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How I made a COLOURFUL slicer in Power BIDay by Day I made a paper boatThe Scarf Lola loved knitting. She made a scarf. Lolaâs mum helped her. The scarf was long and warm. âItâs a good scarfâ, Lola said. Her friend came to play. It was a cold day. Lola put on her scarf. âWhat a cold dayâ, Lola said. The girl looked at Lolaâs scarf. âWhat a long scarfâ, the girl said. âI made it. I couldnât stop knitting.â, Lola said. The children went to the park. They went to the pond. The pond was frozen. It had ice on it. A boy ran up. He pulled Lolaâs scarf. âStop it!â, Lola said. âStop itâ, Mom said. He went on the ice. It was dangerous. âGet off. The ice is not safeâ, Mom said. Lolaâs mum couldnât get the boy. She couldnât go on the ice. Everyone was frightened. The Scarf Lola loved knitting. She made a scarf. Lolaâs mum helped her. The scarf was long and warm. âItâs a good scarfâ, Lola said. Her friend came to play. It was a cold day. Lola put on her scarf. âWhat a cold dayâ, Lola said. The girl looked at Lolaâs scarf. âWhat a long scarfâ, the girl said. âI made it. I couldnât stop knitting.â, Lola said. The children went to the park. They went to the pond. The pond was frozen. It had ice on it. A boy ran up. He pulled Lolaâs scarf. âStop it!â, Lola said. âStop itâ, Mom said. He went on the ice. It was dangerous. âGet off. The ice is not safeâ, Mom said. Lolaâs mum couldnât get the boy. She couldnât go on the ice. Everyone was frightened. Lola had a good idea. She took off her scarf. âMake a ropeâ, Lola said. Lola's mum made a rope. She made it out of scarves and coats. She threw it to the boy. Everyone pulled the rope. They pulled the boy out of the pond. The boy was safe. âHoorayâ, the boy was safe. âIâm sorryâ, the boy said. âIce is dangerousâ, Lola said. Lola looked at her scarf. âIâm glad I made it longâ, Lola said. When this lady died I descended like real estate in fee simple to her son Benjamin Stiles, Esq[uire]. About four years after her death, her two sons, Benjamin and David, were drafted to fight in the revolution. I also entered the banners of freedom. Alas! Poor African Slave, to liberate freemen, my tyrants. I had contemplated going to Barbados to avenge myself and my country⌠I went into Capt. [Samuel] Grangerâs company, from hence I was drafted into Capt. [Samuel] Barkerâs company of light infantry⌠...I suddenly discovered a man riding up to me not more than eight rods distant on full speed with a pistol in his hand and ordered me to lay down my arms [weapons]... He said I must surrender to him who demanded me in the name of the King his majesty of Great Britain. I then plainly told him that neither him or his Kingâs majesty would get my arms unless he took them by force. He immediately cocked his pistol and fired. I fell flat upon the ground in order to dodge his ball⌠...Finally, I was in the battles at Cambridge, White Plains, Monmouth, Princeton, Newark, Frogâs Point, Horseneck where I had a ball pass through my knapsack. All which battles the reader can obtain a more perfect account of in history than I can give. At last we returned to West Point and were discharged [1783], as the war was over. Thus was I, a slave for five years fighting for liberty. ...After we were disbanded, I returned to my old master at Woodbury [Connecticut], with whom I lived one year, my services in the American war having emancipated me from further slavery and from being bartered or sold. My master consented that I might go where I pleased and seek my fortune. Hearing flattering accounts of the new state of Vermont, I left Woodbury and travelled as far as the town of Lenox in Massachusetts, where for the first time I made a bargain as a freeman for labor. I let [hired] myself to a Mr. Elisha Orsborn for one month at the price of five dollars. When I had fulfilled this contract, I travelled to the town of Poltney in Vermont. There again I let myself to a Mr. Abiel Parker for the sum of thirteen pounds ten shillings, for six months. Here I enjoyed the pleasures of a freeman; my food was sweet, my labor pleasure: and one bright gleam of life seemed to shine upon me. Translator: Joseph Geni Reviewer: Morton Bast Before March, 2011, I was a photographic retoucher based in New York City. We're pale, gray creatures. We hide in dark, windowless rooms, and generally avoid sunlight. We make skinny models skinnier, perfect skin more perfect, and the impossible possible, and we get criticized in the press all the time, but some of us are actually talented artists with years of experience and a real appreciation for images and photography. On March 11, 2011, I watched from home, as the rest of the world did, as the tragic events unfolded in Japan. Soon after, an organization I volunteer with, All Hands Volunteers, were on the ground, within days, working as part of the response efforts. I, along with hundreds of other volunteers, knew we couldn't just sit at home, so I decided to join them for three weeks. On May the 13th, I