HOW TO IMPROVE TO MOTHER TONGUE LEARNING
Begin literacy teaching in mother tongueA curriculum, rooted in the child’s known language, cultureand environment, with appropriate and locally-developedreading and curriculum materials, is crucial for earlylearning success. Using the home language in the early stagesof schooling in multilingual contexts supports child-centricpolicies. It starts with what is familiar and builds in newknowledge. It creates a smooth transition between home andschool; it stimulates interest and ensures greaterparticipation and engagement. This prepares children for theacquisition of literacy and encourages fluency andconfidence in both the mother tongue and, later, in otherlanguages, where this is necessary.
Ensure availability of mother-tongue materialsChildren need to be engaged in and excited about readingand learning and this can only be done if the materials areones which they will understand and enjoy. In mostdeveloping countries, the only reading material children seeare school textbooks, which are often in very short supply.Other materials to support learning are hardly everavailable. Without access to good materials, children struggleto become literate and learn. In most low- and middle-income countries, the majority of primary schools have nolibrary, and books are luxuries which families cannot afford.For children from minority language communities, thesituation is even more dismal. Textbooks are rarely availablein local languages.
Provide early childhood education in mother tongueLiteracy development starts early in life, and the homeenvironment is an important factor in children’s learningachievement. It helps build the knowledge and skills childrenneed for learning to read. Where parents and the communityare supporting literacy development, results show a markedimprovement. The earlier children are exposed to stories thebetter their reading is: reading for only 15 minutes a day canexpose children to one million written words in a year,thereby helping them to develop a rich vocabulary. Childrenwith access to materials at home are more likely to developfluency in reading

what you see in a lot of modern politics is this delicate dance between conservatives and 00:24:40 liberals which I think that uh uh for many generations they agreed on the basics their main disagreement was about the pace that both conservatives and 00:24:52 liberals they basically agree we need some rules and also we need the ability to to change the rules but the conservatives prefer a much slower Pace

there are good stories and bad stories uh good stories I mean this is very on a very very simplistic level but good stories 00:13:23 benefit people and bad stories can create you know Wars and genocides and and the most terrible crimes in history were committed in the name of some fictional story people believed very few 00:13:38 Wars in history are about objective material things people think that we fight like wolves or chimpanzees over food and territory this is not the case 00:13:52 at least not in the modern world if I look for instance at my country which is at present in at War the Israeli Palestinian conflict is not really about food and territory there is enough food 00:14:04 between the Jordan and Mediterranean to feed everybody there is enough territory to build houses and schools for everybody but you have two conflicting stories or more than two conflicting 00:14:17 stories in the minds of different people and they can't agree on the story they can't find a common story that everybody would be happy with and this is the the Deep source of the conflict

even religious people would openly tell 00:08:19 you that all the gods in the world are fictional stories invented by humans except one not my God my God is is true but Zeus and Shiva and whatever other 00:08:33 gods other people have they are fictions invented by humans and um I think that again the scientific consensus is is is just the same view with an addition of 00:08:46 one additional God my God is also like Zeus and and and like Jupiter and like Thor and like all these others it is also a fictional story created by humans

religious ideas contend that a non-physical Consciousness called God was in a good mood at one point so he and it usually is a he created 01:27:18 physicality the material world around us thank you so in those viewpoints Frameworks you're not allowed to ask who or what created God because the answer will be well he 01:27:35 just is and always was so have faith my child and stop asking questions like that [Music] religion or Mythos of materialism philosophy you are not allowed to ask 01:27:46 what created physical energy if you do the answer will be the big bang just happened it was this energy in a point that just was and always will be so have faith my child and don't ask questions 01:28:00 that can't be answered

The mindset or paradigm out of which the system — its goals, power structure, rules, its culture — arises

But a good short story is always basically a memento mori.

I had discovered somethingvery special

notes that when you don't tend to your digital garden, people come along, think your work is weeds, and pull it from existence.

tending to the digital garden.

The president who refused to flee the capital, telling the US that he needs ammunition, not a ride; the soldiers from Snake Island who told a Russian warship to “go fuck yourself”; the civilians who tried to stop Russian tanks by sitting in their path. This is the stuff nations are built from. In the long run, these stories count for more than tanks.

