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Zilahi5325    April 30, 2023    Comment   

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evolve body article about lifelong

evolve body article about lifelong

Zilahi5325    April 30, 2023    Comment   

If there is one phrase that is most universal in teacher-prep programs, it’s probably “lifelong learner.” And it’s true—when we head off to our first teaching assignment, we are not finished learning by a long shot. In fact, the journey is just beginning. But what we don’t often hear is that part of being a lifelong learner is evolving not only in

Futurist Alvin Toffler famously wrote, “The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn.” As educators we should be continually evolving in the practice of learning.

1. Reframe our mindset. Education reformer Dylan Wiliam says, “If we create a culture where every teacher believes they need to improve, not because they are not good enough but because they can be even better, there is no limit to what we can achieve.”

The Lifespan Perspective

One strategy to unlearning is to embrace the mindset of continuous improvement. In our ever-changing world, the way we learn needs to continuously adapt to leverage new possibilities, not because we aren’t good enough but because we have even more opportunities to be better.

To be clear, we, as educators, aren’t the only ones who need to be unlearning and relearning. In fact, one of the biggest challenges we can face in the shift from more teacher-driven practices to learner-driven practices (e.g., project-based learning) is the pushback from kids who are used to learning a certain way, especially if they have mastered how to do what is needed to get that “A.” Both kids and adults can iterate, continuously improving and evolving as learners.

2. Be less helpful. I can imagine the visceral reaction some may have to the title of this section. It is often part of our identity as educators to be helpful, provide answers, and solve problems. However, when we burden ourselves with that hero mentality, we can miss out on the opportunity to learn from others, and we aren’t building capacity in others. We don’t want to rescue, we want to strategically insert ourselves.

Embracing A Culture Of Lifelong Learning: Contribution To The Futures Of Education Initiative;report;a Transdisciplinary Expert Consultation

We also have to be brave enough to say, “I don’t know, and I’d love to learn that with you.” With both kids and our peers, we need to (cue Aaron Burr in

3. Ask more questions. I will date myself here, but I’m old enough to remember a time when if you needed information, you had two choices: find someone who knew a lot or head to the encyclopedia.

Now we have a portal to information in our pocket, but with that comes new challenges such as finding and validating information to avoid confirmation bias and get out of our filter bubble. We need to evolve the way we learn because the world has evolved, and we have new and different opportunities to learn now.

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When we move outside our building and our role/content area to gain a new perspective, there are even more options. We can use social media, read, and listen to podcasts. Here are some great examples. This shift to asset-based thinking is critical to embrace the robust options as we move forward.

Many of us spent our formative years with a teacher exclusively lecturing at the front of the room while we remained quietly and passively seated in rows to absorb information, but in the immortal words of Maya Angelou, “When you know better, you do better.”

? This is an entertaining look at how neural pathways enter into the process of unlearning. Before that, though, how do we even know what we should unlearn?

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In the book Evolving Learner, my coauthors and I share how learning from kids, peers, and the world (our learning network) gives us the social and emotional support to be strong enough to be vulnerable. A cycle of inquiry, such as

, provides a structure to challenge our beliefs through action research. The two combined give us the capacity to learn, unlearn, and relearn as needed. As adaptive experts, we can do the following:

This is an ongoing, iterative process. We will almost certainly fail along the way, but that is a natural part of this messy, nonlinear, and sometimes scary process.

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Last year, organizational psychologist Adam Grant tweeted, “What we need in leaders is not confidence, but confident humility.” Whatever our role is in education, we are all leaders, and as someone who battles with impostor syndrome, I try to leverage that humility, but I also need confidence to move forward.

Somewhere between paralyzing impostor syndrome and insufferable arrogance, there is a sweet spot, and using the strategies shared above, I believe we can find it. We can challenge ourselves to continuously learn, unlearn, and relearn. When we make ourselves better learners, we are also better teachers, and we model to kids what it means to evolve as a learner.

When we move outside our building and our role/content area to gain a new perspective, there are even more options. We can use social media, read, and listen to podcasts. Here are some great examples. This shift to asset-based thinking is critical to embrace the robust options as we move forward.

Many of us spent our formative years with a teacher exclusively lecturing at the front of the room while we remained quietly and passively seated in rows to absorb information, but in the immortal words of Maya Angelou, “When you know better, you do better.”

? This is an entertaining look at how neural pathways enter into the process of unlearning. Before that, though, how do we even know what we should unlearn?

