CHAPTER VIII BATTLE WITH A MONSTER Minutes passed while the earthmen hardly dared breathe. Their ebbing heartbeats seemed to almost echo in their breasts. Then the object appeared at the opening, hesitated, and was thrust in. The hammer was ahead. It swayed back and forth like the head of a huge caterpillar, and every gun fired in unison. Shot after shot pumped into the head with rapid and unerring accuracy. The giant head moved from one side to the other, while two gigantic eyes peered around. It didn't know enough to draw back from the danger zone, but muscular reaction finally moved it out of sight. Dick crept forward, motioning for the others to wait until he investigated. There was no need for all of them to enter the danger zone. He turned the flashlight on that had been strapped to his waist, and played it around the jagged opening. Then climbed to the next level and searched again. When he crawled to the outer surface, the creature was writhing a few feet away. He motioned, and the other men soon joined him, where they could watch the creature. They were standing almost on the direct centre of the dome, where it was almost flat. The flashlights penetrated the mists enough to mark out the shape of the attacker when they were all centred.  It was a caterpillar, as loathsome a creature as they could have imagined with its curled body, and the farthest possible thing from a human being. A form of life that existed in the poisoned gases, where men would die within minutes. The muscles of the creature had to be terrifically strong, to move against the gravity of the huge globe. Even at the centre of the dome they felt less effect of the neutralised gravity of the interior. It required effort to stand on their feet. Some effects of the neutralises in the giant pillars, which emanated most of the weight of the dome, enabled them to handle their bodies. The creature before them was accustomed to normal gravity of the heavy planet, and even the metal of the dome was not beyond the pounding of its hammer. What they had mistaken for a battering-ram was the brown tip of the mammoth insect. From end to end it measured over sixty feet. The men finally turned away and discussed as it writhed in muscular reaction. John McCarthy was climbing into the opening behind the other men, when he happened to glance back. His flashlight dimly lighted the spot where the monster had been, and it was gone. He hesitated with one foot in the air, then realised what had happened. The movement of the body had moved it farther and farther from the centre of the dome. It had reached a place where the curve was sufficient to let it slide on the smooth metal. A moment later a slight jar was felt through the entire structure. It had slid from the man-made mound to crash on the ground below. Memory of that sight made a sober return to the interior. Before they dared rest metal sheets were carried to the opening and blocked in place. Then dome men welded them to the solid metal. They didn't want to see any of those creatures in the cities. Twelve hours had passed by the time the opening was sealed, and the earthmen dragged their tired forms through the maze of supports for the last time. They were almost asleep before they could reach their own apartments, and tumble into comfortable beds. They had conquered the first problem. Dick was awakened by an excited man, talking faster than he could understand the new language. When he grasped what the other was saying, he leaped from the bed wide awake. Every dome had been attacked. The caterpillars were pounding many spots on each one. They seemed to be trying to get at the creatures that had destroyed one of their number. In that moment Dick felt like an old man. He thought of the spaceship—the only way of attacking from the outside and gave that up. There wasn't enough fuel to handle it, and the blast might injure the metal domes. His mind searched frantically for some way of fighting all of the creatures, and knew it couldn't be done. He was racing across the open ground, while thousands of people gazed at the banging overhead. Suddenly he stopped, then turned back towards his apartment running just as hard. There was a system of communication between the domes that sometimes worked. It was not efficient, but if he could get in touch with the others immediately, there was one chance. He tried frantically to get a connection, but it wasn't until one of the natives helped with the intricate system of signals that he heard the voice of Andrew Smith. A few moments later Philip Jones answered, then Jared Brown and Peter Yarbrough. Each man was given quick yet explicit instruction. When Dick turned away from the phone, John McCarthy entered the room, followed by George Martin. The noise in the city had finally aroused them from their slumber. John started to smile, but the expression on Barrow's face drove all thought of greeting away. What is it? I thought the people were doing a day's work, but you— His face turned ashen as he ran to the balcony. George Martin on your step behind. After gazing up for a moment McCarthy turned slowly to face Dick. The worms? It sounds like hundreds of them. We'd better work fast, or they'll have the whole wolf down around our ears. No, John, we can't fight them with guns. They've attacked every dome on the planet. When full realisation came to the big Irishman, he sank slowly into a chair. Then what? Have you got any plan? Or are we helpless? We've got work to do, and plenty of it. There's a slight chance of saving the cities. I've already instructed the others. As the three men raced toward the power plant, Dick explained. John and George were to do the work, while he travelled from dome to dome to make sure the people were prepared, and see that the power plants were used as he intended. By the time they reached the entrance to the building, John nodded, and Barrow turned back as the other men entered the door. The first dome-people that Dick saw were told to remove everyone from the buildings, and gather them in the open spaces of the parks, leaving no one within any structure. The expression on his face scared them even more than the pounding of the worms, and they hurried to obey. Dick jumped into the nearest ground-car. He couldn't be bothered travelling on the railroads. This happened to belong to the assistant head of the dome, whom he dispossessed. It jerked crazily across streets and parks while he learned to handle the controls. An hour later Dick was back at the power-house in the big dome. Every city was ready. In several places the hammering heads had broken through the outer layers, and were banging at the translucent inner ceiling. The creatures had learned how to break through. The first worm that attacked, while the spaceship was away, either took its time or didn't realise what was beneath the heavy metal. These creatures were working in earnest. Heavy insulated cables ran from the power-house to the nearest metal pillars, when McCarthy and Martin were working desperately to fasten them in place. The booming voice of the Irishmen had kept the natives back, although they crowded as close as they dared. They were really afraid, when the hammering grew plainer with each passing minute. When the cables were fastened John shouted to Dick, who was waiting in the power-house. He pulled a heavy switch at the end of the wires. The city was suddenly in complete darkness, then it flashed bright again, as power flowed back into the thousands of coils in the ceiling material. Twice more it darkened, when the giant switch was thrown and the lights came on again. This time it stayed bright. Dick ran to the doorway and gazed at the dome above. It was silent. The people were frightened and moved restlessly about. Twice more he turned the power into the metal, and after one long darkened period the city remained bright. No sound came from the dome. Either the worms were dead or frightened away. Within a week the doors to the deserted city were opened, and the earthmen passed through. When they glimpsed the interior they stopped in consternation, then started to laugh. Huge worms covered the ground, and smaller additions of the same species crawled around them. They were using the dome for a hatching place. They had only entered it to bring forth their young. It was not brains that tempted them to attack the city, but the instinct to find a protected place for their eggs. Since they had broken in, many of the young had hatched and were crawling around the ground. The sight of the earthmen seemed to excite their feelings, and several of the creatures started toward them. The men fired carefully, and the forms squirmed on the ground. The ones that came behind stopped, and some of the young tried to feed on the remains of their companions. The sight was so sickening that the earthmen fired at every living thing they could see. Several of the wounded creatures crawled up the huge pillars, to disappear through the opening above, while the men shot at their disappearing forms. When the last caterpillar lay dead, the entire area appeared like a battlefield. Three days later the gas had been expelled, and the hole in the dome repaired. The population was returning to their homes, burying the carcasses in the fields. The city was liveable again, and they knew electric current would stop any future attacks of the strange creatures. Ten years later, Dick Barrows sat on the balcony before his apartment. His son John, eight years old, was playing with Dick McCarthy. While he watched the boys, his mind swung back to the earth the little group had left so many years before. For three years they had talked of returning to their home planet, and the evening before the conversation reached a climax. They were starting in two months. It no longer required years to manufacture fuel for one trip. All machinery was working at top efficiency, and they could turn out enough of the liquid in a month to drive the ship back and forth several times. Crews of workmen had been trained to care for all mechanical