"Surrendering" by Ocean Vuong

1. He moved into United State when he was age of five. He first came to United State when he started kindergarten. Seven of them live in the apartment one bedroom and bathroom to share the whole. He learned ABC song and alphabet. He knows the ABC that he forgot the letter is M comes before N.

2. He went to the library since he was on the recess. He was in the library hiding from the bully. The bully just came in the library doing the slight frame and soft voice in front of the kid where he sit. He left the library, he walked to the middle of the schoolyard started calling him the pansy and fairy. He knows the American flag that he recognize on the microphone against the backdrop.

https://app.kittl.com/

ReconfigBehSci [@SciBeh]. (2022, January 18). RT @TornPacific: @united_oz @MarcTennant https://t.co/9AgqRZSjAc [Tweet]. Twitter. https://twitter.com/SciBeh/status/1483345375666872322

Dr Dominic Pimenta [@DrDomPimenta]. (2021, December 15). An illustration of communicating risk with “less severe” variants: [Thread] Assume Omicron is 4x more transmissible than Delta. [1] Assume Omicron leads to 1/3 less admissions than Delta. [Figure below] Assume 1 in 100 cases of Delta are admitted to hospital. Https://t.co/XtnVwoOrUo [Tweet]. Twitter. https://twitter.com/DrDomPimenta/status/1471094002808242177

Nick Brown [@sTeamTraen]. (2021, November 20). Stolen from Reddit. May be of some use. Https://t.co/419SqlRWwT [Tweet]. Twitter. https://twitter.com/sTeamTraen/status/1462169587588505604

wsbgnl. (2022, January 17). Weekly Massachusetts covid cases per 100,000 population by race/ethnicity https://covid.cdc.gov/covid-data-tracker/#demographicsovertime https://t.co/ZlImOnqtEX [Tweet]. @wsbgnl. https://twitter.com/wsbgnl/status/1483069806202920986

ReconfigBehSci. (2022, January 1). RT @wanderer_jasnah: Quick glance at B.1.640.2 before anyone asks me about it: It’s basically B.1.1.7 w/a large Spike NTD deletion. I see… [Tweet]. @SciBeh. https://twitter.com/SciBeh/status/1478289563776962563

Jens von Bergmann. (2021, December 14). Every time a new variant with a selective advantage is making the rounds, but especially this time. Https://t.co/fDEq54nHCl [Tweet]. @vb_jens. https://twitter.com/vb_jens/status/1470604121640030214

shuffling cards:

is like how this combines/interleaves structure migrations and data migrations together

Adam Kucharski. (2022, January 18). Below analysis was two years ago (https://bbc.co.uk/news/health-51148303). As well as providing an early warning about the COVID threat, it’s a good illustration of what is often an under-appreciated point: If we want to make sense of epidemic data and dynamics in real-time, we need models… 1/ https://t.co/ZdpzOq3Bzp [Tweet]. @AdamJKucharski. https://twitter.com/AdamJKucharski/status/1483368504392880128

the first findings categoy includes an illustration. This pattern of category, illustration persists.

Wealth inequitities grew more in San Antonio. . MOre economic gap between whites and hispanics in fresno.

Economic shifts: San Antonio: Manufacturing went down and retail went up, as did professional services, which increased,. as did entertainment sector, military disappeared. An economic sh78 %oc p. 312. more metro population

Fresno: stable sector growth across sectors (except for professional services, while racial composition of cities transformed a lot. Latino to white income disparities increased. 53% metro popo=ulation.

Description of the Radburn New jersey Garden City design.

Ebenezer Howard Garden Cities was the inspiration.

most local gvt revenues come from property taxes.

My father purchased this book, which connects wisdom to the story of Winnie the Pooh. The volume is beautifully illustrated by Mike Wall.

1996 - 2009 - security personnel increased. investment in infrastructure around safety and commercial areas.

Illustration of impact across US of urban universities.

Good example

Bad system of coding. Too many. Alphabetical subcodes. too hard to remembers.

Lofland's phenomenal graduated theme from micro to macro coding.

This is a good system of coding.

another approach recognizes iterative coding procedures.

an example

ReconfigBehSci on Twitter. (n.d.). Twitter. Retrieved 13 September 2021, from https://twitter.com/SciBeh/status/1436020285195493398

Free vector illustrations for personal & commercial projects.