Lifelong Learning Is The Way To Overcome Disruptive Economic Forces

In the book Evolving Learner, my coauthors and I share how learning from kids, peers, and the world (our learning network) gives us the social and emotional support to be strong enough to be vulnerable. A cycle of inquiry, such as

, provides a structure to challenge our beliefs through action research. The two combined give us the capacity to learn, unlearn, and relearn as needed. As adaptive experts, we can do the following:

This is an ongoing, iterative process. We will almost certainly fail along the way, but that is a natural part of this messy, nonlinear, and sometimes scary process.

A New Educational Framework To Improve Lifelong Learning For Cardiologists

Last year, organizational psychologist Adam Grant tweeted, “What we need in leaders is not confidence, but confident humility.” Whatever our role is in education, we are all leaders, and as someone who battles with impostor syndrome, I try to leverage that humility, but I also need confidence to move forward.

Somewhere between paralyzing impostor syndrome and insufferable arrogance, there is a sweet spot, and using the strategies shared above, I believe we can find it. We can challenge ourselves to continuously learn, unlearn, and relearn. When we make ourselves better learners, we are also better teachers, and we model to kids what it means to evolve as a learner.

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body art mercato saraceno restaurant supply store near me

Zilahi5325    April 29, 2023    Comment   

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Il corso è rivolto alle gestanti dal 4° mese di gravidanza. La gravidanza è una fase della vita di una donna interessata da diversi cambiamenti: sul piano fisiologico vengono...

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Jeet Kune abbreviato in JKD, è un'arte, scienza e filosofia del combattimento ideata da Bruce Lee negli anni sessanta  attraverso un processo di semplificazione, modificazione...

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L'attività sportiva per i bambini è fondamentale per uno sviluppo ottimale. Lo sport insegna ai piccoli a socializzare e a rispettare le regole. Una crescita armoniosa non può....

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daysmart body arthur tv series cast

Zilahi5325    April 29, 2023    Comment   

Developed by Kathy Waugh for PBS, and produced by WGBH. The show is set in the fictional U.S. city of Elwood City, and revolves around the lives of Arthur Read, an anthropomorphic aardvark,

The television series is based on the Arthur book series writt and illustrated by Marc Brown. WGBH Boston along with Montreal-based Cinar (now WildBrain) began production of the animated series in 1994, and aired its first episode on October 7, 1996.

A pilot for the spin-off series Postcards from Buster aired in December 2003 as a season 8 episode of Arthur. Postcards from Buster aired from October 11, 2004, to November 21, 2008; the series faced several years of hiatus, until a brief revival in February 2012, only to be cancelled after airing three unse episodes that had be held over from the show's third season.

New Haven Review

Arthur concluded its original run on PBS Kids on February 21, 2022. Despite concluding after 25 years, the show will continue to have new contt on PBS Kids and on the video app.

And autism spectrum disorder. It also courages reading and relationships with family and frids by explaining that people have differt personalities and interests.

It was the longest-running childr's animated series in the U.S., and is the third longest-running animated series in the U.S., behind Comedy Ctral's South Park.

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Arthur Read, the series' titular character, is an anthropomorphic brown aardvark who lives in the fictional town of Elwood City. He is a third-grade studt at Lakewood Elemtary School. Arthur's family includes two home-working parts, his father David (a chef) and his mother Jane (an accountant), his two younger sisters, Dora Winifred (D.W.), who is in preschool, and Kate, who is still an infant, and his dog Pal. Arthur also has several frids who come from diverse ethnic and socioeconomic backgrounds, and he also occasionally meets with members of his extded family.

Elwood City is portrayed as a largely suburban area which bears a strong resemblance to the Boston area; the TV series is partially produced by WGBH. There are also firm referces to Brown's hometown of Erie, Pnsylvania. Most notably, the local shopping mall in the TV show is called "Mill Creek Mall", a referce to Millcreek Mall. Brown himself stated that the series is influced by his upbringing as a child in Erie, and specifically noted that Mr. Ratburn is based on a middle-school algebra teacher he had at Westlake Middle School.

In 1994, Marc Brown was approached by WGBH and PBS about the possibility of adapting the Arthur books into a television series. Brown was reluctant at first to become a part of a medium for which he had little respect, but soon agreed wh he learned that the objective of the television series would be to use the powerful medium of television to courage childr to read books.

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Although the program was primarily writt and produced by WGBH of Boston, the production of the animation and voice acting were done in Montreal, Toronto, South Korea, and Hong Kong. The animation of the show was done at AKOM Production Company from season 1 to 11, th at Animation Services (HK) Ltd from season 12 to 15. The tire cast of Arthur lives in Montreal or Toronto, where Cookie Jar tertainmt's studios are located. The only segmts of the show that were filmed outside Canada were the "A Word from Us Kids" interstitials, filmed at elemtary schools or other educational sites in the Boston area. Beginning in Season 11, the "A Word From Us Kids" segmt was replaced by a segmt called "Postcards from You", where live action videos st in by young viewers were spotlighted per episode, and th replaced with "A Word from Us Kids" in season 12. The segmts are omitted from all airings outside the US.