equipment, and there was no longer need for the engineers from the earth. The day the little party, it now consisted of eighteen with the four children, entered the spaceship, tears rolled down the cheeks of many of the crowd. The Dome people had learned to almost worship these members of an alien race, and thought they would never leave. But when they realised that their leaders were dissatisfied, and wanted to return to their native planet, they aided in every way they knew how. The ship was out of port for less than a week, when the people became restless. They hardly spoke even at mealtime, and for the first time in ten years there were petty quarrels. When Barrow called them to the main cabin they came grudgingly, then slowly the expressions changed. Smiles appeared on their faces, and their heads moved with the sheepish nods of assent. Where falls, and you all know it, we were happy in the Dome's, happier than we ever were in our lives before. We didn't appreciate it, and longed to return to the earth. We wanted to leave, yet had everything there to live for. We had comfort, every pleasure, and more friends than we can possibly have on our own world. I feel ashamed. Right now we wish that we were back in our own apartments, and might as well admit it. The earth is not what we want. We want the Dome's. They are home. The best thing for us to do, now that we are on the way to earth, is establish commerce. We can create friendship between the planets. We are the natives of Jupiter. Our interests will always be with the Dome people. We have almost become part of that race, and they have given us everything in return. They even gave us our freedom when we wanted it. We belong there. Ten years more passed, and John Barrow was beginning to help his father's work. Vacationing in Jupiter's Dome's had become so popular on the earth, that they were building another city to accommodate the tourist trade. It was the third to be added to the original six. Merchantships were constantly discharging goods from the earth, and carrying back rare materials. Spaceships from the earth, designed after the original Jupiter ship, were searching the little known planets for minerals. Dome's were being built on three of the smaller globes, and pioneering humans migrated to new worlds. There was danger, yes, but also fame and fortune for the hardy people who would inhabit them. The earth had changed a lot since the visit of the spaceship. They had adopted the principle of control and gravity, and tremendous structures were the result. New buildings were several times as large as the greatest structure of ten years before. Both planets had benefited from the friendship, and both were happier as a result. As Dick Barrow's mind ran over these facts, he smiled and spoke aloud to himself. And all this in twenty years, it seems incredible. What did you say, dear? asked Dolores. Dick smiled as he glanced at her. It's nothing. I was just thinking. Remember the night you fell in front of my table in the hotel, and I thought it was accidental. You scheming gold digger. The ruler of the domes ducked when his wife threw her book, but she didn't throw it very hard. End of Chapter 8. End of Wanted Seven Fearless Engineers by Warner Van Laan. Read by Lizzie Driver, Corrie Samuel. Andrew Coleman. Philippa. And David Barnes. London, 18th October 2008.


Looks like we have a nice crowd. Thank you for coming tonight. We're very excited to host author and naturalist, Burton Heinrich. He joins us tonight to celebrate the launch of his book of collected essays, A Naturalist at Large. As the New York Times book review notes, these passionate observations superbly mix memoir and science. As I was reading, these essays span a number of years and a number of ecosystems, starting with observations of earth, of its foundation of soil and rocks, then moving on to insects, mammals, ravens and other birds, and ending on strategies for life. One of my favorite essays is O. Tenenbaum, where Byrne talks about the natural growth of the coniferous trees, the spruce and balsam fir. So popular for Christmas and raises important questions about altering its true shape to feed a human expectation of what a live tree should look like in our living rooms. If our ignorance of how conifers grow can allow us to do this to a Christmas tree, how much more might we alter nature at large without caring or even knowing, he says? Of course, to understand what is at stake, you should read the book. So you can pick up your copy here tonight at Bear Pond Books. And for those watching on Orca Media, you can come into the store anytime. I'd like to remind everybody to please mute or turn off your cell phones and to let you know that the front door is locked for the duration of the reading. The back door is open if you need to exit during the reading. There is a bathroom at the back of the store to the right of the back door. And please help yourself to refreshments at the back table. I'd like to thank the Vermont Arts Council for featuring this event as a Vermont Arts 2018 program. There are complimentary Vermont Arts stickers at the counter if you'd like to pick one up. I'd also like to thank Orca Media for filming tonight's event. If you're interested in seeing this video or if you're interested, bless you. In learning about other Bear Pond Books events, I'm going to pass around our signup sheet for our newsletter. All of our event videos will be in the newsletter plus upcoming events such as Reeve Lindberg. She's the daughter of aviator Charles Lindberg. She'll be here on Tuesday, May 15th, talking about her new memoir called Two Lives, which is a neat collection of essays that reconciles the seemingly separate worlds of fame and privacy. But tonight we are proud to present Byrne Heinrich, a professor emeritus in the biology department at the University of Vermont and the author of numerous books about nature writing and biology, including bestselling, Winter World, Mind of the Raven, Why We Run, The Homing Instinct, and One Wild Bird at a Time. Among his many honors is the 2013 Penn New England Award in nonfiction for life everlasting. He resides in Maine and we're thrilled to have him here at Bear Pond Books. Everyone, please welcome Byrne Heinrich. Thank Bear Pond Books for inviting me and thank you for coming. So this is the first outing of this new book. It just came off the press about a week ago, I think it was. And so in a way it's also an outing for me as a naturalist. I mean that the title says this and naturalist at large, so it's about me. And it wasn't always cool to be a naturalist. I always thought of myself, I'm a scientist, I'm not a naturalist. And that was kind of imbued in me already when I was applying for graduate school. And I remember interviewing at the University of New York at Buffalo to go to graduate school. And I was passed around to the various professors interviewed and they would kind of check you out if you're suitable material.  And showed me the door, so at this point, I guess I am a naturalist and I think I was one since I was six years old. But I didn't realize that there were certain connotations attached to it, et cetera. So I want to today talk a little bit about kind of the journey because these essays, in about 35 essays in this book were written over the last 30 years. And actually I've been publishing science since almost twice as long. And so this came more recently. So first of all, I want to say I really like the cover of this book. That's how you judge your book. And this got this beautiful art there, it's all mine. So they made a very good choice to put all the good stuff in there. And so this is from about eight pictures that all relate to biology, they all relate to natural history and they all relate to science. But I should probably go by the blurbs. So I'm gonna read some of the blurbs in the back. So that's part of reading the book by the cover. But the blurbs are actually from different books. However, I think that's fitting because this book includes things that went into different books because it's very different, very many different topics. Obviously from 35 essays, they include topics that went into other books. So this is kind of a combination, really of many books together. And so here's the first one in the back, it says praise for one wild bird at a time. So there's the essays here about birds, you know, a whole bunch of them actually. So that relates to that book. And this says, Baron Heinrich is a dedicated watcher, happy to knock down the fourth wall of zoology. Well, I never actually considered knocking down any walls, so I don't know what this is all about. And I don't even know what the fourth wall of zoology is. So there's maybe more behind this than I know. And the second one is praise for the homing instinct. I says deep and insight for writing. Well, that, I never thought about deep and insight for writing. It seemed to me it's just common sense, you know? But common sense comes from needing from having facts and just going by the facts and you get the facts from observations. And that's one thing that I do is I make observations and then if somebody else doesn't make the observations, well, then you get insightful, you know? And when you write it, so that's the way it goes. Okay, here's praise for life everlasting. Anyway, it's about life everlasting is far from morbid. Instead, it's life affirming, convincing the reader that physical demise is not the end of life, but an opportunity for renewal. Okay, well, a little bit actually of that I have, I saved that just to the very end of this book, one short piece, so that's a good ending, right? About death, but it's really about renewal. Death really is about renewal. It's a continual renewal in nature. You can't have it without death and you can't have it without birth. So it's all part of the process. And I didn't do it intentionally, but that topic comes up at the very last, but in terms of ecological conservation. And so here's a nice one. It says, Heinrich richly deserves the