made my way to the town of Ĺfunato. It's a small fishing town in Iwate Prefecture, about 50,000 people, one of the first that was hit by the wave. The waters here have been recorded at reaching over 24 meters in height, and traveled over two miles inland. As you can imagine, the town had been devastated. We pulled debris from canals and ditches. We cleaned schools. We de-mudded and gutted homes ready for renovation and rehabilitation. We cleared tons and tons of stinking, rotting fish carcasses from the local fish processing plant. We got dirty, and we loved it. For weeks, all the volunteers and locals alike had been finding similar things. They'd been finding photos and photo albums and cameras and SD cards. And everyone was doing the same. They were collecting them up, and handing them in to various places around the different towns for safekeeping. Now, it wasn't until this point that I realized that these photos were such a huge part of the personal loss these people had felt. As they had run from the wave, and for their lives, absolutely everything they had, everything had to be left behind. At the end of my first week there, I found myself helping out in an evacuation center in the town. I was helping clean the onsen, the communal onsen, the huge giant bathtubs. This happened to also be a place in the town where the evacuation center was collecting the photos. This is where people were handing them in, and I was honored that day that they actually trusted me to help them start hand-cleaning them. Now, it was emotional and it was inspiring, and I've always heard about thinking outside the box, but it wasn't until I had actually gotten outside of my box that something happened. As I looked through the photos, there were some were over a hundred years old, some still in the envelope from the processing lab, I couldn't help but think as a retoucher that I could fix that tear and mend that scratch, and I knew hundreds of people who could do the same. So that evening, I just reached out on Facebook and asked a few of them, and by morning the response had been so overwhelming and so positive, I knew we had to give it a go. So we started retouching photos. This was the very first. Not terribly damaged, but where the water had caused that discoloration on the girl's face had to be repaired with such accuracy and delicacy. Otherwise, that little girl isn't going to look like that little girl anymore, and surely that's as tragic as having the photo damaged. (Applause) Over time, more photos came in, thankfully, and more retouchers were needed, and so I reached out again on Facebook and LinkedIn, and within five days, 80 people wanted to help from 12 different countries. Within two weeks, I had 150 people wanting to join in. Within Japan, by July, we'd branched out to the neighboring town of Rikuzentakata, further north to a town called Yamada. Once a week, we would set up our scanning equipment in the temporary photo libraries that had been set up, where people were reclaiming their photos. The older ladies sometimes hadn't seen a scanner before, but within 10 minutes of them finding their lost photo, they could give it to us, have it scanned, uploaded to a cloud server, it would be downloaded by a gaijin, a stranger, somewhere on the other side of the globe, and it'd start being fixed. The time it took, however, to get it back is a completely different story, and it depended obviously on the damage involved. It could take an hour. It could take weeks. It could take months. The kimono in this shot pretty much had to be hand-drawn, or pieced together, picking out the remaining parts of color and detail that the water hadn't damaged. It was very time-consuming. Now, all these photos had been damaged by water, submerged in salt water, covered in bacteria, in sewage, sometimes even in oil, all of which over time is going to continue to damage them, so hand-cleaning them was a huge part of the project. We couldn't retouch the photo unless it was cleaned, dry and reclaimed. Now, we were lucky with our hand-cleaning. We had an amazing local woman who guided us. It's very easy to do more damage to those damaged photos. As my team leader Wynne once said, it's like doing a tattoo on someone. You don't get a chance to mess it up. The lady who brought us these photos was lucky, as far as the photos go. She had started hand-cleaning them herself and stopped when she realized she was doing more damage. She also had duplicates. Areas like her husband and her face, which otherwise would have been completely impossible to fix, we could just put them together in one good photo, and remake the whole photo. When she collected the photos from us, she shared a bit of her story with us. Her photos were found by her husband's colleagues at a local fire department in the debris a long way from where the home had once stood, and they'd recognized him. The day of the tsunami, he'd actually been in charge of making sure the tsunami gates were closed. He had to go towards the water as