
– th
e bo
urge
oisi
e w
ant
to m
ake
mor
e an
d m
ore
mon
ey a
nd t
he p
role
tari
at w
ant
mor
e w
ages
. Thi
s ha
s le
d to
con
flict
and
a c
lass
str
uggl
e as
it is
in
the
inte
rest
of t
he b
ourg
eois
ie t
o ke
ep t
he p
oor,
poor
. Mar
x be
lieve
d th
is w
ould
lead
to
a cl
ass
stru
ggle
in w
hich
the
poo
r ri
se u
p ag
ents
the
ric
h.
Mar
x ha
s be
en c
ritic
ised
bec
ause
no
clas
s re
volu
tion
has
happ
ened
. Als
o be
caus
e he
onl
y fo
cuse
s on
cla
ss a
s a
sour
ce o
f ine
qual
ity n
ot
gend
er o
r et
hnic
ity. T
his
may
be
beca
use
the
Mar
xist
the
ory
was
dev
elop
ed in
the
19th
cen
tury
be
fore
rai
sed
stan
dard
s of
livi
ng o
r ch
ance
s of
so
cial
mob
ility
.
In B
rita
in t
oday
the
re a
re v
ast
ineq
ualit
ies
in
wea
lth, i
ncom
e an
d vi
rtua
lly e
very
thin
g el
se.
Com
pare
d w
ith c
hild
ren
of t
op p
rofe
ssio
nals
an
d m
anag
ers,
the
child
ren
of t
he u
nski
lled
wor
kers
are
50%
mor
e lik
ely
to d
ie in
in
fanc
y. A
s ad
ults
, the
uns
kille
d gr
oup
are
roug
hly
twic
e as
like
ly t
o di
e be
fore
rea
chin
g re
tirem
ent
age
and
ten
times
mor
e lik
ely
to
have
no
natu
ral t
eeth
. Chi
ldre
n fr
om t
he t
op
grou
p ar
e si
x tim
es m
ore
likel
y to
go
to
univ
ersi
ty. T
hey
are
also
six
tim
es m
ore
likel
y to
sta
y in
the
top
gro
up t
hen
are
thos
e bo
rn
at t
he b
otto
m t
o ri
se t
o th
e to
pW
eber
186
4 -1
910
belie
ved
ther
e we
re
two
soci
al c
lass
es o
ne g
roup
of
peop
le s
old
thei
r la
bour
whi
le t
he o
ther
cla
ss b
ough
t th
e la
bour
. Gro
ups(
clas
s) o
f pe
ople
who
had
si
mila
r lif
e ch
ance
s we
re in
the
sam
e cl
ass
as t
hey
had
sim
ilar
oppo
rtun
itie
s in
ed
ucat
ion,
hea
lth
and
life
. He
iden
tifi
ed 4
m
ain
soci
al c
lass
es:-
-Pr
oper
ty o
wner
s-
Prof
essi
onal
s-
Pett
y bo
urge
oisi
e(sh
op k
eepe
rs)
-W
orki
ng c
lass
-H
owev
er h
e di
stin
guis
hed
betw
een
clas
s an
d st
atus
. Cla
ss w
as b
ased
on
econ
omic
re
sour
ces
such
as
weal
th b
ut s
tatu
s wa
s ba
sed
on p
ower
and
pre
stig
e-
Ari
stoc
racy
eve
n wi
th n
o m
oney
hav
e hi
gh s
tatu
s-
Nur
ses
have
hig
h st
atus
but
low
inco
me
-Lo
tter
y wi
nner
hig
h in
com
e lo
w st
atus
41
Cyc
le 3
Soc
iolo
gy Y
ear
9 K
now
ledg
e O
rgan
iser
: Str
aific
atio
n
Sess
ion
Keyw
ords
Gro
ups
mos
tly li
kely
to
be in
pov
erty
Wee
k 3
an
d 4
Type
s of
po
vert
y
Abs
olut
e Po
vert
y -A
situ
atio
n in
w
hich
som
eone
lack
s the
mon
ey to
pa
y fo
r foo
d, clo
thin
g an
d ho
usin
g
nece
ssar
y to
main
tain
a h
ealth
y w
ay
of li
feRe
lative
Pov
erty
-Hav
e th
e ba
sics –
bu