comparison to Thoreau. Well, I kind of puzzled on this one. I mean, Henry David Thoreau was a philosopher and I think they would label him as a transcendentalist. I'm not exactly sure what a transcendentalist is, but I don't consider myself transcending anything and I don't know what it is. But I think he, so what am I that I get compared to Thoreau? I mean, I'm a runner, I'm a scientist, I'm an artist, a physiologist, an ornithologist, an entomologist, ethologist. So I didn't know about Thoreau being any of those. So I don't know how the comparison holds. However, all of these things are, except maybe being a runner, concern being a naturalist because a naturalist combines just about, all the disciplines and it brings them together. And so maybe transcendentalism, transcendentalist means to bring a lot of things together. And that comes only from a broader contact, from broad interest. And it said that I'm a passionate observer in a mixed memoir and science. Well, I never thought of it as, well, the passionate comes from, really from just being interested and finding something interested. And that comes from just being out and observing and asking questions. And memoir comes kind of automatically because it means being involved in the process as an observer. And rather than being global and speaking in terms of generalities, observations very often become kind of personal and from experience. So I see as being a naturalist comes from original observations in the field from a personal perspective and putting your own spin on it and putting it in the context of what is known and trying to find out more about it. And as I said, I've been that since I was a very small child and I remember how during my PhD qualifying examinations, for example, at UCLA, Professor asked me, he says, why did you decide to be a biologist? And I couldn't think of any answer of why. And then I said, then I remembered a kind of an experience that I had that left a memory that is sharp right now as it was 72 years ago. And I was going across the Brook and it was in the spring about this time and the willows were in bloom and there were bumblebees flying one flower to the next and humming and there were birds there, warblists, harking insects. And I remember that scene exactly. So that sort of left an impression of something really wonderful and fascinating and that would focus interest for forever basically and finding new thrills like that. And so, but it led to doing studies and finding later on, it went to trying to find out what was really going on. It's basically, this is life and this is the most important thing on earth and what is behind it and what makes it fascinating, what makes it tick. And so it's strange that during my PhD qualifying I talked about this vision I had about these bumblebees and they kind of looked at me like I was a little bit crazy and I forgot about bumblebees for my PhD. I didn't work with bumblebees. I worked with Mars actually, but later on I did work with bumblebees and a matter of fact, I did some of my best most scientific work with bumblebees. I had like four or five publications in the premier science journals in science and in nature. It happened to be about bumblebees. I don't know, it just happened. And so that led to trying to put it together and trying to communicate it. And I remember another professor at Berkeley there. I've been working with bumblebees going back to Maine every summer and I'd go out in the field and chase bumblebees around for one reason or another and end up with a paper in science, but nobody really cared and I didn't communicate too much to the professors there, but he says, well, he says, what do you do? Did you go out to Maine again and find out that bumblebees make honey? And so I said, well, I'd better communicate that there's more going on than making honey. And so I wrote bumblebee economics. And that kind of led to one thing after another. And again, the idea was to bring the topics into a larger context. And so writing actually for me was also a path of discovery because once I started to write, I found out what I really didn't know at all. And try to put it together, where are the connections? And so whenever I was writing for a general audience, I would find out interesting problems that I hadn't solved and that just popped up. And one thing led to another. And I don't know how much time we have, but I do wanna leave quite a lot of time for your questions. And so we heard what the general topics were, went from things from the earth, plants to insects. And that is, of course, natural connection when you're talking about bees, you're talking about flowers, et cetera. And when you're talking about bees, you're talking about community action. And that actually led to ravens because bees share information and there were ravens doing something that looked similar, but it turned out to be very, very different. But you get insights from one to the other. So at this point, I'd like to be open to your questions and discuss some of these things if you have questions. And, of course, I gotta leave time for signing books too, right? Yes? What kinds of things are you working on this week in May? Tree swallows. Yeah, for the last seven or eight years, I've watched tree swallows and I've noticed that the males bring white feathers into the nest. And not just any white feathers, but long ones, usually those curved ones, those of the secondaries of the wings are their favorites. So I made tests, put out, spread out feathers. Actually, I was watching them so much that they were paying no attention to me. I could hold up the feather and they'd come pick it out of my hand. So anyway, I did test and find out what they really prefer and then I'm trying to find out why. And so actually, I have a draft of a book of that written right now. But by writing it, I write it earlier so that I find all the things that I don't know and now I have to clean up and get more observations to fill them in. So why did you pick tree swallows? Why do you pick a topic? Yeah, well, I just like birds. And so I've always put out bird houses. Ever since I was a kid, I think I was eight years old when I made bird boxes, hammered together out of boards, barn boards and hung them up. And there would be tree swallows and bluebirds and kestrels and starlings. And they were just for the fun of it. And so I still put up bird boxes all the time. And in one bird at a time, you may have read how sometimes I don't even have to put a bird box up. Flicka came and knocked the holes through the wall and built a nest right there. But yeah, tree swallows were right next door. And so one, the reason was because they were right under my nose, just like bumblebees, you can watch them from two feet away. And here with these tree swallows, they were five feet away. So, you know, take what's available and what can be most easily seen and observed. And then once you start watching, you see interesting things that you just can't imagine. And I couldn't imagine, you know, I knew pretty much, you know, what the other birds were doing. I know the chickadees in the box there, they didn't have a single feather in there. They didn't need to line the nest feathers and the gray-crested flycatcher had a nest in that box and had it all lined with pine needles. And here the swallow had to have white feathers, starling would take feathers, almost anything, but put them in at random. And then I found out that the swallow was putting in the eggs, the lining, even after laying the eggs, which is weird because usually you should put it in before. So a lot of things just didn't make any sense. So, a follow-up, if you may. You said you took what was easy. How do you explain that your fascination with ravens and hauling dead carcasses through the winter? Yeah, that's... Is that your definition of easy? Yeah, no, that was not easy. It's a good point. It's probably the hardest thing I ever did. But the thing was it was so fascinating because I didn't think it was gonna get that hard because all I was gonna do was get a one carcass, calf carcass, I got one there and put it out, and see who came and they made a noise and I would play back. I'd record the calls and play it back and see if the raven would come. And then one little thing let me know to another, if I had known beforehand what was all involved, I would never have done it. But it was always here. All I had to do was take one more little step and then I'll get a little bit closer and then I'll be done. And I get there, well, I have to take one another one and that's how it went. And because it was always fascinating to take the next step. Yes? I don't know much about them. They seem to be collected mud around my driveways and they would come and like land on my feet and drink the sweat out of my feet. But solitary bees makes me think that they don't have a queen or that they don't, that they'd be solitary. Well, the solitary bees, the social bees evolved to be social from solitary. The solitary bees, let's say some of them make a little mud thing, like a little pot almost. Others use a hole like the leaf cutter and then others in the ground, there's so many solitary. But anyway, basically they're all females. It's a single female that does that. But when the bees started making those holes in the ground for sometimes another female might come and use the same hole or some of her babies hatch out and make a side hole and pretty soon you get more and more. And the same way as cockroaches became termites by eating in the wood, they all got all the food there and all the babies there. So you end up with just one female doing all the reproduction and all of the offspring being neutered and so in a big honey bee colony, it's still one female. Rose and Ravens, can you talk a little bit about what kind of correspondences, letters you got and what kind of correspondences you've got or maybe a pretty surprising letter from somewhere in the world that you hadn't expected? No, I do not remember. I mean, well actually I get all