How are sounds produced? Does light travel in a specific path? Are all shadows black? Using easy-to-find materials and the scientific method, you can learn the answers to these questions and more. If you are interested in competing in science fairs, the book contains lots of great suggestions and ideas for further experiments.

Light and sound both travel in waves, but sound waves travel significantly slower than light. Theories like this are difficult to grasp in words, but there are easy ways to see them in action. With this book's simple experiments, young scientists will test out how light can bend and how even invisible sounds can make things move, helping them understand how even the most complex theories work. Through step-by-step instructions, young readers will learn the right way to set up their experiments and expand on concepts they already know.

Weaving a variety of activities into each Firelight session is easy when you have the right resources. And you don't have to be an expert in art, drama, or computers to do it effectively. These books provide great background for deeper learning and plenty of ideas.

Prometheus R&D argued and defended the opinion that synesthesia rather than being a mind anomaly is a norm of human psychic perception, imagination, and creativity manifested in non-verbal thinking, realized by either involuntary or by purposeful comparison of different modalities, on the basis of structural, semantic, or emotional similarities. In this context, synesthesia associates with cultural aspects rather than being a biological phenomenon, moreover, Bulat Galeyev persistently stressed that language, monosensory, and bisensory arts, serve as the “testing areas” where synaesthesia is formed and most actively cultivated.

Vols. for 1978/79- accompanied by "Master index of catalog listings for degree programs & areas of study".

A practical guide to teaching science and bringing science learning to life in the primary classroom.

Engage Literacy is the new reading scheme from Raintree that introduces engaging and contemporary content to motivate and support early readers while providing a reliable and instructional framework. All titles are precisely levelled, with new vocabulary being introduced and reinforced throughout the levels.

The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic “polymedium.” With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus—one in which visual media, and film in particular, are crucial to the Bauhaus’s visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic “polymedium,” malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions. Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work. Viewing the Bauhaus’s engagement with film through a media-theoretic lens, Frahm shows how film became a medium for “design in motion.” Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.