Marc Brown's childr, Tolon, Eliza, and Tucker, are referced in the show several times, just as they are in the Arthur book series. For example, the town's moving company is called "Tolon Moving", and everyday items such as cups or pcil sharpers have the word "Eliza" printed on them. Referces to Cookie Jar tertainmt and WGBH also appear oft on the show. In one episode, Francine and Buster are shown playing a table hockey game in which one team's players wear shirts in the Montreal Canadis' signature colors with Montreal-based Cinar's logo on them (Cinar was the predecessor to Cookie Jar tertainmt) and the other team's players wear shirts in the Boston Bruins' colors with Boston-based WGBH's sting logo on them.

Also, in the episode "The Big Blow-Up" in Season 2, a racecar driver wears a jersey with "Cinar" writt on it and a car with "WGBH" writt on it. In the episode "Prove It" in Season 4, Brain introduces D.W. to scice while watching a live-action episode of Nova, a scice series also produced by WGBH. Brown's son Tolon, for whom Brown first invted the character of Arthur the Aardvark in a bedtime story, was the executive director of the show.

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It was revealed that both the chairman Micheline Charest and presidt Ronald Weinberg invested $122 million (US) into Bahamian bank accounts without the board members' approval. Cinar had also paid American screwriters for work while continuing to accept Canadian federal grants for contt. However, Arthur itself was not involved in the scandal as it was publicly known to be co-produced with an American company. Head writers Joe Fallon and K Scarborough left around that time, but not because of the scandal; Fallon left about a year before the investigation began.

Following the departures of Charest and Weinberg, former CBC and YTV executive Peter Moss took over Cinar, assuming Charest's former position on the show as an executive producer alongside WGBH's Carol Grewald. By season 7, Moss had left Cinar to join Nelvana as a developmt executive, and financial director Andrew Porporino took his place as executive producer. He was replaced by longtime producer Lesley Taylor in season 8.

In the Season 14, the series began producing and airing episodes in 1080i HD. However, until October 15, 2012, in the U.S., the episodes still aired in 4:3 aspect ratio, with the left and right sides cropped out. They have since begun airing in 16:9 on October 15, 2012. Season 12 also marked the switching of animation studios from AKOM to ASHK. Starting with season 16, the series was produced by 9 Story tertainmt (now 9 Story Media Group) and aired in 16:9 aspect ratio. Alongside this change, 9 Story produced a re-mastered oping theme for the series in 16:9, and animation was moved in-house using Adobe Flash. Season 19 was the last season to be produced by 9 Story, with Montreal-based-Oasis Animation taking over starting in season 20.

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In November 2018, Bruce Dinsmore (voice of Binky, Mr. Read, and Bailey) revealed that he has finished recording the final episodes in advance.

The TV show's reggae-style theme song, "Believe in Yourself", was writt by Judy Hderson and Jerry de Villiers Jr. and was performed by Ziggy Marley and the Melody Makers. A remixed techno version of the song has be officially released on the third album and a shorted version has be played during the closing credits for the sixth season. The Backstreet Boys covered the song with the original instrumtals for the ding credits of television special Arthur: It's Only Rock 'n' Roll.

In season 2, the song "Crazy Bus", writt and performed by th-head writer Joe Fallon, was introduced. It served as the alternate anthem of the television series. Cellist Yo-Yo Ma and jazz composer Joshua Redman covered the song on the ding credits of the season 4 finale episode, "My Music Rules". Wh Joe Fallon left Arthur after season 4, the song was officially retired from the show. The show mtions to this on the TV special Arthur: It's Only Rock 'n' Roll wh D.W. says, "Crazy Bus is for babies; I know a million better songs."

Style Magazine, November 2022 By Akers Media Group

Many celebrity guest stars have appeared on the show, each providing the voice for their anthropomorphic animal counterpart, except for Joan Rivers, who played as Francine's maternal grandmother. Lance Armstrong and Joan Rivers are the only guest stars to make more than one appearance on the series.

(Clockwise from upper left): Brain, Binky, Sue Ell, Francine, Muffy, Buster, Prunella, George, Arthur, Baby Kate. From the episode, "That's a Baby Show!"

Arthur's immediate family is the focus of the series, with most episodes involving Arthur, his younger sister D.W., their parts David and Jane, Baby Kate, and their dog, Pal. Arthur's closest frids include Buster, Francine, Muffy, Binky, Brain, and Sue Ell, along with others such as Fern, Prunella, Jna, and George as frequt supporting characters.