t you
can
’t aff
ord
to b
uy o
r hav
e th
e ki
nds o
f thi
ngs a
nd d
o th
e ac
tiviti
es c
onsid
ered
to b
e th
e no
rmal
part
of l
ife in
socie
tyEn
viron
men
tal P
over
ty
-Nei
ghbo
urho
ods t
hat a
re u
gly, d
irty,
unsa
fe a
nd la
ck se
rvice
s and
am
eniti
esSu
bjec
tive
pove
rty
-Whe
re p
eopl
e fe
el p
oor b
ecau
se th
ey c
ompa
re th
eir
posit
ion
with
oth
er p
eopl
eH
idde
n Po
vert
y -F
amily
inco
me
is go
od b
ut th
e w
ealth
is n
ot sh
ared
Wom
en -
lone
/ pa
y ga
pO
ld -
pens
ion
-mno
ext
ra in
com
eD
isbale
d - m
edica
l exp
ense
s and
di
scrim
inat
ion
Ethn
ic gr
oups
- lan
guag
e ba
rrie
r and
di
scrim
inat
ion
-
Pove
rty
line
- the
mea
sure
by
whi
ch p
eopl
e ha
ve ju
st e
noug
h in
com
e fo
r the
ir ou
tgoi
ngs
Pove
rty
trap
- th
e im
pact
of l
iving
n p
over
ty
mak
es it
diff
icult
to e
scap
eC
ultu
re o
f pov
erty
- as
pect
s of c
erta
in
peop
les c
ultu
re m
akes
it m
ore
likel
y th
ey w
ill be
in p
over
tyFa
talis
m -
life
is pl
anne
d ou
t and
ther
e is
noth
ing
yo c
an d
o to
cha
nge
it so
why
bo
ther
Inst
ant g
ratif
icatio
n - w
antin
g re
war
d no
w
Cyc
le o
f Dep
rivat
ion-
the
view
that
chi
ldre
n w
ho a
re b
orn
in
pove
rty
are
likel
y to
stay
in p
over
ty b
ecau
se o
f the
ir lif
e ch
ance
s.The
y ar
e m
ore
likel
y to
be
illl m
ore
ofte
n, so
miss
sc
holl.
Ther
efor
e ge
t poo
rer q
ualif
icatio
ns a
nd g
et lo
wer
paid
jo
bs a
nd so
live
as a
n ad
ult i
n po
vert
y
Wee
k 5
5 an
d 6
Wel
fare
St
ate
Uni
vers
al Be
nefit
s - e
very
one
can
get i
tM
eans
Teat
ing
- an
exam
inat
ion
of
inco
me
to d
ecid
e w
hich
ben
efits
yo
can
geyt
Sele
ctive
ben
efits
- on
ly so
me
peop
le
cang
et it
Wel
fare
Stat
eSe
t up
in 1
948
by th
e La
bour
Gov
ernm
ent.
Aim
ed to
look
afe
tr p
eopl
e fro
m th
e C
radl
e to
the
Gra
vePa
id fo
r by
Nat
iona
l Ins
uran
cePe
ople
can
get
ben
efits
for s
ickne
ss,
unem
ploy
men
t and
old
age
Aim
ed to
stam
p ou
t abs
olut
e po
vert
y-
Wor
ld P
over
ty-
842
milli
on p
eopl
e o
r 1 :8
peo
ple
in th
e w
orld
do
not h
ave
enou
gh to
eat
-98
% of
the
wor
ld’s
poor
peo
ple
live
in d
evel
opin
g co
untr
ies
-A
sia
has
552
mill
ion
and
Afri
ca 2
23 m
illio
n-
60%
of t
he h
unga
ry a
re w
omen
-1;
6 ch
ildre
n ar
e hu
ngry
- e
very
10
seco
nds
a ch
ild d
ies
from
hun
ger
42
Wee
k 1
& 5
- C
ompo
nent
s of
Fitn
ess
W
eek
2 &
6 -
Rou
nder
s
Phys
ical
:
M
uscu
lar E
ndur
ance
: The
abi
lity
of th
e m
uscu
lar s
yste
m to
wor
k ef
ficie
ntly
and
co
ntin
ue to
con
tract
ove
r a p
erio
d of
tim
e ag
ains
t a li
ght t
o m
oder
ate
load
.
