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Microsoft Office 365 PowerPoint 2016

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Microsoft Office 365 & PowerPoint 2016, Comprehensive v
Organizing Your Information. . . . . . . . . . . . . PRES 19 Creating a Title Slide . . . . . . . . . . . . . . . . . . . . . . . PPT 7

Developing Your Conclusion. . . . . . . . . . . . . PRES 23 Saving and Editing a Presentation . . . . . . . . . . . . PPT 8
Creating Visuals . . . . . . . . . . . . . . . . . . . . . . . . . PRES 24 Adding New Slides . . . . . . . . . . . . . . . . . . . . . . . PPT 11
Using Text as Visuals . . . . . . . . . . . . . . . . . . . PRES 25 Creating Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 14
Using Graphics as Visuals . . . . . . . . . . . . . . . PRES 26 Creating a Bulleted List. . . . . . . . . . . . . . . . . . PPT 14
Creating Handouts . . . . . . . . . . . . . . . . . . . . . . PRES 30 Creating a Numbered List . . . . . . . . . . . . . . . PPT 16
Session 2 Quick Check . . . . . . . . . . . . . . . . . . . PRES 31 Creating an Unnumbered List. . . . . . . . . . . . . PPT 17
Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 19
Session 3 Visual Overview:
Moving and Copying Text . . . . . . . . . . . . . . . . . . PPT 22
Delivering a Presentation . . . . . . . . . . . . . . . . . PRES 32
Converting a List to a SmartArt Diagram . . . . . . PPT 24
Preparing for the Delivery of
Manipulating Slides . . . . . . . . . . . . . . . . . . . . . . . PPT 28
an Oral Presentation . . . . . . . . . . . . . . . . . . . . . PRES 34
Closing a Presentation. . . . . . . . . . . . . . . . . . . . . PPT 30
Choosing a Delivery Method. . . . . . . . . . . . . . . PRES 34
Session 1.1 Quick Check . . . . . . . . . . . . . . . . . . . PPT 31
Preparing for Audience Interaction. . . . . . . . . . PRES 35
Anticipating Audience Questions. . . . . . . . . PRES 35 Session 1.2 Visual Overview:
Preparing for Audience Participation . . . . . . PRES 36 Slide Show and Presenter Views . . . . . . . . . . . . . PPT 32
Rehearsing the Presentation . . . . . . . . . . . . . . . PRES 37 Opening a Presentation and
Connecting to Your Audience. . . . . . . . . . . . PRES 39 Saving It with a New Name . . . . . . . . . . . . . . . . . PPT 34
Referring to Visuals During Changing the Theme and the Theme
Your Presentation . . . . . . . . . . . . . . . . . . . . . PRES 42 Variant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 35
Evaluating Your Appearance . . . . . . . . . . . . . . . PRES 42 Working with Photos . . . . . . . . . . . . . . . . . . . . . . PPT 38
Setting Up for Your Presentation . . . . . . . . . . . PRES 43 Inserting Photos Stored on Your
Preparing Copies of Your Content . . . . . . . . PRES 44 Computer or Network . . . . . . . . . . . . . . . . . . PPT 39
Assessing the Technology and Cropping Photos. . . . . . . . . . . . . . . . . . . . . . . PPT 40
Staff Available . . . . . . . . . . . . . . . . . . . . . . . . PRES 44 Modifying Photo Compression Options. . . . . PPT 42
Becoming Familiar with the Room . . . . . . . . PRES 45 Resizing and Moving Objects . . . . . . . . . . . . . . . PPT 44
Identifying Other Needed Supplies . . . . . . . PRES 45 Resizing and Moving Pictures . . . . . . . . . . . . . PPT 44
Evaluating Your Performance . . . . . . . . . . . . . . PRES 46 Resizing and Moving Text Boxes . . . . . . . . . . PPT 47
Session 3 Quick Check . . . . . . . . . . . . . . . . . . . PRES 47 Adding Speaker Notes . . . . . . . . . . . . . . . . . . . . PPT 48
Review Assignments . . . . . . . . . . . . . . . . . . . . . PRES 48 Checking Spelling . . . . . . . . . . . . . . . . . . . . . . . . PPT 50
Running a Slide Show . . . . . . . . . . . . . . . . . . . . . PPT 52
Module 1 Creating a Presentation
Using Slide Show View and
Presenting Information About an Event Venue . . . . . . PPT 1
Presenter View . . . . . . . . . . . . . . . . . . . . . . . . PPT 52
Session 1.1 Visual Overview: Using Reading View . . . . . . . . . . . . . . . . . . . . PPT 55
The PowerPoint Window . . . . . . . . . . . . . . . . . . . . PPT 2 Printing a Presentation . . . . . . . . . . . . . . . . . . . . PPT 56
Planning a Presentation. . . . . . . . . . . . . . . . . . . . . PPT 4 Exiting PowerPoint . . . . . . . . . . . . . . . . . . . . . . . PPT 60
Starting PowerPoint and Creating a New Session 1.2 Quick Check . . . . . . . . . . . . . . . . . . . PPT 61
Presentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 5 Review Assignments . . . . . . . . . . . . . . . . . . . . . . PPT 62
Working in Touch Mode . . . . . . . . . . . . . . . . . . PPT 6 Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 63
vi New Perspectives Series
Module 2 Adding Media and Special Effects Creating a Mix. . . . . . . . . . . . . . . . . . . . . . . . PPT 121
Using Media in a Presentation for a Adding Interactive Content to a Mix . . . . . . PPT 124
Nonprofit River Cleaning Organization . . . . . . . . . . . PPT 69
Previewing and Uploading a Mix . . . . . . . . . PPT 126
Session 2.1 Visual Overview: Session 2.2 Quick Check . . . . . . . . . . . . . . . . . . PPT 129
Formatting Graphics . . . . . . . . . . . . . . . . . . . . . . PPT 70 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 130
Applying a Theme Used in Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 132
Another Presentation . . . . . . . . . . . . . . . . . . . . . PPT 72
Inserting Shapes . . . . . . . . . . . . . . . . . . . . . . . . . PPT 74 Module 3 Applying Advanced Formatting to Objects
Formatting Objects in a Presentation
Rotating and Flipping Objects . . . . . . . . . . . . . . PPT 77
for a Study Abroad Company . . . . . . . . . . . . . . . . . . PPT 137
Formatting Objects . . . . . . . . . . . . . . . . . . . . . . . PPT 79
Formatting Shapes . . . . . . . . . . . . . . . . . . . . . PPT 79 Session 3.1 Visual Overview:
Formatting Pictures. . . . . . . . . . . . . . . . . . . . . PPT 81 Creating a Chart on a Slide . . . . . . . . . . . . . . . . PPT 138
Creating and Formatting Tables . . . . . . . . . . . . . PPT 82 Creating SmartArt Diagrams. . . . . . . . . . . . . . . PPT 140
Creating a Table and Adding Data to It . . . . . PPT 82 Modifying a SmartArt Diagram . . . . . . . . . . PPT 143
Inserting and Deleting Rows and Columns . . PPT 83 Animating a SmartArt Diagram . . . . . . . . . . PPT 145
Formatting a Table . . . . . . . . . . . . . . . . . . . . . PPT 85 Adding Audio to Slides . . . . . . . . . . . . . . . . . . . PPT 146
Filling Cells with Pictures . . . . . . . . . . . . . . . . PPT 90 Adding a Chart to a Slide . . . . . . . . . . . . . . . . . PPT 148
Inserting Symbols . . . . . . . . . . . . . . . . . . . . . . . . PPT 92 Creating a Chart . . . . . . . . . . . . . . . . . . . . . . PPT 148
Adding Footers and Headers . . . . . . . . . . . . . . . PPT 94 Modifying a Chart . . . . . . . . . . . . . . . . . . . . . PPT 153
Session 2.1 Quick Check . . . . . . . . . . . . . . . . . . . PPT 97 Inserting and Formatting Text Boxes . . . . . . . . PPT 156
Applying WordArt Styles to Text . . . . . . . . . . . PPT 159
Session 2.2 Visual Overview:
Session 3.1 Quick Check . . . . . . . . . . . . . . . . . . PPT 161
Using Animations and Transitions . . . . . . . . . . . . PPT 98
Applying Transitions . . . . . . . . . . . . . . . . . . . . . PPT 100 Session 3.2 Visual Overview:
Applying Animations . . . . . . . . . . . . . . . . . . . . . PPT 102 Formatting Shapes and Pictures . . . . . . . . . . . . PPT 162
Animating Objects . . . . . . . . . . . . . . . . . . . . PPT 102 Editing Photos . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 164
Changing How an Animation Starts . . . . . . . PPT 106 Removing the Background from Photos . . . . . . PPT 166
Animating Lists . . . . . . . . . . . . . . . . . . . . . . . PPT 107 Applying Artistic Effects to Photos. . . . . . . . . . PPT 168
Adding and Modifying Video . . . . . . . . . . . . . . PPT 109 Creating a Custom Shape . . . . . . . . . . . . . . . . . PPT 169
Adding Video to Slides . . . . . . . . . . . . . . . . . PPT 109 Applying Advanced Formatting to Shapes. . . . PPT 173
Trimming Videos . . . . . . . . . . . . . . . . . . . . . . .PPT 111 Making Presentations Accessible . . . . . . . . . . . PPT 177
Setting a Poster Frame . . . . . . . . . . . . . . . . . .PPT 112 Adding Alt Text. . . . . . . . . . . . . . . . . . . . . . . PPT 177
Modifying Video Playback Options . . . . . . . .PPT 113 Checking the Order Objects
Understanding Animation Effects Will Be Read by a Screen Reader . . . . . . . . . PPT 179
Applied to Videos . . . . . . . . . . . . . . . . . . . . . .PPT 115 Renaming Objects in the Selection Pane . . . PPT 180
Compressing and Optimizing Media . . . . . . . . .PPT 116 Session 3.2 Quick Check . . . . . . . . . . . . . . . . . . PPT 181
Using the Office Mix Add-In . . . . . . . . . . . . . . . PPT 118 Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 182
Installing Office Mix . . . . . . . . . . . . . . . . . . . .PPT 119 Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 184
Microsoft Office 365 & PowerPoint 2016, Comprehensive vii
Module 4 Advanced Animations and Distributing Module 5 Integrating PowerPoint with Other
Presentations Programs
Creating an Advanced Presentation for Agricultural Creating a Presentation for a Rowing
Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 189 Convention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 241
Session 4.1 Visual Overview: Session 5.1 Visual Overview:

