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Community Long Quiz | Food Web | Ecological Niche

Community Long Quiz | Food Web | Ecological Niche – Which of the following characteristics would be a successful. evolution for both a predator or a prey organism? equilibrium state called a climax community. Ecologists now think there may be no such thing as a climax community because: Selected AnswerOption C is true because multiple VM flags can be used on a single invocation of a Java program. Option A is incorrect because at runtime assertions are ignored by default. Option B is incorrect because as of Java 1.4 you must add the argument -source…Which of the following is NOT one of the stages that customers go through in the process of learning about and making decisions about a new product or service? Which of the following would a marketer be LEAST likely to do to encourage habitual buying behavior?

Which of the following statement is true for… – Stack Overflow – Q. Which of the following characters will not have their Charged Attacks infused by Cryo DMG by Chongyun's Spirit Blade: Chonghua's Layered Frost? Q. Which of the following cannot provide energy to charge an elemental burst? Interacting with the statue of seven. Q. What is the maximum…Immediately following strenuous and vigorous exercise, which of the following is most likely to occur? a. blood will be rapidly diverted to the digestive organs b. the skin will be cold and clammy c. capillaries of the active muscles will be engorged with blood d. blood flow to the kidneys quickly…Characteristics Profit Maximizer : Maximizes profits. Price Maker : Decides the price of the good or product to be sold, but does so by determining the quantity in 1. Which of the following statements applies to a purely competitive producer? a. It will not advertise its product. b. In long-run equilibrium it…

Which of the following statement is true for... - Stack Overflow

Marketing Chapter 5 Flashcards – The Lantern Festival Quiz rerun again this year with new questions. Since i made some questions answer video last year. So i decide to make one for this…Which of the following states that there are 2 persons associated with a contact and there can be any number of contacts? Which of the following DOES NOT describe risk in software development?Q. Which of the following characters will not have their Charged Attacks infused by Cryo DMG by Chongyun's Spirit Blade: Chonghua's Layered Frost. Q. Which of the following cannot provide energy to charge an elemental burst? Interacting with the statue of seven. Q. What is the maximum…

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Community and It's Characteristics – .

Ecological Succession: Nature's Great Grit – Captioning is on! To turn off, click the CC button at bottom right.
Follow the amoebas on Twitter (@amoebasisters) and Facebook! We love Disney movies and we have to say—Lion
King is one of our favorites. And like a lot of Disney movies, it has a happy ending. We’re
not going to give spoilers just in case you are one of the few people left in the world
that hasn’t seen the Lion King— go see it —but at the end of Lion King, you start
to see all this life growing back. The sun comes out and all these plants start growing.
Happy music plays. The animals that had disappeared start to come back! I never really understood
where they went but…they come back! And being a biology teacher, everything is
destined to have a biology reference. So here’s what it reminds me of: ecological succession.
Although, the movie is kind of like ultra fast impossible ecological succession. It’s
not that fast in real life. Most dictionaries define succession as the
following of one person or thing after another in an order or sequence. Well ecological succession
is that but in terms of ecology. Ecological succession is a process—over time— of
organisms in an ecological community. What’s a community? Well in ecology, we have different levels
of organization. We have a living organism as our first level. A hippo for example. Then
we have a population, which is when you have the same species of an organism in a given
area. For example, a population of hippos. Same species so that’s one population. Then
we have a community. A community includes many populations living together in a particular
area. So now we have hippos, lions, giraffes, and don’t forget plants because those are
populations too. Trees and…shrubs. All of this together is a community. That’s where
we are going to focus for succession. There are more levels beyond the community level,
but this is our focus right now. There are two types of succession that we
will talk about. One is called primary succession. In primary succession, the area this is happening
in is brand new—well in the sense that you’re usually talking about an area that doesn’t
have any soil. So this usually has to be a special circumstance. An example could be
a volcano lava flow that now has left this new area with no soil present. Usually you
have a pioneer species, which is a name for the species that colonize first. It sounds
exciting…pioneer species in primary succession can be organisms like lichen. Who doesn’t
like lichen? Ha…if you are unsure about what lichen is…google it! It’s very likely
you’ve seen lichen before. Moss is another potential pioneer. After pioneer species colonize
the area, they slowly break down rock into smaller, more plant friendly substrate—and
over time, contributing more organic matter in newly formed soil which will support plants.
