The best kind of doors are the doors you have to explain. Welcome to Unhinge with The DoorDork, but today we have a very special guest, Mr. Jason Grooms from Norton Rickson. Okay, you ready for the final photo? This one I actually took myself, so I've got the backstory on it. Are there steps down? Yes. Is this still under construction or is the yellow just the finished color of the room? Oh, the bright green, that's the company's brand. That's their branded color. Wow. I just found the exit sign. Yeah, no. The fact that it took you that long to find that sign. Oh my God. It's part of the problem, right? Yeah. Is that an air curtain? Yeah, it's one of those overhead doors, so it's like you can close it. Yeah. Wow, why is it blacked off? I mean, it shouldn't be, right? It's an exit. People are occupying this grocery store. I don't want to name names, but... Interesting. Maybe they don't want people stealing booster seats. So this is downtown Portland, so there is issues with ORC and theft like that. So I could get it, it's a side exit door. I could get that you would want to block it off, keep it inaccessible for that standpoint, because I'm sure they don't have someone stationed at this door at all times, or maybe they don't have the resources to have someone stationed at this door. So I get it from a security standpoint, but still, I mean, that right there tells you everything you need to know about this opening is it needs to be free of grass, right? It's definitely not ADA compliant either, which I'm guessing that the other people could go out other doors also. But in the case of an emergency, if someone walked through the front door with a gun, like this is your side door, this is your side exit. I know there's a back exit as well, but this is, if anyone's sitting at this cafe, this is gonna be their running point to escape. And you can't see it in the photo, but I went around to the outside and double checked it, and it is deadbolt thrown, locked, so it's not even free grass if you can get past the blue tape. I was gonna ask you what hardware is on there, cause I cannot tell. You can't see it, but there is an exit device underneath there, but then there's like an Adam's right, deadbolt thrown underneath there. I see that indicator, is it an exit only? So no, you could potentially enter from this side, and before I've entered from this side, it's actually a major street in Portland right there that people could enter, but when I went to enter, you couldn't because it was locked. So did you contact the AHA about this? Sadly to say no, not yet. I should have. Were you just waiting for our episode? You can't spoil it. Yeah, actually, I should get to know the AHA really well in Portland, cause there's a lot of crazy stuff going on. You're gonna be like, Fingy again. Yeah. There's a lot of wiring on top of that door. Yeah. But I keep going there. All that conduit, I mean, there's a lot to wire there as well. Also, like if you need that fire extinguisher, and I'm guessing there's probably a fire alarm down there as well, cause that would make sense. How are you gonna, in the case of emergency and you needed that fire extinguisher cause the, there's a kitchen right here. You could use that, but you might trip and fall and break something to try to get it. Well, even in like the- This is relatively new. The building is not new, but this addition is new-ish. They added this little cafe section to the store, maybe three-ish years ago, so somewhat new. And I have gone through this door before. So there have been times where it's been unlocked. Do you think they're just locking it at night, like past a certain point of the day? Yeah, but still, like if it's occupied- Right. I don't know. I might be wrong. Are there codes that deal with certain timings of the day? So if you know that your store's only gonna be occupied, like there's only gonna be this many people, but you can't ever know that if the building is open, right? A thousand people could show up and it's your obligation to make sure that they could exit safely. Safe. It's about an emergency. I think the mural on the wall is, like why it took me so long to see the exit sign. So for me, it's like part of the art. It just blends in because there's so much other stuff going on there that it like visually just disappears with everything else instead of being prominent. It's a lot to look at. And I only noticed the exit sign. Like it took me way too long to find the exit sign because you know, you would have thought it would been right here, right? That would make, but I guess because this is a lower landing, they got approved to put it up higher or something like that. Because if you're the other side of the store and you're exiting out this side, you'd need to be able to see it from the other side. And so maybe this wasn't the appropriate level. A lot of the problems are not necessarily related to the door around the door. Yeah, the hardware was working like it should, right? Like in a retail environment, you can have a deadbolt on a door. It just has to be unlocked during business hours, right? Right. When it's occupied. So if they had that unlocked and this was accessible, I mean, that's a little bit of a stretch for an exit sign, but I don't know if there'd be any blatant code violations. It's not the most accessible exit, but yeah, the fact that they had it blocked off and locked is the kicker. Because we've seen a lot of doors that are just blocked off, right, Mia? We've seen a lot of, there's just boxes or something in front of it, right? It's just not accessible. It's easy to remedy in that situation. Maybe it's on wheels or maybe there's a cart or something like that. Or maybe there's Batman. This, if the power goes out in the case of emergency and you're like panicking, there's smoke or something, you're going to run towards this exit.  Like that's potentially could be a nightmare. I actually probably will have a nightmare about this. So maybe that's why it's blocked off because there's smoke in there. You're not going to be able to see that exit start. That's true. That's going to be very difficult to see. And with the recent code update, which will probably be three or four years before everyone adopts it nationwide, but they're required to have an exit sign down below the smoke line as well. So you should have an exit sign like down here and up here in the case of emergency. So you could see it because a lot of the times you ride, Jason, the smoke rises and will block that off. But I think it was IBC 2019 or something like that when that came out. So it'll probably be a couple more years before everyone starts adopting it. And then there'll be people that are grandfathered in because the building was built before all this and all that jazz, all the blue tape we have to get through to make buildings safe and secure, right? Okay. It's not like exciting or crazy in a lot of aspects but it's dangerous in a lot of aspects. So what do you think? Give it a knock and score. I think I want to give this one a five because we don't need to do anything. Well, maybe we don't need to do anything drastic to fix the problem, but there definitely needs to be a discussion. Yeah. I mean, there's nothing like blatantly code violations that couldn't just be a conversation with the facility manager or the general manager of the store. I'm with you on that, but if there wasn't that conversation, there could be potential very scary situations as I'm sure you could agree with. I'm at an eight because right now it's non-compliant but it can be fixed. Like it could be fixed momentarily except for that exit sign. I don't care if they got that approved. That's terrible placement. You're never going to see that in an actual emergency. And I get it, most people in a case of emergency in a public setting, they go out the entrance that they came in, right? That's our just instinct as to backtrack to where we go. But if that's where the incident is happening, then you're going to be looking for another opportunity to escape and this is your spot to escape. So you're going to be looking for those exit signs and so I'm with you. That's very hard to see. It took all of us way too long to see that, right? Honestly, like you should have a conversation with the store manager, but you could bring the AHA into this, but like nothing really needs to be fixed. Like we don't need to call in a locksmith or somebody to actually fix anything here. It's retraining is what needs to happen. So like I'm hesitant to go full 10 on this one because all the right parts are there. Yeah, I 100% agree with both of you. If it's able to be resolved, then it's not a problem. If it's not being resolved, then there's a big problem. Maybe you're scaring me into attend here because maybe there's a huge issue. It doesn't have to do with the door, but those stairs, I think you're absolutely right. If you remove that blue tape and somebody's running for the exit or if there's smoke, how do they know that there's stairs there? That's a broken leg waiting to happen, right? Yeah, but there can be stairs on other paths of egress. Yeah, I mean, they do have the caution tape there that hopefully is reflective. I don't know that hopefully you see that, but if everything was dark and it was smoky, it would be hard to see. I don't know, I'm torn. It's a 10 on one day and it's a five on another day because yeah, people could get hurt, but probably won't knock on wood door. Okay, final answers. What do you give it? I mean, it's a 10 today in my bucket, but tomorrow it could be easily a five. Not too knocking bad in the way that we have to fix it. Like something has to physically be changed to make happen. It's more of a, like Mia said, a training aspect. I think by itself today, if nothing changed, it's almost a domino effect. It's kind of crazy. I go into buildings and it's just the way that my mind works is like, if the worst case scenario happened right now, what would I do? It was almost natural. I think mine's just like turned up to a certain extent because I know better, right?  