Farmer Benji Iguchi, full-length portrait, standing in a storage shed between two large stacks of squashes. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-41. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Mechanic repairs tractor engine while driver looks on, pick-up truck and automobile in the background. Title transcribed from Ansel Adams' caption on verso of print. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

This resource is a video abstract of a research paper created by Research Square on behalf of its authors. It provides a synopsis that's easy to understand, and can be used to introduce the topics it covers to students, researchers, and the general public. The video's transcript is also provided in full, with a portion provided below for preview:

"Next-generation sequencing (NGS) studies have led to dramatic improvements in our understanding of human microbiomes. However, this method is based on the presence of DNA and cannot distinguish between living and dead microbes on its own. Environments like our skin are hostile and have high microbe turnover, which leads to significant amounts of DNA from dead microbes, which can lead to inaccurate community estimations in NGS studies. To overcome this, researchers tested the feasibility of pre-treatment with Benzonase to digest unprotected DNA. They used both mock bacterial communities and skin microbiome samples with inactivated bacteria or bacteria-free DNA spiked-in. Benzonase (BDA) pre-treatment reduced the levels of DNA from dead bacteria in both mock and natural communities. It also reduced the amount of host DNA in samples with high human-to-microbial DNA ratios without obvious impact on the microbial profile..."

The rest of the transcript, along with a link to the research itself, is available on the resource itself.

The curriculum builds upon many years of educating our students in the garden and scales up content across grades and lessons for instructional scaffolding. It is designed as an interactive teaching tool to be co-taught with classroom teachers and garden instructors as leads. Each lesson connects directly to standards: Next Generation Science, Common Core State, Physical Education, and Environmental and Health Education. Our concise and easy-to-follow lessons are a packed 45 minutes for preschool through fifth grade. Flexibility is important to us, so some lessons include several activities that teachers can choose from to accommodate their lesson plans. Consistency is also important, so we follow themes and lesson structure found in the Curriculum Map.

The curriculum builds upon many years of educating our students in the garden and scales up content across grades and lessons for instructional scaffolding. It is designed as an interactive teaching tool to be co-taught with classroom teachers and garden instructors as leads. Each lesson connects directly to standards: Next Generation Science, Common Core State, Physical Education, and Environmental and Health Education. Our concise and easy-to-follow lessons are a packed 45 minutes for preschool through fifth grade. Flexibility is important to us, so some lessons include several activities that teachers can choose from to accommodate their lesson plans. Consistency is also important, so we follow themes and lesson structure found in the Curriculum Map.

BCC Bioscience Image Library is a media file repository of images and video clips made available to educators and students in the biological sciences. The resources are created by faculty, staff and students of Berkshire Community College and are licensed under Creative Commons 0. This means all content is free, with no restrictions on how the material may be used, reused, adapted or modified for any purposes, without restriction under copyright or database law.

This project was partially funded by a $20,000,000 grant awarded by the U.S. Department of Labor’s Employment and Training Administration, Grant # TC-26450-14-60-A-25. The product was created by the grantee and does not necessarily reflect the official position of the U.S. Department of Labor. The U.S. Department of Labor makes no guarantees, warranties, or assurances of any kind, express or implied, with respect to such information, including any information on linked sites and including, but not limited to, accuracy of the information or its completeness, timeliness, usefulness, adequacy, continued availability, or ownership.

If you have any questions contact professor Faye Reynolds at: freynold@berkshirecc.edu

This art history video discussion looks at Bernini's "Apollo and Daphne", 1622-25 (Galleria Borghese, Rome).

This art history video discussion examines Gian Lorenzo Bernini's "Bust of Medusa," marble, c. 1644-48 (Capitoline Museum).

This art history video discussion looks at Gian Lorenzo Bernini, David, 1623-24, marble (Galleria Borghese, Rome).

This art history video discussion looks at Gian Lorenzo Bernini's "Ecstasy of Saint Theresa", 1647-52 (Cornaro Chapel, Santa Maria della Vittoria, Rome).

This art history video discussion examines Gian Lorenzo Bernini's "Pluto and Proserpina" (also know as the Rape of Proserpina), 1621-22, marble (Galleria Borghese, Rome). Proserpina is the Latin varient of the mythic Greek Persephone.

This art history video discussion looks at Gian Lorenzo Bernini's "Saint Peter's Square (Piazza San Pietro)", Vatican City, Rome, 1656-67.

This art history video discussion looks at Gian Lorenzo Bernini's "Sant'Andrea al Quirinale", 1658-70, Rome; commissioned by Cardinal Camillo Francesco Maria Pamphili for the nearby Jesuit seminary.

Title transcribed from Ansel Adams' caption on verso of print, where the surname was misnoted as "Namura." Correct spelling based on other photos of Mr. Miura by Adams. Original neg. no.: LC-A35-4-M-42. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, half-length portrait, standing, facing right, placing pattern on fabric. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-42-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, seated on table with bundles of clothing, holding paper and pencil, with Toshiko Kadonada, folding clothing in front of him. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-43-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, seated on table with bundles of clothing, holding paper and pencil, with Toshiko Kadonada, folding clothing in front of him. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Bert K. Miura, half-length portrait, standing, looking down, placing pattern on fabric. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Born to poor sharecroppers in Texas, Bessie Coleman (1892-1926) was the first African American woman aviator, earning an international aviation license from the Fédération Aéronautique Internationale. Throughout her career as a daredevil stunt pilot in thrilling airshows, she consistently defied expectations and broke through racial and gender barriers to dazzle audiences and inspire future generations of Black American pilots, aviators, and astronauts. This lesson tells the story of Coleman’s life in the wider context of the “barnstorming” early days of flight and the rising opposition to racial segregation exemplified by newspapers like the Chicago Defender.

The Woodson Center's Black History and Excellence curriculum is based on the Woodson Principles and tells the stories of Black Americans whose tenacity and resilience enabled them to overcome adversity and make invaluable contributions to our country. It also teaches character and decision-making skills that equip students to take charge of their futures. These lessons in Black American excellence are free and publicly available for all.

It was approximately 40,000 years ago that mankind first donned a pair of shoes. During humanity’s long history of footwear, and an equally broad array of styles, the basic fundamentals of Western shoemaking remained mostly unchanged until the mid-nineteenth century. In the 1800s, the small state of Massachusetts revolutionized the shoemaking industry, cladding the feet of consumers nationwide in unprecedented numbers. One of America’s original colonies, Massachusetts found itself at the heart of the nation’s shoemaking industry by attracting and retaining skilled shoemakers and shoe machinery engineers. Only when the technology that Massachusetts' shoemakers invented became available beyond the state did the industry’s market expand throughout the country. Even with the spread of industrialization, Massachusetts remained the largest producer of shoes in the United States through World War I, responsible for nearly forty percent of America’s shoes and home to an equal percentage of its shoemakers. This exhibition was created as part of the DPLA’s Public Library Partnerships Project by collaborators from Digital Commonwealth. Exhibition organizer: Anna Fahey-Flynn.