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The adults in Arthur play important roles: Mr. and Mrs. Read display a significant amount of stress from parting, Arthur's frids' parts are shown struggling in middle-class jobs, and Mr. Ratburn dures the demands and expectations of teaching elemtary school. Ev in difficult, adult situations, these grown ups maintain a cheerful attitude. Arthur, D.W., and Kate also visit their paternal grandmother, Thora Read, and maternal grandfather, Grandpa Dave.

Unlike most animated television series, Arthur

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body art insurance policybazaar logo

Zilahi5325    April 20, 2023    Comment   

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Zilahi5325    April 20, 2023    Comment   

Joan Simon has worked as a writer, editor, and curator over the past 30 years. Of her approach to researching subjects, Simon observes, “I take a bath in it. Get immersed in it. And then see, feel, sense, think about, what’s there, the details as well as emerging patterns, and follow-up with further research.” Anne Sherwood Pundyk spoke with Simon this March in Paris. Their far-ranging conversation came as she was completing her monograph on performance art and video pioneer Joan Jonas,

Simon traced her own girlhood focus on books and biographies, along with dance and theater, to an early embrace of conceptual, performance, installation, and video art in New York City in the 1970s. Starting at age 25, Simon was managing editor for 10 years at

. Her work in magazine and independent publishing led to endeavors as editor and author of monographs and exhibition catalogues devoted to such artists as Bruce Nauman, Ann Hamilton, Susan Rothenberg, Alexander Calder, Gordon Matta-Clark, Jenny Holzer, Rosemarie Trockel, and Sheila Hicks. Among her exhibitions are

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Anne Sherwood Pundyk (Rail): I am intrigued by the breadth of your work and that the touchstone throughout is putting your experiences and responses into written form.

Joan Simon: The thread that goes through is research, and making the research public in different ways, in print and later in film, and exhibitions—with their intimately related catalogues, brochures, labels, text panels, press releases, not to mention initial project and grant proposals. The process of publication, that is, making something public in any of many forms, begins with trying to figure out something for myself, sorting out questions that other viewers likely share. I identify more with being a member of the audience than with being a writer. So writing, including doing in-depth interviews, became a tool for exploring subjects that I thought were important and that I wanted to know more about. This led to travel to see things, to work with artists and in archives, and to search primary documents and to develop them through interviews.

Simon: The research, if you could call it that, began when I was living in New York, going to galleries, living downtown, being in studios, seeing performances in alternate and artists’ spaces, and attending many poetry readings. That’s one, living it. Two, working at

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I can’t think of a more perfect working situation. I went to work there just when Betsy Baker was hired as the editor. She hired me as the managing editor when there was a very small staff. Everything—from the way ideas were approached to how assignments were given to writers, to how the manuscripts moved through the editing process and into layout—was done with a real care, a sense of tending, questioning, respect, attention, and pleasure. Conversations between the editors and the writers, and among the editors, had this same sense. There was a rigor, along with an openness to many different voices.

Simon: The contributors had many different perspectives, as did the editors. There was a balancing out, or actually an acceptance of differences in the debate among the staff. You couldn’t have people more different than Scott Burton, an artist and formerly a critic who could be tremendously intimidating and fierce in his likes and his dislikes, and in the way he would edit a manuscript and curl it up in his hands and almost wear it out. Or poet and critic Peter Schjeldahl, who could put a piece of paper into his typewriter, look at the manuscript submitted, and then type it out from beginning to end and do his editing that way, copy editing and often rewriting as he went along. Or later Roberta Smith and Craig Owens, one who focused on the experience of looking and the form of an essay, the other a theoretician and historian, each very different from the other, and both terrific writers and editors. Sarah McFadden, who has had a long career as writer and editor, was at the outset the assistant to Betsy.

Simon: It worked both ways. A writer could propose a subject, or Betsy might offer a selection to choose from. Periodically, Betsy would conceive special issues, some of them thematic, some on different regions. For example, one was focused on Washington, D.C. (July/August 1976), and Betsy asked me to go there to interview two curators who had recently moved from California: Brenda Richardson and Jane Livingston. Oddly, given the work I was later to do, the title of it was “Tending to Art in Washington and Baltimore: The Itinerant Curator and the Museum.” It was the first interview I ever did. I learned that it’s not the questions that are so important, it’s more listening to see where the conversation is going, and being prepared well enough to be light on your feet to follow whatever turns up, and keep going. Then it’s important to follow-up on questions that become apparent to you only after you’ve read the first rough draft of an interview and have some distance.