The letters of “aeros” include the five most frequent letters used in English (as Edgar Allan Poe pointed out in the cryptographic challenge included in his famous short story The Golden Beetle)

Oscar Wilde declared he was an advocateof socialism because he didn’t like having to look at poor people orlisten to their stories

Like Creation stories every where, cosmologies are a source of identity and orientation to the world. They tell us who we are. We are inevitably shaped by them no matter how distant they may be from our consciousness. One story leads to the generous embrace of the living world, the other to banish-ment. One woman is our ancestral gardener, a cocreator of the good green world that would be the home of her descendants. The other was an exile, just passing through an alien world on a rough road to her real home in heaven.

On one side of the world were people whose relationship with the liv-ing world was shaped by Skywoman, who created a garden for the

Critical to historical and ongoing carbon lock-in has been the pervasive failure in industrial, modern societies to imagine desirable ways of living that are neither wedded to the carbon economy nor dependent on narratives of progress reliant on perpetual economic growth (see Section 4.1). This scarcity of plausible imaginaries underpins many of the factors discussed in this article and persists for a number of interconnected reasons.

Claudia: Why? Do you think it's because of all the tattoos?Yosell: Probably, that's probably why it is. The way you dress.Yosell: Since I do remember I was maybe 17 or 16 when I started getting tattooed drunk.Claudia: Here or in the States?Yosell: Out in the States.Claudia: What did you like about tattoos?Yosell: Basically, the story it tells. There's a lot of things into it.Claudia: Do you have a favorite one?Yosell: My favorite one would probably be like I have these two angels here. Those are my two brothers, so I decided to get them, and I got my mom tattooed on my head.Claudia: Oh wow, that's amazing.Yosell: That's probably one of my favorite ones. Let's see, I had a cousin that got shot out in the States out in Utah, so I ended up getting a Salt Lake tattoo right here.Claudia: Oh, I see.Yosell: I guess there's a couple. I got these two right here, it's probably my favorite tattoo, actually. It says—Claudia: Did that hurt a lot? I know that's a stupid question, but I'm just very curious.Yosell: [Laughs]. It didn't hurt quite as much as I thought it would, it was just more like, "Oh my eyes are really like, tiring," kind of stuff, so that didn't really hurt. I think the worst I've ever had hurt was probably right here on the collarbone area. Yeah, that's probably the worst.Claudia: We've heard from a lot of people here tattoos are kind of associated with gangs and criminal activity over in the States, and that's why a lot of migrants when they come back get profiled. Do you think that's true?Yosell: I have to tell you, I'm going to guess that's really true. Because it's just something really common up there. Either you join something and you're known as hardcore, you're known as somebody, or you don't join anything and you get bullied around. That's what I could say.

User stories are a great way of designing features, but when you are designing community features on the web it is also useful to have user stories that start “I am an absolute arsehole and I want to…”

Maybe this was the love part of the story: Two people collaborating on a solution to a problem occupying space often unnoticed but always felt.

https://outline.com/tan7Ej

how 3M content managers used structured authoring to keep content up to date without sacrificing quality during the COVID-19 pandemic

SDG STORIES: 1 Stories Available

German stories of ghosts,

resources for Oregonians working to improve our shared environment.

the stories they produce

Princess Langwidere and her collection of heads for every moment; The Nome King and the horror of being turned into decorative tchotchkes, unable to tell your friends who you are; and the Wheelers.

We will have local, regional, national and then we see what happens. -Get infiramtion, weekly newsletters etc. Getting the stories together.

a fantastic website- Vikalpsangam- in terms of what stories to share. In practical terms, just creating visibility for all these experiences and then linking themup. Website should be a useful start.

