Myth " bottled water is safer than tap water" is not a myth. Accrding to the author that tap water quality was proved safte by EPA,FDA, and CCR. Those group of peple are examined all local water annually.
However, they do not test every where. They migh choose one of the cleanest place in town on order to pass the regulation. or thet test randomly. Meanwhile, the bottle water is made only one circumstance, factory, which means that the factory water has low chance to contaiminated by other sources, such as local farm or water poulltion. Becuse of that I feel the bottle water is more safer than tap water. Few years ago, there were a small town. Since,the factory farm has builted, most of new born babies had opimpedimentes. One of them the worst case was the boy was changing to women. His body was not only growing breast also other sex part too. People figured out that it cused by factory farm. They were using all the toxic watses, which was contained hormen pills and anti biotic pills, dumed into the local water for saving thier money. In order to one company makes money, all the twon people are suffering entire thier lifetime.
Monday, May 14, 2012
Wednesday, May 9, 2012
#13 catw rewrite with tutor
The New york times wrote as atricle called " mom, dad, buy the broccoli." The article talks about chlidren are living a health lifstlye. In order that, the coucil of betterbusiness bueaus they are working on healthier foods and lifestlyes for younger children.They reduce the protion of foods or to limit using cartoon or miovie charaters on it.
I agress with the council of better business buerus planning for younger children to eat healthy. Not eating healthy food can cause diabetes, obesity and other adult diseases. I could understand why the coucil of better busuness bureaus are trying to make a change. When I was in high school, I could easily buy bag of chips, soft drinks and ice creams in school. Most of healthy foods were hard to find, and it cost a lot more than these junk foods. Becuse of that I was over weight and had high blood pressure. Beside those junk foods in school, all the advertigment is that were should things that I should not eat.
It is not easy for children to eat healthy foods. As you know that the health foods are much expensive than junk food. Those healthy foods are fessh foods or home made foods. Many parents dose not have time to prepare the fresh food for their family, so that they prefer buying the junk foods. In order that, kids are used to eat those junk foods thatn fresh healthy foods. However, my parets kept distance from those kunk foods for thire children, so that I hah had since ten years old. After that they both were working and I ate the Mcdonald's. I ganied so much weigh in a only two months at age ten.
Many comcpanies make unhealthy foods that children could not say no to, such as Mcdonald's, Kellogs, Cadbury, Kraft foods end so on. All those companies are unising such attractive things that children could not avoid. they are using a cartoon or movie charaters or toies. For inctance, Mcdonald's are specificly using the happy meals series that many children collect those toies.
As a result, the children's food and beverge advertisy intiative and other groups of people are making such a good decition for younger children's health. It is important to learn how to live a hearlier life style. This is all the adult respeosble to keep our ildren being healthier and living healthier.
(born 1962, Kumba, Cameroon), In his photographic series “African Spirits,” an exhibit held from October 2008 to April 2009 at Jean Marc Patras / Galerie, Paris, Cameroonian photographer Samuel Fosso presented what appeared to be portraits of black leaders, politicians, and cultural icons, ranging from former South African president Nelson Mandela to American boxer Muhammad Ali to American activist and academic Angela Davis. In fact, these 14 images were “autoportraits,” as Fosso transformed himself into other people and characters drawn from popular culture and politics. Although his work incited comparisons to traditional African studio photographers (such as Seydou Keïta of Mali) and Western photographers who utilized self-portraiture (such as American Cindy Sherman), Fosso operated in relative isolation in his studio in Bangui, C.A.R. Yet by 2009 Fosso’s work was regularly featured in solo and group exhibitions around the world, including the 2008 edition of the “Festival des rencontres de la photographique d’Arles” in France.
Fosso lived in Nigeria as a child, but in the early 1970s the Biafran war forced his family to flee to Bangui, where he ultimately settled after the war destroyed their Nigerian home. He discovered photography in his early teens while working as a shoemaker, and by 1975, after a brief apprenticeship with a local photographer, he had opened his own studio. He lived and worked at the studio, creating portraits of the local residents by using studio lights fashioned from pots and backgrounds made from traditional African fabrics or hand painted by friends. At the day’s end he would often step in front of the camera to finish a roll of film. While Fosso used these images to communicate his well-being to his grandmother in Nigeria, the staged self-portraits also became agents of transformation and expression for the young artist, who was acutely aware of shifting cultural and political climates. In many of his early images, Fosso borrowed elements from popular culture that he admired, even having local tailors replicate outfits worn by celebrities. In 1993 these images were discovered by French photographer Bernard Deschamps, who was looking for photographers to be included in the first edition of “Rencontres de la photographie africaine” in Bamako, Mali. That 1994 exhibition launched Fosso’s career as an artist, and he later went on to win the Afrique en Création award in 1995 and the prestigious Prince Claus Award in 2001.
Fosso evolved and expanded the scope of his autoportraits, using these constructed images to critically narrate and reference cultural and political events. In the Tati series, commissioned by the Parisian department store Tati in 1997, Fosso depicted himself as characters ranging from an African chief draped in gold jewelry and leopard skins to a glamorous African American woman. Regardless of his international success, Fosso continued to live and operate his photography studio in Bangui, where the local community remained largely unaware of his achievements as an artist.
Fosso lived in Nigeria as a child, but in the early 1970s the Biafran war forced his family to flee to Bangui, where he ultimately settled after the war destroyed their Nigerian home. He discovered photography in his early teens while working as a shoemaker, and by 1975, after a brief apprenticeship with a local photographer, he had opened his own studio. He lived and worked at the studio, creating portraits of the local residents by using studio lights fashioned from pots and backgrounds made from traditional African fabrics or hand painted by friends. At the day’s end he would often step in front of the camera to finish a roll of film. While Fosso used these images to communicate his well-being to his grandmother in Nigeria, the staged self-portraits also became agents of transformation and expression for the young artist, who was acutely aware of shifting cultural and political climates. In many of his early images, Fosso borrowed elements from popular culture that he admired, even having local tailors replicate outfits worn by celebrities. In 1993 these images were discovered by French photographer Bernard Deschamps, who was looking for photographers to be included in the first edition of “Rencontres de la photographie africaine” in Bamako, Mali. That 1994 exhibition launched Fosso’s career as an artist, and he later went on to win the Afrique en Création award in 1995 and the prestigious Prince Claus Award in 2001.
Fosso evolved and expanded the scope of his autoportraits, using these constructed images to critically narrate and reference cultural and political events. In the Tati series, commissioned by the Parisian department store Tati in 1997, Fosso depicted himself as characters ranging from an African chief draped in gold jewelry and leopard skins to a glamorous African American woman. Regardless of his international success, Fosso continued to live and operate his photography studio in Bangui, where the local community remained largely unaware of his achievements as an artist.
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