Because it's a pretty busy store. I mean, there was probably at least 100-ish people in this store when I was there. Obviously it's larger, so they're all spread out and there's other exits. I actually didn't check the back exits. I probably should have. Hopefully they're working because that would be my second go-to route. So does that answer your question, Jason? 10 today, five tomorrow. Let me pull with Karen and let me speak to the manager. Yeah. Well, Jason, thanks again for joining us for your second Door Hardware Nerd video. Appreciate you taking the time out of your busy day and spending some time and knocking and slamming on some doors with us. Thanks for your insight and your input. And for those of you that are watching, join us for the next episode of Unhinged. Our doors are always open, partially because they're unhinged. If you want to be featured on a future episode of Unhinged or if you have a photo to submit, leave a comment down below or you can email me at Mia at doorhardwarenerds.com.


Hey guys, welcome back to my YouTube channel. This is Daniel Rossell here. I'm here today in Minerva Park in Jerusalem. I've done a video here before. It's this kind of very, very random urban wilderness in the middle of Jerusalem. And what I'm doing here today is I brought up my bag of monopods and I'm going to try out a few different shots using the monopods in conjunction with the Femi Pam 2. So the Femi Pam 2, like the DJI Osmo and the Pocket 2, has a quarter inch attachment to the bottom. So I'm going to put the monopod in and see how those shots turn out. First thing I'm going to do is just some handheld shooting so you can see the difference between the two. So the first monopod I'm going to put the Femi on is this Amazon Essentials Amazon Basics Monopod. I picked this guy up when I was in the US in the summer. It's about two meters tall. It's very lightweight and it's got a quarter inch, 20 screw head. So I'm going to put the Femi on top of that and then see how these shots come out. Okay the next monopod I'm going to try out is this monopod. It says Telecin. I'm not exactly sure what this thing is. Anyway it's a carbon fibre monopod. Unlike the Amazon monopod this thing looks more like a fishing pole. Very thin but it gets up to I think two to three meters and again it's got that quarter inch screw at the top. So I'm going to put the Femi up on there and see how these shots turn out. So this is the monopod I was just using for that shot here. As you can see it gets a pretty decent distance up into the air. It was definitely kind of hard to keep things steady particularly this one the carbon fibre tended to wobble all over the place but I'm going to go back to my home office now and see how these videos turned out.


So, learned ideas, accidental ideas. Can you give us an example of an accidental idea, Benita? Take Velcro. Let's see what led to its invention in 1941. George de Maestral, a Swiss engineer, was out walking with his dog when he observed that the tiny hooks of the cockle birds stuck onto his trousers and his dog's fur. His familiarity and understanding of materials helped him develop a two-sided fastener using the same principles. What an impact that small observation made. Since that time, we use Velcro for clasping and fastening everything. It has changed our everyday lives in many spheres, from clothes to footwear to orthopedic aids. And now we can't imagine a life without it. That's quite a story. Perhaps we all need to walk some more in the mountains or find other ways to spend time amidst nature. I think nature is one of the biggest sources of inspiration for designers. Yes, observation of nature teaches us many principles that can be applied to all domains of design. This approach is what we call biomimicry or imitation of nature. Any other concerns for society that designers look at? Well, Nina, a sense of compassion may also drive design, as seen in the shoe that grows. An idea where inclusion becomes the key concern. Their slogan in fact is, let's shoe away diseases. Shoe away? That's a nice play of words. Here the designer's concern was that children in many parts of the world suffer from parasites and diseases transmitted through the soil. Many of these diseases enter the body because the kids do not have shoes. Their feet get nicked and scraped in the process of running about. Yet when the children fall sick, their parents cannot afford health care. The children miss school, they can't help their families with their daily chores. Everyone suffers. So, what was the solution? The American designer, Kenton Lee, created a shoe that can be adjusted to accommodate the growing feet of a child made of high quality leather and compressed rubber. These shoes are robust enough to take on rough daily use. Each pair can be modified up to five sizes as the child grows. Imagine a single pair of shoes that is tough in its construction can be worn for five years and be handed over to siblings. An object that protects the feet of barefoot children and guards them against illness right through their growing years is certainly a good example of inclusive design. It aims to enable a child to lead a life of health and dignity. There are actually many fascinating examples of design for children, especially in the field of education. How does a designer approach learning for children? Learning can be easy and fun when it's interesting and experiential. Textbooks are one medium through which children learn in schools, but they often contain difficult and abstract concepts. Learning these visually makes it a lot easier for children to understand ideas and to recognize them and apply them. Can you recall all the steps of the Pythagoras theorem or of how to square the circle that you learned in school? No, I used to. Learning by road is an exercise that can support the child only in the short run which is to pass a test. For long-term learning, the key is understanding. Oliver Byrne, a British civil engineer, made geometry easy through a set of six books called The Elements of Euclid, brought out in 1847. He used the unconventional method of using colors instead of numbers and unfolded the theorem beautifully from diagram to proof. All his diagrams are designed keeping in mind the knowledge and information that need to be communicated using appropriate colors. Communication is a very important part of reaching design to the community. You not only clarify the idea, but also build the method to communicate it, as Byrne did. This was about mathematics, which is in the realm of ideas. But even with a concrete object, communicating the design thinking behind it can be as important as making the object itself available to the user. Many design practitioners today are concerned about the course of events that follow the introduction of a design, that is, its social impact. They are interested in how the designed object is received and how it fares in the context for which it was made. They have concerns about social inclusion, gender equity, environmental protection and related issues of sustainability. Thanks, Benita. That really gives us a good perspective on what design can contribute to society. Designers are concerned not only about their users, but also the environment. Our next module will introduce you to the area of design for sustainability. You will now need to go to the next tab for this fortnight's assignment. Please complete and upload it anytime within the next two weeks. And don't forget, a little design goes a long way. See you next time.