Illustrates how much boilerplate set -e saves you from.

Update: Oops, if you read a comment further below, you learn that:

Actually the idiomatic code without set -e would be just make || exit $?

True that.

If women's wages increased and men's decreased, it would be a disincentive to marry. So sexist!!

defines utility's ouputs

here he begins to describe how the absence of written agreements that might support personal welfare - have an effect on the family.

Rational motivation for crime is that it has its rewards and balanced by the likelihood of not getting caught.

Trend of formalist positions on civil rights - narrow jurisprudence. The judicial system was once a voice for civil right - now it became a threat due to conservative political - which were aligned to whites and power structures.

These are all examples of the systems that power puts in place.

People think that they are liberated, but they are enslaved further.

new power entrenched through systemization

new structures under new power dynamic.

the repressive force of power brings people into obedience. cohersive.

illustrates how community development can function as an extension of neoliberal goals of austerity

patterns / variations highlighted.

Here describes how patterns began to shift.

How the logic of punishment transformed over time.

was a servant who attempted to murder Luis XV, king of france.

Sites examples of alt media institutions that use the participatory model.

Authors are illustrating that collective alternative media can be more productive in raising awareness to political alternatives.

It's a matter of scale - small are less effective.

Here the author cites an example to support the idea that conservatives use collective production, too.

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), part of Chapter XV through the beginning of XVII of the 1898 collected edition and subsequent versions.

This is the cover of the September 1897 issue of Pearson's Magazine:

GANGNES: The tactile nature of the Martians' hunt for the narrator is a scene of intense tension in adaptations and illustrations of the novel. Byron Haskin’s 1953 film increases the danger posed by the machine's searching tentacle by adding a mechanical "eye" to its end, so that the characters must stay out of sight as well as sitting still.

More information:

• John M. Miller, "The War of the Worlds (1953)" on Turner Classic Movies' website

GANGNES: This section is replaced in the 1898 edition with the following passage after "...rules in his body?":

"I began to compare the things to human machines, to ask myself for the first time in my life how an ironclad or a steam engine would seem to an intelligent lower animal."

This revision is particularly interesting because Wells removed language referring to steam engines and other human technologies in the narrator's description of the fighting machines in the previous chapter (beginning "And this Thing!").

In this site's page on "The Terrible Trades of Sheffield," a connection is drawn between these edits and Wells's opinion of Warwick Goble's illustrations, which were too close to human technologies. In the revision, then, Wells reframes human technologies as part of an analogy; Martian technology is beyond human technology to so extreme a degree as to be incomprehensible to humans.

GANGNES: This is the policeman who is depicted running from the Heat Ray in both of Cosmo Rowe's illustrations (the Installment 1 header image and the Installment 2 frontispiece).

GANGNES: Warwick Goble (1862-1943) was a Victorian and early-twentieth-century periodical and book illustrator. His watercolor book illustrations have strong Japanese and Chinese influences and themes. Simon Houfe refers to Goble as a "brilliant watercolour painter of the 1900s and 1920s" and writes that Goble's "filmy translucent watercolours, with their subtle tints and Japanese compositions ... are unique in British illustration, but are not noticed by the collectors of [Arthur] Rackham and [Edmund] Dulac" (210).

In his dictionary entry, Houfe only acknowledges Goble's early relationship with periodicals in his role as a staff illustrator for the Pall Mall Gazette and the Westminster Gazette; Pearson's Magazine is not mentioned, despite the fact that Goble illustrated not only The War of the Worlds, but also Arthur Conan Doyle's Tales of the High Seas (short series) and other pieces in 1897. He provided illustrations for volumes of two other major pieces of late-Victorian serialized fiction: Robert Louis Stevenson's Treasure Island and Kidnapped.