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, the art world was in the early stages of its current plurality. The magazine covered this, but also followed the relation between European and American Modernism.

, 1976/2005. Six videos (black and white, sound and silent), props, stages, photographs, Duration variable. Collection the Museum of Modern Art; Gift of Richard J. Massey, Clarissa Alcock Bronfman, Agnes Gund, and Committee on Media Funds. 62.2009.a-hh

Simon: A key issue in magazine publishing is covering what is exhibited publicly and in a timely way. So, in one sense,

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Responded to what was in the galleries and the museums. It didn’t review from studios, so that’s already a defining criterion. The other thing to keep in mind is that in the early ’70s especially, there were many different alternatives developing—later sometimes called artists’ spaces or alternative spaces, as well as a whole genre of diverse artists’ books. There was not only a resistance by artists to authorities determining who would show and where, or a reaction to what was not being shown, but also a valuing of the temporal, rather than the “art object” itself. All of this is also related to the fact that there was a recession. There was no art market to speak of for young artists, and many of the works were in any case deliberately ephemeral. Some artists exhibited their work in galleries; others were working for each other and showing in other downtown spaces, often artist-run, whether sculptors or painters, process or conceptual artists, musicians, dancers, performers, or video-makers, and they also often worked collaboratively or took part in pieces by friends. Video was just beginning to be used. Artists were also working outdoors, in sites claimed in cities, and not only in faraway places for monumental earthworks. Important exhibitions were taking place in Europe, and artists traveled there to install works or build them on site, and the magazine followed. I wrote about

At the same time there were artists’ books—alternative small publications that were inexpensive to produce by offset printing, and that were distributed widely, often for free. Given that I knew how to set type and print things, and had published small press poetry editions, and prior to

Had been working at a trade art book publisher, I continued to publish poetry and artists’ books on my own. One of them wasn’t initially a book per se, or even a pamphlet; it was the newsprint sheets of

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By Gordon Matta-Clark, which was exhibited in bundles, or tacked to walls, and then with the sheets sliced published as an artist’s book. On a personal note, an important part of this other literary track is that I lived in New York with a poet, Ted Greenwald; we had been together since 1968 and married in 1971. With him, throughout the ’70s, I was part of the poetry world centered around St. Mark’s Church. There was a circulation of ideas and crossing of media that goes back to your question about the beginnings of a kind of pluralism. The whole idea of being a professional or having a career wasn’t in the air. You did what you did and one thing led to another. Having worked in magazine publishing, small press publishing, and pamphlet publishing, I started a publishing company with two poets.

Simon: Full Court Press. It began with a conversation with Anne Waldman about the gap between the small press publishers and the trade book houses, so Ron Padgett, Anne, and I started Full Court Press in 1974, and ran it until 1989.

—Bill Berkson, John Ashbery, Peter Schjeldahl. Edwin Denby was a dance critic, and of course there is a very long tradition in Europe and the U.S. of poet-critics. There were also artists who were or had been writers or critics—Donald Judd, Mel Bochner, Scott Burton, Adrian Piper, Rackstraw Downes. And there were poets who became artists, among them Vito Acconci and Laurie Anderson. Early on, Laurie also wrote for art magazines. Artists were also founders of and writers for

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Simon: In some cases, we put together larger collections of a poet’s work that

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The community has developed some standards of gaming to help new players become comfortable with the game. Millions of users have at some point been too inefficient or died unnecessarily. Therefore, a collected list of things the player should not do or forget has been compiled below in order to make the game experience as enjoyable as possible. However, making mistakes is an important step to learn the way of things in , so don't feel bad if you follow these suggestions and still make a mistake. In a way, this tutorial acts as a collection of frequent mistakes.

Regardless of the advice given here, players should feel free to ignore any advice and play the game in their own way.

Especially during the first days of a new world, the player should avoid wasting their hunger bars. If a player's hunger bar drops too low, they will not be able to naturally regenerate health or sprint (making it difficult to run from dangerous situations). If a player's hunger bar runs out, they will also quickly lose a good portion of their health to starvation: Down to 10 health in easy, 1 health in medium, and 0 health in hard.

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Some movement, such as sprinting and jumping, drain hunger and saturation much quicker than walking, and are much less efficient per block traveled. Boats and horses can be used to move around quickly without using up any of the player's hunger bar or saturation. The biggest drain on hunger and saturation is natural regeneration of health, so the player can also conserve hunger and food by avoiding taking damage.