Small vascular plants like grasses and plants that you might consider “weeds” can come
in. Shrubs can follow. Then trees. Animals can move into the area. How long this takes
can vary…but it’s often hundreds of years before you get a climax community going.
And if you’re wondering—why this sequence? Why doesn’t it just stop with grass? Well,
keep in mind that as other plants come in…bigger plants…you are going to see more competition
for space and resources. Think about how it would be by the time trees come in! Trees
are going to block some of the light that small plants underneath them may be dependent
on. As new larger plant species come in, this competition brings about a new order. And
if you are wondering—where did these plants even come from? Well there are so many ways
that seeds can be dispersed—wind, water, animals. Check out our plant reproduction
video for more information about how these plants could have actually come into the area. Now for secondary succession. Similar to primary
succession, it follows a typical ecological sequence. With secondary succession—I like
to think second—because it’s like a “coming back again a second time.” What I mean by
that is usually you’re talking about an area that once had plants and animals and
a full ecological community going on. But then we had a disturbance…an ecological
disturbance…like a forest fire, a flood, a tornado. Actually it doesn’t have to be
a natural disaster—human activity can be involved with secondary succession. Regardless
of the type of event, in secondary succession, the soil is still there and that’s kind
of the big key point here, because your pioneer species will actually have soil to grow in.
That means your pioneer species in secondary succession will often be small plants as there
is already soil present. Secondary succession will then follow a similar sequence to primary
succession after that point. Since secondary succession involves soil already being available,
it is more likely to be a faster process than primary succession. An important thing to remember about ecological
succession is that it really shows the diversity of organisms—the sequence we had talked
about— in an ecological community over a period of time. Usually a long period of time.
Ecological succession, over time, can support an ecological community that continues to
increase in biodiversity. And, biodiversity is a beautiful thing. That’s it for the
amoeba sisters and we remind you to stay curious! .

6 STEPS TO WRITING A SCREENPLAY | 2. PLOT – Hello, thanks for coming back for more.
Here’s step 2 of my 6 steps to writing a screenplay. This time we’re doing plot. There it is, that’s it. Just like how all music
is made from the same 12 notes If you zoom out enough, this is the structure of story. It’s simple, and remember that as we go through the different
frameworks that break down the component parts of plot …while maximising the effect and payoff. There are many different forms you can use to visualise plot but beyond the semantics they are broadly achieving the same goal really it’s down to personal preference when
you look to shape your own narrative. The first I’ll go through are the five elements
of story as outlined by Robert McKee: For the purpose of this they align to a three act structure. So you begin with a vision of your world in balance. That doesn’t mean it needs to be perfect, because story is about change so we use this time to demonstrate some of the things
that we will come to resolve over the course of our plot. So in our film this is where we show our superhero doing what he does; fighting bad guys, and protecting the city but we also need to demonstrate his character flaw; his egocentricity, and how this causes
disconnect with the people around him. We should also hint to the audience that… …so his showboating is motivated by a desire for attention. Then comes the inciting incident. The event in your plot which drastically
throws your protagonist’s life out of balance. We all kind of get what an inciting incident is for example, in our super-hero plot this is going
to be the moment when he starts lose his power. …and there’s a lot you can do to really maximise it’s impact so I’ll cover that in its own separate video outside of this series. For now, we just need to know that once
we’ve set up our character and our world we need to throw their life out of balance The main ‘turns’ in your plot happen as we conclude each act so your inciting incident is the plot turn which completes act 1. Next we have progressive complication. This is the meat of the film, it generally takes
up nearly half your running time and as it sounds… …It’s act 2; striving to reach the goal. Exactly how we move through this is covered
more in episode 3 where we discuss rhythm and again I’ll do a separate episode
specifically on the details of this element but for now we need to orchestrate a series
of scenarios in which we attempt to reach our goal each time requiring more willpower and each time, due to our force of antagonism, we find
ourselves being pushed further from it, now with higher stakes. Often when a film feels slow it’s because
the complication is not progressive. If it feels like the action our protagonist takes
requires less willpower than what they’ve already invested or the stakes are no higher then the story we’re writing is flat. In our film, this section will see our superhero, now
without powers, trying to regain his strength and struggling to overcome the day-to-day
challenges his new position now provides. This will take us to our crisis, or rather the crisis decision. This is the ultimate decision above all others. At this moment your protagonist is faced with