Biographical sources:

• Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists, 1800-1914 (Baron Publishing, 1981), pp. 210, 318.
• "Warwick Goble: A Biography of the Illustrator" on Pook Press's site.

http://undraw.co/illustrations

Undraw 是 一个完全免费的开源插画库，您可以完全免费使用这些插画，并且无需归属，你可以在商业或个人项目中免费使用。

它提供的每一张插画都是非常精美，质量非常高，网站也提供每张插画对应的内容，让你轻松找到自己需要的插画。

它不仅支持以 SVG 格式下载，也支持 PNG 格式下载；如果你下载的是 SVG 格式，你可以通过修改代码的方式进一步修改制作属于自己的精美插画，如果你下载的是 PNG 格式，你可以直接用于博客文章和社交媒体。

Good illustration

This installment comprises the text that is roughly comparable to Book II, Chapter VIII ("Dead London") through Chapter X ("The Epilogue") of the 1898 collected edition and subsequent versions. "The Man on Putney Hill"--Book II, Chapter VII of the volume--did not appear in the Pearson's version.

This is the cover of the December 1897 issue of Pearson's Magazine: the 1897 Double Christmas Number:

GANGNES: In his illustrations for the 1906 limited-edition Belgian volume, Henrique Alvim Corrêa sometimes takes a fantastical/magic-realist approach to his depictions, literalizing metaphors and making the mundane strange. In this case, Corrêa literally draws the narrator's conception of London's buildings resembling skulls:

GANGNES: Illustrations of the Red Weed vary significantly across illustrations and adaptations of The War of the Worlds. In many cases, the weed resembles a creeping vine or red kelp. Only one of the novel's major illustrators, Johan Briedé, took the "cactus-like" quality of the plants to heart. Briedé's illustrations were published in The Strand Magazine in 1920 with an introduction from Wells himself.

More information:

• “The War of the Worlds: Illustrated by Johan Briedé.” The Strand Magazine, no. 350, February 1920, pp. 154–163.

This installment comprises the text that is roughly comparable to Book II, Chapter II ("What We Saw from the Ruined House") through Chapter VI ("The Work of Fifteen Days") of the 1898 collected edition and subsequent versions.

This is the cover of the November 1897 issue of Pearson's Magazine:

GANGNES: A new paragraph is added here for the 1898 volume. See text comparison page. This paragraph constitutes one of the most significant revisions to the novel in terms of the text's relationship with Pearson's and illustration. The new paragraph covertly criticizes Warwick Goble's illustrations of the novel:

"I recall particularly the illustration of one of the first pamphlets to give a consecutive account of the war. The artist had evidently made a hasty study of one of the Fighting Machines, and there his knowledge ended. He presented them as tilted, stiff tripods, without either flexibility or subtlety, and with an altogether misleading monotony of effect. The pamphlet containing these renderings had a considerable vogue, and I mention them here simply to warn the reader against the impression they may have created. They were no more like the Martians I saw in action than a Dutch doll is like a human being. To my mind, the pamphlet would have been much better without them."

Wells's friend English writer Arnold Bennett noticed the new passage and wrote to Wells: “I gathered … that you were not exactly enchanted with Warwick Goble’s efforts.” Wells admitted the intentional critique: Goble “made people think my tale was a wearisome repetition of kettles on camera stands. I really don’t think he put a fair quantity of brain into that enterprise or I wouldn’t have slanged him in the book.”

References:

• Wells, H. G. A Critical Edition of The War of the Worlds: H. G. Wells’s Scientific Romance, with Introduction and Notes by David Y. Hughes and Harry M. Geduld. Edited by Harry M. Geduld. Indiana UP, 1993, pp. 216-217.

From STOVER 199: "The 'Handling Machines' are robots, which here make them their first appearance in science fiction."

GANGNES: Illustrations of the Martians' technology have strongly favored the iconic tripod fighting machines, with almost no depictions of the handling machines. A notable exception is the below image by Brazilian artist Henrique Alvim Corrêa, who created it as part of a series of illustrations for a limited-edition Belgian volume (1906):

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), part of Chapter XVII and Chapter I of Book II ("London Under the Martians") of the 1898 collected edition and subsequent versions.

This is the cover of the October 1897 issue of Pearson's Magazine:

GANGNES: The battle of the Thunder Child is one of the most action-packed scenes in the novel. It has been a favored scene for many adaptations and illustrations, including the album cover for Jeff Wayne's musical adaptation (see Installment 1 annotations):

More information:

• Website dedicated to Jeff Wayne's musical
• "Thunder Child" recording
• Dr. Zeus's War of the Worlds book cover collection
• Dr. Zeus's War of the Worlds interior illustration collection

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), Chapter XIV and part of XV of the 1898 collected edition and subsequent versions.