Understanding Advanced Animations . . . . . . . PPT 190 Understanding Layers . . . . . . . . . . . . . . . . . . . . PPT 242
Using Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 192 Creating a Presentation by Importing
Adding More Than One a Word Outline . . . . . . . . . . . . . . . . . . . . . . . . . PPT 244
Animation to an Object. . . . . . . . . . . . . . . . . . . PPT 193 Resetting Slides. . . . . . . . . . . . . . . . . . . . . . . PPT 247
Using the Animation Pane . . . . . . . . . . . . . . . . . PPT 197 Inserting Slides from Another
Setting Animation Triggers . . . . . . . . . . . . . . . . PPT 201 Presentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 248
Changing the Slide Background . . . . . . . . . . . . PPT 202 Working in Outline View . . . . . . . . . . . . . . . . . . PPT 251
Creating and Editing Hyperlinks . . . . . . . . . . . . PPT 206 Dividing a Presentation into Sections . . . . . . . . PPT 253
Creating and Editing Text Links . . . . . . . . . . PPT 207 Working with Layers . . . . . . . . . . . . . . . . . . . . . PPT 256
Creating Object Links . . . . . . . . . . . . . . . . . . PPT 211 Modifying Advanced Animation Effect
Inserting Action Buttons. . . . . . . . . . . . . . . . PPT 212 Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 258
Customizing Theme Colors . . . . . . . . . . . . . . . . PPT 213 Session 5.1 Quick Check . . . . . . . . . . . . . . . . . . PPT 263
Deleting Custom Theme Colors . . . . . . . . . . PPT 216
Session 5.2 Visual Overview:
Importing, Embedding, and Linking . . . . . . . . . PPT 264
Session 4.2 Visual Overview: Inserting a Word Table . . . . . . . . . . . . . . . . . . . PPT 266
Automatic Slide Timings . . . . . . . . . . . . . . . . . . PPT 218 Formatting Cells in Tables . . . . . . . . . . . . . . . . . PPT 267
Understanding Self-Running Inserting Excel Data and Objects . . . . . . . . . . . PPT 270
Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 220 Embedding an Excel Worksheet. . . . . . . . . . PPT 270
Setting Slide Timings Manually . . . . . . . . . . . . . PPT 220 Linking an Excel Chart . . . . . . . . . . . . . . . . . PPT 275
Rehearsing Timings . . . . . . . . . . . . . . . . . . . . . . PPT 222 Breaking Links . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 280
Recording Narration and Timings . . . . . . . . . . . PPT 223 Annotating Slides During a Slide Show. . . . . . . PPT 281
Applying Kiosk Browsing. . . . . . . . . . . . . . . . . . PPT 225 Creating Handouts by Exporting a
Using the Document Inspector . . . . . . . . . . . . . PPT 226 Presentation to Word . . . . . . . . . . . . . . . . . . . . PPT 283
Packaging a Presentation for CD . . . . . . . . . . . PPT 229 Session 5.2 Quick Check . . . . . . . . . . . . . . . . . . PPT 285
Saving a Presentation in Other Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 286
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 230 Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 287
Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 234
Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 235
viii New Perspectives Series
Module 6 Customizing Presentations and the Fill a Shape with a Gradient of a Color
PowerPoint Environment Used on the Slide . . . . . . . . . . . . . . . . . . . . . . . PPT 313
Creating a Presentation for a Race Track . . . . . . . . . PPT 291 Session 6.1 Quick Check . . . . . . . . . . . . . . . . . . PPT 319
Session 6.1 Visual Overview: Session 6.2 Visual Overview:
Slide Master View . . . . . . . . . . . . . . . . . . . . . . . PPT 292 File Properties . . . . . . . . . . . . . . . . . . . . . . . . . . PPT 320
Sharing and Collaborating with Others . . . . . . PPT 294 Saving a Presentation as a Template. . . . . . . . . PPT 322
Creating a Custom Show. . . . . . . . . . . . . . . . . . PPT 324
Comparing Presentations . . . . . . . . . . . . . . . PPT 294
Working with File Properties. . . . . . . . . . . . . . . PPT 326
Working with Comments . . . . . . . . . . . . . . . PPT 296
Checking for Accessibility Issues. . . . . . . . . . . . PPT 329
Modifying Themes. . . . . . . . . . . . . . . . . . . . . . . PPT 299
Encrypting a Presentation . . . . . . . . . . . . . . . . . PPT 331
Changing Theme Fonts. . . . . . . . . . . . . . . . . PPT 299
Marking the Presentation as Final. . . . . . . . . . . PPT 334
Changing Theme Colors . . . . . . . . . . . . . . . . PPT 302
Presenting Online . . . . . . . . . . . . . . . . . . . . . . . PPT 336
Working in Slide Master View . . . . . . . . . . . . . . PPT 303
Modifying the Slide Master . . . . . . . . . . . . . PPT 304
Review Assignments . . . . . . . . . . . . . . . . . . . . . PPT 339
Modifying Individual Layouts . . . . . . . . . . . . PPT 305
Case Problems. . . . . . . . . . . . . . . . . . . . . . . . . . PPT 340
Modifying the Style of Lists . . . . . . . . . . . . . PPT 306
Creating a Custom Layout. . . . . . . . . . . . . . . . . PPT 309 INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . REF 1
Productivity Apps for
OneNote
Sway
Office Mix
School and Work Edge
Corinne Hoisington
Lochlan keeps track of

his class notes, football
plays, and internship Zoe is using the annotation
meetings with OneNote. features of Microsoft Edge
to take and save web notes
for her research paper.
Nori is creating a Sway

site to highlight this year’s
activities for the Student
Government Association. Hunter is adding interactive
videos and screen recordings
to his PowerPoint resume.
© Rawpixel/Shutterstock.com
Being computer literate no longer means mastery of only Word, Excel,

PowerPoint, Outlook, and Access. To become technology power users, Hunter,
Nori, Zoe, and Lochlan are exploring Microsoft OneNote, Sway, Mix, and Edge in
Office 2016 and Windows 10.
Introduction to OneNote 2016 ................. 2

Module
Learn to use productivity apps!

