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Anatomically, our left and right hands are mirror images. Nevertheless, the vast majority of people perform tasks requiring skillfulness with their right hand exclusively. Only about eight percent of the population is left-handed. Remarkably, this percentage has been consistent for over fifty centuries. Even Stone Age cave drawings and tools indicate that our prehistoric ancestors were predominantly right-handed. Like humans, nonhuman primates also show a strong tendency to be right-handed on a variety of tasks.

The brains of almost all right-handed people display left-hemisphere dominance for speech and language functions. However, neurosurgeons have discovered a surprising pattern of differences in brain organization among left-handed people. Using a special technique to study the left and right hemispheres of the brain separately, scientists found that about seventy percent of left-handed people show the same pattern as right-handed people, with the left hemisphere dominant for language. About fifteen percent of left-handed individuals show the opposite pattern, with language function localized in the right hemisphere. The remaining fifteen percent of left-handed individuals process language in both hemispheres.

Scientists have also discovered that in left-handed and ambidextrous (using both hands with equal skill) individuals the corpus callosum, the thick band of nerve fibers that connects the two hemispheres of the brain and acts as a communication link between them, is about eleven percent larger than it is in right-handed individuals. This finding suggests that left-handed people may experience more efficient communication between the two hemispheres and less hemispheric specialization. It might also help explain why some left-handed people process speech and language in both hemispheres.

The variability in brain organization among left-handed people may also account for the differences in degree of hand preference. Right-handed people consistently perform virtually all tasks requiring dexterity with right hands. But many left-handed people show a pattern of mixed handedness, preferring to use their right hand for some tasks.

Viewed from a formalist perspective, art is appreciated for the enlivening aesthetic experience its visual form can provide. The name formalism stems from the primary focus of this perspective on the artistic form of the work: its line, shape, color, texture, and composition. For the formalist, art is to be valued for its artistic qualities, separate from its connection to the larger world. In the case of a film, the viewer would concentrate on its formal qualities (for instance, camera compositions, editing rhythms, settings, lighting effects, dialogue, and soundtrack) while ignoring the film's contextual relationships to social and political issues. It is believed that such "nonartistic" considerations only detract from the aesthetic experience the work's artistic form can provide. Although the formalist approach pares away history, morality, and virtually everything other than color, shape, technique, and composition, this approach does get the viewer to look closely and respond with feeling to the artwork's sensuous qualities.

In contrast to formalism, contextualism is concerned with the appreciation of art "in context," that is, in relation to the rest of life. Like a wide-angle camera shot, contextualism takes in the big picture. Everything that surrounds and relates to the artwork is relevant: the viewer; the artist; the physical setting of the work; and the art, culture, and society that gave birth to it. For the contextualist, a full appreciation of a film is impossible without information about its director and the director's creative process, as well as knowledge about the era and the culture of the country in which the film was made. The strong point of the contextualist approach is its ability to expand the viewer's understanding of the work in relation to the larger world. In contrast to the reductive focus of formalism, contextualism offers the viewer many ways of looking at and giving meaning to the artwork. Its major limitation, the formalists say, stems from its primary concern with facts and theories. They argue that contextualists can often emphasize fact-finding and theorizing to the exclusion of any sensuous response to the work of art.

The material moved by all of the geologic agents of transportation—gravity, streams, wind, ice, ocean currents, and waves—both the solid fragments and the material carried in solution, is deposited to form sedimentary rocks. Some of the material is deposited on the land surface to form nonmarine sediment, and some is deposited in the ocean as marine sediment. The ocean is the final resting place of most transported debris; the great bulk of sedimentary rocks are marine. Over broad areas these marine sediments have been lifted up to form the surface of the land. Sedimentary rocks (and metamorphic rocks derived by the alteration of sedimentary rocks) comprise only about 5 percent of Earth’s crust as a whole, but they account for 75 percent of the surface of the continents.

The marine sedimentary rocks now exposed on the continents were not formed in the deep ocean. They were deposited in shallow seas that covered submerged parts of the continents. Rarely has the deep ocean bottom been upheaved to form land. Most sedimentary rocks are deposited in layers, or strata. An individual layer may be less than a centimeter, or several tens (rarely hundreds) of meters thick. Most of these layers (strata, or "beds") were originally laid down in nearly horizontal positions, but later deformation of Earth’s crust has broken and tilted them until they may now lie in any position—steeply inclined on end, or even upside-down.

Many sedimentary rocks contain fossils—the remains of ancient organisms buried in the muds and sands of the ancient sea bottom and former lakes and streams, or under the shifting sands of ancient deserts. Most fossils are the remains of the hard parts of actual organisms, the shells or bones of animals, or the trunks or leaves of trees. Some, however, are other sorts of organic traces, such as filled-in worm borings or trails of animals. For instance, during the Triassic period, some 250–200 million years ago, dinosaurs wandered about the mudflats of what is now the Connecticut River valley in New England, and left their footprints, which were buried by succeeding layers of mud and sand and preserved as fossils.

In the United States, many social reformers in the late nineteenth century demonstrated a concern for improved housing conditions for workers. George Pullman (1831-1897), the wealthy industrialist who introduced luxury railway cars with beds, built his model city called Pullman in 1880 to address housing problems caused by Chicago's industrialization. In constructing the town, Pullman hoped to produce an ideal environment that would help attract workers of a superior type to the railway car industry and retain them. Pullman inhabitants were expected to embody values of thrift, industry, and morality. They were taught to develop propriety and good manners, cleanliness and neatness of appearance, diligence, and self-improvement through education and savings. Like the brick clock tower that dominated the town center, Pullman kept a regulatory eye on his workers.

In its first five years, this new experiment in industrial life received little criticism, except from radical political groups. Crediting the town of Pullman with producing a new type of dependable and ambitious worker in a rationally ordered environment, reformers, at first, praised it as a successful model for modern industrial life. However, after 1885, with the high gloss of the experiment dulled, it became clear that the residents of Pullman had honest grievances about the overcharging of rent and other services.

In 1893, The World's Columbian Exposition, an exhibition that aimed to promote American cultural, economic, and technological development, and in which George Pullman was a major investor, was held in Chicago. The town of Pullman became a popular tourist stop, attracting more than its share of curious travelers. There were 10,000 foreign visitors alone during the exposition year. In fact, the first Baedeker Travel Guide to the United States advised visitors to tour Pullman. Frequent trains and trolley cars connected the fairgrounds of the exposition with the town, and on several occasions, George Pullman himself guided the tours. Constructing a fantastic environment for the benefit of tourists, he made sure that any real tensions between his office and the working inhabitants of the town were rendered invisible to the tourist gaze.