This is the cover of the August 1897 issue of Pearson's Magazine:

From DANAHAY 107: "Wells's vision of the use of poison gas, which was used as a weapon for the first time in World War I."

GANGNES: Some illustrations of The War of the Worlds created during and soon after the First World War distinguish themselves by focusing on the black smoke instead of the heat ray. One such illustration is the book cover for a Danish edition published in 1941. Considered in the light of weapons used during the First and Second World Wars, images such as this one become particularly haunting.

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), Chapters XII-XIII of the 1898 collected edition and subsequent versions.

This is the cover of the July 1897 issue of Pearson's Magazine:

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), Chapters IX-XI of the 1898 collected edition and subsequent versions.

This is the cover of the June 1897 issue of Pearson's Magazine:

GANGNES: This passage through the next page is the most striking and detailed description of the Martian fighting machines in the novel. Despite the degree of detail offered by the narrator, the machines' physical appearance has been depicted quite differently across various illustrations. Wells made his dislike of Goble's illustrations clear in a passage he added to what would become Book II, Chapter II of the 1898 volume. See Installment 8. He also cut and changed some phrasing to deemphasize comparisons to human technologies. See text comparison page.

GANGNES: The 1898 volume changes this to simply "imagine it a great body of machinery on a tripod stand." This seems likely to be part of Wells's negative response to Warwick Goble's depictions of the Martian fighting machines, which resembled known human technology more than Wells would have liked. See text comparison page, note on "The Terrible Trades of Sheffield" below, and the additional passage in what would eventually become Book II, Chapter 2 in the 1898 volume.

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), Chapters V-VIII of the 1898 collected edition and subsequent versions.

This is the cover of the May 1897 issue of Pearson's Magazine:

GANGNES: The differences between Cosmo Rowe's illustrations and Warwick Goble's exemplify the difficulties presented for illustrators by invisibility or near-invisibility. Different illustrators have chosen to depict the heat ray in different ways that make clear the cause-and-effect relationship of the ray being pointed and its targets being lit on fire. Usually this requires a visual representation, even though the ray is described as invisible.

This installment comprises the text that is roughly comparable to Book I ("The Coming of the Martians"), Chapters I-IV of the 1898 collected edition and subsequent versions.

This is the cover of the April 1897 issue of Pearson's Magazine:

From HUGHES AND GEDULD 217: In 1896 H. G. Wells and his agent attempted to get illustrations for The War of the Worlds from Cosmo Rowe, but only succeeded in securing two, both of which appeared in Pearson's and one in Cosmopolitan.

GANGNES: Cosmo Rowe (William John Monkhouse Rowe, 1877-1952) was a British illustrator active during the late Victorian period and thereafter. He was a friend of Wells's and of designer William Morris (1834-1896).

Rowe's illustrations for The War of the Worlds appear in the April 1897 (installment 1, first page) and May 1897 (frontispiece) issues of Pearson's Magazine; they are the only illustrations for the Pearson's War of the Worlds that were not done by Warwick Goble.

Biographical source:

• "Cosmo Rowe," askART.com

More information:

• Portrait of William Morris by Cosmo Rowe

GANGNES: Visual depictions of Wells's Martians, like those of their fighting-machines, have varied widely. Part of this is due to the fact that, even though they are described at length, the narrator still has difficulty wrapping his head around how to relate their appearance to terrestrial creatures. Most depictions resemble something squidlike, but Spielberg's 2005 film) extrapolates from the tripod machines and gives the Martians three appendages.

More information:

• Illustrations of Wells's Martians on book covers of The War of the Worlds collected by Chez Zeus

Blake's interpretation of this scene

Being able to illustrate and visually represent an idea is very important for all students. This skill touches on fine motor skills, visual processing and conceptual thought. Very important part of the lesson and an effective check for understanding.

Brilliant use of imagery and metaphor. The primordial ooze of human constructed reality.

good use of metaphor to illustrate

Great use of fable to hyper illuminate his central theme right away. It's colorful, dramatic, poignant, and a little unnerving, altogether engaging.