In this
Introduction to Sway .................................. 6

Links to companion Sways, featuring
Introduction to Office Mix ....................... 10 videos with hands-on instructions, are
Introduction to Microsoft Edge .............. 14 located on www.cengagebrain.com.
Productivity Apps for School and Work PA-1
Introduction to OneNote 2016
notebook | section tab | To Do tag | screen clipping | note | template | Microsoft OneNote
Bottom Line Mobile app | sync | drawing canvas | inked handwriting | Ink to Text
• OneNote is a note-taking
app for your academic and As you glance around any classroom, you invariably see paper notebooks and notepads
professional life. on each desk. Because deciphering and sharing handwritten notes can be a challenge,
• Use OneNote to get organized Microsoft OneNote 2016 replaces physical notebooks, binders, and paper notes with a
by gathering your ideas, searchable, digital notebook. OneNote captures your ideas and schoolwork on any device
sketches, webpages, photos, so you can stay organized, share notes, and work with others on projects. Whether you
videos, and notes in one place. are a student taking class notes as shown in Figure 1 or an employee taking notes in
company meetings, OneNote is the one place to keep notes for all of your projects.
Figure 1: OneNote 2016 notebook
Each notebook is divided into Use To Do tags, icons that

sections, also called section help you keep track of your
tabs, by subject or topic. assignments and other tasks.
Type on a page Personalize a page Write or draw

to add a note, a with a template, or directly on the
small window stationery. page using
that contains drawing tools.
text or other
types of
information. Pages can include
pictures such as Attach files and
screen clippings, enter equations
images from any part so you have
of a computer screen. everything you
need in one place.
Creating a OneNote Notebook

OneNote is divided into sections similar to those in a spiral-bound notebook. Each
OneNote notebook contains sections, pages, and other notebooks. You can use One-
Note for school, business, and personal projects. Store information for each type of
project in different notebooks to keep your tasks separate, or use any other organiza-
tion that suits you. OneNote is flexible enough to adapt to the way you want to work.
When you create a notebook, it contains a blank page with a plain white background
Learn to use OneNote! by default, though you can use templates, or stationery, to apply designs in categories
Links to companion Sways, such as Academic, Business, Decorative, and Planners. Start typing or use the buttons
featuring videos with hands-on on the Insert tab to insert notes, which are small resizable windows that can contain
instructions, are located on text, equations, tables, on-screen writing, images, audio and video recordings, to-do
www.cengagebrain.com. lists, file attachments, and file printouts. Add as many notes as you need to each page.
Syncing a Notebook to the Cloud

OneNote saves your notes every time you make a change in a notebook. To make sure
you can access your notebooks with a laptop, tablet, or smartphone wherever you
are, OneNote uses cloud-based storage, such as OneDrive or SharePoint. Microsoft
OneNote Mobile app, a lightweight version of OneNote 2016 shown in Figure 2, is
available for free in the Windows Store, Google Play for Android devices, and the
AppStore for iOS devices.
If you have a Microsoft account, OneNote saves your notes on OneDrive auto-
matically for all your mobile devices and computers, which is called syncing. For
example, you can use OneNote to take notes on your laptop during class, and then
PA-2 Productivity Apps for School and Work
open OneNote on your phone to study later. To use a notebook stored on your com-
puter with your OneNote Mobile app, move the notebook to OneDrive. You can
quickly share notebook content with other people using OneDrive.
Figure 2: Microsoft OneNote Mobile app
Notes synced to
OneDrive and
displayed on a
smartphone
Taking Notes
Use OneNote pages to organize your notes by class and topic or lecture. Beyond sim-
ple typed notes, OneNote stores drawings, converts handwriting to searchable text and On the Job Now
mathematical sketches to equations, and records audio and video. OneNote is ideal for taking notes
OneNote includes drawing tools that let you sketch freehand drawings such as bio- during meetings, whether you are
logical cell diagrams and financial supply-and-demand charts. As shown in Figure 3, the recording minutes, documenting
Draw tab on the ribbon provides these drawing tools along with shapes so you can insert a discussion, sketching product
diagrams and other illustrations to represent your ideas. When you draw on a page, One- diagrams, or listing follow-up
Note creates a drawing canvas, which is a container for shapes and lines. items. Use a meeting template
to add pages with content
appropriate for meetings.
Figure 3: Tools on the Draw tab
Draw tab
Pens and
highlighters
are in the
Tools group.
Insert rectangles Lines and shapes are
and lines from the in the Shapes group.
Shapes group.
Make drawings
using pens in
Insert text the Tools group.
using the Type
button in the
Tools group.
Converting Handwriting to Text

When you use a pen tool to write on a notebook page, the text you enter is called
inked handwriting. OneNote can convert inked handwriting to typed text when
you use the Ink to Text button in the Convert group on the Draw tab, as shown in
Figure 4. After OneNote converts the handwriting to text, you can use the Search box
to find terms in the converted text or any other note in your notebooks.
Figure 4: Converting handwriting to text
Ink to Text button
Handwriting
Writing inserted converted to
with a fingertip searchable text
On the Job Now Recording a Lecture

If your computer or mobile device has a microphone or camera, OneNote can record the
Use OneNote as a place to brain- audio or video from a lecture or business meeting as shown in Figure 5. When you record
storm ongoing work projects. If
a notebook contains sensitive
a lecture (with your instructor’s permission), you can follow along, take regular notes at
material, you can password-pro- your own pace, and review the video recording later. You can control the start, pause, and
tect some or all of the notebook stop motions of the recording when you play back the recording of your notes.
so that only certain people can
open it.
Figure 5: Video inserted in a notebook
Record Video Audio & Video

button Recording tab
Video recording
Math Lecture
video file
© iStock.com/petrograd99
Try This Now Learn to use OneNote!
Links to companion Sways,
1: Taking Notes for a Week
featuring videos with hands-on
As a student, you can get organized by using OneNote to take detailed notes in your
instructions, are located on
classes. Perform the following tasks:
www.cengagebrain.com.
a. Create a new OneNote notebook on your Microsoft OneDrive account (the
default location for new notebooks). Name the notebook with your first name
followed by “Notes,” as in Caleb Notes.
b. Create four section tabs, each with a different class name.
c. TTake detailed notes in those classes for one week. Be sure to include notes, drawings, and other types of content.
d. Sync your notes with your OneDrive. Submit your assignment in the format specified by your instructor.
2: Using OneNote to Organize a Research Paper

You have a research paper due on the topic of three habits of successful students. Use OneNote to organize your research.
Perform the following tasks:
a. Create a new OneNote notebook on your Microsoft OneDrive account. Name the notebook Success Research.
b. Create three section tabs with the following names:
• Take Detailed Notes
• Be Respectful in Class
• Come to Class Prepared
c. On the web, research the topics and find three sources for each section. Copy a sentence from each source and paste
the sentence into the appropriate section. When you paste the sentence, OneNote inserts it in a note with a link to the
source.
d. Sync your notes with your OneDrive. Submit your assignment in the format specified by your instructor.
3: Planning Your Career

Note: This activity requires a webcam or built-in video camera on any type of device.
Consider an occupation that interests you. Using OneNote, examine the responsibilities, education requirements, potential
salary, and employment outlook of a specific career. Perform the following tasks:
a. Create a new OneNote notebook on your Microsoft OneDrive account. Name the notebook with your first name
ffollowed by a career title, such as Kara - App Developer.
b. Create four section tabs with the names Responsibilities, Education Requirements, Median Salary, and Employment
Outlook.
c. Research the responsibilities of your career path. Using OneNote, record a short video (approximately 30 seconds) of
yourself explaining the responsibilities of your career path. Place the video in the Responsibilities section.
d. On the web, research the educational requirements for your career path and find two appropriate sources. Copy a para-
graph from each source and paste them into the appropriate section. When you paste a paragraph, OneNote inserts it
in a note with a link to the source.
e. Research the median salary for a single year for this career. Create a mathematical equation in the Median
Salary section that multiplies the amount of the median salary times 20 years to calculate how much you will
possibly earn.
f. For the Employment Outlook section, research the outlook for your career path. Take at least four notes about what you
find when researching the topic.
g. Sync your notes with your OneDrive. Submit your assignment in the format specified by your instructor.
Introduction to Sway
Sway site | responsive design | Storyline | card | Creative Commons license | animation
Bottom Line emphasis effects | Docs.com
• Drag photos, videos, and
Expressing your ideas in a presentation typically means creating PowerPoint slides
files from your computer and
or a Word document. Microsoft Sway gives you another way to engage an audience.
content from Facebook and
Sway is a free Microsoft tool available at Sway.com or as an app in Office 365.
Twitter directly to your Sway
Using Sway, you can combine text, images, videos, and social media in a website
presentation.
called a Sway site that you can share and display on any device. To get started,
• Run Sway in a web browser or
you create a digital story on a web-based canvas without borders, slides, cells, or
as an app on your smartphone,
page breaks. A Sway site organizes the text, images, and video into a responsive
and save presentations as
design, which means your content adapts perfectly to any screen size as shown in
webpages.
Figure 6. You store a Sway site in the cloud on OneDrive using a free Microsoft
account.
Figure 6: Sway site with responsive design
You can display a

