As we discuss the needs of living things tomorrow, we will have the opportunity to revisit these interesting questions! Math: We've been brushing up on our operations (add, subtract, multiply, divide) with whole numbers.
Khan Academy: Intro Equations Science: We introduced our unit of Structures and Forces by taking a look at a variety of natural and manufactured structures that exist in the world. We then had our first design challenge to build the tallest self standing structure using only newspaper and tape.
An eyeball made of plastic is nonliving. Whether you’re deeply invested in their modern lore or roll your eyes at the mere thought of undead fever, there’s no denying it: zombies have infiltrated pop culture.
Race, Oppression and the Zombie: Essays on Cross-Cultural Appropriations of the Caribbean Tradition, “Aside from being scary monsters, what all of these share in common is an idea of subjugated agency.” It’s often been depicted as a soulless human shell that may be reanimated by potion, enchantment, or other foul means to toil for all eternity under total command of a boor, or sorcerer, of the Odor religion.
However, along with a series of scary-to-goofy films that also took up these premises in the ‘40s and ‘50s, according to Rhodes, White Zombie provided key, largely invented details about voodoo, its practitioners, and “modification” that future directors would bring to shores around the world. Paffenroth explained, “When one speaks of zombie movies today, one is really speaking of movies that are either made by or directly influenced by one man, director George A. Romero.” Beginning with his “landmark” 1968 film Night of the Living Dead, Paffenroth said, Romero established a new and now widely accepted set of rules for the undead that has shaped modern zombies across all mediums.
Romero’s choice to drop the Haitian context for zombies (realistic or demonizing) led to major changes for the genre, too. With these fundamental changes, Paffenroth said, Romero and his colleagues pivoted modern zombie stories not just into new shapes and geographic regions, but also new areas of meaning.
Whether it’s caused by a virus, a solar flare, or an otherworldly scheme, the revolutionary “zombie apocalypse” scenario popularized by Romero’s films has allowed artists to explore the fears and potential consequences of contemporary society, from authoritarianism to pandemics. In recent years, zombies have pretty much invaded Western culture, popping up everywhere from popular comedies to blockbuster video games.
Listener Misha Wallis Winners from Rockville, Maryland, asked what the smallest living thing is. We turned to microbiologist Mike Conrad of the University of North Carolina at Chapel Hill.
But many scientists don’t consider viruses to be true life forms, because they can’t do anything outside their hosts. If we use it on the show, you’ll win a Science Update mug.
Among them are: living things are composed of one or more cells; they metabolize (produce and use energy); they can grow; they can respond to external stimuli; they can adapt to their environment; and they can reproduce. They can certainly grow and reproduce, and they use genetic material found in other forms of life.
However, unlike bacteria, viruses lack the internal machinery that would allow them to metabolize and reproduce on their own. Instead, they hijack the host cell and use its metabolic processes to make more viruses.
Outside a host cell, a virus can’t do anything at all; it’s an inanimate bag of genetic material. They’re known only to cause diseases in plants, and they can be as small as 10 nanometers (20 times smaller than Cytoplasm).
They’re also made of a component of life (protein), they may adapt to their environment (for example, by jumping from cows to people), and by causing infections, they behave in a way that most inanimate objects can’t. Because they lack genetic material and a cellular structure, prions are less often grouped in with living things than viruses.
According to legend, “a zombie(e) is someone who has annoyed his or her family and community to the degree that they can no longer stand to live with this person. Once they had been issued the coup padre, the subjects being prepared for their descent into zombie would appear to die insofar as their heart rate would slow to a near stop, their breathing patterns would be greatly subdued and their body temperature would significantly decrease.
In 20th century American culture, the idea of zombies has traditionally been portrayed almost exclusively through the medium of film. White Zombie, one of the celebrated horror films of the “Universal era” (which also included important versions of Dracula, Frankenstein, The Wolfman and The Mummy) starred Bela Lugosi as a rich Haitian businessman who had taken upon himself to win the hand of a lady by turning her husband into a zombie.
This version of the zombie was generally still “controlled” by a “master,” but was awakened from its deathly state by some sort of supernatural or otherwise extraordinary force (satanic incantation, etc.). Upon its release in 1968, George Romero's Night of the Living Dead reinvented not only the idea of zombies but also the entire horror genre.
With the brutal onslaught of gruesome imagery generated by the media surrounding the war, America no longer needed “monsters” to scare them. Night of the Living Dead capitalized on this by resorting to the same nihilistic attitude toward death and destruction that was generated by the war.
They exist in a nether world between life and death like zombies, they devour like werewolves, and they communicate their “disease” by biting like vampires.” It was, in essence, complete apocalypse that, unlike the “atomic mutant” movies of the previous decade, was rooted solely in humanity.
Night of the Living Dead also succeeded in shattering taboos of family and personal relations that had, until that time, been left untouched by American culture. Upon transformation into zombies, the characters in the film exhibited no moral responsibility at all, thus allowing them to take part in such ghastly activity as incest, cannibalism and parricide.
Truly, to see a zombie attack his mother or sink his teeth into his sister had become common, even cliché, material for horror films. As is the case with the rest of the monsters listed on this site, there are certain symbolic implications tied up in the idea of zombies.
In American culture, specifically within the medium of film, the zombie represents several different “fears.” A distinct parallel might be drawn here between cultures that have promoted the use of slavery (such as our own) and zombie films.
Considering that zombies of the reanimated variety are nothing more than moving corpses, they come to embody the human fear of our own dead tissue. It, as is proven in Night of the Living Dead and its ilk, is especially terrifying to encounter, let alone be attacked by, the physical image of one's deceased beloved.
Being that our mortality is something that we try to decorate with tidy rituals and outright denial, zombies serve as a painfully striking reminder that we will all eventually return to the same stinking earthly essence from which we are born. Night of the Living Dead and its counterparts also illustrate the fear of widespread apocalyptic destruction.
It is not a coincidence that these movies appeared mostly at the height of the Cold War paranoia that was taking place earlier this century. Much like the atomic bomb, zombies are unleashed in a chain reaction, each devoured corpse arising and looking for more human flesh to consume.
As the zombie count increases exponentially, they cover more and more distance until they overtake massive amounts of land area. Consequently, they choose to relocate to an uninhabited island in the tropics as the U.S. becomes a Barron wasteland, populated only by the walking dead.
Romanesque zombies multiply by infecting their victims through the mixing of bodily fluids (saliva, etc.). As is the case with the Cold War similarities, the fact that the majority of the Night. -style zombie movies arrived during the 80s during the height of the AIDS epidemic is difficult to overlook.