Aero
bic
Endu
ranc
e: T
he a
bilit
y of
the
card
iore
spira
tory
sys
tem
to w
ork
effic
ient
ly,
supp
lyin
g nu
trien
ts a
nd o
xyge
n to
wor
king
mus
cles
dur
ing
sust
aine
d (lo
ng la
stin
g)
phys
ical
act
ivity
.
M
uscu
lar S
treng
th: T
he m
axim
um fo
rce
(stre
ngth
) tha
t can
be
gene
rate
d (m
ade)
by
a m
uscl
e or
mus
cle
grou
p.
Sp
eed:
Spe
ed (m
/s) =
dis
tanc
e (m
) / T
ime
(s).
Ther
e ar
e th
ree
type
s of
spe
ed:
1. A
ccel
erat
ive
spee
d –
sprin
ts u
p to
30
m
2. P
ure
spee
d- s
prin
ts u
p to
60
m
3. S
peed
end
uran
ce- s
prin
ts w
ith a
sho
rt re
cove
ry p
erio
d (re
st) i
n be
twee
n.
Bo
dy C
ompo
sitio
n: T
he T
he re
lativ
e ra
tio o
f fat
mas
s to
fat-f
ree
mas
s in
the
body
Flex
ibilit
y:Be
ing
able
to m
ove
a jo
int f
luid
ly th
roug
h its
com
plet
e ra
nge
of
mov
emen
t
Skill
rela
ted:
Coo
rdin
atio
n: T
he s
moo
th fl
ow o
f mov
emen
t nee
ded
to p
erfo
rm a
mot
or ta
sk
effic
ient
ly (w
astin
g as
littl
e en
ergy
as
poss
ible
) and
acc
urat
ely
(with
out g
oing
w
rong
).
Ag
ility:
The
abi
lity
of a
spo
rts p
erfo
rmer
to q
uick
ly a
nd p
reci
sely
(exa
ctly
) mov
e or
ch
ange
dire
ctio
n w
ithou
t los
ing
bala
nce
or ti
me.
Rea
ctio
n tim
e: T
he ti
me
that
it ta
kes
for a
spo
rts p
erfo
rmer
to re
spon
d to
a
stim
ulus
and
initi
ate
(sta
rt) th
eir r
espo
nse.
Bala
nce:
The
abi
lity
to m
aint
ain
cent
re o
f mas
s ov
er a
bas
e of
sup
port.
1.
Sta
tic B
alan
ce –
a s
till b
alan
ce li
ke a
han
dsta
nd
2. D
ynam
ic B
alan
ce –
a m
ovin
g ba
lanc
e lik
e a
cartw
heel
Pow
er: T
he p
rodu
ct (r
esul
t) of
spe
ed x
stre
ngth
.