What do you tell investors, though, who were enjoying that run-up when the Fang stocks were just soaring, and now just want to lock in whatever they can because it's slicing away fast and furious? Well, mind you first, people need to get in their bones the notion that stocks are volatile in any time period, whether up or down. This is a period where I think it's hard for people to understand what's going on because we're having something going on that we don't normally have, which is normally in either a correction or the early time phases of a bear market, there's one or two big scary stories. This time I can count seven scary stories happening all at once, trying to get your head around all these and deciding is it a whole lot of bees stinging us that we got to run away from or is this something that's more potentially fatal? It's just hard for people to get their hands around it. It's what I call the pessimism of disbelief because whatever it is you say, they've got yes, buts for. Well, that was legendary investor Ken Fisher with Neil Cavuto trying to calm everyday investors who are seeing stocks way down from their all-time highs. So what can we do to figure things out for the rest of the year? Let's ask our market gurus, Melissa Armo and Lee Munson. Melissa, let me start with you. You know, it was interesting here. Ken Fisher talked about seven scary things at one time. It does look like the, you know, this is a unique period. We were off the first 100 days of the fourth worst in history, in history. So that puts it sort of in context, but where do we go from here? I think the rest of the year is going to be tricky, Charles. I think people are so used to the market being bullish. They're showing us to the market running up. I think there's a high probability that the market may not make a brand new all-time high for the rest of 2022. And if it does, it's going to be very late in the year. The last time that we didn't make a new high on any calendar year, I can't even tell you. Remember from 2016 to 2020 before COVID hit, the market was really bullish under Trump.  When the economy is great, everyone benefits low-income, medium-income, high-income earners. And right now, we're having a problem with the economy. I don't know what all those seven things are. Off the top of my head, inflation, recession, the possibility of war with Russia, high oil prices. I mean, there is a lot of things right now, and nobody can really know or predict where we're going to go from here. But I definitely think the volatility is going to continue. People need to be prepared for that. You know, Lee, those other three times it was worse than this. The last one was 1970. The good news is the rest of the year was up an average of 31, 32%. Of course, different circumstances then as to now. But how are you handicapping maybe the rest of the year? Okay, well, okay. So I'm here at a great Memorial Day barbecue. I'm with some friends down in Las Cruces. I put my suit on just for you today. Thank you.  So here's the deal. I've been getting cornered, right? And people want to be like, what do we do? And I've told them, listen, you've got two things you need for summer rally. By the way, I think the summer rally like the other guests, I think it's going to be more like a Halloween rally. But that's not the big point. The big point is number one, first you have to have all news is bad news. That's like target going down a quarter. That's like the retail stocks last week like Macy's and Dick's, Dick's Sporting Goods getting crushed. And so you have to go from that to any news is good news. Look what happened last Thursday when Amazon had their big annual meeting and the stock was up 5%. That's just this little example of not great news, the stock still rally. Then we have to have the second thing. And this is the hard part. We have to have the Federal Reserve.  We have to have them suggest that maybe there needs to be a pause. Maybe they've done just enough. And last Tuesday, when the market was going up, they started saying we might pause in September. And so I think we have a wonderful summer rally that's going to happen. But again, just because I think a summer rally is going to happen, don't be surprised if it doesn't happen in Halloween. But now is the time to stay put. You add to your positions. I just don't exactly like to buy things that don't make money. You know me, I like dividends. I like value. That's what's been doing well. You know, Melissa, to that point, the speculation over the Fed has driven this market. Bostic, the Atlanta Fed chief was the one who said maybe we'd pause in September. The market liked what they heard. Just how critical is it that on one hand they don't do under, you know, do too little and inflation keeps going up, but they don't do too much and crack this economy wide open. The problem is Charles, that the Fed has been wrong for the last two years. They have a difficult job to begin with. But when you're in an environment where things are costing more, raising interest rates is a terrible idea for consumers. Because we're trying to prevent a recession. People are going to spend less if they can't afford to buy more because rates are going up, like houses and cars and things like that. Credit card bills. So I don't think raising rates is a good idea. And their insistence on doing it, I think is a bad idea. And I don't think it's going to prevent a recession. I think inflation, the problem with inflation is we still have supply chain issues. And the biggest problem we have right now is the administration has policies in place. And those policies have cost, have prevented oil prices from coming down. They're going up. So everything you buy, eggs, chicken, everything you buy, if you order a washing machine, how does it get to you? How does it get to the store? Diesel, it gets there by a truck. It's because of the cost of oil is up. So we have inflation because of high oil prices. If the Fed raises rates, that's not going to pull those prices down.  So until 2025, I hate to say it, until a new administration, we may be in for two and a half more years of high prices, no matter what the Fed does. Well, we're definitely going to be, they're not coming straight down. I think, Lee, a lot of folks looking for the next CPI report, just to maybe at least see if they peaked. If there's a sense that they peaked and they won't go any higher, will that give the market some relief? This whole market is about inflation.  I say, listen, this is all about peak inflation. Now you've got some smart people, Goldman, I respect. They say it peaked in March. I don't know about that. You've got the IMF. Thanks for peaking right now. There's some people I love over JP Morgan. Smarter than me think we're going to peak this summer. The point is the smartest people on the street do not see inflation peaking next year. They think it's happening right now. And you know why everybody is so bonkers and has this fever about what's happening this year is because it's always darkest before the light. I think we're peaking somewhere between three months ago or three months from now. And that's what the market needs to feel.  We got to leave it there. Thanks for the vegan burger. Wrap one up and save it for me. See you all later. You got it. All right. Now so much for that summer getaway.