Some food sources can give players the poison or hunger status effects. If the player needs to eat rotten flesh or raw chicken (which are likely to cause the hunger status effect), they should eat multiple pieces at the same time, so they get more hunger/saturation from the food then they lose through the status effect. The player should avoiding eating pufferfish and spider eyes because they cause the poison effect, which would take more hunger/saturation to heal from than these food sources can return. They should also be careful with suspicious stews they found or traded with villagers for, because some suspicious stews can give a poison effect. For any of these food options, the player can drink milk to override the status effect, which may make them a more viable food source.

If the player owns a horse, finding horse armor for it is advised, because ranged mobs could easily end up killing it while the player either advances or retreats on horseback.

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After the first few days of work, the player should have some basic facilities for survival (e.g. farms, a shelter, and a mine). Many players are tempted at this point to venture farther from their base to look for resources and explore.

However, the player should always keep in mind the location of their base. Even a brief moment of activity in an unfamiliar place, especially areas with no landmarks, can confuse a player's sense of direction and result in losing the way home. Without knowing where the base is, the player is in danger of losing valuable time and may have to start over most of the game. It is also much easier to die trying to get back, either from starvation or attacks by hostile mobs.

When planning to venture far away from their main base, a player should carry wood, a crafting table, building blocks, a pickaxe, plenty of food, a weapon like a sword or axe, some quality armor, a water bucket, a long-ranged weapon such as a bow or trident, and (if using a bow) plenty of arrows unless the bow is enchanted with the Infinity enchantment. Make sure to bring wool for beds to set a new respawn point and sleep when it gets dark. When the player gets a large distance away from the last bed slept in, then it is likely time to use another one. Don't break the bed after sleeping in it, or else the you respawn at the world spawn upon death instead of at the bed's location.

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Beds in the Nether or the End explode upon attempting to use them. Respawn anchors safely create spawn points in the Nether, but when fully charged explode upon use in other dimensions. There is no way to set a spawn point in The End.

Normally, when the player sleeps, they wake up next to their bed if the space around it is not taken. It is important to leave a clear area around and above their bed. If there is not free space next to and/or above the player's bed, they may wake up inside a block and begin to suffocate. If this happens, remove the block quickly to avoid death by suffocation. If the player is killed, they cannot respawn at their bed; instead, they spawn instead at the world spawn, which can be far away from where the player was trying to sleep, along with a message saying, "You have no home bed or respawn anchor, or it was obstructed"‌

Also, avoid placing transparent blocks such as glass around their bed as the player cannot spawn on a transparent block after waking up.

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Lava is a dangerous resource. The player should not keep lava in their hotbar unless they are about to use it. Death can result from accidental use of a lava bucket, as well as damage any builds in the immediate area. Apart from lava, having items in the hotbar which are either not essentials (like weapons or food) or in use consumes valuable space. Unless the player is going to throw them or has nowhere else in their inventory for the items to go, leaving these items there just clutters up the hotbar, setting the player up to waste time later.

During adventures, have a bucket of water on the hotbar at all times if not in the Nether. In the case of an emergency, it can do the following:

Heights are dangerous, and jumping off a structure, especially without knowing how tall it is, can result in death. A risky method would be to place a water bucket just before the player lands; this is colloquially called water bucketing. It is much safer to descend mountains or cliffs by climbing down normally or even swimming down water. However, this strategy does not work in the Nether since water evaporates there, which can catch newer players by surprise. Make sure to be especially careful on Amplified worlds, which are vertical, as even netherite armor with Protection and Feather Falling may not reduce enough damage to survive enormous falls. Death at the bottom may make it impossible to reach the items scattered everywhere. Riding off of a cliff in a Boat can also negate fall damage, although due to a bug in Java Edition, there are a few specific heights where this fails.

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If an arrow is shot directly upward, it may fall back down to hit the player. Also, the player should not charge at a target immediately after firing an arrow at them, especially if the player is wearing elytra, as they may collide with the arrow. Death from this method is highly unlikely unless done intentionally.

While not as dangerous as lava, fire is still quite hazardous due to its item-destroying abilities. In addition, it spreads every few seconds and can travel across trees. Luckily, it can be toggled in the world settings. Fire is especially dangerous in dark forest and jungle biomes because the trees are larger (so burn longer) and closer together, and if too many trees burn up at the same time it can heavily affect the game performance. If trying to clear the forest, it is advised to be careful with the fire and have a quick means of escape such as elytra or a Fire Resistance potion. Once the random tick speed gets high enough, fire may burn so fast that it does not render, so the player may end up on fire without seeing anything.

If the player wishes to create a fireplace in a building (for decoration, lighting, or disposing of unwanted items), make sure that the area under and surrounding the fire, as well as the four blocks above it, are made of non-flammable material, or use campfires to make it in a compact wood-themed building.