kinds of correspondences, but not so much with respect to solving the problem because they are not involved in it. But since you mentioned that, I did get one letter. Mostly I get letters from, I have a pet raven, I have a pet raven and after a while I pay no attention to it anymore because I get too many, you know, I heard about this pet raven again and again and again but anyway at this time I got this letter from a lady in Berlin and she said, oh, I'm talking about her raven, a pet raven. And by the way, she says I work in a library, I think it was some kind of a division for deciphering handwriting. You know, the Germans write so funny, you can't read the handwriting, you can't read the print and I had a whole pile of letters from a friend of my father found in the attic and I couldn't read them, I couldn't make them out and so I sent her, can you translate this? Oh yeah, she can do it. And then I found a whole big trove of letters because of my ravens that made me able to write the snoring bird because I got all this information which otherwise I wouldn't have got. So a lot of times it's the unexpected things that come up, mostly that is just by reading and rummaging around. So the same with doing the research, you do the unexpected things and unexpected things come up and it's usually surprises and the surprises are the most fun. But definitely it's a matter of contact, not just through letters but actually doing things. You know, here it was me rummaging in the attic, for example, that led one thing leads to another. Yes? Have you been following the changes in birds and insects and other animals in response to climate change? Well, I definitely have noticed a lot of changes. You know, I don't know what to attribute them to. For example, I was just telling to Rick Dutch as we were talking about bees and I was thinking when I was doing the studies with bumblebees in the 1970s, I'd see a spirea bush and we just covered with bumblebees all over the place and I have pictures of a dozen or so and last summer I went jogging around the roads and spirea all over the place and I'd see one or two and nothing more.  And it's a good thing I did the studies then because there's no way it could be done now. And so I can't imagine that there was a sudden climate change like that that I wouldn't attribute that to climate change. I mean, it could be to spirea of disease or anything else. I mean, but you do see changes all the time and in part that's natural in ecosystems. I mean, I remember in Heinsberg around the beaver bog there was a, by Burnham, I forgot which one it was now. In one year, a couple of years, it was all eaten off. There wasn't, you know, I thought it was all dead. You know, all the leaves were all eaten it and it was dying and I thought it was gone. Well, too bad.  They're all gone. And it's all back. So, you know, things change so quickly. They're, you know, they're epidemics on their violent changes in weather. You know, you can have one big storm and maybe knock at the right time. You can knock out, you know, half the bird population of some species. So, and there is violent weather at any age so, you know, the whole pattern is not something I'm conversant on. All I can tell you is that there are big changes all the time. Yes? I have a question on a little bit different topic but a lot of times when science is mentioned, math is usually the next kind of topic that's brought up. How important do you think it is to approach science from a writing and artistic perspective? How important is it to? To write about scientific content but not necessarily in... Not necessarily. Okay. Yeah. With articles and... Yeah, well, I mean, I am at terrible dunce at math. If I had to do statistics, I used to be able to do some primitive statistics and I can't do it anymore. I let somebody else do it for me. But I don't do too much of it. I don't think, you know, 95% of my science is not mathematical. It's more related to a phenomenon that you can... Well, you have to do, you know, I do experiments but I don't have to do a thousand... I don't have to repeat it a thousand times to get a statistical significance. If there's that much variation, then I figure that there is... I'm not gonna be that interested in it because there's so much else going on. I want things that are much clearer and sometimes, you know, it's required. But I'm more interested in the phenomenon as such. I mean, for example, I remember going into the... When I was interviewing there at Buffalo in New York, the professor, they were very much into math and I was totally done at math and anyway, they had aquarium and had mice in there and this was full of water and the mice were swimming around in the water and breathing the water. And the reason I could see they were doing it, they had it under pressure and they were pumping in oxygen into the water so the oxygen in the water was totally saturated and so the mice could breathe in the water and they get enough oxygen out of it. But they were interested in the precise diffuse ingredients in terms of diffuse ingredients and exactly how fast was it going in from what concentration to what concentration? Well, I could see what was going.  I know it had to be high. This percent or that percent didn't make any difference to me but a lot of people in some problems, it does make a difference. But, you know, I think it's, you don't need to, if it comes to that, get somebody who's good at math and let them do it. No, I just work in schools and I think it's super important for people who are interested in art and science to feel that they belong to the scientific community. Yes. And that's why I love reading these kinds of books. Yeah, so there are niches, all kinds of niches and there's room for artists, there's room for mathematicians, general observations, generalists, specialists. People come to science out of love for phenomenon often. Yeah. Out of love for music, out of love for a shade. Yeah, yes? 30 or 40 years ago when you were first starting to be a naturalist, who did you find worth reading? And now, who would you say is inspiring to you?  I mean, I like E.B. White, he writes for general audiences and I don't know that I tried to do more watching than reading so I'm reading Paul and now about plants, you've got, and at the moment and so there are lots out there. Yes? I'm wondering how you gain the trust of a bird. We have a garage and an entrance to our basement which is what we used to go in and out of the house and there is an old Christmas tree where a little sparrow has built a nest and we've been watching the eggs and watching the hatch and now we've got little fuzzy babies in there and I would love to know how to keep the bird from spooking every time we come in and out. I've been testing a theory that maybe if I don't make eye contact with it, she'll stay but I wondered if you had any thoughts on that. Yeah, I think eye contact is important. I mean, that might spook them out, yeah. I mean, I was deliberate about that with my swallows. As I said, I could feed them out of my hand and when they first came to, and the first time in the clearing and went to check out the box, I would deliberately go near and act like a post, and so that they would get used to me and eventually I said, I'm gonna see if I can get close enough to touch it on the tail and I got a post there and one day I'd go, another day a little bit closer and after a while it wouldn't pay any attention to me and I actually touched it on the tail. So with the ravens, for example, you don't get near them and but I found out that the ones that we captured and put in a big aviary and I would be in there for hours and hours every day, after a while they couldn't escape so they were forced to be near me and they had a chance to see that I was harmless and after a while they went feed right by my feet, wild ravens. So it's a matter of habituation so and not really scaring at them just because eye contact is very important, they're keyed in, a predator, folks is in on them and so they would definitely notice if you really keep looking at them, just don't pay them any attention but be consistently near and they'll be habituated. Yes? So in your book about raven and winter, you were a moose carcass and it called out and that was the big question why did it call out. Right. And you kind of, yet by the end you figured, well, that it was a young raven or something and that maybe it was calling out to prove that it could find neat. Well that was one of the hypotheses. Actually when I wrote ravens and winter I think I ended up with seven or eight different hypotheses. I thought one of them might be maybe there calling in a predator to open the carcass because a raven can't even peck through the skin of a gray squirrel. But actually it's quite a job for a raven to eat a gray squirrel. What they do is they start at the mouth and they pull things out and they can turn the skin inside out but they can't penetrate the skin but they can never penetrate into a deer. They couldn't get anything until a coyote or a wolf or something tears into it. So it makes sense that if you find a carcass you're gonna make a racket and some animal that might recognize that call that's associated with food would come and eat it. So that's your final, it's been many years since you've written that, is that your final word on that?  You're gonna have to read the book. I ended up with eight hypotheses. I think it was seven. But I don't wanna spoil it for any of you who wanna read it. Yeah? So were the tree swallows, were the feathers that they used from tree swallows or from some other bird?  