CO
F - T
ests
- Tr
aini
ng m
etho
ds
M
uscu
lar E
ndur
ance
- 1
min
ute
sit u
p/pr
ess
up -
Circ
uit t
rain
ing
/ fre
e w
eigh
t tra
inin
g
Ae
robi
c En
dura
nce
- Mul
tista
ge fi
tnes
s te
st /
Fore
stry
ste
p te
st -
Con
tinuo
us /
fa
rtlek
/ in
terv
al
M
uscu
lar S
treng
th -
Han
d gr
ip d
ynam
omet
er te
st -
Free
wei
ght t
rain
ing
Spee
d - 3
5 m
eter
spr
int t
est -
Hol
low
spr
ints
/ in
terv
al /
acce
lera
tion
sprin
ts
Bo
dy C
ompo
sitio
n - B
ody
mas
s in
dex
(BM
I) / B
ioel
ectri
cal i
mpe
danc
e an
alys
is
(BIA
) / s
kinf
old
test
Flex
ibilit
y - S
it an
d re
ach
test
- St
atic
stre
tchi
ng /
ballis
tic /
PNF
Agilit
y - I
llinoi
s ag
ility
test
Pow
er -
Verti
cal j
ump
test
- Pl
yom
etric
trai
ning
/ fre
e w
eigh
t tra
inin
g
Equi
pmen
t req
uire
d fo
r tes
ts:
1 M
inut
e Si
t-up
and
Pres
s-up
Tes
t: m
at /
stop
wat
ch
M
ultis
tage
Fitn
ess
Test
: Tes
t rec
ordi
ng /
spea
kers
/ ta
pe m
easu
re /
cone
s
Fo
rest
ry S
tep
Test
: Ste
ps /
stop
wat
ch /
met
rono
me
Han
dgrip
Dyn
amom
eter
test
: Grip
Dyn
amom
eter
35 M
eter
Spr
int T
est:
Tape
mea
sure
/ st
opw
atch
/ ta
pe o
r con
es
Bo
dy M
ass
Inde
x (B
MI)
Test
: Sca
les
/ tap
e m
easu
re o
r sta
diom
eter
Bioe
lect
rical
Impe
danc
e An
alys
is (B
IA):
BIA
anal
yser
/ m
at
Sk
info
ld T
est:
Skin
fold
cal
liper
s
Si
t and
Rea
ch T
est:
Tape
mea
sure
/ bo
x / o
r sit
and
reac
h bo
x / m
at
Ill
inoi
s Ag
ility
Test
: Tap
e m
easu
re /
cone
s / t
ape
/ sto
pwat
ch
Ve
rtica
l Jum
p Te
st: C
halk
/ ta
pe m
easu
re /
wal
l / s
cale
s(to
wor
k ou
t pow
er)
Type
C
OF
Te
st
Met
hod
of tr
aini
ng
Mus
cula
r En
dura
nce
1
min
ute
sit u
p/pr
ess
up
Circ
uit t
rain
ing
/ fre
e
wei
ght t
rain
ing
Aero
bic
Endu
ranc
e
Mul
tista
ge fi
tnes
s te
st /
Fo
rest
ry s
tep
test
C
ontin
uous
/ fa
rtlek
/
inte
rval
Mus
cula
r Stre
ngth
H
and
grip
dyn
amom
eter
test
Fr
ee w
eigh
t tra
inin
g
Spee
d
35 m
eter
spr
int t
est
H
ollo
w s
prin
ts /
inte
rval
/ a
ccel
erat
ion
sprin
ts
Body
Com
posi
tion
Bo
dy m
ass
inde
x (B
MI)
/ Bi
oele
ctric
al im
peda
nce
an
alys
is (B
IA) /
ski
nfol
d te
st
Flex
ibilit
y
Sit a
nd re
ach
test
St
atic
stre
tchi
ng /
ba
llistic
/ PN
F
Agilit
y
Illin
ois
agilit
y te
st
Pow
er
Verti
cal j
ump
test
Pl
yom
etric
trai
ning
/
free
wei
ght t
rain
ing
43
Wee
k 3
- Foo
tbal
l
Wee
k 4
- Rou
nder
s
Play
ing
area
/Pitc
h m
arki
ngs:
Pitc
h m
ust b
e be
twee
n 90
m/1
20m
long
by
45m
/90m
wid
e
G
oals
- th
ese
are
plac
ed a
t the
end
of t
he p
itch
and
cons
ist o
f tw
o po
sts
and
a
cros
sbar
. The
inne
r edg
es o
f the
pos
ts m
ust b
e 7.
32 m
etre
s w
ide
and
the
botto
m
of th
e cr
ossb
ar m
ust b
e 2.
44 m
etre
s ab
ove
the
grou
nd.
Pena
lty a
rea,
oth
erw
ise
know
n as
the
18-y
ard
box
- thi
s m
easu
rem
ent i
s ta
ken
18
yar
ds fr
om e
ach
goal
pos
t and
18
yard
s ou
t fro
m th
e go
al li
ne.