Sway presentation
in a web browser.
© iStock.com/marinello, © iStock.com/marekuliasz
Sway uses
responsive
design to make
sure pages fit
perfectly on
any device.
Creating a Sway Presentation

Learn to use Sway! You can use Sway to build a digital flyer, a club newsletter, a vacation blog, an informa-
tional site, a digital art portfolio, or a new product rollout. After you select your topic
and sign into Sway with your Microsoft account, a Storyline opens, providing tools
and a work area for composing your digital story. See Figure 7. Each story can include
text, images, and videos. You create a Sway by adding text and media content into a
Storyline section, or card. To add pictures, videos, or documents, select a card in the
left pane and then select the Insert Content button. The first card in a Sway presenta-
tion contains a title and background image.
Figure 7: Creating a Sway site
Design and create

Sway presentations. Share and play
published Sway sites.
Arrange content in a Storyline,

which contains all the text,
pictures, videos, and other
media in a Sway presentation.
To add content, select a

card, which is designed After selecting a card,
to hold a particular type click the Insert Content
of information. button to add the content
to the Sway presentation.
Adding Content to Build a Story

As you work, Sway searches the Internet to help you find relevant images, videos,
On the Job Now
tweets, and other content from online sources such as Bing, YouTube, Twitter, and
Facebook. You can drag content from the search results right into the Storyline. In If you have a Microsoft Word
addition, you can upload your own images and videos directly in the presentation. document containing an outline
For example, if you are creating a Sway presentation about the market for commer- of your business content, drag the
outline into Sway to create a card
cial drones, Sway suggests content to incorporate into the presentation by displaying for each topic.
it in the left pane as search results. The search results include drone images tagged
with a Creative Commons license at online sources as shown in Figure 8. A Creative
Commons license is a public copyright license that allows the free distribution of an
otherwise copyrighted work. In addition, you can specify the source of the media. For
example, you can add your own Facebook or OneNote pictures and videos in Sway
without leaving the app.
Figure 8: Images in Sway search results
Information about Creative

Select the source Commons licenses
of media objects
Storyline title
Drag an image to the

picture placeholder box
Suggested images in
the search results
Designing a Sway
Sway professionally designs your Storyline content by resizing background images and
On the Job Now fonts to fit your display, and by floating text, animating media, embedding video, and
If your project team wants to col-
removing images as a page scrolls out of view. Sway also evaluates the images in your
laborate on a Sway presentation, Storyline and suggests a color palette based on colors that appear in your photos. Use
click the Authors button on the the Design button to display tools including color palettes, font choices, animation
navigation bar to invite others to emphasis effects, and style templates to provide a personality for a Sway presentation.
edit the presentation. Instead of creating your own design, you can click the Remix button, which randomly
selects unique designs for your Sway site.
Publishing a Sway
Use the Play button to display your finished Sway presentation as a website. The
Address bar includes a unique web address where others can view your Sway site. As
the author, you can edit a published Sway site by clicking the Edit button (pencil icon)
on the Sway toolbar.
Sharing a Sway
When you are ready to share your Sway website, you have several options as shown in
Figure 9. Use the Share slider button to share the Sway site publically or keep it private.
If you add the Sway site to the Microsoft Docs.com public gallery, anyone worldwide can
use Bing, Google, or other search engines to find, view, and share your Sway site. You can
also share your Sway site using Facebook, Twitter, Google+, Yammer, and other social
media sites. Link your presentation to any webpage or email the link to your audience.
Sway can also generate a code for embedding the link within another webpage.
Figure 9: Sharing a Sway site
Share button
Drag the slider button to

Just me to keep the Sway
site private
Post the Sway

site on Docs.com
Options differ depending

on your Microsoft account
Send friends a link

to the Sway site
Try This Now Learn to use Sway!
1: Creating a Sway Resume
Sway is a digital storytelling app. Create a Sway resume to share the skills, job experi-
ences, and achievements you have that match the requirements of a future job interest.
Perform the following tasks:
a. Create a new presentation in Sway to use as a digital resume. Title the Sway
Storyline with your full name and then select a background image.
b. Create three separate sections titled Academic Background, Work Experience, and Skills, and insert text, a picture,
and a paragraph or bulleted points in each section. Be sure to include your own picture.
c. Add a fourth section that includes a video about your school that you find online.
d. Customize the design of your presentation.
e. Submit your assignment link in the format specified by your instructor.
2: Creating an Online Sway Newsletter

Newsletters are designed to capture the attention of their target audience. Using Sway, create a newsletter for a club, organiza-
tion, or your favorite music group. Perform the following tasks:
a. Create a new presentation in Sway to use as a digital newsletter for a club, organization, or your favorite music group.
Provide a title for the Sway Storyline and select an appropriate background image.
b. Select three separate sections with appropriate titles, such as Upcoming Events. In each section, insert text, a picture,
and a paragraph or bulleted points.
c. Add a fourth section that includes a video about your selected topic.
3: Creating and Sharing a Technology Presentation

To place a Sway presentation in the hands of your entire audience, you can share a link to the Sway presentation. Create a Sway
presentation on a new technology and share it with your class. Perform the following tasks:
a. Create a new presentation in Sway about a cutting-edge technology topic. Provide a title for the Sway Storyline and
select a background image.
b. Create four separate sections about your topic, and include text, a picture, and a paragraph in each section.
c. Add a fifth section that includes a video about your topic.
e. Share the link to your Sway with your classmates and submit your assignment link in the format specified by your
instructor.
Introduction to Office Mix
add-in | clip | slide recording | Slide Notes | screen recording | free-response quiz
Bottom Line
• Office Mix is a free PowerPoint To enliven business meetings and lectures, Microsoft adds a new dimension to pre-
add-in from Microsoft that adds sentations with a powerful toolset called Office Mix, a free add-in for PowerPoint. (An
features to PowerPoint. add-in is software that works with an installed app to extend its features.) Using Office
• The Mix tab on the PowerPoint Mix, you can record yourself on video, capture still and moving images on your desk-
ribbon provides tools for creat- top, and insert interactive elements such as quizzes and live webpages directly into
ing screen recordings, videos, PowerPoint slides. When you post the finished presentation to OneDrive, Office Mix
interactive quizzes, and live provides a link you can share with friends and colleagues. Anyone with an Internet
webpages. connection and a web browser can watch a published Office Mix presentation, such as
the one in Figure 10, on a computer or mobile device.
Figure 10: Office Mix presentation
You can view a published

Office Mix presentation in a
browser on any device, even
if PowerPoint is not installed.
Click to continue
to the next slide.
Display a list of
slides with titles.
Adding Office Mix to PowerPoint

Learn to use Office Mix! To get started, you create an Office Mix account at the website mix.office.com using an
email address or a Facebook or Google account. Next, you download and install the Office
Mix add-in (see Figure 11). Office Mix appears as a new tab named Mix on the PowerPoint
ribbon in versions of Office 2013 and Office 2016 running on personal computers (PCs).
Figure 11: Getting started with Office Mix
Download the Office Mix free

add-in from mix.office.com.
Click the Get Office Mix

button to download Office
Mix and install it as a tab
on the PowerPoint ribbon.
Capturing Video Clips
A clip is a short segment of audio, such as music, or video. After finishing the content
on a PowerPoint slide, you can use Office Mix to add a video clip to animate or illus- On the Job Now
trate the content. Office Mix creates video clips in two ways: by recording live action Companies are using Office Mix to
on a webcam and by capturing screen images and movements. If your computer has a train employees about new prod-
webcam, you can record yourself and annotate the slide to create a slide recording as ucts, to explain benefit packages
shown in Figure 12. to new workers, and to educate
interns about office procedures.
Figure 12: Making a slide recording
Record your Use the Slide Notes

voice; also button to display
record video if notes for your
For best results,
your computer narration.
look directly at
has a camera.
your webcam
while recording
video.
Choose a video
and audio device
Use inking tools to write to record images
and draw on the slide as and sound.
you record.
When you are making a slide recording, you can record your spoken narration at
the same time. The Slide Notes feature works like a teleprompter to help you focus
on your presentation content instead of memorizing your narration. Use the Inking On the Job Now
tools to make annotations or add highlighting using different pen types and colors.
To make your video recordings
After finishing a recording, edit the video in PowerPoint to trim the length or set
accessible to people with hearing
playback options. impairments, use the Office Mix
The second way to create a video is to capture on-screen images and actions with or closed-captioning tools. You can
without a voiceover. This method is ideal if you want to show how to use your favorite also use closed captions to sup-
website or demonstrate an app such as OneNote. To share your screen with an audi- plement audio that is difficult to
ence, select the part of the screen you want to show in the video. Office Mix captures understand and to provide an aid
for those learning to read.
everything that happens in that area to create a screen recording, as shown in Figure 13.
Office Mix inserts the screen recording as a video in the slide.
Figure 13: Making a screen recording
Record the action on

the screen within the
red dashed outline.
Record audio while
capturing your
on-screen actions.
Select Area
button
Inserting Quizzes, Live Webpages, and Apps
To enhance and assess audience understanding, make your slides interactive by
adding quizzes, live webpages, and apps. Quizzes give immediate feedback to the
user as shown in Figure 14. Office Mix supports several quiz formats, including a
free-response quiz similar to a short answer quiz, and true/false, multiple-choice,
and multiple-response formats.
Figure 14: Creating an interactive quiz
Mix tab on the