Design is inherently political, but it is not inherently good. With few exceptions, the motivations of a design project are constrained by the encompassing platform or system first, and the experiences and values of its designers second. The result is designers working in a user hostile world, where even seemingly harmless platforms or features are exploited for state or interpersonal surveillance and violence.As people living in societies, we cannot be separated from our political contexts. However, design practitioners research and implement systems based on a process of abstracting their audience through user stories. A user story is “a very high-level definition of a requirement, containing just enough information so that the developers can produce a reasonable estimate of the effort to implement it23.” In most cases, user are grouped through shared financial or biographical data, by their chosen devices, or by their technical or cognitive abilities.When designing for the digital world, user stories ultimately determine what is or is not an acceptable area of human variation. The practice empowers designers and engineers to communicate via a common problem-focused language. But practicing design that views users through a politically-naive lens leaves practitioners blind to the potential weaponisation of their design. User-storied design abstracts an individual user from a person of lived experience to a collection of designer-defined generalisations. In this approach, their political and interpersonal experiences are also generalised or discarded, creating a shaky foundation that allows for assumptions to form from the biases of the design team. This is at odds with the personal lived experience of each user, and the complex interpersonal interactions that occur within a designed digital platform.When a design transitions from theoretical to tangible, individual user problems and motivations become part of a larger interpersonal and highly political human network, affecting communities in ways that we do not yet fully understand. In Infrastructural Games and Societal Play, Eleanor Saitta writes of the rolling anticipated and unanticipated consequences of systems design: “All intentionally-created systems have a set of things the designers consider part of the scope of what the system manages, but any nontrivial system has a broader set of impacts. Often, emergence takes the form of externalities — changes that impact people or domains beyond the designed scope of the system^24.” These are no doubt challenges in an empathetically designed system, but in the context of design homogeny, these problems cascade.In a talk entitled From User Focus to Participation Design, Andie Nordgren advocates for how participatory design is a step to developing empathy for users:“If we can’t get beyond ourselves and our [platforms] – even if we are thinking about the users – it’s hard to transfer our focus to where we actually need to be when designing for participation which is with the people in relation to each other25.”Through inclusion, participatory design extends a design team’s focus beyond the hypothetical or ideal user, considering the interactions between users and other stakeholders over user stories. When implemented with the aim of engaging a diverse range of users during a project, participatory design becomes more political by forcing teams to address weaponised design opportunities during all stages of the process.

StoryEngine is way to listen to, support, and create with the people who matter most to an organization or a cause. It can be used to do research, to monitor or evaluate a program, to generate learning, or facilitate grant reporting. StoryEngine is based in-depth interviews that get transformed into stories. These stories are assets — for communications, advocacy, and more — as well as data. Together the stories create larger dataset that can analyzed to surface insights and learning that inform decision-making.

In his work, Alexander seeks a way to return a sense of wholeness to the buildings and environments of modern Western society. He emphasizes that the crucial process is healing. Every new construction, whether building or square or street furniture or window detail, must be made in such a way as to heal the environment, where “heal” especially means “make whole.” The obligation is that the thing built must work “to create a continuous structure of wholes around itself”

In his explication of the floor, wall, and roof, Thiis-Evensen assumes that there are various shared existential qualities‑-insideness-outsideness, gravity-levity, coldness-warmth, and so forth‑-that mark the foundation of architecture.

Heidegger suggests that building relates to dwelling, which therefore can be said to involve a sense of continuity, community, and at-homeness

an architect's aesthetic sense is subjective because he or she has not thoughtfully considered how architectural forms arise from and translate themselves back into shared existential qualities like motion, weight, substance, insideness, outsideness, permeability, closure, and so forth.

There will always be a certain tension, a kind of imperfection, between what we wish, do, and make. The significant questions are how do we dwell in our own particular situations and how can we shape the quality of our dwelling for better or worse?

the universality of architectural expression

also means at the same time to cherish and protect, to preserve and care for, specifically to till the soil, to cultivate the vine.

When we speak of dwelling we usually think of an activity that man performs alongside many other activities. We work here and dwell there. We do not merely dwell-that would be virtual inactivity-we practi~e a profession, we do business, we travel and find shelter on the way, now here, now there.

Man acts as though he were the shaper and master of language, while in fact language remains the master of man.

When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience.

Man's Being rests in his capacity to cultivate and safeguard the earth, to protect it from thoughtless exploitation and to defend it against the calumnies of the metaphysical tradition.

Space is in essence that for which room has been made, that which is let into its bounds. That ~or which room is made is always granted and hence is joined, that is,_ gathered, b! virtue of a locale,' that is, by such a thing as the bndge.

site for t_he fourfold, a site that i~ each case ,J?.rovides for a space. The relation between locale and space lies in llie essence of these things as locales, but so does the relation of the locale to the man who lives there. Therefore we shall now try to clarify the es-sence of these things that we call buildings by the foJJowing brief consideratio

there were other worlds where children did not regularly fear for their bodies.

Arion,

The Backblaze environment is the exact opposite. I do not believe I could dream up worse conditions to study and compare drive reliability. It's hard to believe they plotted this out and convened a meeting to outline a process to buy the cheapest drives imaginable, from all manner of ridiculous sources, install them into varying (and sometimes flawed) chassis, then stack them up and subject them to entirely different workloads and environmental conditions... all with the purpose of determining drive reliability.

The enthusiast in me loves the Backblaze story. They are determined to deliver great value to their customers, and will go to any length to do so. Reading the blog posts about the extreme measures they took was engrossing, and I'm sure they enjoyed rising to the challenge. Their Storage Pod is a compelling design that has been field-tested extensively, and refined to provide a compelling price point per GB of storage.