the ultimate danger, but also the ultimate opportunity. The crisis decision is a very specific moment in a film we have been constantly ratcheting tension throughout
the last hour of progressive complication working towards a breakneck pace but then the crisis decision needs to be a very deliberately slow moment. Everything we’ve been doing until now has been
building up to the climax, which is now moments away, …alongside the protagonist. We should be on the edge of our seat here and the moment we’ve endured this, we are in what’s called
climactic action all the way until we turn on our climax. For a writer… You’ve built and built importance and meaning and tension and primed your audience for this white knuckle
moment of emotional catharsis. It does not need to be high-octane, not all climaxes consist of fight scenes but this is that moment where… …and invested, and holding their breath as your protagonist undertakes… …to your plot and we’ve all experienced anti-climax. That moment where you’re watching a film,
so engrossed that you may as well be in it yourself only to find something takes you out of the zone,
and the experience falls away. Once this happens it’s almost impossible to undo. All this to say… Usually you want your crisis decision and your crisis decision
and your climactic action to run seamlessly to the climax. Don’t cut away to something else, or allow the pace or tension to drop. Don’t have your protagonist decide to risk his life and fight the
antagonist, then have him sleep on it and stop for lunch on the way. In our selfish superhero flick, this might be where having found a new life among the people of his city, with
friends, and a love interest, he’s failed to regain his powers but decides to do a truly selfless act; he heads powerless into a final battle with his arch nemesis
in order to save the city, and his new found community. Our climactic action will then be the fight
between our hero and the antagonist. Seeing as he doesn’t have his powers, it can’t be a straight battle, but
perhaps he was going to lead him into a trap that would destroy them both. …and in doing so, take us to our climax. This is the point where you finally prove the
argument you outlined in your controlling idea. It’s the most powerful turn in your script, bursting you into Act 3. …your audience should in an instant understand the
huge importance of what’s unfolding in front of them. …like the end of a magic trick This point is so important to your film that… …so you will now go back through your
script and make sure this is the case. So for our film, because we’re proving our controlling idea we know that our hero must accept his vulnerability, and
that act must lead to his true connection with those around him. So we can achieve this with him accepting
he’s not strong enough to defeat his arch nemesis but he can sacrifice himself to save the city. Perhaps this means he’ll devise a ruse to take both of them into
contact with their version of kryptonite, destroying them both. At this point our climax could be many different things. For example, our protagonist could die, but do
so happy that he has redeemed his soul and in return for his sacrifice, the city honours him as a hero but I’m too sentimental for that, so my taste would probably write
that the city itself comes together in one huge defiant action proving there’s strength in numbers and together
saving our hero from his demise. <font color=#000000FF>"You mess with one of us, you mess with all of us!"</font> But having written that climax, I would then need to go
back across the entire script and make sure I’ve introduced both the kryptonite-style trap where this takes place and whatever eventual collaborative action our
city inhabitants can undertake to save the protagonist. Finally, we’re left with the resolution. <font color=#000000FF>"You're gonna change the world. Good job Ray."</font> This is a moment to resolve anything you couldn’t tie up in your climax,
and to show us the impact of the actions we’ve just witnessed. It’s an opportunity to go full circle; look at
the same world, and characters we saw in Act 1 but demonstrate how they have changed, and grown. This is where our not-so-super-hero is truly accepted into the community. Not only has he learned the importance of those around him, but
through these actions they too have learned the importance of one-another He’s come to accept and embrace his individual vulnerability but it doesn’t matter because together they
have shown they were stronger than he ever was alone. He is irreversibly changed, and we have proven that vulnerability is
important because it helps you connect with those around you. But this isn’t the only way to visualise the
beats of a story, so I’ll quickly run through one more; Blake Snyder’s plot outline from ‘Save the Cat’
is for me the most comprehensive. It perfectly compliments the 5 elements of story, and
goes into more granular detail to help you keep focus. Blake even includes suggested page numbers to hit with each section and while some criticise this rigidity, I don’t think
he ever expected every writer to hit these marks dead on. …a jumping off point to help you organise your journey and you will doubtless find that while you can
try to shape your story to hang off this skeleton it’ll be the moments where it doesn’t fit that give it it’s real character. Page 1 has our opening image Test the pallet, and show your audience
what they can expect in microcosm. Our opening image may be that of a hero who uses his powers to save
the city, but alienates the individuals with his lack of humility. <font color=#000000FF>"What were you saying? I couldn't hear you</font>