Hi, this is a great topic. I'm very excited to talk about it. It's part of the K-12 online conference. I'm excited that I've been accepted to do this. It's such a joy to have this as one of the topics that is of interest in the education field right now. My name is Jackie Gerstein and I have a byline that says I don't do the teaching for a living. I live teaching as my doing and technology has amplified my passion for doing so. A little bit more about me in terms of why this is such an important topic for me. I didn't come from a traditional teacher background. I actually started off in an experiential education which really is in line with the maker movement and maker education and really does affect my mindset about it and how I approach it and that's what the topic of interest in this presentation is going to be about. But this is just a little bit about me in terms of I just love developing new curriculum and testing new things out with learners and using hands-on whole body activity and especially controlled chaos where all the learners are doing something and it's not me instructing them, it's them instructing each other instructing me. And this is all in line with the maker movement and maker mindset. So a little bit of background and this presentation really is more about the educator and the mindset that comes with an educator who wants to approach maker education in either formal or informal settings could be school after school. But Dale Daugherty, so I wanted to give you a little background before we jumped into these characteristics of an educator with a maker mindset. And Dale Daugherty who is credited for really pushing the maker movement. This is a great quote that says, when a kid builds a model, rocket or a kite or a birdhouse, she not only picks up math, physics and chemistry along the way, she also develops creativity, resourcefulness, planning abilities, curiosity, engagement with the world around her. What I've asked educators for years and now even more than ever is really to examine what the purpose of education and learning is and why we became teachers, what we want, the legacies we want to leave students after they've been in our classrooms, in our learning environments. So before I jump in and discuss the educator with a maker mindset, I just wanted to show you that we're in this perfect storm for maker education and give you a little bit of background on that. And I really don't like the word perfect storm, but it works. It's really the perfect gift because we have all these really amazing variables and things going on that make it right for maker education. So I created this infographic and then I put it into ThingLink. And ThingLink is a great little tool that has way to link into other resources. And I'll put this as part of the links that I provide with this presentation. So the first variable is information, access, and abundance. Education, institution, and educators are no longer the gatekeepers of information. Content of all types, all kinds can be found on the Internet. I don't know of a single topic that can't be found on the Internet. And so we're living in this great time that's information, abundance, and that really rocks. That's really exciting for me. I'm just showing you how they link into different web pages. We're living in a world of information, abundance, surplus, and access. The result is synergy. We're by the human mind plus our current technologies far exceed the sum of these individual parts. We have technology to access any type of information. It's great products that match the pictures and voices in our minds. And we can use technology to get assistance and feedback about our creations from folks around the globe. Perfect for maker education and should be the norm in schools. Related to that is open source movement. And the one that I really want to point out that's very cool is Thingiverse. And Thingiverse is a 3D printing. This is a car that was 3D printed. And people are putting their open source plans and blueprints online so that people can download them, try them themselves, and improve and put it back online, which actually improves the product and helps everybody out. Which is directly related to this crowd sourcing and participatory culture that we're in. So that people are sharing due to information abundance and open source, and then it becomes crowd source. And again, making the world of information and products so much better with the synergy involved. And related and just other things that make the perfect storm. Some discussions about maker movement. Do-it-yourself movement, which we know is people, again, having these cheap resources and information online are being able to make it themselves. Affordable technologies where we have, which really is cool, things like arduinos and makey makies and little bits, so that these tech tools that used to cost mucho dinero are now affordable to the average consumer, even the price of 3D printers are going down. And finally, the focus on steam, our STEM, science, technology, engineering, arts, and math, and that focus being in the school. So with all these variables together, we are entering this really amazing time that educators really should be taking advantage of to create this 21st century learners and learning environment. So I'm going to show you a short clip. They're giving similar, like, having fun. We have a vision of maker ed, of every child a maker. It's both a recognition of the childhood status as makers. We are born makers making meaning, language, connections. It's a natural state of being. We are bringing this event to help remind people of the importance of bringing out those opportunities for expression. We're helping to find new pieces of curriculum that I can bring into my science classroom. There's all these little activities that can take basic scientific principles and turn them into concrete objects that they've made themselves. Making gives kids a chance to learn how to troubleshoot. And oftentimes, the process of figuring out where you've gone wrong can help them understand the basic scientific principles much better. And especially when it comes to girls, it's so often that when a girl makes a mistake, we scoop in and fix it for her. And while we let the boys, you know, tinker and realize where they've gone wrong and make corrections themselves. And I think that it just sinks in so much better and there's a much deeper level of understanding that they've actually built it with their own hands. My favorite thing about maker ed is that all the cool robotic things and how things like that can help you and we just like quote things that you don't see normally every day. I think making isn't great for especially for girls because it can show that they can also do things. My favorite thing about making is that you can make stuff that sometimes you didn't know that it was possible. For me, making helped me find where I was supposed to be because I realized this is what I'm good at. This is what I'm meant to do. So with the rest of this presentation, it's going to focus on this maker mindset. And here's another quote from Dale who you saw in the video. Fostering the maker mindset through education is a fundamentally human project to support the growth and development of another person, not just physically, but mentally and emotionally. Learning should focus on the whole person. So for me, the only way that maker education can be successful in any educational setting is that it has to begin with the educator. It begins with the educator really understanding and approaching education from this mindset. But given that as I started off the presentation that many educators have been trained in traditional sense, they get stuck in these shoulds. Teachers should be the content experts. Teachers should lecture and directly instruct to the learners for them to learn. I had a teacher once and she was a pretty young teacher who I was doing a workshop with and saying, I don't think I'm teaching unless I'm standing up in front of the room lecturing. Teachers should know all of the answers. This idea of saying I don't know or we'll find out together just as foreign to a lot of teacher again because of their traditional training. Teachers should ensure that there are predictable outcomes for student learning. This is very true with no child left behind to the top is that there's these really measurable objectives and learning should be predictable and students should reach these objectives. Teachers should ensure that the classroom is quiet and that students are attending to teacher. Again, I used to get, I told you about in the beginning how I like controlled chaos in the classroom and I'd have my students loud but they'd be learning and they'd be interacting and they would be focused on the content we'd be covering but I often hear knocks on my door. The teacher next door wants you to be quiet please. Teachers should never make mistakes especially in front of the students. We know that. And finally, teachers should be the sole assessors and evaluators of student work. But if teachers are serious about really embracing the maker education and which really translates into being an educator for the 21st century then it might mean developing a new mindset, new roles and new skills. So it's my belief that the maker education, the maker movement is determined by the educator and that a lot of teachers make in the classroom like the templates for Thanksgiving, turkeys but that's really not in the realm and flavor of maker education and that it becomes the teacher's mindset that really sets up a climate for maker education. So I'm going to ask you a series of questions. There's no judgment, it's just information and I'm going to ask you to make three different, one of three different responses. Yes, no, or I don't care. I don't care meaning it's not an important variable for you in the classroom. And as we go through these, think of one or two that you'd like to focus on this year in your teaching practices and develop more in terms of that element of becoming a maker educator. So first of all, do your learners produce as much or more of their learning content as they consume? Do you learn in these days of information abundance and access of almost student self-directed learning of content online that students should be producing a lot of their materials, learning materials, content information and a lot more than I believe that they should be consuming it? Do your learners work harder than you during meeting times? This is an important one for me.  