So these are mostly turned out to be from waterfowl, light colored feathers from waterfowl but they'll take any white feathers, chicken feathers. I know out at North Branch Nature Center there's a box with tree swallows in it and there was white fur in there that came from a llama that was about a mile away. Yeah, yeah, yeah I know, I mean, that's the point that these feathers must come from long distances, especially where I was looking at in the clearing in the woods, there's no waterfowl right there. They have to go at least a mile to come back with a feather and they put about 50 of them in there up to 100. So it's a lot of work. So if you put in that much work, that would not be produced by natural selection unless there's some big advantage for it. So that's generally what that species will do. So the evolutionary, the advantage to them is sufficient and it must be clear when the range to go get that particular kind of feather is just too great an energy expenditure, right? Right, so it's a big energy expenditure. And the interesting thing is that it's mostly the male that brings the feathers. Usually the male starts the nest and then the female lines it. Here it's a male that brings the lining but she lines it, but he brings them. So there's something interesting story going on there. Why, why? Again, I have... Spot parasites, great idea. Why would they have to be white? See them, then? See your bugs crawling around then? Yeah, well, they don't generally pick out bugs. Yeah, so that's one hypothesis. Okay, add that and test it. I have a few others too. So, name one. Well, let's see. For one, feathers are very hard to find so it's really something valuable and the male brings them so maybe it's like the bull brain, the bride, pretty flowers where you've got very expensive, you're really worth something, you're bringing these flowers. So that's another hypothesis, that's more. I know there's, I don't remember what bird species is, but in one of the jungles in the southern areas, there's a bird that collects blue feathers and brings them in, so. Oh yeah, well, like the bird of paradise, I mean that, that decorates a bower, yeah. Yeah, exactly. Yeah, yeah, yeah. I don't know if anybody's figured that one out. No. But I think it's something similar. It's definitely something valuable. It's attention-getting, but I don't think that is going to be the answer in this one. White. So there you get a hit. There you go, there you go. Another hypothesis. Another hypothesis. Do ravens adorn their death nests with anything? No.  Well, I mean, they do collect ribbons of let's say ash bark, the inner bark, that's nesting for, it could be just for the lining, soft material. I don't, I have not seen anything colorful or anything like that in the nest, but if it happens to be there, I think they would just pick up anything that's kind of loose for the lining and the outside of course, it sticks. Yeah? This might not be within the catalog work that you've done, but I'm curious about, I grew up in Scotland and there were magpies all over the place there and the western Europe generally, and there are magpies in the American West, but there aren't magpies in the East, what's up with that? Good question, I have wondered about that, I don't know, it's weird, yeah. And there are carrion species like pros and ravens, right? Yeah, they are also carrion feeders, what is a little bit like ravens and pros, which are related, but you know, just like, yeah, these distributions are really kind of interesting, I mean, about 20 miles away from where I live in Maine, there are gray jays, and 20 miles further, they're none, never seen one, so I don't know, in the other place, we see a lot of them, so of course habitat has to be appropriate, but it looks like the habitat is very similar, so maybe it's competitors, a competing species, might raid the nests in a particular habitat. Of course birds tend to come back to the home area, but the same pairs in the offspring, but that wouldn't spread in some cases. So blue jays are corvids, like ravens, and have you done any work with blue jays? No, I have not. I would like to, but I haven't done it. In fact, I wanted to do some of the string-pulling tests with blue jays that I did with ravens, last year, actually, and I got a permit for it to get the blue jays, and behind it all over, and I couldn't find a nest, so there were about 20 of them around the feeders all the time, but when it came time, finding a nest, they were all gone. It would be interesting to see the correlation. Yeah, it would be interesting to see, and I'd like to do it, but I did try with crows, and they couldn't do the same test, that the ravens passed, the crows couldn't do them. So if I remember correctly, because I heard you talk about ravens a number of years ago, you had raised these ravens in an aviary where they could not have had a learning experience previously, right? That was interesting how quickly they figured that out. So you would have had to do the same thing with, and how many birds do you need to have hit the, I know you're not trying for statistical. Yeah, yeah, well I had, I think five or six. Yeah. Yes? What has been your favorite thing to study so far? Excuse me? What has been your favorite thing to study so far? The favorite thing to study. The one I'm at right now, which is, which is Treeswallis. Read the passage, any suggestion? Maybe, okay, how about at the very end, it's just a very short one. It's actually from Field Notes, which is a publication of the Field Naturalists of Ecological Planning Graduate Program at the University of Vermont in 2017. And they asked me to contribute once in a while. So I don't remember what they asked me to write about, but this is what I wrote, February, 2017. A dawn at Tickety Sings, a downy woodpecker drums in the red eastern horizon turned yellow. The Beatles put it this way, here comes the sun. It's been a long, cold, lonely winter. During the past months, there has been little light. Scarcity can be a good thing because it can draw attention to what we may take for granted. Scarcity forces us to fix it on what we miss. Right now, I really notice and appreciate the light. Most mornings throughout the winter, I have gotten up in the dark, anxiously awaiting the glow on the horizon. In the meantime, it had to do with the faint, flickering of rays from the wood stove onto the cabin floor. Light is a band of the electromagnetic spectrum and only part of it is visible to us. We can't see the ultraviolet nor the wood stove's heat, but they are still there in real time. The light from the stove comes from sunlight stored the year before. The light I used while reading last evening had been captured the previous day by the seven by seven centimeter photovoltaic wafer on a $20 inflatable lucy light, a marvel of technology that catches and releases light by the push of a little button. This lamp's light supply, captured the previous afternoon, first traveled eight minutes and 20 seconds through space from the sun, where it was produced by the collision of hydrogen adamants to create helium by nuclear fusion. The marvel of what a lucy light does is performed routinely by the trees all around me. They store energy of sunlight in molecular bonds in their wood and hold it until they die and decay or until I release it through combustion in our stove. But this light is captured by the chlorophyll molecule, the bio-light catcher, and the reaction that grabs carbon dioxide molecules out of the air while also releasing oxygen. Photosynthesis stores the energy of the sun's atomic fusion in the molecular fusion of the tree's wood. Wood is an adaptation of the most amazing plants on earth, a scaffolding that hoists solar catching leaves high into the air. Each tree races for sunlight against others doing the same thing. The piece of maple burning in the stove next to me came from a tree I culled over a year ago, enabling many others near it to grow. It was made from light and carbon dioxide captured decades earlier. Stored sunlight in the form of wood makes life possible here in our off-the-grid cabin in the winter. Meanwhile, tanker trucks drive daily up and down the road nearby delivering cargoes of hydrocarbons from stored sunlight energy that was captured by chlorophyll long before maple trees even existed. We now mine that light and energy from the ground in a suddenly and apparently irretrievably committed to putting back into the atmosphere what took hundreds of millions of years sequester underground. The oldest fossils on earth are those photosynthetic organisms. The magic process made possible by chlorophyll put oxygen into our atmosphere and enabled the evolution of aerobic life. Oxygen now comes to us mainly via plants. The forest plants are the major atmospheric keepers. Forests also create soil and by way of their root network, they capture and store water that would otherwise not stay on the land. They create atmosphere, climate and habitats, the home and food for millions of species. It is no wonder that we may reflexively balk at the idea of cutting trees up to burn them and perhaps we should. However, at the same time considering the rest of the forest is just considering the rest of the forest is just as crucial. Trees are the most visible but they're only one component of a forest. Obviously we need more trees and clear cutting and plantations of vast tracts of land are poor substitutes for the ecological complexity of forests but leaving them all untouched isn't the answer either. We keep and grow forests because they have a direct and clearly perceived value. I'm passionate about trees and not only because they are light incarnate, I also like paper, pears, apples and oranges, hazelnuts, timber frames and wooden boats. I care about forest too for their trees and for all that lives in on and around them. Growing a forest means harvesting trees by leaving trees including the biggest of the best in the rare as well as the common and allowing them to stay in a place for their entire life spans. The problem is not that we exploit trees, the problem is not used but misused by destroying forests and replacing them with trees only. But if misuse were reason to categorically abstain by credo, then one might as well prohibit having animals as companions or having children. There is necessarily a cost to everything. It is a balance that counts, not just a ballast. Maybe that's seeing the light.


