I need a comic trip about mutualism, competition, parasitism, commensalism, predator-prey. I will give brainliest please help me. Thank You.
Answer:
commensalism decomposer ecology ecosystem heterotroph mutualism niche parasitism population the dog by receiving food, shelter, and care These cycles are like permanent round-trip tickets- (2) A predator-prey association describes one type of- in the cartoon below? Rat-to-rat competition is fierce because they have.
Explanation:
Theme is _____________
Group of answer choices
The deep message the author wants us to understand
The author's attitude toward the subject he/she is writing about
The way the characters interact with each other.
No answer text provided.
Answer: The deep message the author wants us to understand.
Explanation:
What is timbre in 3 different sentences
Answer:
The substance which determines the form of a column of air is demonstrabl y indifferent for the timbre or quality of tone so long as the sides of the tubes are equally elastic and rigid.
Explanation:The Scottish timbre is rarely wanting, even in places where scholastic or classical custom might have claimed, as in other literatures, an exclusive privilege.
Timbre itself is, as Helmholtz shows, a kind of harmony felt but not heard.
Describe Dorothy Gale in 50 words or more.
PLS HELP WITH MUSIC WORK ASAP!!! PLS SAY EACH TINE SIGNATURE DIR EACH NUMBER
Why are the physical representations of LeWitt's work usually temporary?
Answer:
This meditation on transitory art begins with Sol LeWitt. His
conceptual art is representative of a large strain of creative endeavors that emerged after 1950. To this day it engages artists, gallerists, collectors, and museum curators worldwide. "Ownership" of
his art was not always evidenced by possession of a physical object
like a painting or a sculpture, but by possession of documents-a
certificate of authenticity and a diagram in the case of LeWitt. Together these documents contained (typically partial) instructions on
how to fabricate or install his work. Possession of a certificate and
diagram gave their owner a guarantee of provenance and the authority to arrange for installation of the work with the artist or the
artist's successors in interest-nothing more.' In addition, the actual installations of such works typically were not accomplished by the artists who made the certificates and diagrams, the artists as temporary, movable, or destructible after their installation. Such projects were distinctly different from routine art sales by galleries or auction houses. Rather than obtaining a painting or
sculpture, a buyer obtained only the right to seek its creation and
installation. It was the creative plan that was the artistic product,
not an extant creative work.
Explanation:
Answer:
Explanation:
"Ownership" of his art was not always evidenced by possession of a physical object ... LeWitt to formulate a work, also pictured below, for installation on a large living ... His representations that the work was "painted over" and that. "its physical ...