Quizzes Videos PowerPoint
Apps button ribbon
Green checkmark
identifies the
correct answer
Randomly shuffle
quiz responses
Sharing an Office Mix Presentation

When you complete your work with Office Mix, upload the presentation to your per-
sonal Office Mix dashboard as shown in Figure 15. Users of PCs, Macs, iOS devices,
and Android devices can access and play Office Mix presentations. The Office Mix
dashboard displays built-in analytics that include the quiz results and how much time
viewers spent on each slide. You can play completed Office Mix presentations online or
download them as movies.
Figure 15: Sharing an Office Mix presentation
Office Mix dashboard

displays the quiz analytics.
Try This Now Learn to use Office Mix!
1: Creating an Office Mix Tutorial for OneNote
Note: This activity requires a microphone on your computer.
Office Mix makes it easy to record screens and their contents. Create PowerPoint
slides with an Office Mix screen recording to show OneNote 2016 features. Perform
the following tasks:
a. Create a PowerPoint presentation with the Ion Boardroom template. Create
an opening slide with the title My Favorite OneNote Features and enter your name in the subtitle.
b. Create three additional slides, each titled with a new feature of OneNote. Open OneNote and use the Mix tab in
PowerPoint to capture three separate screen recordings that teach your favorite features.
c. Add a fifth slide that quizzes the user with a multiple-choice question about OneNote and includes four responses.
Be sure to insert a checkmark indicating the correct response.
d. UUpload the completed presentation to your Office Mix dashboard and share the link with your instructor.
2: Teaching Augmented Reality with Office Mix

Note: This activity requires a webcam or built-in video camera on your computer.
A local elementary school has asked you to teach augmented reality to its students using Office Mix. Perform the
following tasks:
a. Research augmented reality using your favorite online search tools.
b. Create a PowerPoint presentation with the Frame template. Create an opening slide with the title Augmented Reality
and enter your name in the subtitle.
c. Create a slide with four bullets summarizing your research of augmented reality. Create a 20-second slide recording of
yourself providing a quick overview of augmented reality.
d. Create another slide with a 30-second screen recording of a video about augmented reality from a site such as YouTube
or another video-sharing site.
e. Add a final slide that quizzes the user with a true/false question about augmented reality. Be sure to insert a checkmark
indicating the correct response.
f. U
Upload the completed presentation to your Office Mix dashboard and share the link with your instructor.
g. Submit your assignment link in the format specified by your instructor.
3: Marketing a Travel Destination with Office Mix

Note: This activity requires a webcam or built-in video camera on your computer.
To convince your audience to travel to a particular city, create a slide presentation marketing any city in the world using a slide
recording, screen recording, and a quiz. Perform the following tasks:
a. Create a PowerPoint presentation with any template. Create an opening slide with the title of the city you are marketing
as a travel destination and your name in the subtitle.
b. Create a slide with four bullets about the featured city. Create a 30-second slide recording of yourself explaining why
this city is the perfect vacation destination.
c. Create another slide with a 20-second screen recording of a travel video about the city from a site such as YouTube or
another video-sharing site.
d. Add a final slide that quizzes the user with a multiple-choice question about the featured city with five responses. Be
sure to include a checkmark indicating the correct response.
e. U
Upload the completed presentation to your Office Mix dashboard and share your link with your instructor.
f. Submit your assignment link in the format specified by your instructor.
Introduction to Microsoft Edge
Reading view | Hub | Cortana | Web Note | Inking | sandbox
Bottom Line
• Microsoft Edge is the name of Microsoft Edge is the default web browser developed for the Windows 10 operating
the new web browser built into system as a replacement for Internet Explorer. Unlike its predecessor, Edge lets you
Windows 10. write on webpages, read webpages without advertisements and other distractions,
• Microsoft Edge allows you to and search for information using a virtual personal assistant. The Edge interface is
search the web faster, take web clean and basic, as shown in Figure 16, meaning you can pay more attention to the
notes, read webpages without webpage content.
distractions, and get instant
assistance from Cortana.
Figure 16: Microsoft Edge tools
Forward New tab Web address in Add to favorites or

button button the Address bar reading list button
Back button Reading view button More button
Share Web
Note button
Hub (Favorites, reading list,
Refresh (F5) history, and downloads) Make a Web
button button Note button
Browsing the Web with Microsoft Edge

Learn to use Edge! One of the fastest browsers available, Edge allows you to type search text directly in the
Address bar. As you view the resulting webpage, you can switch to Reading view, which
is available for most news and research sites, to eliminate distracting advertisements.
For example, if you are catching up on technology news online, the webpage might
be difficult to read due to a busy layout cluttered with ads. Switch to Reading view to
refresh the page and remove the original page formatting, ads, and menu sidebars to
read the article distraction-free.
Consider the Hub in Microsoft Edge as providing one-stop access to all the things
you collect on the web, such as your favorite websites, reading list, surfing history, and
On the Job Now downloaded files.
Businesses started adopting Locating Information with Cortana

Internet Explorer more than Cortana, the Windows 10 virtual assistant, plays an important role in Microsoft Edge.
20 years ago simply to view After you turn on Cortana, it appears as an animated circle in the Address bar when
webpages. Today, Microsoft you might need assistance, as shown in the restaurant website in Figure 17. When you
Edge has a different purpose: click the Cortana icon, a pane slides in from the right of the browser window to display
to promote interaction with the
web and share its contents with detailed information about the restaurant, including maps and reviews. Cortana can
colleagues. also assist you in defining words, finding the weather, suggesting coupons for shop-
ping, updating stock market information, and calculating math.
Another random document with
no related content on Scribd:
INTRODUCTION
In his address to the Anthropological Section of the British