Does a physical setting of your classroom reflect an information-rich, connected participatory creative culture? So you could tell again walking into any classroom how the desks are arranged, how the students are interacting if it's set up for that type of interaction. Is your classroom an open portal open to people, visitors, social networks?  So it really should be a very dynamic interactive space. Do you assist your learners in finding, joining and interacting with their own learning networks to find their own online and face to face tribes? I think most, a lot of us, especially as adults have our own interest groups. I do pottery and there's running groups and music groups and they're a really important part of skill development and interest-driven education and some kids are good at it and some aren't but I think it should be a strategic intentional practice in the classroom. Do you encourage your learners to explore what could be the current curriculum is a lot of learning what already has been learning of facts and knowledge instead of imagining what a future could be what space exploration is going to be what medicine is going to be what the arts is going to be and having that again being part of your classroom instructional strategies. Have you and your learners developed creative methods for finding and gathering resources? These young men, this was their setting to a story that they were a fictional story they were writing and as you could see there's very no-cost materials here. If you focus as much or more on the process of learning as the products and outcomes get, she's learning how to set up this little chemistry lab and for me that's really the important element here. Do your learners interact more with each other's students, professionals, web materials and hands-on materials than with you? It's a several of the questions we just asked again taking that time that they meet face to face to really let them interact with one another with the web, with materials. Do you set a climate for learners to be kind, concerned, passionate and compassionate? I strongly believe that every class and school year should start with community building because again all these are interconnected and interdependent and they'll be more willing to collaborate, share resources, make together if that this type of environment is set up. Do you not only build community but also allow it for independence, individuality, uniqueness of thought part of maker education is people learning to put themselves into their projects. Do you encourage student voice in all its forms, speech, writing, drawings and media creation? I believe that speaking and writing is for many people not their first language. Some it's the arts, some it's body movement so to allow students and give them the tools and opportunities to express themselves in a variety of ways. Do you and your students normalize failure and mistakes considering them part of the learning process? This young man was trying to build a mechanical arm failed terribly but nobody made a big deal of it and he just went with the flow because the expectation that experimentation and failure mistakes are just part of the process. Do you use authentic assessments that provide ongoing and continuous feedback to learners about their performance? A lot of the maker and steam and stem activities are actually built in assessments, they work or they don't work but you could also build in and should build in peer reviews and online type of assessments. Do you set up the conditions for your learners to be great? For me this is the most important this young man Peyton just kind of hated his regular classroom, not hated it he just kind of was checked out and then I had him in gifted class one day a week and he built this solar Ferris wheel and the other kids would walk by and see it move and just really being of him and he was great and I think all of our students should have opportunities to be great during our classes. So which one of these one or two ideas do you want to try to begin integrating maker education why don't you share that with some colleagues and become support with one another that can make it more powerful? Excuse me what that translates then is into some different roles and this is a thing link again I'll provide some links so that you can access this but these are some of the roles that the educator as a maker educator has and you'll see you can just review them here but my favorite is lead learner now in these days again of open information and open web and now the educators shouldn't be the content deliverer or the content expert they should show the process of learning which also means learning new things in front of the students and showing them and explaining them the process of how you as the educator learn new things and finally as I said the educator as a maker learner as a lead learner I just want to conclude with this reflective piece that the educator could direct his or her own learning and reflect on these questions as well as share these reflective questions after sessions of maker educations with the students and pointing out the two that I find most important did I play and have fun and did I learn anything new and finally this little quote I like to reinvent this old quote into the modern day have me watch a video I forget ask me to do an online interactive I remember let me produce and create I learn this there's just some resources I'd like to point out to you I have an e-book that I've compiled on my blog posts I have again a lot of blog posts on this if you just want to access them online just tag maker education under unit user generated education you'll find all my blog posts Sylvia and Gary's book and then to learn is some very good information and I also put it together a Pinterest board of just activities that could be done in the classroom so I want to thank you for watching this and I hope you just try some in your classroom we're just it's just ripe for this exciting time of maker education thanks again bye


Okay, welcome to the Library Carpentry Project update. I'm Tim Dennis. I'm the Director of the Social Science Data Archive at UCLA. That's when you see UCLA up on the slide, even though library carpentry is not like a UCLA exclusive product or anything. So don't be confused by that. My colleague John Shadacki couldn't join us today. He's on the program. So it's just me, solo. All right, so be kind. All right, so I'm also a software carpentry instructor and instructor trainer in that community and involved in this library carpentry movement. So who knows what the carpentries are, software and data carpentry. So hands, do you know how they work? Kind of, sort of, yeah, okay. That's good. So I'll give you a brief history. They started, software carpentry started in the late 90s, but started by a guy named Greg Wilson, who is a computer scientist from Toronto. But he mainly started because he was working in the national labs, Los Alamos, and he encountered all these scientists who were doing computational research but didn't know how to code or do software development, right, in a disciplined way. So they started there, went through many manifestations, kind of like a short course format, one day, they even did a video online thing, early MOOC, and finally kind of arrived at the current format for most software carpentry workshops, the two-day boot camp, where you teach a programming language like R or Python, teach Git, inversion control and importance of that, and then teach Bash Shell. They had generous funding in 2012, which kind of solidified the financial foundation from this loan of fun, and then data carpentry started somewhere around 2012, 13, by a person named Tracy Teal, who's the executive director, and that was geared more at discipline-based modules for working with data, data analysis. You can see this kind of how it breaks out. They both share like a volunteer network, they're instructors, for data carpentry, the audience is pure novices and who are working with data, they have domain-specific lessons, lessons on ecology, genomics, GIS, there's a social science lesson that's coming out, and they, again, they focus on data analytic concerns, data cleaning, data management, data visualization. Software carpentry is more about like best practices of software development and coding and teaching researchers how to do this and it's agnostic to kind of domain. So those are kind of