Pena
lty s
pot -
with
in th
e pe
nalty
are
a is
a s
pot m
arke
d 12
yar
ds in
fron
t of t
he
cent
re o
f the
goa
l. Th
e ar
c on
the
pena
lty a
rea
is d
elib
erat
ely
mad
e to
ens
ure
op
posi
tion
play
ers
are
kept
10
yard
s fro
m th
e pe
nalty
spo
t.
C
entre
circ
le -
this
is m
arke
d co
ntin
ually
10
yard
s fro
m th
e ce
ntre
spo
t and
en
sure
s th
at o
ppos
ition
pla
yers
are
kep
t 10
yard
s aw
ay fr
om th
e ki
ck-o
ff.
G
oal a
rea,
oth
erw
ise
know
n as
the
6-ya
rd b
ox -
this
mea
sure
men
t is
take
n 6
ya
rds
from
eac
h go
al p
ost a
nd 6
yar
ds fr
om th
e go
al li
ne.
R
ules
:
A
seni
or fo
otba
ll m
atch
con
sist
s of
two
45-m
inut
e ha
lves
and
mus
t hav
e a
15
-min
ute
brea
k in
the
mid
dle.
To c
ontin
ue a
mat
ch, a
team
mus
t hav
e a
min
imum
of 7
pla
yers
on
the
field
.
A
team
is a
ble
to m
ake
subs
titut
ions
at a
ny ti
me
of th
e m
atch
and
are
abl
e to
m
ake
a m
axim
um o
f thr
ee c
han g
es.
A co
mpe
titiv
e ga
me
mus
t be
offic
iate
d by
a re
fere
e an
d tw
o as
sist
ant r
efer
ees,
al
so k
now
n as
line
smen
.
Th
e w
hole
bal
l mus
t cro
ss th
e go
al li
ne fo
r it t
o co
nstit
ute
a go
al.
A re
fere
e m
ay a
war
d a
foul
if th
ey b
elie
ve a
n un
fair
act i
s co
mm
itted
by
a pl
ayer
. A
foul
con
trave
nes
the
law
s o f
the
gam
e an
d ca
n be
giv
en fo
r a ra
nge
of o
ffenc
es
(for e
xam
ple,
kic
king
the
play
er, p
ushi
ng, h
andb
all e
tc).
Foul
s ar
e pu
nish
ed b
y th
e aw
ard
of a
free
kic
k (d
irect
or i
ndire
ct, d
epen
ding
on
th
e of
fenc
e) o
r pen
alty
kic
k to
the
oppo
sing
team
if it
is c
omm
itted
in th
e pe
nalty
bo
x.
In
cas
es o
f fou
l pla
y, a
refe
ree
can
pena
lise
play
ers
with
eith
er a
yel
low
or r
ed
card
. A y
ello
w c
ard
give
s a
play
er a
war
ning
abo
ut th
eir c
ondu
ct a
nd a
red
card
re
quire
s th
em to
leav
e th
e pi
tch.
In th
e ev
ent t
hat a
pla
yer r
ecei
ves
two
yello
w
card
s, th
e re
fere
e w
ill au
tom
atic
ally
sho
w a
red
card
.
A
thro
w-in
is a
war
ded
to a
team
if th
e op
posi
tion
kick
s th
e ba
ll ov
er th
e si
delin
es.
A co
rner
kic
k is
aw
arde
d to
a te
am if
the
oppo
sitio
n ki
cks
the
ball
over
the
goal
lin
e an
d ei
ther
sid
e of
the
goal
pos
ts.
A pl
ayer
is d
eem
ed o
ffsid
e if
they
are
in fr
ont o
f the
last
def
ende
r whe
n a
Gam
e pl
ay:
Each
bat
ter g
ets
1 go
od b
all t
o hi
t bef
ore
join
ing
the
back
of t
he b
attin
g qu
eue.
A ba
tter m
ust h
old
on to
the
bat w
hils
t run
ning
roun
d th
e tra
ck.
Batte
rs m
ust a
lway
s ke
ep c
onta
ct w
ith th
e po
st, e
ither
with
thei
r han
d or
bat
. If
you
don’
t, th
e fie
lder
s ca
n st
ump
you
out a
t the
follo
win
g po
st.
A
batte
r doe
s no
t hav
e to
mov
e to
the
next
pos
t eve
ry ti
me
a ba
ll is
bow
led.