Association in 1892 Professor Alexander Macalister made use of a
little allegory to illustrate the growth and progress of Anthropology.
“On an irregular and unfenced patch of waste land,” he said,
“situated on the outskirts of a small town in which I spent part of my
boyhood, there stood a notice-board bearing the inscription, ‘A Free
Coup,’ which, when translated into the language of the Southron,
conveyed the intimation, ‘Rubbish may be shot here.’ This place,
with its ragged mounds of unconsidered trifles, the refuse of the
surrounding households, was the favourite playground of the
children of the neighbourhood, who found a treasury of toys in the
broken tiles and oyster-shells, the crockery and cabbage-stalks,
which were liberally scattered round.... Passing by this place ten
years later, I found that its aspect had changed; terraces of small
houses had sprung up, mushroom-like, on the unsavoury foundation
of heterogeneous refuse. Still more recently I notice that these in
their turn have been swept away; and now a large factory, wherein
some of the most ingenious productions of human skill are
constructed, occupies the site of the original waste.”
Here we may recognise the three stages in the progress of the
science of Anthropology.
First, a heap of heterogeneous facts and fancies, the leavings of
the historian, of the adventurer, of the missionary—the favourite
playground of dilettanti of various degrees of seriousness. Next we
see order arising out of chaos, and the building-up of a number of
superstructures, bearing the signs of transitoriness and imperfection,
finally to be replaced by the solid fabric of a coherent whole.
In this little book some of the earlier builders on the scrap-heap will
be noted—the Greek philosopher, Aristotle; the Belgian anatomist,
Vesalius; the Englishmen, Tyson and Prichard; the Swede, Linnaeus;
the Frenchman, Buffon; and the German, Blumenbach. These laid
the foundations of the science, and each is claimed as the true
founder of Anthropology. After these the workers become more
numerous and more specialised, and they will be dealt with under
the separate headings of the various branches of the subject in
which they laboured, rather than in a continuous chronological order.
“Meddling with questions of merit or priority is a thorny business at
the best of times,” as Huxley said; and completeness is not here
aimed at. Mention can be made only of those whose work notably
contributed to, or illustrates, the historical growth of the science.
It may be objected that too much attention has been given to the
arm-chair workers, and too little to the labourers in the field. This is
true, especially in the section on Ethnology; but it is necessitated by
the compass of the volume. We attempt a brief sketch of the wood,
and cannot stop to describe the individual trees that compose it.
Detailed investigations, however valuable, have to be merged into
generalisations; and generalisations proceed mainly from the arm-
chairs.
Professor Michael Foster somewhere remarked that “hypothesis is
the salt of science.” The main difficulty with which observers in the
field have to contend is that, as a rule, they can see only what they
look for. When an investigator has left his field and is working up his
results at home, he only too frequently finds that he has omitted to
look for certain customs or beliefs, whose occurrence in other places
he had either over-looked or forgotten. This is the justification for the
questionnaires. It is one of the most important functions of stay-at-
home synthetic students laboriously to cull data from the vast
literature of anthropology, travel, and ancient and modern history,
and to weld them into coherent hypotheses. The student at home in
this way suggests fresh inquiries to the field ethnologist, and a richer
harvest is the result. The most valuable generalisations are made,
however, when the observer is at the same time a generaliser; but
“doubtless,” as Maharbal said to Hannibal after the battle of Cannae,
“the gods have not bestowed everything on the same man. You,
Hannibal, know how to conquer; but you do not know how to use
your victory.”
The vastness of the anthropological sciences and the nebulous
character of their demarcation from other sciences render their
definition or classification a peculiarly difficult matter. Even at the
present day students are not agreed upon the exact terminology and
limitations of the various branches of their subject; but, after all,
these are little more than academic discussions, since investigations
go on irrespective of boundary lines. Those who are really worried
about this “terminological inexactitude” are the cataloguers and
librarians, who frequently are at a loss where to place items in their
catalogues or books on their shelves. It was mainly from this point of
view that Dieserud was constrained to write his Science of
Anthropology: Its Scope and Content.[1] This useful little book deals
very fully in historical order with the questions referred to above, and
it may be recommended to those who are interested in these
somewhat profitless discussions.
1. This is the title on the back of the book. Its designation on the title-page is
given correctly in the Bibliography.
For the convenience of those who require landmarks we here give

the scheme that is roughly followed in this book, which is based
upon the classification recently proposed by the Board of Studies in
Anthropology of the University of London as a guide for the study
and teaching of Anthropology:—
A.—Physical Anthropology (Anthropography, Anthropology of
some writers)
(a) Zoological (somatology, including craniology, etc.).—Man’s
place in Nature as evidenced by the study of
comparative anatomy and physiology, more especially
of the Anthropoidea.
(b) Palæontological.—The antiquity of man as evidenced by
fossil and semi-fossilised remains, including the
geological evidence.
(c) Physiological and Psychological.—The comparative study of
the bodily functions and mental processes.
(d) Ethnological.—The comparative study of the physical
characters which distinguish the various races and
sub-races of man. Classification of the human race in
accordance with physical and psychical characters.
Geographical distribution of the varieties of mankind.
The influence of environment on physique.
B.—Cultural Anthropology (Ethnology of some writers).
(a) Archæological.—The antiquity of man as revealed by the
earliest remains of his handiwork. The prehistoric
periods; their characteristics, sequence, and duration.
The survival of early conditions of culture in later times
(Folklore).
(b) Technological.—The comparative study of arts and
industries; their origin, development, and geographical
distribution.
(c) Sociological.—The comparative study of social phenomena
and organisation. Birth, education, marriage, and
death customs and systems. Social and religious
associations. Government and laws. Moral ideas and
codes. Magical and religious ideas and practices.
(d) Linguistic.—The comparative study of language.
(e) Ethnological.—The comparative study and classification of
peoples based upon cultural conditions and
characteristics. The influence of environment upon
culture.
Chapter I.
THE PIONEERS OF PHYSICAL ANTHROPOLOGY
Definition of the Aristotle, “the father of them that know,” as

word Dante called him, is credited with having coined
“Anthropology.” the word “anthropologist”; but he did not employ it
in a very complimentary sense. Describing a lofty-minded man in his
Ethics, he terms him ουκ ανθρωπολογος—not a gossip, not a talker
about himself. But the word does not seem to have supplied a
permanent want in the Greek world, and we meet it next in a Latin
form in the sixteenth century. Anthropologium was then used in a
restricted sense, relating to man’s bodily structure; and the first work
in which it occurs is generally stated to be Magnus Hundt’s
Anthropologium de hominis dignitate, which appeared in 1501, and
dealt in a general way with human anatomy and physiology.
The first appearance of the word in English was probably in the
seventeenth century, when an anonymous book was published
bearing the title Anthropologie Abstracted; or, The idea of Humane
nature reflected in briefe Philosophicall and anatomical collections
(1655). The author defines his subject thus:—
Anthropologie, or the history of human nature, is, in the vulgar (yet just)
impression, distinguished into two volumes: the first entitled Psychologie,
the nature of the rational soule discoursed; the other anatomie, or the
fabrick or structure of the body of man revealed in dissection ... of the
former we shall in a distracted rehersall, deliver our collections.[2]
2. See Bendyshe, p. 356.
The meaning of the word was scarcely clear in the beginning of the
nineteenth century, when we find, in the British Encyclopædia of
1822, the following definitions, “A discourse upon human nature,”
and “Among Divines, that manner of expression by which the
inspired writers attribute human parts and passions to God.”
Concerning the present use of the term “Anthropology,” few will
take exception to the definition given by Topinard in his
l’Anthropologie (1876): “Anthropology is the branch of natural history
which treats of man and the races of man.” It may be yet more
succinctly described as “the science of man,” which comprises two
main divisions—the one which deals with the natural man
(ανθρωπος, or homo); the other which is concerned with man in
relation to his fellows, or, in other words, with social man (εθνορ, or
socius). At the end of the Introduction we give the classification
which we propose to adopt. It should, however, be stated that,
whereas in this country we employ the term “Anthropology” to cover
the whole subject, it is common on the Continent to restrict the term
to what we designate as “Physical Anthropology,” “Anthropography,”
or “Somatology.”
Fundamental The beginnings of anthropology may probably

Conceptions. be traced to what Professor Giddings (1896) has
termed the “consciousness of kind,” but what Dr. McDougall (1898)
has more definitely recognised as showing the gregarious impulse.
He says (pp. 299-300):—
The gregarious impulse of any animal receives satisfaction only
through the presence of animals similar to itself, and the closer the
similarity the greater is the satisfaction.... Just so, in any human being the
instinct operates most powerfully in relation to, and receives the highest
degree of satisfaction from the presence of, the human beings who most
closely resemble that individual, those who behave in like manner and
respond to the same situations with similar emotions.
Andree, Parallelen. N. r. Tafel. III.
Bushmen Raiding Kafir Cattle.
(After R. Andree.)
Race Portraiture of the Ancient Egyptians
on the tombs of the Kings at Biban-el-Molouk (XVIIIth-XXIst
Dynasty).
Race The recognition of degrees of likeness implies

Discrimination. the recognition of unlikeness. This may be termed
the stage of race discrimination. Ancient literature and the pictorial
art of certain uncivilised peoples abound in examples of race
discrimination. The crude representations of human beings
discovered in caves in France and elsewhere were probably
intended to portray the people themselves, who lived in the
palæolithic period. These drawings or carvings, like those of most
modern savages, exhibit much greater skill in delineating animals
than human beings; consequently it is dangerous to rely on them as
representing the physical characteristics of the then existing
populations. Very different is the famous Bushman pictograph of a
fight between Bushmen and Kafirs. Here relative size, the difference
in colour, and the employment of different implements of war by
these two races, are strikingly exemplified; but as a general rule the
Bushmen themselves exaggerate certain features and minimise
others—for example, the head is invariably too small and
featureless.
In Egypt there is an immense amount of pictorial and sculptured
material for ethnological study, covering a range of many centuries.
Over three thousand years ago the artists—“untrained but not
unobservant ethnologists”[3]—decorated the walls of royal tombs with
representations of the four races of mankind, among whom the
Egyptians of the nineteenth dynasty supposed the world to be
partitioned—(1) The Egyptians, whom they painted red; (2) the
Asiatics or Semites, yellow; (3) the Southerns or Negroes, black; and
(4) the Westerns or Northerners, white, with blue eyes and fair
beards. Each type is clearly differentiated by peculiar dress and
characteristic features. In addition to these four types, other human
varieties were delineated by the Ancient Egyptians, most of which
can be identified. “On the Egyptian monuments we not only find very
typical portraits, but also an attempt at classification; for the
Egyptians were a scientific people, with a knowledge of medicine,
and also skilled mathematicians; therefore their primitive
anthropology is not unexpected.”[4] This facility for race discrimination
was still earlier exhibited in the prehistoric or early historic slate
palettes of Egypt.
3. D. Randall-Maciver and A. Wilkin, Libyan Notes, 1901, p. 1.
4. Man, viii., 1908, p. 129.
Belonging to the fifth century B.C. are the realistic portraiture

figurines in pottery discovered by Professor Flinders Petrie at
Memphis,[5] “which clearly are copied from various races which were
welded together by the Persians, and who all met in the foreign
settlement at Memphis.” Professor Petrie identifies Sumerians or
Accadians, the old Turanian people who started civilisation in
Babylonia. “Their heads are identified by closely similar portraits
carved in stone about 3000 B.C., and found in Mesopotamia.”
Persians, Scythians, Mongols, and even Indians, are also
recognised by him; but some of the latter are dated by him at about
200 B.C.
5. Poole, l.c.
Assyrian monuments are less explicit in this respect.