two differences, but they share the nature that it's volunteers who are teaching and both are interested in filling the skill gaps that researchers encounter in their computational research. This kind of shows you the ecosystem of the carpentries. It's a community of practice model. Situated learning is kind of its focus, so we want to encourage pure learning in a workshop, right? Newbies come into a workshop, they gain confidence, it's a big component, we go slow, so they gain confidence, easy wins, through exercises and applying these skills. They learn, they meet peers they might learn with after a workshop, they become better, they might become instructors in our community, but there's a real big focus, what you see is that we want to provide a warm and kind of safe environment for the learned skills that are difficult to learn. It's a big component of the carpentries. You can see it has grown tremendously. We have taught software and data carpentry, this is for both taught workshops to over 22,000 learners in 35 countries. So it has scaled pretty spectacularly and the number of instructors are growing, we're training more and more, we're training more people like me who train instructors, right? So this is all like this, it's a network model that is global in reach and it's been really successful. And in January, this coming January, the carpentries will merge, I mean the software and data carpentry group will merge, they started separately into something called the carpentries. And if you're, if you are having aversion to the word carpentry, you might want to leave because it's carpentry this, carpentry that. We have an HPC carpentry and I'll talk about library carpentry. There's an author carpentry. So these are proliferating. And what the idea is is that you have an umbrella which will help with the financial and funding kind of needs, the infrastructure, hiring staff, and you have these learning organizations underneath them. I mean, lesson organizations underneath them who are responsible for, we'll share the infrastructure but the lessons are different based on audience, you know, in need of the specific audience of a lesson organization. So what's up with this library carpentry thing? James Baker, who worked at the British Library as an archivist attended a software carpentry workshop held, taught by Greg Wilson, who was the founder of software carpentry. And Greg kind of wondered out loud, why are there so many librarians going up to these software carpentry workshops? What's going on here? And so out of that hatched the idea, hey, we should try the library carpentry. The needs and concerns of librarians are just as palatable as researchers but it's focused on a different domain. So that was the idea. So James, together with three other collaborators, created four modules, get something called data basics or data intro open refine for data cleaning and bashell and they gave a workshop in 2015. So what does library carpentry do? It introduces you to the fundamentals of computing and provides you with a platform for further self-directed learning. So the artifacts we create, the lessons, they're up in GitHub, they become websites, they're consumable for you after the workshop. They have a lot of resources. There's too much content to teach in one workshop, so that's by design. So you winnow down what you can teach in one workshop with the idea of going slow and making sure that your learners kind of dictate how fast and how much you cover and then after the workshop, you have a whole set of resources they can consume. So that's a good thing, right? And then we also, one of the primary things is we cover a similar to software carpentry. It's like why you would automate? Why you don't wanna manually repeat things in some kind of gooey tool? Why you wanna do things in a scriptable way? Why that's important? And then we wanna develop a common vocabulary and set of practices so librarians can better engage with IT staff, research technical people, or just the current research that's going on. So you can understand what artificial intelligence are the components of it, a little better, right? So we wanna have a common vocabulary. It struck me, I read recently, that most sizable portion of people that go into undergrad CS programs don't have any intention in programming for a living. They're gonna go into IT organization type institutions or companies and they need to have the vocabulary to be able to communicate. Same kind of concept here, that's part of what we're trying to do with library carpentry. We also, it's primary concern to work with data. So teach data kind of how to use and understand data and context. So we use article data, the article bibliographic data set in our workshops. We also use the text from the book, Little Women, as part of kind of where we create word frequencies and bashell. So things that are very familiar to librarians. We're always looking for better data sets too to form lessons around. So if you have any ideas, shoot me an email please. We also wanna better understand the use of data and software in a research environment. So essentially the idea is we learn more of these tools we can understand what's happening around us and on a campus and better engage in that. We can also maybe down the line, really teach researchers who are coming in how to use these tools, right? So it's a reciprocal kind of relationship where we're kind of aimed at. So this, since we're a community of practice, we want this for and by librarians. This is a grass root movement, right? We wanna utilize what works well with the carpentries. So we wanna use, we're using their infrastructure, we're using templates that they have built or we have built, I'm one of those volunteers in the software carpentry community as well. And we have lesson templates that we utilize. We use basically right now we're using, if somebody asks for a workshop for software carpentry for library carpentry, they'll, their staff will email us, right? So that's, we're kind of riding off their good graces right now. We wanna make a positive and warm learning environment. That's essentially, that's crucial to what we wanna do because coding is intense, is intimidating for many people, especially librarians maybe, if they're not close to this kind of thing. At the core, library data and software carpentry is a volunteer organization. It's a network, right? And what it does, what all of those do is share and comment. They develop training materials. They train instructors to teach those materials that are well-founded, research-based, pedagogical techniques, right? So we want to get what actually works. We organize workshops to teach computing and data skills and we support this, I think a larger goal is to develop a community of practice, communities of practice in specific locations. So if we're successful, like with library carpentry, we'll see these communities kind of pop up in different libraries and it'll be more than just some guy coming to do it or a woman doing it, a workshop and then disappearing and nothing happens, right? So we also focus on tools. So it's rather than kind of an opaque, monolithic, built GUI tool, right? We want to teach you how to build things with tools rather than using built things, like in GUIs or whatever if you can supplement Excel if you want for that last part. We like open source tools and we buy us to tools that we can script or we can capture operations that happen to data. So this whole reproducible research concept. So we definitely, we're in that mix and we're supportive of it. Okay, I'm gonna go over briefly on the lesson development. Greg Wilson recently co-authored this article on collaborative lesson development and library carpentry really gauge in the first six of these and we have aspirations to do more. We are continually working on who our audience is.  So libraries are not monolithic, right? They have many different parts and pieces. So we want to be responsive and this is an iterative thing to define your audience. So we also know that modularity and lessons are very important. When we first started, we just had slides and word documents, but we've broken those up into chunks that are more digestible by our learners. So modularity and lesson development is essential as we move on. So then you can kind of almost Lego-like piece together some curriculum from our curriculum, right? It's also important pedagogically, you don't want to overwhelm people with too much facts because they can't assimilate it. So you want to have a few things in an episode that you teach and then have some reflection and exercises that kind of reinforce that. So that's all part of what we do and we've done that in the last two years with library carpentry. We want to promote best practices and instructors. They're gonna be going through instructor training which is primarily about pedagogy and lesson development, so best practices in those. And we also have encouraged and distributed kind of responsibility for the lessons through GitHub so we have maintainers for each lesson that kind of moderate what goes into the lesson, like improvements over time. And then really building a community is the most important thing. A community that sustains because people change jobs and they can't do as much as they used to do. So that's gonna be a natural kind of lifecycle of a community. So building that in a sustainable way is super important for us. So once again, James Baker started in 2015. There was four contributors