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A Trident enchanted with Riptide is both a weapon and a means of quick air travel. If the player carelessly launches themselves into the air with Riptide, they can put themselves at risk of serious fall damage and death. The player should be careful not to launch themselves into dangerous situations. Using elytra or a potion of Slow Falling is recommended to prevent accidental death. While it is raining, the player can essentially use Riptide to fly through the air. However, due to its fairly long charge-up time, the player may accidentally fall a long distance if they do not use the trident fast enough, or if it suddenly stops raining.

Mining

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An oil painting portrait of an artist in his studio by American artist Edward Horace Nicholson (1901-1966). It is possibly a self portrait of the artist. According to the label on the back, this painting was exhibited in 1956 at the Indiana Artists Club exhibit. The painted canvas inside the gilt wood frame measures 23 1/4 x 17 1/4 inches. Included is a descriptive tag from Vintage Bank Antiques in Petaluma, California.

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This type of data sharing may be considered a “sale” of information under California privacy laws. Turning off personalised advertising opts you out of these “sales”. Learn more in our Privacy Policy, Help Centre, and Cookies & Similar Technologies Policy.This beautifully crafted collection of poetry and short fiction began life in the North Pennines. It celebrates the human response to wildness and the connections between language and landscape. The writers take us on a journey, from pre-historic fossil remains to the bones of the future, through rivers, moorland, rocks and woodland. Twelve authors, twelve distinct voices

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The pamphlet was sponsored by the North Pennines AONB. Copies (£2.50) are on sale at the Bowlees visitor centre in Teesdale or contact 15@

Hot off the presses … Jamie Tucknutt’s poetry collection ‘POETRY AS PROZAC’ published by Tim Saunders Publications. Listen to Jamie talk about his book in this podcast: https://anchor.fm/meetthewriter/episodes/Poet-Jamie-Tucknutt-chats-about-his-book-e1l7jue#=

In isolation, but not isolated. While the pause button was pressed on life in 2020, continued to write and to collaborate. First, they made a film and now they’ve produced an anthology. Quirky, lyrical, poignant and at times hilarious. A unique look at life in a remote part of the country during extraordinary times.

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This beautifully produced collection of poems, stories and reflections complemented by Marie Gardiner’s fabulous photographs is on sale for only £5.00. All proceeds will be donated to local charities.

Currently, the book is available from Homefront in Stanhope and the Bowlees Visitor Centre. It will, of course, be on sale at the Weardale WordFest. If you can’t wait that long for your copy, well, we quite understand!

We would like to produce a record of our responses to this unique time.We are creating a body of work, poems, stories, anecdotes that reflects how we are feeling and what it is like to experience lockdown in Weardale. Some of that body of work is a direct response to our isolation, or to what is happening around us, some is our way of saying ‘enough’, we need to take our heads outside lockdown and express our emotions differently. Everybody’s take on the situation is different, but what we have in common is a need for a creative outlet for our feelings, a way of staying safe and sane!

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That was how it started … we were lucky enough to receive a grant from the Weardale Area Action Partnership covid-19 assistance fund, and that enabled us to work with Mark and Marie of Lonely Tower Film and Media. They took our writing and produced this wonderful film, OUR ISOLATED DALE. We were delighted that some of our friends, writers Avril Joy, Wendy Robertson, Phil Mews and Mike Powell also contributed their words and ideas.

The Film can be enjoyed in two ways, as a whole piece or you can click on the links below to watch segments by individual writers. We loved making this film and hope that you will love watching it! The next phase of the project is to produce an anthology comprising all of the writing you will hear in the film plus other pieces written by in 2020.

Jo Cundy’s story ‘the Waiting Room’ was shortlisted for the Fish Publishing lockdown prize (Flash Fiction) and is published on the Fish website.

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‘The Happiness Equation’ by Chris Powell achieved an ‘Honourable Mention’ (final 10 stories) in the Momaya Press short story competition and will be published in the Momaya Review 2020. Momaya Press is based in the USA.

While confined to quarters, our thoughts turned to all the travel we can’t undertake. Susan remembered a journey from some years ago … Thinking about a travelpiece I felt a fear in the old psycheof looking forward at the moment, so it came to mind that I would write about past excursions to foreign places. Therefore, to begin at the beginning…