<font color=#000000FF>over the sound of me saving your life."</font> Next, our theme is stated. You’ll dramatise your controlling idea, often working it into a line of dialogue so someone may say to our hero: It may not be spoken but just implied; having seen
our hero save the city, we reveal a quiet life of loneliness. This all comes as part of our set-up. 10 pages
where we introduce the hero, the goal and the stakes. During this time you want to have
introduced all your character’s ‘tics’ and flaws as well as introducing as much as you can about
the elements that will comprise your climax so as well as showing the negative traits of our hero we also want to allude to a desire within him for love or
friendship, which his lack of vulnerability is blocking. Then comes our catalyst, which is our inciting incident. The thing that prompts our eventual journey. Our hero loses his power, perhaps in battle with his arch nemesis. Then we have debate. We establish our protagonist’s goal from the inciting incident but then there must be a period in which we… …and the difficulty of the journey they’re about to embark upon. Achieving the goal isn’t impressive if we
don’t establish how hard it is to reach. This can be that “I can’t do it, I’m not strong
enough” conversation with a side-character or we can dramatise it in their initial actions leading
to nothing, sowing the seeds of self-doubt. This could be a section in our story where our hero
discovers he no longer has power. We’ll devote some time to this realisation, then… <font color=#000000FF>"For a thousand years I've only been thinking of</font>
<font color=#000000FF>getting my hook, and being awesome again."</font> Perhaps this is an opportunity to look into his
backstory and how he got the power originally also using the opportunity to see a moment where his
flawed understanding of human connection comes from perhaps as his powers came originally his previously
un-loving parents suddenly started to pay attention. It might be neat to have this flashback scene come
as he loses consciesness after defeat in battle and as his parents finally explain that
they see great things in his future we cut to him waking, broken in hospital. <font color=#000000FF>"What's happening to me?!"</font> Once we’ve established that his power is lost, he can commence his
journey to recreate the situation that brought them about in the first place. Inevitably, our character will overcome this debate, and we break into act 2 These worlds are so distinct that… The alien world for our superhero is the regular world for us and having decided to try and regain his powers, this
is the world he must navigate to do so. <font color=#000000FF>"You are no match for the mighty…"</font> Great, we’re set up. Our audience has patiently indulged our laying
pipe, so now it’s time to change things up for them. We introduce our B story. A sub-plot which will help us more fully explore our controlling idea. This will feel like an elbow in the narrative when we introduce it but the skill here is ensuring that in time it becomes intertwined with and thematically
tied to the events of our main plot. We’re exploring human connection, so perhaps it’s a love-story. Perhaps a lady our hero was rude to in our
set-up is now the doctor who’s saved his life. Naturally she hates him, but we have time to solve that. So bring on the fun and games. This is were we… Give your audience the film they expected to see when they saw the poster. This is where we include set pieces to push us
through our progressive complication. So for our film, we make a superhero play by our rules. He’s lived a very particular life up until now,
so our ordinary is his extraordinary perhaps he’s never had to eat food to stave off hunger before or had to wait for traffic to cross the road or struggled to lift a heavy object, does he have to get a job, pay rent,
deal with flatmates, do a weekly shop, look after children. This is where we get to enjoy the element
of this story that got us excited about writing it in the first place but make sure you stay focussed on the goal each scenario needs to push us forward, and raise our stakes and we should always stay on topic, and thematically relevant. So our hero may encounter hurdles where he needs help from others or becomes aware of his loneliness or we make progress in our love interest sub plot with the doctor. Perhaps some sense that the arch nemesis
is planning another attack on the city and without our hero, no-one is there to defend it he needs to find his strength fast. Then we reach our midpoint. This is where, depending on the type of story we’re
telling, we either reach a high or a low. If we have a positive ending film, then
this is a positive moment; a false victory. If we end negatively then this is false defeat. Ours is positive, so our false victory may see the powerless
hero beginning to find his place in his new world enlisting a group of sympathetic followers
to help him find his former glory. Say they think they’ve found the scientist
who originally engineered his powers. But then the bad guys close in. The force of antagonism regroups as the hero’s team falls apart. Across 20 minutes, our hero’s seemingly positive
situation pulls itself apart piece by piece. We throw everything we have at the situation,
only to find ourself as far away from it as possible. he misses his date with the doctor, and forgets to pick his
housemate’s kids up from school as he chases his own self-interest weakening his connection with those around him. Then as he and his team find the scientist, it turns out
they’re actually in cahoots with the arch nemesis it’s a trap and the entire group are captured. And so, all is lost. In a film with a positive outcome this is false defeat.