The Assyrians themselves are shown to have been of a very pure type
of Semites; but in the Babylonians there is a sign of Cushite blood....
There is one portrait of an Elamite (Cushite) king on a vase found at
Susa; he is painted black, and thus belongs to the Cushite race. The
Ethiopian type can be clearly seen in the reliefs depicting the Assyrian
wars with the kings of Ethiopia; but it is hard to discriminate Arabs and
Jews from Assyrians; in fact, it is only in the time of good art that
distinctions are traceable.[6]
6. H. H. Risley, The Tribes and Castes of Bengal: Ethnographic Glossary, i.,

1892, p. xxxviii.
Rock carvings in Persia, Scythian coins, and numerous other

monuments and remains from other countries and belonging to
diverse ages, illustrate that the head-form, features, character of the
hair and mode of wearing it, ornaments, dress, and weapons, were
all recognised as means of discriminating between different peoples
from the earliest times.
Ancient literature, of which one example must suffice, tells the
same tale:—
The sense of differences of colour, which, for all our talk of common
humanity, still plays a great and, politically, often an inconvenient part in
the history of the world, finds forcible expression in the Vedic descriptions
of the people whom the Aryans found in possession of the plains of India.
In a well-known passage the god Indra is praised for having protected the
Aryan colour, and the word meaning colour (varna) is used down to the
present day as the equivalent of caste, more especially with reference to
the castes believed to be of Aryan descent.[7]
7. Report Brit. Assoc., 1881, p. 683.

The word “caste” is of Portuguese origin. In the 179th hymn of the
first Mandala of the Rig-Veda, as Dr. Gerson da Cunha points out,[8]
the word varna is used in the dual number, ubhau varnau, “two
colours,” white of the Aryans and black of the Dasyus—that is, of the
“Dravidian” aborigines, who are elsewhere called “black-skinned,”
“unholy,” “excommunicated.” Other texts dwell on their low stature,
coarse features, and their voracious appetite. The Rig-Veda employs
the word anâsa—“noseless”—to characterise the Dasyus and
Daityas, which designations mean “thieves” or “demons.” It is hardly
an exaggeration to say that from these sources there might be
compiled a fairly accurate anthropological definition of the jungle
tribes of to-day.
8. “Presidential Address: The Nasal Index in Biological Anthropology,” Journ.
Anth. Soc. of Bombay, 1892, p. 542.
Thus were the foundations of descriptive anthropology

unconsciously laid.
In our own day racial characters are seized upon in the same
manner, and racial antipathy adds fuel to its own fire in regarding
traits which differ from those of the speaker or writer as being ugly,
objectionable, or of low type. “The study of race,” said the late Sir
William Flower (1831-1899), “is at a low ebb indeed when we hear
the same contemptuous epithet of ‘nigger’ applied indiscriminately
by the English abroad to the blacks of the West Coast of Africa, to
Kafirs of Natal, the Lascars of Bombay, the Hindoos of Calcutta, the
aborigines of Australia, and even the Maories of New Zealand.”[9]
The Englishman who contemns as a “nigger” any dark-skinned
native has not advanced in race discrimination beyond his remote
kinsman who crossed into the valley of the Indus some four
thousand years ago.
9. Report Brit. Assoc., 1881, p. 683.
Hippocrates. Hippocrates (460-357 B.C.), “the Father of
Physic,” was certainly a pioneer in physical
anthropology. He says: “I will pass over the smaller differences
among nations, but will now treat of such as are great either from
nature or custom; and, first, concerning the macrocephali. There is
no other race of men which have heads in the least resembling
theirs.” He believed that this elongated conformation of the head was
originally produced artificially; but subsequently it was inherited, or,
as he puts it: “Thus, at first usage operated, so that this constitution
was the result of force; but in the course of time it was formed
naturally, so that usage had nothing to do with it”—a view adopted
many centuries later by Buffon and others.
Aristotle. Not only was Aristotle (384-322 B.C.) the first
authority to make use of the word
[10]
“anthropology,” but he may also be described as an
anthropologist. Material had been collected by travellers, such as
Hanno, the Carthaginian, who encountered gorillas in Africa; by
historians, such as Herodotus (who was also a traveller); and by
doctors, such as Hippocrates. Aristotle was indebted to some extent
to all of these; but his vast works in natural history were based
mainly on what he considered of primary importance—facts of actual
personal knowledge derived from personal observation. On this
account alone his writings deserved the place which they held for
many centuries.
10. Cf. p. 6.
Thus, undisturbed by the dogmas of religion or philosophy, he

placed man naturally among the animals (being thus, as Topinard
remarks, about twenty centuries ahead of humanity), but
distinguished from them by certain features—by the relative size of
the brain, by two-leggedness, by mental characters, etc. Some
writers regard it as improbable that either Hippocrates or Aristotle
had ever dissected the human body, but it is also possible to hold an
opposite view. Even Galen (c. 130 A.D.), whose anatomy held the
field for more than a thousand years, had to base his conclusions on
the bodies of animals, notably on those of monkeys; and, although
he did not conceal the fact, it was not until the time of Vesalius that
the discrepancy between simian and human anatomy was
discovered.
Vesalius. Vesalius (1513-1564) is the next great name in
the history of physical anthropology. He was
Professor of Anatomy at Padua, Bologna, and Pisa, and physician to
Charles V. and Philip II. His work marks a revolution in anatomical
science; for not only did he overthrow the doctrines which had been
accepted for fourteen centuries, demonstrating that to a great extent
Galen had studied the anatomy of the ape rather than that of man,
but, by his own deductions from direct observation and original
research, he established a fresh and unassailable foundation for
future investigation. His services to anatomy have been compared to
those of Galileo and Copernicus in the field of astronomy. His fate
was not unlike that of many other daring pioneers of the Middle
Ages. He was accused of having dissected a man while yet alive,
and was dragged by his enemies before the Inquisition and
condemned to death. By the intercession of the king his sentence
was commuted into a pilgrimage to the Holy Sepulchre; but on his
return journey he was shipwrecked and drowned off the island of
Zante.
Cunningham, in his Presidential Address to the Royal
Anthropological Institute, 1908, refers to the work of Vesalius, whom
he describes as one of the most remarkable figures in the sixteenth
century. He adds:—
It is interesting to note in passing that certain racial distinctions did not
escape the eye of Vesalius. “It appears,” he remarks, “that most nations
have something peculiar in the shape of the head. The crania of the
Genoese, and, still more remarkable, those of the Greeks and Turks, are
globular in form. This shape, which they esteem elegant and well adapted
to their practice of enveloping the head in the folds of their turbans, is
often produced by the midwives at the solicitation of the mother.” He
further observes “that the Germans had generally a flattened occiput and
broad head, because the children are always laid on their backs in the
cradles; and that the Belgians have a more oblong form, because the
children are allowed to sleep on their sides.”
We know that more or less continuous pressure is exerted on the