at that point. They had four lessons. They were more as intended to just one off, one time only. But word got out in the software carpentry community. James connected with a woman named Belinda Weaver in Australia, who's a powerhouse. And she with him worked together to develop the network in a community with Library of Carpentry. So as of two days ago, we have 32 contributors to our lessons. We've added lessons in Python SQL web scraping in addition to improving the existing lessons. We use Gitter, which is a group communication tool and kind of integrated with GitHub to talk amongst ourselves and say, hey, would it be better if we have a module in X? Oh, let's work on this together. So this has been a very helpful tool for us to develop the community. And then we've had two sprints in 2016 and 2017. The one in 2017 was particularly impactful. This is a sprich, you could think of it as a hackton for two days. Mozilla Science supported it. And in 2017, we had over 16 sites from New Zealand, Australia, Netherlands, UK and the US. We had over a hundred participants over those two days. We had a zoom up where we'd pass the baton as the sun went around the earth where I would talk to the British library. They say, oh, what did you do while I was sleeping? I would get the baton and then I would talk to New Zealand at the end of the day. So it was a real vibrancy and kind of interest. Like it was really a wonderful experience. And we had over 800 contributions to the lessons during those two days in 2017. So it really helped improve the lessons as well. And once again, this is an example of Gitter. This is how we talk to each other. This shows you kind of the cycle of what's happening here at the top. You teach a workshop, right?  We have these little minute notes, which we take at lunch and noon on post-it notes. One thing that went well, one thing that what didn't go that well. Use that kind of in your head as a, you try to address some things in the workshop.   Okay, what happened in that workshop? What was good, what was bad? You might share that with the community. And then the final step there at the top left is you contribute changes to the lessons to make them better, right? So this cycle goes on all the time. And then you can see other things happen here when you build a community through these workshops. People in that workshop might wanna teach. That's great. Next time you be a helper. We have a role as a helper in the carpentries. And then they'll be an instructor. So it's like this nice iterative cycle and each kind of loop we're improving lessons, we're improving our teaching through reflection. All this stuff is really good, right? It's a powerful model. So in the other way we build capacity is through instructor training. So earlier in May this year, I co-taught with Belinda Weaver in Portland a software carpentry instructor training so you get certified to be an instructor in Portland that was sponsored by CDL UC3 and John Shadacki and it was dedicated, most everybody in that picture are librarians, maybe two or three aren't. But the idea is you say, oh, we're gonna have this course but we want you to teach workshops after. So the agreement is they're gonna go forth, they're certifying and teach workshops, library workshops, the library carpentry workshops for us. We wanna have more of these that are dedicated to librarians so we can build the capacity. Okay, well, you know, this thing doesn't exist without teaching workshops. So what have we done in two years? You can see I put it on a map. Australia is blown up like that partly because Belinda, the powerhouse person I mentioned earlier, is really like was pushing it in Australia and she did road shows with library carpentry. But you can see we have global reach. We wanna improve North America, we've just like five or six. So that's hopefully one of the goals. I can talk about it in a little bit. So we've had 30 different cities and 10 countries. In 2015, we had one, it was in November, it was the first one. 2015, we, 2016 we had 18 and 24 and 2017. So approximately we have 800 learners attend these workshops. I'm gonna show you some pictures from them. So that's Pittsburgh. You can see James Baker's teaching there, the guy who started it. That was part of the data science and libraries. I am a less funded workshop. Townsend, Australia. I can't read my own thing. What does that say? Upadova, Padua in Italy. It transposed my text to black in my slide view. Yell out what it is for me, please. UCLA, that's right, Belinda Weaver's teaching. Johannesburg, I taught as part of that. And then we have some more. This is Oslo, that's Sheffield, that is Cape Town, yes. And Christchurch, and one more Perth. So you can see, so the cool thing about it, I wanted to put all these pictures up basically because I wanna say, we taught all the same lessons. We're just teaching from a common curriculum. And the people teaching are part of this volunteer community that improve the lessons, improve their teaching, and recruit new people to teach. This is the whole model. And it's really kind of, if you see a global reach like this, I mean, it's already demonstrated its offer of carpentry scales. But I think this has a great hope for scaling in the library community, right? This is a way that we can really address some of the skills gaps that we have. Another reflection, I put some of the community on a map. Just shows you we have folks in Australia, South Africa, Europe, USA, and Canada. Don't forget Canada. That's a partial list of folks in the community. So the next steps. So we've done all this good work the last two years. It's pretty hopeful. The lessons have improved dramatically. We're gonna be adding new lessons. It's, we wanna add new volunteers and members of it. But what are some of the concerns and challenges? So we have scaled up, I mentioned 32 contributors. So probably 20, 25 constants participants in this community. We've scaled up beyond what a small volunteer community can handle. Like we reached our limit really. You know, we don't have our own infrastructure really built in funding. We're doing this, it's a grassroots kind of organization. But now we need to kind of figure out how we skill up our people. What we teach, we need to have some type of governance organization, a steering committee, and how we conduct ourselves, right? So all that stuff we need to work on, the kind of building the infrastructure. Currently we don't share assessment instruments across our different workshops. That's a weakness. So it's ad hoc, right? So we're not knowing what's happening in those workshops. We do post it minute notes, but we don't really share those across that we can utilize it analytically to kind of improve how we're doing. And we need, you know, we need to get the interest of funders. We need to kind of solidify our financial kind of infrastructure. All right, but all is not lost. We've made some recent developments that are exciting. So CDL, one of the most excited recently, CDL UC3 received an IMLS grant to fund a coordinator role for two years and also support building the infrastructure in North America. So this is somebody at the other end of the phone when somebody requests to workshop. They say, oh yeah, yeah, you can find people in your region or whatever. There's two instructors here. So we can put this on. So we definitely need that ability to have this, have some kind of support role in library of carpentry. And also that role will help develop, you know, hold like sprints like Belinda did in the last two years so we can improve the lessons, recruit instructors, have more instructor training like we did in Portland so to build capacity through libraries. So all that will be benefit, the North America will be benefited by that, right? For the IMLS grant. The other good news is we held a community call in October and we generally agreed that we wanna merge with the carpentries.  We've already been writing free off of their good graces. So we're gonna charge a steering committee and then elect members in the new year to start working on that merger process and negotiating with the carpentries. And we also, the last thing I think we're gonna align our kind of assessment, our ad hoc assessment program with how the carpentries do it. Carpentries has a assessment director, Dr. Kerry Gordon, and they're already doing a lot of analysis on their kind of survey. They do pre-assessment, post-assessment, and then six months later assessment. So they're already have a program for this and have reports. We're gonna plug into that so they're fine with it. And the cool thing is we can kind of do some inter-carpentry analysis in the end. We can see how we're doing compared to the other cohorts and the other carpentries. So that would be really helpful for us as we move along. And I think that's it. But yes, this is a vibrant community. We welcome new members, new interested people. If you have any questions, you can email me or fortunately in a short time, I think they'll have this coordinator role and we'll have a real email that will be part of the carpentries. So stay tuned for that. But email me in the interim. It's Tim Dennis at ucla.edu. And I could forward that to the coordinator when we get one on staff. And thank you. I want to call out there's two. So John and I were the co-presenters. But Julian Schneider from Harvard and Tracy Teal who's the executive director of carpentries both kind of helped with his proposal. So I want to acknowledge that.