It was our first trip abroad together. Severe storms in the Channel flung around in our ferry bunks. I did not sleep. I waited for us to capsize.Landing at daybreak in early February in St. Malo I looked sickly and grey. I felt sickly and grey. Clutching our Brittany Ferry vouchers we finally found the Pension in Dinan Square, thankfully without knocking anyone over, driving the wrongway at roundabouts, or finishing our marriage of two years from shared and mutual stress. My ‘A’ level French had frozen, so we relied on his 6 sessions of WEA Conversational French evening classes. I translated and supplied key vocabulary, and he put them in usable phrases. Oh, but of course I could have discussed Anouilh’s characters in Antigone or how many parts there were to the verb Confused, but ” how do I use my travel cheque to pay for fuel” terrified me, and images of my French teacher making me stand on a chair when I made a mistake flooded my mind…Ah well, several servings of Normandy cider later, all was pretty well ok with the world as we drank down the delicious, cloudy, unfizzed nectar from stoneware goblets holding half a litre…really? Not just half a pint? How deceptive! How leg numbing! How I wish I’d stayed awake along enough to take paracetemol!Morning dawned, very carefully.Our hosts, new to working with Brittany Ferries, had just opened their premisesafter winter, and we were their first, and on that morning, only customers. The breakfast table heaved with a continental spread which denied our understanding of why this is seen as the smaller, lighter option to start the

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Body Art, whose full name is King of Ink Land King Body Art The Extreme Ink-Ite, has devoted his life to body modification.

. “My dad had a military one because he was in the forces, and my uncle had a union jack flag with a lion and a rose. I have family in Australia and travelled to New Zealand, and it was a learning experience to be made aware of different cultures like the Maori people who have body art, ” he says referring to the practice known as tā moko.

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King of Ink Land King Body Art The Extreme Ink-Ite at Ripley's Believe It Or Not on November 19, 2014, before he had his right eye tattooed.

Now, almost every part of Body Art is has been etched with ink or tweaked. After around 15 years of careful research, he dyed both of his eye whites, or sclera, black. While what is known as sclera tattooing is a recent phenomenon, Body Art points out that eye tattooing can be traced back to Ancient Greece. His nipples have been removed in order to allow tattoo artists to have a smoother canvas to work on. Under the skin on his right hand is an implant in the shape of a crown, alluding to his regal name, and another of a knuckle duster in his left arm in reference to when he used to be a pro wrestler. A bite-shape is carved into his ear, while a titanium disk rests against the bone beneath the skin in his forehead. A flesh tunnel has been burrowed through his chin. He split his tongue in half, but has almost entirely healed on two occasions, so he’s given up on that for the moment. “The body is an amazing thing, ” he says.

He had his first tattoo when he was 16 years old at a parlour that didn’t ask questions about his age. It was a union jack with a British bulldog.

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“Almost everything that could go wrong did, ” he says, describing how he developed an infection and suffered from flu-like symptoms but luckily didn’t contract life-threatening septicemia. “It was something that almost put me off from ever having them again, ” he says. “I encourage anyone getting a tattoo to first of all do their research, ” he adds.

“It was an almost agonising terrifying pain. When I get tattoos now it’s very similar but that first time it was more intensified because of the fear of the unknown. It’s a needle ripping into your flesh injecting chemical into your flesh you.”

“I don't like any form of pain, be it a paper cut or a tattoo which sounds insane but I know to achieve what I want I have to go through it. It’s like a job interview in a strange way.

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“It’s a very mixed reaction, ” he says. “I find it quite fascinating when I’m with new people because I’m unique people stare, and it's a new experience for them. I'm used to it as it has been happening for years. You don't do something like this and not expect that.”

But he’s adamant that he didn’t transform his appearance for the attention. “I haven’t at all. The reactions can go from amazement to hate crime, ” he says, referring to being stabbed near a Birmingham police station in 2009.

While some people see their tattoos as individual pieces of artwork, Body Art sees body modification as part of his identity as a whole and his name-change as one aspect of that. He compares his devotion to body modification with how a religious person views their faith. "I have a vast and varied collection of art on my body. It’s like a jigsaw.”

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Asked to name his favourite tattoo, he explains “You can’t have a favourite, it's like asking a parent their favourite son or daughter. It’s my body. It’s everything about me so I can’t be specific on that.”

“Tattoos are a small part of modification, ” he explains. “I see it as a journey that I’m on. I’m evolving who I want to be having the ultimate freedom of expression and control over my own body.”

As such, he is particularly vocal about the law which classes people who undergo extreme procedures, such as dying the eyeball, as victims of consensual abuse, as laid out in the Offences against the Person Act 1861.

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“Modified people are proud people, we are proud to be modified. They haven't been forced into it, it’s something that many people will have thought long and hard about. It doesn't matter what you look like, on the inside every is the same. We are people at the end of the day."

He adds: “Under the law of the land, I’m a consensual victim of abuse. I don't feel like a victim of abuse. everyone I talk to in the body modification world doesn't feel like a victim of abuse. But they say we are consenting to bodily harm. It’s ridiculous and it embarrasses us. The law is wrong.”

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