Upgrade your smart phone with Appalachian Wireless. Get $300 off selected models, capture memories, stream and stay connected with the latest technology. Visit one of our stores or AppalachianWireless.com right now. In 2016, the Kentucky State Police started its Angel Initiative with one goal, to help Kentuckians break free from addiction. KSP says the initiative is a proactive approach that helps save lives. It was started with one goal in mind is to save lives of Kentuckians. We know that everyone, no matter your background, everyone has somebody in their family that struggles with addiction or some kind of substance abuse disorder. And so we created this program to be able to help those people out. It's a complete voluntary program to which you can come to any state police post. If you're seeking help, we'll make sure that you get treatment for whatever your addiction may be, whatever drug use it may be. Since 2016, nearly 200 people have been placed in treatment as part of a multi-pronged approach that also includes educational programs and arresting drug traffickers. A lot of people don't have the information that they need to be able to seek help. So we kind of take that burden off of you. All you have to do is want help and if you come in, we'll make sure to take care of everything as far as getting you placed, getting you there, taking care of all the paperwork. Our main goal is to make sure that if you voluntarily come in and you need help, we're going to get you that help. For more information or to participate in the Angel Initiative, go to your local KSP post or call<PHONE_NUMBER>. Reporting for Mountain Top News, I'm Brianna Robinson.


It's time to fill you in on exactly what we are doing for our E3 2017 coverage for Nintendo Starting on June 13th at 8 a.m. Pacific 10 a.m. Central and 11 p.m. Eastern. We will have our live pre-show right here on YouTube also over on our twitch channel at twitch.tv Slash Nintendo Prime and also on our Facebook page the goal of this pre-show will be to discuss our Expectations our hopes our dreams We might even throw a few bets in the mix and that show will be hosted by yours truly Nathaniel Rumpeljantz and Eric Moore from the podcast We might have a couple special guests. You'll have to tune in to find out We will also have a post show so we will have live reactions to Nintendo spotlight Once it is done that post show is only going to last a half hour So once the show is done the next 30 minutes after you will see us Reacting to that spotlight now the reason that it's only 30 minutes is because we have to get right into the treehouse coverage and Right into all of the coverage for the various interviews and other live streams out there That are dealing with all of the other things Nintendo has going on now You can catch all the latest news if that's all you want is the news as fast as you can get it at Nintendo prime net we will have posts going up for every major Announcement every major gameplay clip every major interview. It'll be right there conveniently on our website however That doesn't do any good for you YouTube folks that prefer videos right so at the end of each day We will have two separate videos going up one will just be an e3 news recap We will grab all of the most important stories from each day of e3 So that would be on Tuesday Wednesday and Thursday each of those days We will have a recap video of all the major news going up at the end of the day in addition We will have a reaction video which will include yours truly and others to come in and voice our opinions on the news of that day And if we can help it, we might even be able to get some reactions from people who played the games on the show floor Afterwards, we will have a podcast recording that Thursday evening and That podcast will be going live the following Saturday and Sunday now that does mean we do not have a podcast going up next week And I think you can forgive us. It's e3 week It didn't make sense to record a podcast this week to release during e3 when we have all this other news coming up Even if we pick topics that aren't e3 specific It would just feel out of place in the midst of all the coverage now We are debating right now on adding all of the major trailers to our channel from the show So the new Super Mario Odyssey trailer the new Zelda DLC trailer whatever pops up We are debating on adding those to our channel But we're gonna leave that up to you guys if you guys would like us to add those latest trailers to our channel Let us know down in the comments below if you don't care It's okay. I understand not everyone gives a hoot about the latest game trailers, but I've always really been into game trailers and I Like having them on the channel But again, if you guys don't want that because there's gonna be too much other content going on that is totally fine As I said if you want all the latest coverage be sure to check out Nintendo Prime.net Otherwise stay right here on YouTube. That's our only current plans things might change. We might have quick takes We might have more live shows. We might even have you know a post live show on Friday That's undecided right now, but I wanted to let you guys know the direction We are taking our E3 coverage this year on YouTube and over at Nintendo Prime net I look forward to seeing all of you guys in the comments and in the live chats chatting away and Let us know what you think about all the latest Nintendo announcements


Hello everyone, today we are going to see the function declaration, function definition and function call in C. At the end of this session, students will be able to declare, define and call the function in a program. In order to make use of a user define function, we need three elements that are related to the functions are function declaration, function definition and function call. Now, first we see the function declaration. Like any variable, a function must also be declared before it's used. Function declaration informs the compiler about the function name, parameters that is accepted and its return type. It is also called as a function prototype. Basically, function declaration consists of return type of the function, function name, parameter list and terminating semicolon. Now, let us see the syntax of function declaration. Initially, we declare the return type followed by function name and the parameter list. Consider a simple example for calculating sum of two integer number. Here we observe how the function is declared. So integer, sum and A and B are declared as return type, function name and the parameter list respectively. Now, first we see the return type. When a function is declared, to perform some sort of calculation or any operation and is expected to provide with some result at the end. In such cases, a return statement is added at the end of the function body. Return type specifies the type of value, either integer, float, character, double. That function is expected to return to the program, which is been called by that function. In case function does not return any value, then the return type would be the void. Now, next we see the function name. Function name is nothing but an identifier and which specifies the name of the function. Now third is the parameter list. The parameter list declares the type and the number of arguments that the function expects when it is called. Also, the parameters in the parameter list receives the arguments values when the function is called. They are often referred as a formal parameter. A parameter is a variable that is used to receive data from outside into the function. A function may or may not have a parameters. Now, let us see an example of how the function is declared. Suppose we want to calculate some of two values of type double using for function. So, first we declare the function. Now, initially we declare double as a return type. Name of the function is declared as a sum which takes the two parameters x and y of type double. It calculates the sum of two values having data type double. Afterwards, we return value calculated by that function sum. Let us consider another situation where return type is void instead of double. Here we observe that return type is void. It means that the function will not return any value and the function name is sum having the two parameters x and y declared with data type double. It will just display the result without any return type. Here the return type is integer. So, this function will return an integer type result. This function receives one integer type value as a input and it calculates the square of given integer number and the return result. So, here the return type is a integer and the name of the function is the square and it takes the only one parameter of integer type to calculate the square of number. After studying the function declaration, can you write the function declaration for calculating the area of circle? Pause this video and think about it. So, here we declare the function declaration for calculating the area of circle. So, here return type is a float. Name of the function is area underscore c and it takes only one parameter of type float. Next, we will see the function definition. Function definition consists with two parts. First is the function header and the function body. Now, first we will see the function. Function header is nothing but just name of the function with its parameter list. After the parameter list, do not use the semicolon as we are not terminating. Instead, we are going to define the function body. Now, next we will see the function body. Function body contains the declaration and the statements necessary to perform the required task. The function body enclosed within the curly braces and it consists of three parts, local variable declaration if required, function statements to perform the task inside the function and a return statement to return the result evaluated by the function. If the return type is void, then no return statement is required. Now, this is a syntax for function definition. Here, this is a function header and this is a function body. Let us write function definition for calculating the square of number. So, for calculating the square of number, we write the function definition. So, first we define the function header. Here, the return type is integer. Name of the function is square and it takes the one parameter of type integer. Then, we open the function body. In function body, first we declare the one local variable result to store the result of the square. After that, we calculate the square of number and that value is stored in the result. Next, we use the return statement to return the value calculated to the calling function. After studying the function definition, can you write the function definition for calculating the area of circle? Pause this video and think about it. First, we declare the function header. Here, return type is a float. Name of the function is area underscore c and it takes the one parameter of type float. Then, we open the curly brace. In curly brace, after that, we define one local variable res to store the result. After that, we calculate the area of circle and we store the result in the res variable. Here, we use the return statement to returning value to the calling function and then we close the function. Next, we will see the function call. A function call is nothing but invoking the function. When the function is called, control of the program gets transferred to the function. Once called function is executed, program control passes back to the calling function. Here, we see the syntax of how to call the function. First, we define the function name and in bracket, we specify the parameter list. Initially, we declare the function name followed by the list of actual parameter or the arguments. Suppose, we want to call the square function. Then, we first define the function name. Here, the function name is square and we pass the actual value to that function. Next, beginning with the sample program. Here, we include the header file. Then, we declare the display function. Then, start with the main function. In main function, we declare one variable of type, well, of type integer i and assign the value 20 to the i variable. Now, we call the display function and pass the value of i to that function. Now, the next step is defining the function body for display function. Here, we declare one local variable k and assign the value 35 to the k. Then, we print the value of j and k and then close the function body. Now, after coding, we compile a program by clicking on the build menu on the menu bar. After compiling, we need to run our program. So, to run, we click on the run from drop down list of the build menu or you can use the shortcut key control f10. Now, you can see the output window. Let us consider another example of function call. Our main focus in this program is to demonstrate when the function returns some value, it is being stored in a variable. So, in this program, first we include the header file. After including the header file, we define define the cube function. Here, the return type of the cube function is integer and it takes only one parameter of type integer. Then, after that, we declare the main function. In main function, we declare the two variables n and res. Then, we take the input from the user by using the scanf function and that value is stored in the n. Then, we call the function. So, here the function call is made by calling the function name with passing the parameters. Then, we display the message cube of the number, cube of the number. After that, we close that main function. Then, we define the actual body of the cube function. In cube function, we first define the one local variable result. After that, we calculate the cube of the number and that value is stored in the result variable. And then, we use the return statement to returning the value to the calling function. Then, after that, we compile the file by click on the build button. Next, we run the file by clicking on the run and it shows the output. These are the references. Thank you.