I knew that that summer I was going to tell them something that I thought would end my career in football. I genuinely was terrified because this is my club, this has always been my club. I'm Sophie Cook and I was a club photographer here at FC Bournemouth and I transitioned just as we got promoted to the Premier League and became the first trans woman to ever work in Premier League football. When we got promoted to the Premier League, that match at Charlton where we were Crown Football League champions was my last ever match at Steve and whilst it was the greatest day in the history of the club, I was terrified because I knew that that summer I was going to tell them something that I thought would end my career in football. But when I actually got round to telling the club just before that first Premier League season started, the first person I told was Rob Mitchell, the commercial director and he arranged for me to come in for a meeting and we're up in the owners box overlooking the pitch and there's Jeff Mostin, the chairman of the club, there's Rob Mitchell, there's the head of media, there's Liz Finney, there's me in my pencil skirting heels looking absolutely fabulous. The funny thing is that I actually are still at a job and then Eddie turned around to me and he said, what can I do to make this easier for you? And the thing is when someone comes out they can't expect people to understand straight away but for your boss to say what can I do to make this easier for you, that's all you can hope for. So I said to him, well I need to meet the players before the match day, the first time they see me can't be as they're running down the tunnel because they'll be forgiven for doing a quick double take. So I came in for a training session and I remember being out on the training pitch and all the boys were off warming up and Eddie came up to me and he said, are you scared? And I said to him, you know what, for the first time in my life I'm tightly at ease with who I am so no, I'm not scared. And they called all the players together and Jason Tyndall stood up and said, I suppose you're not. So our photographer's changed a bit since last season, growing a hair out, I don't know, you ought to meet Sophie. And then Tommy Alfica capped in to start clapping and the rest of the boys joined in. And then Tommy said, right, let's go and train. And I'm stood there and I'm like, was that it? I'd built this up so much in my head and yet it was handled perfectly by the club. It's like, here's a piece of information. We've got it now. Let's move on. And really, when someone comes out, that's all it is. It's a new piece of information. And the love and support that I got, both from the players, the management and ultimately the fans was absolutely amazing. Being part of the club's Everyone Together campaign has been, it's unusual. I mean, I got my photo up in the stadium. I mean, four years ago, when I came out as transgender, the idea that there'd be a photograph of a transgender person up on the wall of a football ground was absolutely unbelievable. And I think Everyone Together sends out a clear message that whoever you are, there's more that binds us together than Zephrasis. And I mean, I love the club's motto. The club's motto says so much about how we came from virtually non-league obscurity if we hadn't had the great escape season all the way to the Premier League. Together, anything is possible. And it sums up the story of the club. It sums up my story since I transitioned. And it sums up what I think is truly great and wonderful about this club. It's important that football actually sends out that message and embraces everyone because football truly is the people's game.


Lithium batteries are electrochemical devices that are widely used as power sources. This history of their development focuses on the original development of lithium ion batteries. In particular, we highlight the contributions of Professor Michel Armand related to the electrodes and electrolytes for lithium ion batteries. This article was authored by Moghalla Halli v. Reddy, Alain Mogher, Christian M. Julian, and others.


At the Engineering Management Institute, we help engineering professionals become better managers and leaders. And in this 80-20 Engineering Manager Shorts video, I want to answer a question that was posed to me recently by a younger engineer. She asked, what if I'm speaking in public in front of an audience that's more knowledgeable on the subject than I am? How do I build confidence in that situation? And that is a tough situation because often as a younger technical professional, you may have to give a presentation to people that know more about the topic than you. And so that could be really difficult to do because you'll feel inadequate standing up there on the platform. You supposedly the expert, them with more experience. And so what I would do is turn that around and actually use the situation to your advantage and start the talk with something like, I know that many of you here are much more knowledgeable on this topic than me, but I have the opportunity to speak today. I don't want to share my perspective on it, but what I'm hoping is that this will be a very collaborative effort. I'd like to hear from all of you throughout the session with your advice, your knowledge and any tips or experiences that you might share with myself or others. By doing that right at the beginning, you pull them into the presentation and instead of them thinking to themselves, well, I know more than this person about the topic, they're going to be thinking, how can I contribute to this session? So oftentimes when you get into a challenging situation in your career, you really just have to turn it around. We talk about this a lot through our podcasts and through our videos. You take a problem and you turn it into an opportunity. And so if you're speaking to a group that's more knowledgeable, leverage their knowledge and do it in a way that's humbling, and it may just make your whole presentation much more collaborative and much more of an enjoyable and informative experience for everyone involved. Please subscribe to our YouTube channel for weekly engineering manager advice just like this and we will continue to help you engineer your own success.


Evening Star by Edgar Allen Poe. Red for LibriVox.org by Alana Jordan. St. Louis, Missouri. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar. And dear thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire. Than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Ann Cheng. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar. And dear thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Andrea Fiori. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dear thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Annie Kirkpatrick. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dear thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Anna Roberts. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dear thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Anders Lankford. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light. Of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Betsy Bush. January 2009. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than thy colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by Carol Straplane. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe. Red for LibriVox.org by David Federman. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Twas' noontide of summer and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Twas in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. End of poem. Twas in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Twas noon tide of summer and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Twas noon tide of summer and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. In their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star, by Edgar Allen Poe, Redville LibriVox.org, by Gemma Blythe. It was noon tide of summer, and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud Evening Star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. It was noon tide of summer, and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. It was noon tide of summer, and mid-time of night, and stars in their orbits shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Leanne Howlett It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Evan Barnes It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Nick Number It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by P. D. Wright It was noon tide of summer, and a mid-time of night, and stars in their orbit, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and the dearer thy beams shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by R. Fetterman It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by R. Fetterman It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by R. Fetterman It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Scott Miller It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Tracy Datlin It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night, and more I admire thy distant fire, than that colder, lowly light. End of poem. This recording is in the public domain. Evening Star by Edgar Allen Poe Read for LibriVox.org by Tracy Datlin It was noon tide of summer, and mid-time of night, and stars in their orbits, shone pale through the light of the brighter, cold moon, mid-planets her slaves, herself in the heavens, her beam on the waves. I gazed awhile on her cold smile. Too cold, too cold for me. There passed as a shroud, a fleecy cloud, and I turned away to thee, proud evening star, in thy glory afar, and dearer thy beam shall be, for joy to my heart is the proud part, thou bearest in heaven at night,