This book was developed having in mind university students who speak English as their first language. We also took into consideration speakers of Spanish by highlighting some key similarities and differences between the two languages. Although this material was developed for university students, we hope that most of its content is also applicable to high school students, adolescents, and adults learning Portuguese, including immigrants in Brazil. The main focus of this edition is on Brazilian Portuguese. Occasionally, we highlight main differences between Brazilian Portuguese, Portuguese spoken in Africa and Asia, and European Portuguese.

Beginning in 2016, Chem 103/104 transitioned to a student-focused, active-learning philosophy. Students progress to mastery of the course learning objectives by engaging in frequent, structured activities. These activities may be performed individually (pre-class activities), in small groups (discussion, lab, and some whole-class activities), or with an entire lecture section with answers submitted via Top Hat student response system. A Module comprises a set of related content that generally approximates a traditional textbook chapter. Each module is broken into Quanta with distinctive pre-class (brief introduction to content followed by assessment quizzes) and whole-class (higher level content development, “ConcepTest” assessments of individual learning, and small group-oriented activities) activities. UW-Madison Chemistry 103/104 Resource Book supports these activities by providing learning objectives, in-depth descriptions of the content, many worked examples, practice problems, and a glossary for each quantum.

This course has many features designed to help you learn chemistry. It is organized into units, each of which ends with an exam. Within each unit there is a weekly schedule. Within each week there are whole-class meetings where lecture and group work will be done, a discussion section for group work, and a laboratory session. Before each whole-class meeting there is a pre-class activity that will make sure you have the background needed for the class session. There are post-exam activities that will ask you to reflect on your study habits and what you have learned. There will be activities during each class period, and there is homework each week. Laboratory work enables you to learn techniques and apply what you have learned in class. All course information is available in a course management system called Canvas. An online system called Piazza (link provided in Canvas) allows you to post questions anytime and get responses quickly. Your course instructors will have office hours during which difficult materials can be discussed and explained: make use of them!

Even as cinema is an aesthetic experience, a commercial institution, and a social practice – it is first and foremost a mode of using machines. This course surveyed the history of cinema as technology from its origins within the machines of 19th century visual culture to its digital manifestations in the present. The moving image originally came into being from experiments measuring motion, before film technicians around the world (most prominently in Hollywood) created a language for narrating stories through techniques and tricks of camera, editing and eventually, sound. The post-World War II new cinemas and revolution in documentary would not have been possible without the miniaturization of cameras, better film stock, and ease of sound recording. As cinema moved from film to video, and now to digital, what has not changed is the urge to experiment with the means of production, that is the material equipment of movie making. In this course, we watched and read about movies where the story content was not so much our focus, but the technologies that allow us to experience the magic of cinema. We started the course with discussing the multiple origins of cinema, followed by watching and learning about early cinema. Next, we moved on to Classical Hollywood Cinema, where we discussed camerawork, lighting, amateur film, and the coming of sound and color. Discussions on documentary, television, and home video were also on our list. The course ended with materials central to contemporary times like videogames, Netflix, virtual reality and artificial intelligence. In wrapping up the course, students were asked to write short essays on any topic of their choice, related to media technology. Here they are, arranged alphabetically as per the last names of the authors. Enjoy.

Science communicators have parroted fake climate “solutions” straight from the mouths of corporate public relation firms, even those that are clearly unjust and against the will of the people. They’ve ignored messages from communities who are suffering most from pollution. Although often inadvertently, scientists, with their disproportionately large megaphones, have helped to uphold existing power structures. This free textbook is an attempt to remedy this hole in science communication, providing a framework for learning about the science of the climate crisis for those who don’t accept the status quo. Climate, Justice and Energy Solutions is for visionaries, dreamers, utopian thinkers, and social justice advocates. It’s for those who can imagine not just surviving in a world without fossil fuels, but truly flourishing. The hope is that activists in a wide range of fields can use this text to help bolster their knowledge of science-based climate action when they’re building the next wave of social movements, renewable power networks, and regenerative communities.

20 visual artists in conversation about why they make, how they work, and how the creative process unfolds.

English 100 is designed to emphasize writing as a process of discovery and to give you many opportunities for the kind of practice that builds self-knowledge. Some of the readings you’ll do for this course will provide examples of effective writing. Others will focus on “writing practices” that provide ideas for approaching any writing project, though especially writing in this course. Invention, drafting, research, revision, and editing can be considered stages of the writing process, but this process is rarely linear. Most writers move between these stages as they discover new ideas and information, come up with fresh ways to say things, and adjust their lines of reasoning. You’ll move through this recursive process several times during the semester as you explore and develop ideas; sharpen and clarify descriptions, narratives, and arguments; and, finally, present your work in clear, organized, and effective ways.

The objectives of this course are as follows: Demonstrate an understanding of graphical representations of data and their interpretation; Demonstrate a competency in mathematical tools of decision making, including derivatives and analytical optimization; Demonstrate an understanding of descriptive statistics, hypothesis testing, and the theory of regression; Demonstrate competency in the use of software used in quantitative analysis, including Excel tools and statistical software. This textbook is organized to support you in these goals. The textbook is adapted from Contemporary Calculus, written by Dale Hoffman from Bellevue Community College and Business Calculus written by Shana Calaway from Shoreline Community College. New material is written by Margo Bergman from University of Washington Tacoma.

Telling Our Stories: Student Experiences at UW Tacoma is a collection of video stories and reflections, created by undergraduate students in TCOM 347: Television Criticism & Application. Students worked in teams to document and produce short digital stories highlighting the experiences of other UW-Tacoma students with regards to one or various aspects of their identity, whether related to race, ethnicity, class, gender, sexuality, disability, place of origin, etc. With the goal of understanding how students' identity, and overall way of seeing the world, affect their college experience. Through this work, students engaged in conversation about their own social identities and their positionality in relationship to the people they are interviewing.