A ba
tter m
ay n
ot re
mai
n at
the
sam
e po
st a
s an
othe
r bat
ter.
The
umpi
re s
hall
or
der t
he p
laye
r who
bat
ted
first
to ru
n on
and
may
be
put o
ut in
the
usua
l way
s.
If th
ey a
re b
oth
betw
een
post
s an
d th
e ba
tter c
omin
g up
the
rear
runs
pas
t, th
en
they
wou
ld b
e ou
t as
the
over
take
r.
If
you
are
at a
pos
t you
can
not k
eep
on m
ovin
g to
the
next
pos
t whe
n th
e bo
wle
r ha
s th
e ba
ll in
the
bow
ling
squa
re.
No
balls
:
It is
a n
o ba
ll w
hen:
the
ball
is a
bove
the
head
/bel
ow th
e kn
ee, t
he b
all b
ounc
es o
n its
w
ay to
the
batte
r, th
e ba
ll is
wid
e or
stra
ight
at b
ody,
the
bow
ler’s
foot
is o
utsi
de o
f the
sq
uare
whe
n th
ey re
leas
e th
e ba
ll, th
e bo
wle
r doe
s no
t use
a s
moo
th u
nder
arm
ac
tion.
Out
s:
A pl
ayer
is o
ut w
hen:
a
batte
r run
s on
the
insi
de o
f the
pos
ts -
The
post
the
batte
r is
runn
ing
to is
stu
mpe
d -
a ba
tter o
verta
kes
a pr
evio
us b
atte
r on
the
field
- th
e ba
tter m
isse
s or
hits
the
ball
and
th
eir f
oot i
s ov
er th
e fro
nt o
r bac
k lin
e of
the
batti
ng s
quar
e - a
bat
ter d
eli b
erat
ely
th
row
s a
bat -
the
batte
r is
caug
ht o
ut -
the
batte
r los
es c
onta
ct w
ith th
e po
st w
hen
the
bo
wle
r has
the
ball.
Sc
orin
g:
If
the
batte
r get
s to
2nd
in o
ne h
it th
ey s
core
a ½
Rou
nder
If th
e ba
tter g
ets
to 4
th p
ost i
n on
e hi
t a fu
ll R
ound
er is
aw
arde
d.
If
the
runn
er re
ache
s th
e 4t
h po
st o
n a
no b
all,
the
batti
ng te
am s
core
s 1
roun
der
and
the
good
bal
l is
not t
aken
off
the
tota
l - th
e ba
tter c
anno
t be
caug
ht o
ut.
1/
2 ro
unde
r is
scor
ed if
the
4th
post
is re
ache
d w
ithou
t the
bat
ter h
ittin
g th
e ba
ll.
If
the
ball
goes
into
the
back
war
d ar
ea th
e ba
tter m
ust s
tay
at th
e 1s
t pos
t unt
il it
re
ache
s th
e ou
twar
d ar
ea, s
corin
g ca
n th
en ta
ke p
lace
as
norm
al
If
2 no
bal
ls in
a ro
w a
re b
owle
d 1
/2 a
roun
der i
s aw
arde
d to
the
batti
ng te
am.
Th
ere
is a
pen
alty
1/2
roun
der g
iven
to th
e ba
tting
team
if th
e ba
tter i
s ob
stru
cted
by
a fi
elde
r.
team
mat
e pa
sses
the
ball
thro
ugh
to th
em.
44
Notes
45
Notes
Stoke Damerel Six
RESPECT• Respect each other
• Be kind, treat others how you want to be treated
• Respect yourself
RESPONSIBLE• Take responsibility for your
learning and behaviour • Try to be a leader
• Be a positive role model
RESILIENT• Commit to your learning
• Try your best • And try again and again
PREPARED• Be prepared and ready to learn • Be here, be on time and bring
everything you need for learning • Take part in your learning
and your school
PROFESSIONAL• Be polite
• Be welcoming to all members of our College
• Smile and be friendly
PRIDE• Be proud to learn; proud
of your work• Wear your Stoke Damerel
uniform with pride • Be proud of yourself