the sirens sounded. Her two little boys, not so little anymore, but her two boys were both at school, separate schools. One of them got caught up in the water. It took her a week to find them all again and find out that they had all survived. The day I gave her the photos also happened to be her youngest son's 14th birthday. For her, despite all of this, those photos were the perfect gift back to him, something he could look at again, something he remembered from before that wasn't still scarred from that day in March when absolutely everything else in his life had changed or been destroyed. After six months in Japan, 1,100 volunteers had passed through All Hands, hundreds of whom had helped us hand-clean over 135,000 photographs, the large majority â (Applause) â a large majority of which did actually find their home again, importantly. Over five hundred volunteers around the globe helped us get 90 families hundreds of photographs back, fully restored and retouched. During this time, we hadn't really spent more than about a thousand dollars in equipment and materials, most of which was printer inks. We take photos constantly. A photo is a reminder of someone or something, a place, a relationship, a loved one. They're our memory-keepers and our histories, the last thing we would grab and the first thing you'd go back to look for. That's all this project was about, about restoring those little bits of humanity, giving someone that connection back. When a photo like this can be returned to someone like this, it makes a huge difference in the lives of the person receiving it. The project's also made a big difference in the lives of the retouchers. For some of them, it's given them a connection to something bigger, giving something back, using their talents on something other than skinny models and perfect skin. I would like to conclude by reading an email I got from one of them, Cindy, the day I finally got back from Japan after six months. "As I worked, I couldn't help but think about the individuals and the stories represented in the images. One in particular, a photo of women of all ages, from grandmother to little girl, gathered around a baby, struck a chord, because a similar photo from my family, my grandmother and mother, myself, and newborn daughter, hangs on our wall. Across the globe, throughout the ages, our basic needs are just the same, aren't they?" Thank you. (Applause) (Applause)A quiz for grade about a paragraph about last holiday. They should fill the blanks .Iâm Ali. Iâm 9.Iâm from Bahrain. Last holiday, I went to the park with my family. I made friends. We played football. It was fun! Gever Tulley is a computer scientist from California. In 2005, he started a summer programme for children called Tinkering School. The idea was that children can learn important skills for life by building things together. Gever Tulley and his team help the children to think big and create plans for innovative things they want to build. Children have made fantastic things since the school started. They have built a rollercoaster. They have made a rope bridge from plastic shopping bags. They have made tree houses, wooden motorbikes and boats. At Tinkering School, children get all kinds of materials like wood, metal, plastic, nails and ropes. They get lots of real tools too, such as knives, hammers, screwdrivers and power drills. Some children have cut themselves when using a knife, or hurt their fingers when using a hammer. Tinkering School has been around for many years now, but nobody has ever suffered a serious injury in all those years. This is because there are strict health and safety regulations they must follow. The children always learn how to use the tools safely and they must wear the right clothing and protection at all times. Gever Tulley's ideas have worked very well. A lot of children have gone to his summer schools over the years. In 2011, Gever Tulley and a colleague decided to create a 'real' ! school, called Brightworks, in San Francisco. The school is very small-it only has 20 students aged 6 to 13. Brightworks is based on the same principles as Tinkering School. Since it started, Brightworks has been written about a lot. Most of those articles have been very positive. They have praised the quality of the school. They have found the children are more motivated than at many other schools. But since the beginning of the school there have also been critical voices. Some people have said that children are not learning enough at Brightworks. They feel that students and teachers are just 'playing around' all the time. The students at Brightworks seem to love their school. We spoke to 12-year-old Tina Cooper. She has been a student at the school since last October. 'Since I started here, I've never sat in a 'normal' class with a teacher,' she told us. 'But it's been a very exciting experience. I've worked hard at my new school for eight months now, and there hasn't been one single moment when I found it boring. Before, I was bored quite often.'