In a film with a negative outcome, this is false victory. It’s a place from which he can be reborn. For us, the arch nemesis is now en-route to destroy the city while our protagonist and his team are held captive. Not only that but our love interest doctor and new best friend housemate
hate him for seemingly reverting to his self-centred ways. The next 10 pages are the dark night of the soul. We have experienced the ‘all is lost’ and still our
bright idea to save the day’ is nowhere in sight. In our film this may be where the love interest and
best friend actually discover our protagonists shortcomings But then comes a solution as we break into three It works well to have something we learned in our sub-plot
provide the information that leads to this revelation thus providing a satisfying connection
between sub plot and main plot. Our hero who began some self-reflection
compliments of the love interest doctor realises that his arch nemesis is just like him;
they’re both crying out to be noticed and appreciated for their power. Realising this, he knows that his nemesis would
revel at an opportunity to destroy him publicly. With this information, he convinces the scientist to deliver
him to the arch nemesis in the heart of the city for the finale. Our decision to be publicly sacrificed, showing
ultimate vulnerability was our crisis decision so we now have our climactic action and climax. We resolve our loose ends (which should be
done in order of least important to most). The housemates kids arrive at home; our hero hadn’t
forgotten, he’d sent one of his team to pick them up. The kids tell Mum to turn on the news where
they see our hero preparing for the end. he can’t let this happen, so begins to rally those around her to help. At the same time, our love interest doctor finds
out that he’d not stood her up on the date there was some lapse in communication (which
we’d have properly motivated and foreshadowed) in fact he’d made some sweeping romantic gesture
before heading off to try and save the city. She too must rally those around her to save him. He himself admits defeat, and weakness,
and shows vulnerability to the crowds around him but as the arch nemesis goes to destroy him, he reveals
the kryptonite, hurling them both towards death. But this won’t do; the crowd are now his
community, and they look after their own. Lead by housemate and doctor, the city itself comes together and
with strength in numbers they all opt to risk their lives to save our hero. Our obvious force of antagonism; the arch nemesis is defeated and so too is our true force of antagonism,
our hero’s self-centred nature. <font color=#000000FF>"This is my family, but it's your family too."</font> He has sacrificed his conscious goal of regaining his power in order to
achieve his unconscious goal of reaching out to those around him finding friendship, love and acceptance. <font color=#000000FF>"I'm sorry about your hook."</font> <font color=#000000FF>"Well, hook, no hook, I'm Maui."</font> We have a little bit of housekeeping to do ideally we need to make sure we’ve freed our teammates
who may still be imprisoned with the evil scientist and we need to show that justice too comes to the
scientist before our hero was saved from the kryptonite. You could show these elements in your resolution but the neatest order would be to have these resolve
before your main plot resolves as they are less important. With that tidied up, all that’s left to do is offer up our final image This is the opposite of the opening image on page 1. We show the same world, but demonstrate how it has changed. How our characters have grown, and our controlling idea has been proven. Our hero enjoys his new life; finally going on that date with the doctor enjoying his friendship with the housemate “Vulnerability is important because it helps
you connect with those around you.” Thank you for sticking with me. That was a lot to get through
but we’re now well equipped to write a truly focussed screenplay. Do check out the remaining videos in this 6 part series. Next up is rhythm where we’ll break down
how to make every scene count. Please like, subscribe, comment, share. If anything
wasn’t clear, or you want more info, just let me know.. See you on the next one. .