Hi, we're here to present increased learning for all. A universal design perspective on co-creation with students. The presentation of this study is done by me Karina Göransson and my colleague Monica Olin. And we both work at Mid Sweden University, the Department of Design and the Department of Health Sciences. Having an inclusive perspective, the purpose is to explore how a universal design perspective and co-creation with learners could be the basis for increased learning and active student engagement and participation in curriculum design. In this way social sustainable development is integrated into course design through designing and co-creation with the students. Research shows that students are increasingly active when being included. Therefore co-creation and interaction are essential for increased student learning. Inclusion in course design is an important factor to offer students support in forms of inclusion when it comes to learning in digital environments like course platforms. At Mid Sweden University different projects are exemplifying this trend in for example BLOD, which is Needs Driven Learning through Adapted Participation, which is about developing forms of lifelong learning and distribution of skills development adapted to the requirements and needs that societal and technological development places on public organisations. Regarding active student participation an inclusive teaching environment is important in order to facilitate deep and transformative learning and to increase student engagement. In an exploration of co-creation with learners from a universal design perspective it is essential to integrate norm critical approach which stands for diversity thinking in order to achieve social development. With equality and focus patterns of norm deviation are increasingly challenged. Learning is created in co-creation with a target group instead of only with the perspective of the expert, the teacher. Students can become agents of change. Students should be involved in co-creation because then they have an understanding of the requirements of learning from a student perspective. Universal design principles could be used as a tool in designing a course or a course platform. In universal design keywords are flexibility, proactivity and intersectionality. The seven principles of universal design were developed in the 1990s by architect Roland Mays at North Carolina State University and can be used for educational purposes. These seven requirements establish the principles of universal design. The first one is equivalent use. The design is useful and marketable for people with abilities. The second one is flexibility in use. The design allows for a wide variety of personal preferences and abilities. And the third one is simple as intuitive use. The use must be easy to understand regardless of the user's experience, knowledge, language skills or current level or concentration. The fourth principle is comprehensible information which means that the design communicates the necessary information to the user in an effective way regardless of the surrounding conditions of the user's sensory abilities. Number five is about tolerance for mistakes. The design minimises risks and serious consequences of mistakes or inadvertent actions. Number six is low physical extortion. The design can be used efficiently and comfortably with minimal fatigie. And the last principle number seven is size and space for access and use which is about design, is appropriately sized and spaced so it can be reached, handled and used regardless of the user's body size, posture or mobility. The material used in this study were statistic assignments and manuals for students. The example shows a manual in original where you can see the text heavy material i andra words, before the NPF students had given their feedback. A class of five students with NPF were interviewed about the content in a content analysis. In the findings we will show you examples of the design afterwards. The preliminary results show that universal design perspective could have a positive effect on active student participation in curriculum design and the learning experience more open, inclusive and equitable. This study arises the importance of adding a universal design perspective in designing curriculum assignments and platforms. For example, by visualising more, not using text-based solutions only the course design will become more inclusive. The starting point when co-creating with learners should be the students who have the most difficulties. If a course design works for those with special needs and educational support it should work for everyone. There are some important steps in the process. The first one is to identify the users and the context. The second step is to analyse, understand and describe the user needs. The third step is to produce design solutions from a universal design perspective. The contribution of this study is knowledge in how to use universal design perspective in course design together with the students to design sustainable course design approaches that work for everyone in different higher education contexts. There is a need to further develop course design to create the best opportunities for student learning also regarding their expectations of future learning environments. Thank you for listening. You are welcome to contact us if you have any further questions. In this last slide you can see the references in our study. Thank you.


TESOL Courses, Egypt Join our TEFL course in Egypt and you will be enraptured by one of history's great civilizations. With its unparalleled past and thriving present, Egypt promises to delight the mind and invigorate the senses. Taking a TEFL course in Egypt gives you the opportunity to learn how to teach English in one of the most fascinating countries in the world. Egypt, a great landmass in northern Africa, where the arable banks of the Nile meet the Arab Sahara desert, is full of some of the earliest recorded history known to man. The temples, hieroglyphs, mummies and pyramids, along with the ancient churches, monasteries and mosques, were well preserved and have granted us the opportunity to have a glimpse into the distant past. Bounded by the Mediterranean and the Red Sea Egypt also has some incredible, relaxing beaches, as well as offering some fantastic cuisine and some delightful shopping. With all of this and more, can you can understand why Egypt has become a top destination for TEFL courses and teaching English? TEFL Egypt If you are interested in taking you TEFL in Egypt, you will find that there is a high demand for TEFL teachers throughout the country. Teaching TEFL in Egypt is a very rewarding experience and the people in this country have a unique respect for the language and an eagerness to learn and perfect it.  Egypt has TEFL opportunities nationwide, but most jobs are found in the bigger cities. With our TEFL courses running year-round at our location in Alexandria, you can be sure to find the course that is suitable to your time frame. Our TEFL course in Egypt offers some exciting features for those interested in TEFL training. TEFL courses in Egypt. Attend our TEFL course in Alexandria and you will earn your TEFL certification in an exciting and charming city located along the Mediterranean Sea. Alexandria, the second largest city in Egypt, is a cultural metropolis which combines great historic sites and tranquil beaches with ease. Considered the main summer resort area, Alexandria is a holiday destination for many people worldwide. The local cuisine of Alexandria boasts the usual ill-egyptian fare, consisting of a lot of falafels, chicken, or mutton shawarmas and hummus. For vegetarians interested in taking the TEFL course in Egypt, you will have no problems finding a delicious meal quite easily. Surprisingly, Alexandria is also famous for its ice cream, which is comparable to soft-serve ice cream, but a little bit stretchy. Founded around 331 BC, Alexandria is an ancient city and was once one of the most famous cities in the world. During your time off while taking the TEFL course in Alexandria, you can explore the various ancient wonders throughout the city, such as the Roman tombs or the catechoms and the Pompeii pillar. You can learn about the lighthouse of Alexandria and take a tour of the newly reconstructed library, which was built on the same ground as the library from Cleopatra's time. Scuba diving is also very popular throughout here, and many divers enjoy the experience of diving throughout the ruins of this ancient city. At the end of your course day, you can enjoy some amazing cuisine at very low prices and then unwind at the Spitfire or Havana bars. Alexandria is a captivating and wonderful location for your TEFL course in Egypt. TEFL International offers outstanding training courses for people who want to gain a TEFL certification in Egypt. The school's location makes it convenient for teaching throughout Egypt or in one of Egypt's neighboring countries in the Middle East or Africa.