pliable heads of infants to produce admired shapes, but the theory
was carried rather too far when adduced, some centuries later, to
account for the facial features of negroes. Lawrence, in his Lectures
on Comparative Anatomy, attributed the flat noses and thick lips of
the negro to the method of carrying babies in Africa. The negro
mothers, while at work, carry their infants on their backs, and “in the
violent motions required for their hard labour, as in beating or
pounding millet, the face of the child is said to be constantly
thumping against the back of the mother.” By this rude treatment the
face of the negro child was supposed to be moulded into shape; but,
as Cunningham points out, no attempt was made to explain how the
process of bumping produced exactly opposite results in the case of
the nose and lips—reducing the prominence of the former and
increasing the projection of the latter.
Spigel. “The invention of the ‘lineæ cephalometricæ’ of
Spigel, who died in the early part of the
seventeenth century, may perhaps be regarded as constituting the
earliest scientific attempt at cranial measurement.” He drew four
lines in certain directions, and a skull in which these lines were equal
to each other he regarded as regularly proportioned. “Although these
lines are evidently not sufficient for the comparative ethnography of
the present day, yet it is interesting to observe that, in ascending the
zoological scale, these lines approximate equality just in proportion
as the head measured approaches the human form.”[11]
11. J. Aitken Meigs, North American Med.-Chir. Rev., 1861, p. 840.
Tyson. Johann Sperling, author of a Physica
anthropologia (1668), and Samuel Haworth, who
wrote Anthropologia; or A philosophical discourse concerning man
(1680), also belong to the seventeenth century. But more important
is the work of Edward Tyson, a Cambridge man, who took his degree
of Doctor of Medicine in 1678. He was a Fellow, and later Censor, of
the College of Physicians, Fellow of the Royal Society, and writer of
numerous papers on anatomy. His fame rests mainly on the work
which laid the foundations of comparative morphology, Orang-
Outang, sive Homo Sylvestris: or The Anatomy of a Pygmie
compared with that of a Monkey, an Ape, and a Man (1699). This
was the first attempt to deal with the anatomy of any of the
anthropoid apes, and shows very conspicuous ability on the part of
the author. He compared the structure of man with that of the
monkeys, and came to the conclusion that the pygmy formed a kind
of intermediate animal between the two. The pygmy was, as a matter
of fact, a chimpanzee, and its skeleton, which was thus early
recognised as the “missing link,” is still to be seen in the Natural
History Museum (British Museum) at South Kensington. Tyson
added to his work on the Anatomy of the Pygmie, A Philological
Essay, Concerning the Pygmies, the Cynocephali, the Satyrs, and
Sphinges of the Ancients. Wherein it will appear that they are all
either Apes or Monkeys, and not Men as formerly pretended. The
purpose of the Essay may be expressed in his own words:—
If therefore I can make out ... that there were such Animals as
Pygmies; and that they were not a Race of Men, but Apes; and can
discover the Authors, who have forged all, or most of the idle Stories
concerning them; and shew how the Cheat in after Ages has been carried
on, by embalming the Bodies of Apes, then exposing them for the Men of
the Country, from whence they brought them: If I can do this, I shall think
my time not wholly lost, nor the trouble altogether useless, that I have
had in this Enquiry.
The Pygmies. This was the first attempt to explain in a rational

fashion the innumerable tales found in all parts of
the world about the existence of pygmy races, ape-men or men-
apes. Tyson’s hypothesis was that all these legends were based on
imperfect observations of apes, and he was followed by Buffon and
others. It may be well here briefly to note the researches which have
led in late years to the opposite conclusion—i.e., that the tales relate
to a dwarf race of men formerly very widely spread over the globe.
This theory is mainly associated with the name of de Quatrefages
(1810-1892). In the Introduction to his book on the pygmies he says:
“For a long time past the small black races have attracted my
attention and my interest in a special manner.” His earliest
investigations of the subject were published in 1862, and continued
until 1887. Analysing the evidence, he shows that the two localities
where the ancients appear to place their pygmies (the interior of
Africa and the southern-most parts of Asia), together with the
characters assigned to them, indicate an actual knowledge of the
two groups of small people (Negrilloes and Negritoes), who are still
to be found in those regions. Professor J. Kollmann, of Basel, in his
Pygmäen in Europa (1894), argues for the existence of a European
pygmy race in Neolithic times from some remains found at
Schaffhausen, and the wide prevalence of short statures among
many peoples in Europe, especially in the south. Mr. David
MacRitchie attributes not only legends of pygmies, but fairy-tales in
general, to this prehistoric dwarf race. President Windle sums up the
question thus:—
It is possible with more or less accuracy and certainty to identify most
of those races which, described by the older writers, had been rejected
by their successors. Time has brought their revenge to Aristotle and Pliny
by showing that they were right, where Tyson, and even Buffon, were
wrong. (P. liii.)
In the time of Aristotle Man took his place naturally at the head of
the other animals, being distinguished from the brutes by certain
characters. But the influence of religion and of philosophy did not
long permit of this association. Man came to be regarded as the chef
d’œuvre of creation, a thing apart, a position aptly described in the
words of Saint Paul (marginal version) “for a little while inferior to the
angels.”
In the eighteenth century came a startling change. Man was
wrenched from this detached and isolated attitude, and linked on
once more to the beasts of the field. This was the work of Linnæus.
Linnæus. The year 1707 is memorable in the history of
Anthropology as the date of the birth of two of its
greatest men, Linnæus[12] (1707-1778) and Buffon (1707-1788). Both
devoted long lives to science, and both produced monumental works
of permanent value; but it would be hard to find two contemporary
figures engaged in the same pursuit whose lives presented a greater
contrast.
12. By a patent of nobility conferred in 1757 Linnæus became Karl von Linné.
Linnæus was the son of a poor pastor, and his mother was the
daughter of the former pastor of the same small Swedish parish. At
the early age of four young Karl is said to have taken an interest in
botany, and to have begun to ask questions that his father could not
answer. Either to escape this interrogation, or for wiser motives, the
father made it a rule never to answer the same question twice, and
to this early discipline Linnæus used to trace his tenacious memory.
The boy was intended for the ministry, and was early sent to school;
but, as he devoted all his time to botany, his progress in theology
was nil, and when, after two years, his father visited the school, and
learnt of the disappointing result of all the pinching and saving which
had gone to provide for the son’s education, he resolved to
apprentice him to a tailor or shoemaker in hopes of obtaining a better
return for his outlay. Fortunately a friend intervened, and gave the
boy board and lodging, besides private tuition, while he finished his
gymnasium course. His work as a student seems to have failed to
satisfy his instructors, for when he proceeded to the University of
Lund it was with the enigmatic testimonial to the effect that “some
shrubs in a garden may disappoint the cares of the gardener, but if
transplanted into different soil may prosper.”
When barely twenty-two he left Lund for Upsala, taking with him
his entire fortune of £8, and, being inexperienced and unknown,
soon found himself in desperate straits. He was rescued by the
generosity of Dr. Celsius, a professor of theology, but student of
botany, who, impressed with Karl’s collections and enthusiasm,
offered him board and lodging, and obtained for him some private
pupils. The hardships of his life were not yet over, but gradually his
work obtained recognition, abroad sooner than at home, and he
could have lived at his ease in England or the Netherlands; only (as
he expressed it), “his Sara was in Sweden,” and he returned to his
native land to scrape together sufficient means to marry her.
Buffon.
From the beginning Georges Louis Leclerc, Comte de Buffon, was
marked out for a different life. His father was a Burgundian
Councillor, and his mother, besides being an heiress, was a woman
of unusual ability. He was originally destined for the law, but his
tastes always inclined towards science, and he soon found occasion
to follow them.
He made the acquaintance of a young Englishman of rank and of
his tutor, who was a man of science, and with them he travelled on
the continent. About the same time Linnæus was also travelling, but
in a different fashion. He set out to make explorations in Lapland,
then very little known, carrying his luggage on his back, and covered
nearly 5,000 miles at a cost of about £25. During his travels he kept
a diary[13] of his observations, which contains not only botanical but
also ethnological information of great value.
13. See Globus, “Linné als Ethnologe,” xci., 1907.
While Linnæus was living from hand to mouth, depending for his
food on chance generosity, and mending his boots with folded paper,
Buffon was living the gay life of the young men of his age and rank,
and we hear of him being forced to flee to Paris to escape the results
of wounding an Englishman in a gaming quarrel. (Linnæus was also
guilty of drawing his sword in anger, but the provocation was
different. During his absence from Upsala a rival had, by private
influence, contrived to get a prohibition put on all private lecturing in
the University, and he returned to find all his means of livelihood
suddenly cut off.)
Nevertheless Buffon’s life of pleasure did not occupy all his
energies. He possessed, as Voltaire said, “l’âme d’un sage dans le
corps d’un athlête,” and while in Paris he wrote and translated
various scientific works, was elected a member of the Academy of
Science, and in 1739 was appointed keeper of the Jardin du Roi and
of the Royal Museum.
The permanent value to Anthropology of the work of these two
men lies in the fact that they both “saw life steadily, and saw it
whole.” But they produced results not only distinct, but, in some
respects, antagonistic. Buffon, as Topinard says, did not classify, he

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