The Grammys of the night, you know, like for NWA to receive, you know, for EZNM, Mother and all of them was up there. How big was that? This is actually EZE's vision. He's the one who allowed us to do the type of music. I mean, that was huge.  We on Boss Talk 101. Yeah, we gon' talk. We need it, bro. We need some of the essence, bro. Like you don't really, like people not really get, to me, like I told LeKiki, like you see the ones who really put projects out versus people just throwing stuff out. You can tell what's really thought through and put out in a, and pretty much when you lay it out, you like, oh yeah, you get serious about the way you present it. Well, we can't rest on our laurels at this point. Hip-hop can't just no longer rest on the greatness of its past. People are demanding it again. You know what I mean? We can't just rest on what, you know, Bad Boy and Wu Tang and Dr. Dre and Death Row and Roofless and No Limit and Cash Money did in the 80s, 90s and the 2000s. That day is over. Like, we rolled that out like an artist who tours off one hit record. And, you know, at first, you think it's about the whole album, but it's really this one hit record. That's it. The first year is great and you're doing 10,000 people. And then five years now, you're doing 3,000 people, but you're putting out music and none of the records. And hip-hop is now in a space to where it's like 800 people in a room. And, you know, people are demanding that we step it up, you know, as a genre as well, to deliver to the rest of the world, like, to be worthy of the praise again. Like, we rolled the last great wave, probably which was the 2000s. Yeah. I mean, and now we're riding, you know, 12 years deep as a complete genre. You know what I mean? It's too many specs now. I mean, it's only so many J-Cos, it's only so many Drake's. You know what I mean? It's only so many Y's. It's only a handful of great artists versus the 90s and 2000s where they were like, boatloads of them. So we rolled off the highs of hip-hop for a good 12 years, and now everybody's like, okay, we over it. What y'all got now? Wow. It was our job to make sure we show that as something there still. Wow. I just, like I said, man, I be thinking about different things that happen up here. Like, the Grammys of the night, you know, like, for NWA to receive, you know, for EZNM, Mother and all of them was up there. Sure. How big was that? This is actually EZE's vision. He's the one who allowed us to do the type of music. I mean, that was huge.  Shout out to the white folks that's finally figuring out that NWA is important in this life that we all live. But people like Killer Mike, that was to me. I wasn't about to bring that up. I was about to ask you that. Yeah. That kind of like shocked me. Like, what the hell? They didn't let him go up there anyway. Well, you know that. Then they arrested him.  That's fine. I'm one of the few people that believe as a gangster rapper. You know, if they give me your pub, this is a hard time getting to snatch somebody up. Getting arrested, they never heard hip hop. We're going to sell more records. That's real.  You know, this is gangster rap. So Killer Mike makes street rapping. He's a real man. He's really from the corner and he achieved, you know, unheightened.  You feel me? So if he had to snatch a nigga up or two, I'm okay with that. Yeah. And nobody is going to judge him for it. It's Killer Mike. The name is Killer Mike. Killer Mike. The boy did was snatch somebody up by their collar. I think they made all good. How did you like that project? He got three Grammys. You know, what's funny, it was worth it. It was a sweep. Yeah. And it was rightfully so. It was put together incredibly well. They wanted that. Mike wanted that. And the Grammy goes to scientists and engineers. Killer Mike.  He was happy. And I'm glad the Grammys really gave it to somebody who wanted, who really went through what it would take to make a great musical composition from the space that is hip hop. Especially in a genre where they stick all the rap in the same place.  They mashing different things that Mike just represents the streets. That's it. He don't represent nobody else. You know what I mean? So it was dope for hip hop to get those three Grammys, man. I enjoyed it, man. That whole show was like, man, like far as it brought back, I thought I had some vibes over the, you remember the Vibe Award, when things just going crazy. You remember them when Snoop looking in the crowd and Quist? Like you remember them day hip hop, man, hip hop something else, man. And we need to be something else. I mean, it's the only way it's going to work. We can't be like the, we can't be Taylor Swift. It's not going to work for it. They got Taylor Swift. They already, you know, the table already got the Cold Slow with the raisins on it. The potato salad with the raisins on the table. They don't need no more unseasoned food. They got enough up there.  Right. And hip hop and gangster rap has always brought that seasoning. That's true. You know, it's like, imagine a barbecue without no greens. You know what I mean? Yeah. Like a real barbecue.  Let's talk about the title. Counselor, Counselor, Counselor, what? Counselor, what? Counselor, what? Counselor, what? Oh, what's with these nuts?  I'm a man and I'm going to say what I want to say. You know, I'm not going to have no regards for what nobody else think. You know what I mean? I'm a man and I'm going to say what I want to say and that's it. Like, I don't care what it costs. So, you know, I hang'm with, like, Facebook and a lot of people to feel that way.  And I love those type of people. They ain't playing. You know what you need though? The world needs people like us. Balance.  I always say I talk for my barbershop. That's all right.  Me, I say it for you, just come tell me. Oh really? Where I'm at now I feel like such a voice for so many different ghettos. Like not just even the ghettos of Compton or the ghetto that is Watts or the ghetto that's Los Angeles. I feel like I go to barbershops in Atlanta and people be like, man, glass, you know what's bothering me? And I'm like a therapist in the community. And I'm like, I'm gonna talk, you know, if I could make it make sense, I'm gonna express your frustrations with the world at that time. Well, CEO serums, hold on, I'm on this album right here.  Cedric the Entertainer. That was a feature? No, no, that was a skip. I just wanted to make sure people know who was talking. Talking, okay, so you always show them the recognition of Samuel L Jackson as well? Yeah, yeah, same thing. That's hard, man. I don't want people to be like thinking like, you don't know who this is. Yeah, yeah, you're educating at the same time. Man, I like I said, man, the thing is the whole project and just going out to see this, to get this, man, I'm valuing this. It's going back in my spot. It's gonna be at the spot. We're gonna put it where it can be seen. I'll make sure when I come out the door, I'll bring you on to play, too. Okay, go ahead. I really want people to play. This is not going to get over here. This is not going to get over here. Okay, cool.   We don't just have a car.  All right. You have one to sit, but I'm going to make sure I bring you one to drive. I did one in the store with things that happened. Just in case you get a vinyl, you want to put it on. Oh, did we still got the one? What did she do? Did she sell it? I'll go and buy one. Don't worry about it. My daughter, she's brown now. So we don't know if she took this or sold that. She tough, man. A hustler, you know what I'm talking about. There you go. I'm going to get some money. Okay, so I got to ask this question. I need your definition on it. When somebody say, I make music compared to when you're saying that I'm a musician, what's the difference between the two?  That lady a little slow. I don't know if she was just trolling or whatnot, but you know, I pray for her. She's just, she's special, like, especially. Because I was reading them comments and somebody said, well, a musician is the person that, you know, plays instruments. It's not actually like a rapper or a singer or something like that. It's not true. It's not true. And I don't think that was her stance, either, though. I don't think it was. I don't think she kept, I don't know what she thought. But again, man. It's a Keanu thing. Yeah. She's somebody to me that don't really represent.  Yeah. It's over the top. It's like, y'all just got to get used to that. What is that really? Yeah, it is. Yeah, right now. I'm thinking it was like a train or something like that. It's still a city. Yeah.  That's the first time we'd have had an earthquake on Boss Talk one-on-one, God. We already know. Welcome to that. Y'all get earthquakes a lot.  Where you going to run to? That's what I'm saying. So just let's keep going and. Wow. I'm from Jamaica. So we get, we have earthquakes as well. But the first thing I'm thinking about is, I'm on the eighth floor.  The best time is ten times. There you go. I'm going to get this work in. They better look this up one year and be like, man, people's in the middle of the earthquake.